#give me stories from and about poc!!! queer people!!! disabled people!!!

[moonmoonthecrabking]

i don't want live action adaptations i don't want reboots i don't want sequels i don't want remakes i want new creative stories from underrepresented communities rather pretending that one movie can be a symbol for billions of people and millennia of history and if i can't have that i want to burn the office of whoever's preventing that to the ground

[glitter-stained]

On villains with tragic backstories

Sometimes I'm like "is it really psychophobic, maybe i'm reaching, the character did say that they're not actually crazy they just like killing people" and then the narrative will hit me with "some terrible, dark horrors have happened in your past and this is why you are killing people but it's not too late to get admitted in a psych ward" and I wanna throw the comic through the window and myself with it.

The "mentally ill villain" trope isn't just saying that the villain is crazy or giving them hallucinations. If you're giving a villain a tragic backstory, and that backstory has caused them severe suffering the memory of which is still painful to the day, and the story expects you to believe that the villain's horrible behaviour is explained by the fact that this suffering broke something in them... It's worth examining if you're not just vilifying or demonizing mental illness on accident.

The issue isn't that your villain can't have a tragic backstory, or that the tragic backstory can't explain their actions: the issue is when the suffering itself is treated as a sufficient cause for the behaviour. Say a character was raised and abused by a cult that taught them killing puppies is good and then they kill puppies: not psychophobic. Say a character who used to love puppies was kidnapped and tortured by some guy just for the fun of hurting someone, no brainwashing or anything just pain, and then they get out and kill puppies because of the torture: psychophobic. There's a missing link in the reasoning here, a question of "what about this event taught/brought the person to the conclusion that it was a good idea to kill puppies or gave them a desire to?" The psychophobia is insidious, hiding in the implication that the trauma (because this is what it's really all about) is what made them kill puppies. Sometimes, people with trauma kill puppies. But killing puppies (or exploding buildings with children in it, or shooting someone in the spine, or severing heads and putting them in a duffle bag, or, or, or) is not and has never been a symptom of ASD*, PTSD, CPTSD, BPD, DID, DDD or any other trauma-induced disorder. It's a good idea to verbalise the logic, emotions, needs and desire that motivate your villain and where they stem from, to avoid falling into the trap that thinking their trauma, because of the magnitude of the empathy it's meant to generate for the character, is enough of an explanation for their behaviour. A villain being sympathetic because of their backstory doesn't mean that their actions are necessarily coherent.

On top of that, it's important to take in account other factors such as the original background of the character, their vulnerabilities, their age (super important when writing childhood/teenage trauma/young villains!), but also their ethnicity, gender etc etc. This is important for realism and accuracy, because trauma is neither a magical button that creates heroes nor sociopaths, but also because psychophobia interacts so easily with other forms of discrimination slipping through the cracks. Now that you've identified that your woc character becoming a manipulative, sociopathic "crazy ex" because of her trauma was not just a consequence of her trauma but the interaction between the trauma and personal factors, what are those implicit factors that contribute to make her manipulative, obsessed with her ex, etc.? And now that you've extracted them explicitly, like a zip file, can you examine them to see how many of these personal characteristics have to do with her being a woman of colour?

I hope it's clear that I'm not telling you what to write- I think imposing the idea that villains can't be poc, or queer, or working class, or disabled, or mentally ill, etc. is harmful, because it reduces potential representation, it's based on the assumption that I know what you're gonna write and it's gonna be fundamentally ableist, and it puts this pressure on fictional characters to be perfect icons of representation rather than actual characters with depth and personality (kinda like thinking you can't write a female character who cries because it implies women are weak). This is just to encourage you to be mindful about what you're doing when writing that tragic backstory, because it's not necessarily what we think about when we talk about mental illness, and it's important to analyse what you're writing with a measure of introspection: why am I writing this? What does this imply about the character? What's my reasoning for this character's reasoning?

I have zero issue with a mentally ill character kicking a puppy as long as the narrative isn't trying to tell me that it's a symptom of mental illness to kick puppies. But of course, perhaps the story could also be a critique of those stories about mentally ill people kicking puppies, and the satyre is flying way over my head; or perhaps there will be a secret plot-twist that happens after I stopped reading that explained why the character was kicking puppies, perhaps the book was an attempt at guiding and manipulating the reader into realising the flaws in that reasoning on their own, or perhaps it was a metaphor for something else entirely, etc, etc. I don't know. The point is, write whatever you want; but write it self-aware.

*in this context, ASD meaning Acute Stress Disorder

Two examples of comics I think do it pretty well:

> Arkham Knight Genesis: for all its flaws (i didn't really like this one), I think it does a pretty decent job of getting us to understand how Jason got where he is, that it wasn't just "tortured until evil", all the reasons for his resentment, all the brainwashing and manipulation are pretty explicit. Kind of an "easy mode" because the plot revolves around brainwashing, but solid on that front.

> Red Hood Lost Days: this one I'm more mitigated because there's this whole "pit madness/the pit made him a psychopath" thing Winick introduced to limit the damage of previous runs (and rightfully so imo, Pit Madness is a much better explanation for some of Jason's most batshit ooc runs than just trauma), but there are some pretty solid elements, especially when you know earlier comics. I'm thinking specifically about when Jason says something around the lines of "you murder people; i put down a lizard", as a direct echo to Judy's "I put down a mad dog", that's one of my favourite comic lines ever, I cheered seeing that parallel like yes, I can see the reasoning, I understand where you learned the lesson and what the thought process is and I support it.

