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Sharing this cos I love this binding!

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WorkshopCompanion

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Retired Dream gains weight and enjoys it send post 😌

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u know besides the million other reasons i hate generative ai i also refuse to use it bc i dont trust anything being pushed on me this hard. why does every company desperately want me to get on the bandwagon. whats in it for you. whats in it for me. if ur pushing this shitass product into my life so intrusively u must have nefarious intentions. i dont trust anything being shilled like this

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back on pushing my Ratthi Murderbot best friends agenda

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Pride and Prejudice (1995) + Text Posts (7/?)

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Big Insurance Uses AI to Quickly Deny Claims, One Man Fights Back with AI App That Quickly Appeals

"The idea that American health insurance companies are using AI to analyze and adjudicate claims for approval or denial sounds terrifying, but one North Carolinian is using AI to fight back.

When Raleigh resident Neal Shah had a claim denied for his wife’s chemotherapy drugs, he thought it was rare, that he was the only one, that it was just bad luck.

Litigating his case on phone calls that lasted for hours changed the husband and father, and he set about creating a sophisticated app that uses artificial intelligence to compare claims denial forms against health insurance contracts, before automatically drafting an appeal letter.

“For a doctor to write this, it’s not rocket science, but it still takes hours,” Shah told ABC News 11, adding that a well-written appeal letter, sent in immediately, can sometimes get denials reversed within days or weeks, but most people either don’t know they can appeal, or don’t know on what grounds they can appeal.

In fact, according to Shah’s research, 850 million claims denials occur every year, and less than 1% are ever appealed.

That’s where Counterforce Health comes in, a startup that’s created a free-to-use app for claims denials.

It’s all the more critical a service now that health insurance companies, already armed with statewide government-protected pseudo monopolies and duopolies, are using AI to deny claims within seconds of them being filed.

“Before, you used to have a reason you would deny it, and you used to have a doctor review or a nurse review it, but once AI rolled out, they could just have AI deny it,” Shah explained.

For Counterforce Health, Shah brought onboard Riyaa Jadhav, a Jill of all trades who has helped grow and expand the undertaking through her experience in both the business world and working alongside patients at Johns Hopkins University Hospital.

Together, they’ve built Counterforce to the point where it boasts a 70% success rate in appealing claims.

Thousands have already logged on; many going on to use the service.

“Sometimes when enough people get loud, enough people put pressure, then I think all of a sudden society wakes up, so I really feel like it’s really about to click,” Shah said.

-via Good News Network, August 5, 2025

Here's the link to this organization, by the way. According to their numbers, less than 1% of denials in the US are appealed, but 75% of appeals are approved. This could do so much good.

And another source for validity:

-via NBC News, July 18, 2025

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No matter how your heart is grieving, If you keep on believing, The dream that you wish will come true. - Mack David

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Some of you on this site are so scared of writing fairly conventional anatomy-based sex porn because of the cringe-words and general discomfort with sex. It helps to have had sex, but that's not necessary. After the break, as it is somewhat explicit, here is all you need to do, and it is not a list of euphemisms for penis or vagina or xenoapparatus:

Choreograph it in the same respect that you would any scene. If you can do this, you can have some confidence that your porn is exactly as good as your fights, your key gambling maneuvers, your political oneupsmanship, whatever. The key to writing any scene is to know where everyone is and what they are doing and impart this from the lens of the point of view character. If something feels "off" or weird, check in with yourself: what is the point of view character doing? Say it. She has her nails digging into her lover's shoulders. Was that, what she's doing, the last sentence? Let her react to it instead: the thrill of hot blood against her fingertips is intoxicating.

Many of the "porn mistakes" are just writing mistakes, and writing is an unending dialogue between the material (what is physically happening) and the ideal (how a perspective processes the material, with human and personal limitations but also human and personal additions). When you've firmly established the material, you move back to the ideal, the thought-space, the recollection-space, the processing. Then back to the material. Each action spins out and away from the earth, into the ether, where it is reintegrated, leveraged, subverted, and then returns, changed, to collide with the earth again, changing it in turn.

