@Hydrogen: That bit about needing to feel good about the outline before diving in? Yeah, I’m with you. If it doesn’t carry a kind of tension or movement already, I end up staring at it like it’s a locked door with no key. It’s wild how sometimes a sketchy note with the right energy pulls you further than a polished plan ever could. And you’re right – there’s a lot out there, but I don’t think it’s too much. The stuff that cuts through still does. Probably because it doesn’t try to be loud – just honest.

@Fretum: That thing you said about academic rhythm sneaking in – oof, I felt that. I catch myself doing it too: suddenly there’s structure, subtext, clean transitions... and the soul of the piece starts fading out. Like you, I’ve been trying to lean into the drift. Let it get messy first. Let it wander. Weirdly, that’s when the voice feels truest. It’s not about rebelling against structure, but about remembering it’s there to serve the story – not the other way around. Thanks for naming that so clearly.