[jesncin]

Hi! I'm sorry if this an inappropriate question to ask, but I was wondering if you had any advice on how to accurately portray characters of color? I'm White and my creative fiction includes a lot of diverse characters, and I don't want to just ignore how their races impact their stories but at the same time being a racial/ethnic minority isn't something I've personally experienced and I don't know how to walk the line between good representation and some White dude telling stories that aren't his place to tell. Do you have any advice on how to accurately present characters of color without appropriating?

Luckily I have time today so I'll give my 2 cents! For one: there is no such thing as "accurate" portrayals of POC. Our experiences aren't a monolith. Something personal I would write and pull from my lived experience might not be relatable to, say, another queer Indonesian. And characters I write that are outside of my identity (Black, disabled, etc.) are inevitably going to be less authentic compared to someone of those identities tackling those characters. That's just something to make peace with- we can only do the best we can with the perspective we have.

With that: the usual platitudes are "do your research" and "listen to POC", I dislike both of these sayings! I get what they mean, but I don't love the insinuation of "doing research and listening" as a means of personal creative benefit. So instead I encourage different mindsets:

Instead of "do your research" (where identities can be treated as subjects to be learned and not people) I prefer "expand your perspective". Art is so cool because it's self expression. Stories are awesome because it's a shortcut to a person's deepest feelings. They get you fascinated and invested in a life so unlike your own. I can't stand "I only read queer books" people because it's an admission that they refuse to engage with identities they can't relate or project onto. There are so many important stories out there outside of your bubble. Get into the habit of earnestly learning about perspectives outside of your own. And not with the mindset of "this'll make me a better writer if I consume the identity and can become them" but with the mindset of getting to learn about a new friend. I think people take "stay in your lane" too literally sometimes where they focus so much on writing about their own experiences that they miss out on empathizing with other people.

Instead of "listen to POC" (I hate this one. Because our opinions aren't a monolith, it essentializes all of us to being media critic savvy experts, and white people tend to cherry pick the POC opinions they like instead of looking at the wider conversation) I prefer "improve your media criticism skills, and supplement with different perspectives". Not only should you "expand your perspective" as my last point said, but you should also be critical of things you read and learn! Learning about how ableism, racism, classism, etc. operates in life helps inform your opinion of how an identity was portrayed in a story. Recognize that earnest, and well intended attempts at representation can still be flawed or performative (the amount of times I'm told "I'm sure they weren't intending to be racist" like I truly believe the writer is a mustache twirling racist villain is too much). It's important to be opinionated! Do the work to find different perspectives to inform your own.

Lastly, don't ask for labor from marginalized people haha. I know that's what you're doing now (and this always happens to me whenever I voice a critical opinion of race representation) but I happen to have time (I'm still waiting on my editors to get back to me, such is the life of publishing). Most people don't, and are exhausted with explaining themselves. I don't bother my other marginalized friends whenever I write perspectives outside of my own. I do as much of the work reading articles, history, criticism, art etc. first. Especially if it's going to be a published work, then find Authenticity Readers and pay them for their labor. Avoid asking general, easy to google answers y'know? A lot of people have done the work writing thought pieces in their own time about a variety of perspectives.

[is-the-owl-video-cute]

Saw your Neil Gaiman post and as someone that found comfort in Good Omens (and got hyperfixated on it), I'm finally glad that some people are finally talking about how he isn't that great.

Even as a Fan, GOmens fandom is so...weird. See, in other fandoms people won't give much of a flying f/ck about the authors besides some mild respect or praise, but GOmens praise Neil SO HARD, despite giving off some iffy vibes (that now I understand why, after that big post) Never liked how almost every single POC character in GO has such a minimal role, same with women characters, the fact he's been caught (and that can be easily checked) lying about his ideas surrounding GOmens, the way he went from "Is not a romance, but it can be if you want to" -> "i always wrote it as a love story" also how he went from "There won't be another season because of Terry and because the ideas for the next book were incorporated in the show" -> "It was in 2019 when I finished writing S2 with the ideas I discussed with Terry before he died" and like seriously no one never noticed how much of a clown he his lying and backpedalling all over again again? Then there's how bad rep for fat people Sandman was and instead of accepting criticism he just keeps giving some "vague intelligent answer" and sits and waits for his legion of fans with a parasocial relationship to defend him. But somehow he's treated as a world treasure and a genius with a big brain. And this is less problematic and more petty but I'll be honest. He isn't that much of a good writer anyway? The prose is okay is good, but the worldbuilding and lore and characters is mostly edgy and lacks deepness. His fans seriously want to make a sea out of muddle puddles,,, and that's fair! Is such a big part of fan culture to dig into the smallests of things and make an universe out of a cardbox background character, but please, don't give Neil the credit that he doesn't deserve. And what proves more to me that he isn't that good of a writer, is just...take a look at that mess of a S2 of Good Omens, it was so bad that some people had to THEORIZE that it was bad on purpose. I have such a beef with S2, characters like Muriel, Saraqael and Michael and Maggie and Nina were so heavily promoted and of course everyone was hyped, finally more POC, more disabled characters, and yay, women! And they're lesbians! And and...and hold on, how it is that Muriel didn't do that much at all? How it is that Saraqael after being so hyped BARELY had almost nothing to do, is really that all the disabled rep we got? How is it that Michael and Uriel barely had anything to do and were just background characters again? It just angers me with how with so many fem-presenting characters, and POC and disabled persons cast, they literally add nothing to the series, AND NO ONE EVER TALKS ABOUT IT. Is just this endless praise for Neil and his oh big brain. All praise Neil Gaiman, our lord and saviour of queer people. HOW IT IS, THAT THE TWO LESBIANS HYPED ROMANCE WAS ALL RELATED TO AZIRAPHALE MEDDLING WITH THEM TRYING TO SHIP THEM? And it also was bad, very badly done, is really this the women representation we got, seriously??? Talking about misleading advertising.