You do not have to say words for penis over and over any more than you need to keep clarifying proper names in a dialogue, and in fact, even less than this. Remember, unless your character is specifically having sex with the penis, she is in fact having sex with a woman, and her feelings and reactions and ideal likely center that woman more than her penis. Put her in dialogue with the woman rather than the penis and you have your answer: you only need to say cock as many times as you would say "rapier" in a swordfight. Once you know what sword it is, you move to sensation, movement, "large scale choreography", and processing.

The unique thing when talking about genitals is that most people don't think much about genitals when they are having sex. They think about sensations: what feels good, unexpected, painful, pleasant, intimate, jarring, etc. Saying "her cock" over and over is not just a little offputting because it's excessively repetitive; it's like putting "gauntlet" in five subsequent paragraphs. We get that there's a gauntlet and a penis. It feels wrong because the gauntlet is an extension of the striking-appendage and the penis is an extension of a character.

To avoid saying gauntlet over and over, as in any writing, you either get vaguer or get specificer. You describe the interaction with the wrist-plate, where the rapier rebounds from the shape of the steel, or the fingertip sliced-through by the superior blade, just barely shallow enough to spare the digit beneath (specific). Alternately, you get vaguer and describe the strike itself - the reader knows there's a gauntlet there! - a fist thrown in desperation after losing hold of a dagger, the weight both pulling down the blow and putting momentum behind it until it meets the enemy's helmet with more of a thud than a clang as the cheap steel crumples into the leather padding beneath, dented skull-deep.

Neither of those used "gauntlet". Both used the concept of the gauntlet. This can be done with anything that you establish - once it's on the stage, it's not off until you take it off.

Of course it helps, to an extent, to have had the kind of sex you are describing. It helps more to have been thoughtful about your own sensation and reaction and action during sex in general; few people really do this, but doing it is extremely useful for writing, the same way riding a horse and not thinking about it will lead you to over-describe the tack you're familiar with vs. riding a horse and thinking about it will help you develop a coherent material dialogue with the content of your own narrative. To an extent, to write about sex, you need to have some level of comfort thinking and reading about sex. Anyone can do those two things, and allow themself to think: at the moment of being penetrated, is her shaft sliding into my fragrant blossom? Or is the sensation more like pressure, more like pain, more like an insistent heat, more like an awareness of her and her shape or an awareness of myself and my limits or my pleasure?

As in sword fights, it helps to imagine yourself in the scene rather than only observing it, when it comes to blocking out a scene like something other than stage directions or a video game novelization.

The last thread this leads me to is pussy. No one wants to write pussy, unless they do. So they write entrance, which you can only really write once before it sounds goofy. Or cunt, which not every character would say. There is not really a cock of pussy, at least in my literary opinion. So how do you say this stuff? How do you say "into her pussy" if it causes you physical pain to write pussy?

You may not need to specify at all. When penetrating someone, you are penetrating a person, not just an organ. Depending on the nature of the sex, you may want to get into more or less detail, but I'm not talking to the people who are already writing about the color of the labia and the specific tactile sensation of a blood-flushed clit, okay? I'm speaking to you if you have stopped and made a terrible face at the thought of "pussy" and then deleted it and written "cunt" and cringed again.

My hot tip, as connects to all the rest of this, is that if there is not a word for the place you are stabbing her, you are just stabbing her. You are dragging your fingers over her until she yields. You are lining yourself up with her, pressing in, adjusting cautiously until she wriggles her hips, urging you to get on with it already. You are drawing your hips back against the friction of her trembling body. Could any of these be her asshole? Her neovagina? Her alien hole where she excretes salt waste? Of course! If it's important to specify, specify! If what's hot about fucking someone is the logistics of the hole, then by God, logistics the shit out of that hole without shame. But what makes porn hot is not the hole itself. It's the interaction with the hole, gone warm and molten as her desperate breaths come quicker. It's how the hole makes you feel. Fuck you.