S2 was such such a mess, it just shows how much Good Omens needed Terry to be, well, Good Omens. I really suspect Neil stole ideas from the fandom because S2 was just a trainwreck of all the fanfic tropes you could find in GO fandom and is almost disrespectful to Terry's work in Good Omens, and I don't care for how much Neil makes his friendship with Terry as a pity party and as a "it gives me so much joy, Terry would be so happy", because seriously it's almost manipulative. Talking about Manipulative. His meddling with fandom is starting to feel unprofessional, but this ask is already long... Sorry lmao, something on me snapped after getting finally the solid evidence that Neil .Is. Not. Great

Oh he’s always been completely unprofessional but since he types in a mixture of corporate-speak and “cool dad” talk his fanbase doesn’t notice.

Here’s the thing about Neil, he’s both petty and extremely insincere. People criticized lolicon sin his presence and he was so offended on the behalf of weirdos who pleasure themselves to Hentai depicting child molestation that he wrote a several paragraph long response dismissing simulated child pornography as simply being “icky speech” that should be protected by the sacred American constitution despite, you know, the fact he’s not even American so his weird obsession with the first amendment and only ever really bringing it up to defend simulated child porn is and always has been suspicious.

As for his backpedalling, the man sees $$$$ and just goes for anything he can find to make more. People love to say “oh but he donates tens of thousands to charity!” yeah, usually to HIS charity for bailing out pedophiles. With funds typically out of the wallets of his fans due to fundraising it rather than coming out of his own checkbook so it’s not exactly a charitable action as much as it’s an empty gesture. And frankly he almost certainly just does it for tax benefits if we’re going to be honest here. He continued good omens because it would make money and generate more attention towards him and he’d be the brave hero who brought back show that did well. That’s it.

He’s just discount, off-brand Elon. Rich white man who thinks he’s gods gift to man despite bumbling through even the most basic concepts because his fans would walk into traffic blindfolded to defend him from even the mildest of criticism.

People on here just like him because they’re starstruck that a creator of a popular IP is active on this site and because he produces media that’s adapted with white middle aged twinks who are dubiously romantically affiliated.

[khaoala]

Here I'm desperately hoping THK will be a superfun escape from reality 🙏🏻 the way things have gone in my country in the last two days. Who's wishing for it to be dark and serious? 😭 My life is enough dark and serious.

ATTENTION! rant ahead. anon, i'm really sorry i used your ask for this, but when i realized i went on a tangent, it was already too late. i do eventually answer your comment in the last two paragraphs, tho.

i personally use these silly little shows and interact so much with what these actors who live so far from my own reality because i want to use it as an escape route!

i'll be honest and say i don't remember when or how i switched back to asian media after spending a long time only watching western stuff, but i do know i made the switch because queer stories in western media were either a) being cancelled after one season, or b) having tragic/unfulfilling endings for poc/queer characters. I DON'T WANT THAT.

and imagine my surprise in like june of 2023 when i was looking up things to watch and stumbled over a silly little thai show about a loser who can go back in time with his crystal ball, and he tries to win over this girl he has been interested in forever and ends up falling for the guy who he saw as his rival? and ofc be my favorite had a lot of social commentary and personally, i think one of the most beautiful self-discovery journeys to this day in thai bl, but they had a happy ending, and they had an arc, and a story and it was a lot more than any western show could ever dream of giving me (am i saying thai shows, or gmm shows are perfect? no, i know its faults. what i am saying is that as a queer person living in south america, i wish i had these type of things to watch growing up. hayley kiyoko's girls like girls videoclip was the first time i remember seeing two young women kiss and let it be romantic and not fetichization.)

pluto's lastest episode about how non-inclusive the urban environment is for people with disabilities left such an impression they removed the sign that blocked the ada path. THESE STORIES MATTER!

and these stories matter even when they are silly romcoms about assassins brothers falling in love with two dudes, or about an introverted girl who just moved to the big city and hides her identity to flirt with the pretty and popular girl from her class, or about a grumpy veterinarian who suffers an accident and switches bodies with his sister and now he has to go on a country journey to get his body back with his former best friend he's in love with.

so yes, anon, i also hope this will be a fun show you can escape to and have that dose of serotonin even if for just an hour or two of your day. and i hope that even if it makes us cry, you'll be able to cry and allow yourself to let your worries out without feeling guilty about it. that's the magic of storytelling in my opinion, and i have an inkling we'll be up to a very good one that will play with our feelings like a roller-coaster.

(also, i can't understand who says they didn't see the comedy of thk when we literally had bison telling his brother kant wants his body first and his heart second, or when style tells fadel his nipples are sensitive and fadel just pinches it with a padlock (?), or kant telling his best friend "hey if you get together with this scary killer dude, i'll give you my dad's car" and style says yes, like come on.)

[cupidspup]

hello! congrats on 50 followers!

#9 from your 20 questions game? as a queer disabled regressor i love hearing other people’s experiences!

~ @littletism 🎀

Eeee hello hi! ^^ Thank you for your question I'm so so excited to answer! ૮ ᴖﻌᴖა

The question is:

"If you have other marginalized identities (lgbtq+, neurodivergent, poc, ect...) how do they figure into your regression?"

And my answer is...

It incorporates into my regression in a lot of ways!! X)

I know you all don't know a lot about me so this is sort of a deeper dive into me along with being a fun lil game! :] So strap in its a bit of a long one x)

I'm a person of color, I'm in the lgbtq+ community (not straight and my gender identity doesn't align with my assigned sex at birth), I have autism and adhd AND on top of that I have other mental health/physical health problems that can take a huge toll on me too! :")

Regression isn't always sunshine and rainbows for sure. I come from a very troubled background, my regression comes from a place to heal that child that was hurt from that time. To give me back what I lost as a child or to give me what I never had.

I'm a trans guy and I'm proud, but online I get really finicky about it because I'm always scared that no one will respect it (or my pronouns) because I'm a hyperfem trans guy so I try to hide my gender/sex a lot which is something I'm working on ૮ ◞ ﻌ ◟ ა

On top of that with the mental health problems I have, they make me incredibly sensitive and extremely clingy no matter what age I regress to. I have chronic back and joint pain which makes it hard to do a lot of the "typical" regressor things and sometimes it can put a damper on how I feel about myself as a little too (╥ᆺ╥；)

This all translates to a very big crybaby little, who seems like nothing will satisfy them, very high maintenance along with the constant energy just MOVING!!! I'm not a skinny person either and my feelings get so confused too :< "why don't I look like that person? I want to sit criss-crossed too!! Wait I don't want to be a little prince I wanna be a princess!! Princesses are cute!! Oh I hope I'm not being too much...I'm too much...Oh but my cg loves me still!!" Most of the time when I'm small, my Pronouns change too because in my little brain the feminine girly stuff feels way better than all the little boy stuff!! It's a really hard thing to navigate but I'm happy the people around me are open minded and accepting of that 🩷

With all the trauma I've experienced certain words and actions can trigger me even easier :"] it can be a lot for a lil guy with anxiety. Not to mention that my regression doesn't look anything like my childhood (I'm Latin-Hispanic) so sometimes it feels like it's just a game of pretend or like I'm dressing up as a white person so that I can fit in with the "rest of the kids" ૮ ◞ ﻌ ◟;;;ა (I, of course, mean no offense to anyone)

Thoughts and feelings are fast and troublesome.

But it's not all that bad either!!

With the big thoughts come even bigger hugs and kisses! With the back/joint pain comes back rubs and tickles (With consent of course🩷) and soft pillows n plushies to rest on!! When I feel like stimming I (very luckily) have a cg who's willing to rock me n do all the stimmy things with me! ૮( ˃ ꒳ ˂)ა He's always willing to work around the stuff I like and don't like and knows what food is safe and not safe :3

I feel that because I'm so different a whole other world gets unlocked through my regression!! I want to experience so much and rewrite the story that little me had to live through. I want to bring comfort to those who don't exactly have any guidance or the means for said comfort.

My regression is different from most but also valid and very common! I love this community and I love that it's been here for me for my hardest times 🩷 I'd love to be an older figure in the community (since I'm so grown up now!! I grew from 13 to almost 21 in the blink of a eye!!) that guides the new generation one step at a time :] There's so much more that I can say about my regression but this is getting long and I think I've covered a good amount of it ૮ ᴖﻌᴖა

Thank you so much @littletism for joining the game and asking me this question!! ૮ ᴖﻌᴖა (also I love your blog its so so cute and it'd be so cool if we could be friends maybe ८,,◐⩊◐,,ა /nf)

Anywho until next time!!

- Kyupie ⋆｡ﾟ☁︎｡⋆｡ ﾟ☾ ﾟ｡⋆

[hoodreader]

Tarot & Astro Readings Open!

👼🏾 forms | menu | archive | please like & reblog 👼🏾

hello. i’m opening up readings for astrology and tarot. ♡ here’s a little about me. i’m a 23 year old queer black student of astrology. in particular, i garnered a littttle bit of attention for my romance / synastry / venus posts on my old account. but i’ve since then ventured to other topics. not for any particular reason; i’m just trying to learn as much as i can.

i’ve read astrology books since 12, but i began seriously studying and practicing around 17/18. since then, i’ve done about fifteen professional readings, but with this account, i’m intending to gain experience. as a result, i’ve began to expand what i read to tarot. i made this transition almost a year ago.

i want to get to the nitty-gritty of it all — the misunderstood, the painful, and the lovely are some of my favorite topics to cover. if ur someone who likes intimacy and the taboo, i’m probably the reader for u! and still, i like to read fun or lighthearted things like song lyrics. but i don’t feel like i’ve yet exercised this gift the way i could.

so i’d like to take on more astrology and tarot clients. i’ve read for people for years — both professionally and just for fun — so even though i’m newer to tarot, i’m not new to energetic practices. 🌋 check out the links below to familiarize urself a little bit with me. i’m black / poc friendly (duh), lgbtq+ friendly, & disabled friendly.

reviews ᖭི༏ᖫྀ here’s what some of my frens thought about their readings.

🫶🏾 “I really think you hit the nail on each and every question. I felt validated as I read through this.” — general tarot reading.

🫶🏾 “this reading is crazy accurate omg!!!! i've read it a few times already and its so much to take in haha. but i love what i've read, and i think that you've been able to read me pretty well” — natal chart reading.

🫶🏾 “it felt as if you were telling a story more than giving me research and i found myself falling in with the information while resonating with each detail you described.” — synastry reading.

so… if this sounds like ur type of thing, feel free to shoot me a dm or an inquiry at chartsbyafrika@gmail.com — i will happily assist.

in ur email, please include ur name, age, pronouns, & what reading ur interested in. then we can keep it going from there.

with love, Nairobi 🫀

[moondust-bard]

Luna’s 2024 WiP Hunt

(Idea for post stolen from @uraniumwriting )

My dash is greatly lacking in wip content as of late. I miss seeing people share about their work. That’s where writeblr comes in!

In a reblog, recommend me WiPs— yours or a friend’s— you think I’d enjoy. Add links to wip intro posts, share a wip’s tag, or tell me a bit about the story. I’m excited to find new stories to follow!