Word choices for describing sex organs are an expression of how the perspective character feels about them. A heavily euphemistic description may either reveal something important about the character and her misgivings or set the narrative itself up for subversion - the girl who winces and thinks of her penis as "her manhood" is going to have something to unpack later or even during sex. The dispassionate "shaft" could either reflect disinvestment, to be dramatized later on, or set up that disinvestment to be subverted, as the humble shaft becomes the instrument of orgasm.

Think of how anime often has internal-monologue turning points to explain where a character's last reserve of energy comes from - the setup, the dead parent, the tragic past, the loss of a friend, it comes from somewhere, and the payoff to winning the duel is catharsis. It's just a more straightforward way of illustrating the point of most building-to-a-climax, which porn often deliberately does: you can only pay off on what you set up. Otherwise you revert to tropes and the underdog-hero wins for no reason and the girl-hero cums and it doesn't even matter because ten thousand she/hers have cum exactly that way in ten thousand prior okay scenes. The difference in payoff is all in a setup that the payoff can reintegrate: a material and an ideal that unite in a moment of pure emotional release.

I can't make you better at writing sex scenes than you are at writing fight scenes, but if you follow this advice you can be just as good.

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gossip rag

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170125. Dopamine.

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This is your semi frequent reminder that there is no official AO3 app

All those are unofficial and available on the Google play store as of August 13th 2025. They mirror AO3's content and insert ads, for which the developer gets paid by page impression (that's every time the ad appears in the fic you're reading) not just clicks.

No money goes to AO3, nor to the fic writer. It goes to the person who did the bare minimum.

Many of these apps have poorly worded or non existent privacy policies, so they may also be mining as much data as possible and selling that on to unknown third parties.

Please, just use the official AO3 site and the browser.

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He said NO.

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at some point in your life you will be boiling fruit, water, sugar, and lemon juice in a pot to make a syrup or jam. the instructions will tell you to simmer for a certain amt of time. your timer will go off and you will look at the pot and go, "hm, this doesn't look thick enough. maybe i'll let it go for another 10 minutes." this is the devil speaking. it's only so liquid right now because it is at boiling point. it will thicken when it cools down. learn from the follies of my youth and do not let this happen to you

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Fielding you a metaphorical softball

❓️

From the Dadda & Baba & Finn sequel to England and Nowhere (Never and Always), in which Hob has acquired Dream as a boyfriend and elven toddler Finn as his adopted child, literally overnight:

It was easier to offer the explanation the second time than the first, and by the third time--speaking not to students but to his department head and whoever else might be listening from various points in the faculty lounge--it was almost actually easy. "Yeah, my partner's little boy will be living with us now, and it's--it's all been quite sudden, and he has some... special needs, has to be on a special diet and so on, and of course the adjustment is going to be hard on all three of us. I may have to take leave, I really don't know quite yet." And though Hob could absolutely see that Ellen was on the verge of developing a migraine at the thought of all the additional admin that would put on her plate, she didn't... she didn't disbelieve him, and she certainly didn't instantly perceive that there was something wickedly unnatural about Hob and Dream, and Finn into the bargain. She made a sympathetic face and began to talk about her nephew and his autism and the evils of food additives, and told Hob to keep her posted. Hob promised that he would, and ducked out before anyone else could catch him and start asking questions, such as, Why have you never mentioned this partner before? He'd realized that this, too, was an answerable question: he could say something vague and rueful about how they had always been a bit complicated, on-again and off-again, and it was only now with the arrival of his partner's son that they had properly Defined The Relationship. He would sound like he was making a disastrous romantic decision, but he still wouldn't sound like-- Like a witch, he realized, and had to stop just outside the doors of the building to catch his breath, winded by that bad old terror bursting abruptly into conscious thought. It wasn't that he ever forgot what he was afraid of, not really. He just didn't usually... think about it, not head on, not in so many words.

[Request more snippets over here!]

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May I introduce you to my favourite Calvin and Hobbes strip which only got funnier when I got hearing aids.