I enjoy reading about:

Fantasy of most subgenres, soft sci fi; romance subplots

Elaborate, interesting, or fun magic systems

Villains and anti-heroes who are charismatic, sassy, alluring, cunning

Characters similar to Howl Pendragon (Howl’s Moving Castle), Westley (Princess Bride), or the Goblin King (Labyrinth)

Mythical creatures (dragons, unicorns, phoenixes, etc)

Fantasy “races” (elves, mermaids, demons, witches, etc)

Romantasy (fantasy + romance)

Magical girls (think Sailor Moon or Winx)

Magical academies, universities, boarding schools

Locations or items with personalities of their own

Retellings of fables, classic lit, folktales, myths, fairytales

Diverse casts of characters (poc, queer, disabled, chronically ill, etc rep)

morally gray or even Bad Guy PoV characters

Made-up religions, interesting deities

Multi-PoV books

Deities who interfere

Cosmic horror or space operas with sci-fantasy vibes

Enemies turned lovers

Dynasties, royal families, covens— give me all the world-build-y details about families, biological or otherwise

Flowery, vivid prose

[nunyverse-scribe]

If there’s one thing I noticed in recent times when it comes to fan engagement with art and artists (TV shows, books, movies [franchises], etc.) is that a big factor in the downward spiral in media literacy and critically analyzing what we engage with is that a lot of people… feel sort of obligated to getting defensive for the specific things they like. And they assume any critique or criticism is a form of ill will or malice towards the piece.

Which I think is SUCH a terrible mindset to have when engaging with any piece of art or media, especially in a time where there’s this general push for dumber downed media for the masses to consume and likewise less critical thinking. I notice a pattern where there are people that will give a million disclaimers about how much they love the media they’re about to critique because they know the average fan will dogpile on them and assume it’s someone who doesn’t like the art that’s critiquing it. Or I notice when a subsection of fans of a media start critiquing it, there’s another crowd in the fandom that say “if you don’t like it so much, then why are you watching it 😒” even though that’s not the case, the critiques come from a place of love. That’s not right, it’s not good to have this general consensus that to love something means to ignore or outright accept glaring problems in relation to it.

We as audience members, we as fans of a certain thing, need to be able to be ok with the fact that the shows, movies, books, etc. we enjoy might have some negative elements to it that we HAVE to be critical of. Sometimes the thing we dislike is something as small as a trope we’re tired of seeing. Sometimes the thing we dislike is a LOT bigger, though, such as questionable messaging subconsciously implemented due to the writers’ internalized bias.

And honestly THAT is what matters most to me when it comes to this type of thing.

Because EVERYONE is susceptible to the subliminal propaganda in a piece. You, me, your neighbors, your parents, kids, the elderly, everyone. And even moreso when we choose not to question or challenge the things in the media or art being fed to us.

Why? Because to just accept any glaring problems in (with the example I’m typically using right now in this rant) a specific narrative purely because as a whole you like the story means that you are allowing that narrative—and likewise other narratives you’re bound to consume and internalize—make the decision on your thoughts and the decision on your principles and moral compass.

To combat that you have to do as I stated above: challenge those attributes of the story or art or whatever that are relaying questionable messages. Even if you, generally speaking, really like it.

QUESTION why that creator will depict women, or POC, or disabled ppl, or queer ppl, or another marginalized identity in the certain way that they do. QUESTION why a creator’s art relays a certain commentary on the systems of fascism, or capitalism, or the patriarchy, or police brutality, or any other oppressive system. Especially because this art and these stories we engage with don’t exist in a vacuum: what came before it to lay the foundations was experiences of the creator, what was there alongside its creation was the creator’s personal principles and ideals, and what comes after it is the impact it will leave on minds and ideologies it will spread.

I dunno, I say this because I enjoy critically analyzing the stories and the art that I love. I will watch a TV show or read a book and I will connect with a lot of aspects of it, I will love it, I will recommend it to others. However, I will also have long conversations with fellow fans (usually friends) about the pitfalls, I will take note of certain aspects of the story that were questionable choices, and I will view it with a critical eye. And maybe it’s just because I’m a writer myself, but I feel like being that nuanced and careful with how you view the art that you love, to praise AND critique it, is in itself a form of love or passion for the art.

And I really wish more people understood that? Especially when it comes to art, things aren’t black and white. They are allowed to be good and bad at the same time. Characters are allowed to be likable but also horrible people. And I feel that having this mindset of “I like it therefore I see it as perfect” is a very, VERY dangerous one to harbor.

[capesandshapes]

Thinking about the invisible barriers to entry for publishing and how people who grew up in an upper to middle class background with supportive parents will start trickling into writing spaces for the next three months complaining about agents and publishers allowing additional consideration to people, members of the lgbtq+, and the disabled as a result of inclusive pitmads and open calls.

To query in the 2020s means having access to reliable technology in order to type out your novel, internet to query (and I was told in 2019 to send out 80 queries in my first round and expect to receive a form filled rejection letter like once-- the rest would never so much as acknowledge seeing your query), social media so you can be a part of all of the pitching events and jump on whatever opportunities you can (while being expected by some publishers to build your own following at the same time), and not only time but the emotional energy to write.

And I'm not even touching on the educational elitism that runs rampant through the arts, or the fact that many publishers and agents now expect you to query when a highly edited manuscript following their formatting guidelines in an approved file type (and no, it's not an imagined thing, converting Google drive documents to word does effect the formatting).

All of this is just to get your foot in the door. And half the time, the people who will tell you that it's easier to get a book deal if you're a marginalized person willfully ignore the fact that there are millions of people out there who couldn't get into the gated community that is access and stability to start walking towards the door. They don't want to talk about the people who were given additional consideration, but weren't accepted because an agent or publisher didn't feel that they were educated enough, or that they edited their manuscript enough, or their drive to word conversion turned all paragraph indentation into the dreaded five spaces instead of the much revered tabbing.

"You're more likely to get a book deal if you're a person of color, gay, or disabled," even once we move past how ungodly untrue that is, no one who bitches about agency and publisher calls for diverse writers wants to talk about the hundreds of people who were given additional consideration through those calls and didn't receive adequate marketing from their publisher or ended up grossly underperforming for reasons they cannot control. They don't see the people who will see the name on a book or flip to the back cover and put it down. Or that queer and non anglo Christian stories are going to be at a disadvantage in a marketplace dominated by white, straight, Christian culture.

Traditionally published people also aren't likely to be making bank to start off with, considering the fact that the majority of them fail even with all things working for them, and you don't get royalties until your advance is paid out by book sales. Publishers don't tend to give you another book deal or beg for a sequel if you aren't selling well, regardless of who you are.

There's about a dozen poc/lgbtq+/disabled authors from every publishing class (debut year), but everyone who bitches that it's definitely easier to get a publishing deal if you're a minority can only name like three successful POC authors, one disabled, and like if they try really hard like a single gay person in their genre-- like ignore the expanding literary canon that has introduced Toni Morrison and Walt Whitman to English programs across America, who in the genre that they write can they name off the top of their head that is not straight, white, neurotypical, and able bodied. Like, don't get me wrong, they've probably read a few more than just those people but can't remember off the top of their heads... Just like they can't remember the hundreds of books by white straight authors that they have read in their genre. Everyone knows the names of their favorite authors and the people that they consider themselves ~inspired~ by, but there are genuinely so many books by people of privilege that we don't really 'see' half of them.

But sure, whatever, it's unfair that you don't get as many publishing calls for you to submit your literary masterpiece, and you're surely being discriminated against. How will the world live without the new Shakespeare written by yet another monkey on a typewriter-- we even gave it internet.

[astramachina]

Writerly Questionnaire

i was gonna snatch someone's open tag but @the-golden-comet (ty!!!) hit me with one so here we go. this is probs gonna get long and I apologize in advance.

About Me

When did you first start writing?

I was probably writing two page "sensationalized diary entries" when I was 8, but my first foray into proper "I am writing a piece of fiction" was at around 15.

Are the genres/themes you enjoy reading different from the ones you write?

Kind of but not really? I do enjoy reading a good romcom every now and then despite never having written one (and not intending to YET), but I mostly read horror and sci-fi which are my two genres of writing choice.

Is there an author (or just a fellow writer!) you want to emulate, or one to whom you’re often compared?

When I was younger I really wanted to be able to emulate Terry Pratchett's prose, but the more I wrote the more I realized there's no real emulation when it comes to one's own authorial voice, just bits and pieces of all of whom we've enjoyed along the way. Nowadays I don't really care for the idea of comparison, but if it's a must, Grady Hendrix's approach to blending horror with humor is golden.

Can you tell me a little about your writing space(s)? (Room, coffee shop, desk, etc.)

98% of active writing magic occurs in my bedroom, at my desk, mostly on my laptop because it's the only piece of tech with a word processor. When I'm feeling feisty, I'll light a scented candle (apple & cinnamon) and instantly give myself an allergy.

What’s your most effective way to muster up some muse?

MUSIC. Or taking a shower. Or chillin the backseat of a car with my headphones on. Growing up I had painted the words "movement inspires creation" on my closet door because car rides really were the prime way to summon The Muse.

Did the place(s) you grew up in influence the people and places you write about?

Oh, absolutely. Sometimes it's more obvious than others! For example, Define Home to Me is a folk horror set in a fictionalized version of the town I grew up in. In The Unbinding, it's all about the familial tension that permeated my developmental years. I love writing modern day gothics for that very reason.

Are there any recurring themes in your writing, and if so, do they surprise you at all?

My characters? Queer. Usually POC. Sometimes disabled in ways that makes them moving through the plot impossible. A lot of the times there's some scathing commentary against colonialism and imperialism, trauma, generational nonsense, and so on. Do they surprise me? Yeah, actually. Like hey what are YOU doing here, this is supposed to be a story about space monsters and weird gas stations out in the American West, ain't nobody got time to study the decay manifested by settlers on my culture, the fuck.

My Characters

Would you please tell me about your current favorite character? (Current WIP, past WIP, never used, etc.)

UHH probably Ricky Kronbach? He's a fandom OC which means I'm able to play with him while being unbound by cohesive narratives. I can put him in a blender and he'll still manage to flip me off. He's a brat. He's a weirdo. He's everything to me. Non-fandom wise, probably Verne from The Singularity Project. He may be a side-character and a... anti-hero? Kind of? But he has my entire heart because my god he's a hot freaking mess of a human being.

Which of your characters do you think you’d be friends with in real life?

Probably Mike. He's a cool dude and by far the most normal. We'd talk about plants and watch The X-Files in his living room.

Which of your characters would you dislike the most if you met them?

Nick Miller from The Unbinding. He may be the MC but boy is a massive dick that needs to get his ass kicked into gear.

Tell me about the process of coming up with of one, all, or any of your characters.

I'm a very story-centric person, so a lot of the times story comes before the character. I'll have a solid plot and setting and when the time comes for a vehicle to move through said story, I get to work on the character. It's one of the reasons why I only wrote fanfic for so long! I'm bad at creating interesting and unique OCs so a lot of the times they're just some guy (gn), though they do tend to grow and sometimes throw fits when certain events want to take place that do not match their personality.

Do you notice any recurring themes/traits among your characters?

Not to me cringe on main but for a good two years I realized that the main love interests in multiple of my projects were 1) dark haired 2) blue-eyed 3) British. I'm still bewildered by this. Other than that, family trauma. LMAO

How do you picture them? (As real people you imagined, as models/actors who exist in real life, as imaginary artwork, as artwork you made or commissioned, anime style, etc.)

Depends on the project! TSP is a very special case in which I see half of the characters as actual real people. Other times I go with "actor faceclaims" so that it makes writing feel like a movie.

My Writing

What’s your reason for writing?

Fuck if I know. I just like doing it. It's this pit in the center of my chest that needs to be put the into word or else I feel like I'm going to explode.

Is there a specific comment or type of comment you find particularly motivating coming from your readers?

Give me those deep-dives into lore speculation. Or if it's something on the more risque side of things, I was feel a deep sense of satisfaction when commenters slip into the TMI scale of things.

How do you want to be thought of by those who read your work? (For example: as a literary genius, or as a writer who “gets” the human condition; as a talented worldbuilder, as a role model, etc.)

As the guy who makes people feel things while reading. Regardless of what feelings those might be.

What do you feel is your greatest strength as a writer?

Foreshadowing (usually accidental) and setting descriptions.

What have you been frequently told your greatest writing strength is by others?

"It's like I'm reading a movie," is something people have been telling me for well over a decade. Which is mainly the reason why part of TSP's story is visual! I want to try just how well the medium translates through my specific lens.

How do you feel about your own writing? (Answer in whatever way you interpret this question.)

The entire range of human emotion. I recognize that not everything can be (or should even be, for that matter) a banger. Some stuff is shitty, and I will hate, and I will feel unsatisfied, and will make me never want to write again. Other stuff makes me feel like I deserve at least some kind of award, even if the award is "a nice cup of coffee with a lemon loaf". Sometimes I'm proud of it, sometimes I'm not. Sometimes it's fun, and sometimes it's not. Not only is it alright but it is necessary to slip and slide along that spectrum. Which is to say-- I am satisfied whenever I engage in the craft.

If you were the last person on earth and knew your writing would never be read by another human, would you still write?

Hell yeah I would. I'm my own audience first and foremost.

When you write, are you influenced by what others might enjoy reading, or do you write purely what you enjoy? If it’s a mix of the two, which holds the most influence?

I write for me, myself, and I, and actively choose to share that with others. I did my time of trying to write for a wider audience to appeal to the mainstream industry and that just ended up with me hating every damn moment of it, so here I am. Horror and sci-fi aren't as popular as other genres which usually translates to limited reach, but man, those who match my freak will match it, and that is all that matters.

I SAID THIS WOULD BE LONG. not gonna tag anyone's notifs so i'm leaving this baby as an open tag!

[veebs-hates-video-games]

I keep forgetting or not having the energy to do the next one of these. It's going to be two in one again, this time for Glitchhikers: The Spaces Between and Vengeful Heart, which are the two "wokest" games I've played in a while (in a good way).

Glitchhikers is the only thing that's ever given me a dialogue option to declare the concept of the hero's journey to be an act of colonialism (we make fun of Campbell on this blog, and also Jung while we're at it), and Vengeful Heart is probably the most openly revolutionary thing I've played since A Bewitching Revolution (which is also great and you should give it a try).

I played the original Glitchhikers over a decade ago when it first came out. It was only like 15 minutes to go through it once, but it was the exact right thing I needed to see at that exact point in my life, and it's still one of my most memorable experiences with a game ever thanks to that. The new remade and hugely expanded version didn't quite do it for me in the same way, but it was still interesting and had some stuff going for it.

It's very much an experimental art game experience and not something big on gameplay, and it can be a little clunky or frustrating to interact with sometimes as a result. The park section in particular was mostly just annoying for me rather than me getting much out of it.

It can also be kind of on the nose with some of the dialogue and the messages in it, and some of it left me feeling like yeah I've seen multiple posts about this on Tumblr except they expanded on the idea with a thousand more words and it led to a bunch of discussion that added a lot more to it.

When it gets stuff right I really like it though. The train segment of the game avoids those problems entirely for the most part, both because it's a fixed path that makes navigating it a lot easier and because you run into each character multiple times. That latter thing is particularly important because it lets them flesh out the conversations a bit more and spend more time with each idea or theme, which it really benefits a lot from.

I think the final airport section was probably my second favorite. It's a bit tedious wandering around the empty space, and it's kinda blunt with its message, but it did a good enough job presenting the idea that how things are framed and structured matters for how we perceive and think about them, whether it's architecture or stories or ideas. It's a very "I see what you did there" way to wrap things up, but it works.

And then Vengeful Heart is just good. It's a postapocalyptic cyberpunk dystopian VN that manages to be appreciably worse than the way things are in the real world but not by so much that it's not immediately able to be related back to real life. And while the setting and situation are pretty dire, the story itself is about disempowered people joining together to work to do something to change it. Not without struggles and loss along the way, and not with a universally happy ending where everything is magically fixed, but with hope for their actions and sacrifices leading to continued change and improvement in the future.

They absolutely nailed the PC-98 aesthetic better than I've seen anyone do it in a while, and it feels like someone could've made the artwork 30 years ago. A lot of the music is pretty good too and sets the tone well.

Its biggest strength is its characters though, which is always a good thing in a medium and genre that relies so much on them. There are strong women and PoC and queer people and disabled people and student activists and working class union members and more all working together, both learning from each other but also having conflicting ideas and motivations at times, and of course the evil billionaires and militarized cops and private security you'd expect from the genre too. I really liked how a lot of them were handled, and I kept thinking about some of them for days after I finished the story, completely unprompted.

I could see myself going back through the train section of Glitchhikers now and then to meet different characters and see what they have to say, but Vengeful Heart is the one I expect to end up fairly high on my list at the end of the year, and I'm really looking forward to whenever they finish the next thing they've been working on.

[grimmsoddities]

It's fucking 2016 again. That was the year I stopped believing people were inherently good, that evil was an outlier, an unnatural state of being. It's 2016 again, and now people are using the deaths of countless Palestinians as a reason to allow evil to happen. It's 2016, and people aren't believing us when we say 'hey, I know they're not perfect, hell they ain't even all that good, but maybe vote for the one who isn't openly gunning for killing queers and disabled people and POC'. It's 2016, and childish little wannabe activists are kicking their feet and whining about voting for Biden and by default are gonna let Trump win, and they're hiding behind fucking genocide victims while they do it. You don't give a shit about Palestinians, you evil fucks.

I'm so much more filled with hatred than I am love nowadays. My empathy is a rotting, aching hole inside of me that I can't do shit about. I try so hard to keep going, to see good in people, but all I see is suffering from everywhere. Palestine, Ukraine, China, Africa, my own fucking backyard. Constant barrages of suffering, and constant barrages of both genuine care and people attempting to good, and fucking ghouls that are using the genocide as...fuck, I can't even put it into words. Theyre disgusting. And there ain't shit I can do. I'm barely surviving, hiding in video games and making things and hoping I survive my own personal crisis a little bit longer. I have no followers so reblogging means nothing, and half the time I can even stomach the suffering. Just to be told people like me are evil because we try to keep our heads above water, because we know martyring ourselves won't fucking do anything. I'd just be another statistic, not a story they tell to encourage people to speak up and fight.

It's a privilege to say you refuse to vote for Biden because he's not your perfect choice. For the rest of us, it's a desperate bid for continued survival. We deserve to live, too. And if you don't think you'll be marched out into the streets and executed too if Trump gets his way, you're a damn fool. At least I'd get to laugh at you as I die if that happens.

[fixing-bad-posts]

I think it's not so much about who gets to tell these stories, but who gets to profit off of them. When networks and platforms greenlight only a restricted number of queer stories, stories about PoC or disabled characters, it is hard to see those opportunities not going to creators with lived experience. Also, the principle of "no stories about us, without us" should be central to all creative work. (via @dragonsrainbows)

thank you for this addition—i think you make some excellent points!

imo, if you're in a leadership position in the arts, it’s always going to be ‘best practice’ to hire people with lived experience when working on something about those topics, because, a) the resulting story is more likely to be authentic and, b) it’s morally correct to give underrepresented artists the chance to tell their own stories and be compensated while doing so. “no stories about us, without us” is a fantastic creative principle, and it’s certainly one i subscribe to as an artist*.

re: networks, ie. film and television networks—your addition raises the question of who controls creation and profit, which varies between mediums. there’s a stupid amount of money to be made off of mainstream film, but there’s little money to be made off of, for example, an unsuccessful indie patreon. and there is no money being made off of fanfiction (at least, there shouldn't be!). so the question for me becomes: is it useful to decide how much earned profit is “too much” to not be including marginalized voices in a piece about marginalization? genuine question.

i suppose what i was getting at with my original post (and subsequent reblog) was that, from the perspective of an audience member, i’ve always found it misguided and counterproductive to primarily critique and scrutinize the identities of art-makers instead of the quality and resonance of their art.

there are best practices in art-making, and my goal will always be to follow those for my own ethical peace of mind, but at the same time, i personally want to allow myself room to praise and appreciate dubiously made art, and art that fucks up, and evaluate worth and merit on a case-by-case basis. 

*when i say “as an artist” i mean irl, not whatever bullshit i do on this blog 

Quick, hit me with a follower-losing take!

sometimes, burying your gays is not only okay, but critically necessary to telling a good story and honouring your thematic arcs. and "good representation" is an undefinable, largely useless pursuit.

[kimyoonmiauthor]

The Lie: You can only make a story around character or events nothing else~~

USian Lit professors ruining writers again and World Lit with it. This isn’t one of those posts where I say, “If you start with character or events you’re wrong.” It’s about my core philosophy OPTIONS~~~ Options. The ones that everyone railed against after the 20th century and people turn their noses up at because, ya know, questioning status quo as PoCs, Women, queer people, disabled people–i.e. the majority of the writers and readers when you put the market together, yet somehow the publishing industry doesn’t want to cater to us... were told flat out if we do it, we’re being snobby, Literary, or Ohhh... insurrectionists. (Or whatever, mostly called “inferior”) And if you don’t believe me, go read Robert Scholes’ writing book where he thinks that only white straight men can write... (OK, maybe I’ve read too many of these bozos.)

My exact problem is being told we’re wrong for doing it another way. And that this way is too snobby, when it’s probably one of the oldest methods in the history of literature. So strap in, let’s get into it.

I get it, some people are going to act like victims at this point and say are you saying that it’s wrong? Or even, what do you mean this method was invented by a bunch of prejudiced white men who often tried to take credit from less privileged people? I cover that in the other series of posts so you a see how we got here (and I warn you I found it super depressing. Especially slapped with blatant racism, sexism, anti-queerness, etc.)

What I think is you can accept the origin story of where “It’s either events or character” comes from (Great Man Theory, BTW, which is imperialistic), delve and QUESTION it heavily, and then challenge the origin more deeply by thinking about it critically and how you would like to overcome that and make their story.

Questioning what’s handed to you critically is the whole point of the Worldbuilding and Worldwide Story Structures post. Doesn’t say it is wrong. It just gives you more options to think about and engage in.

Morals

Honestly, when it has the answers and is reinforcing the status quo, rather than questioning it, it is often boring.

Pros: It engages directly one of the two tenants (when done well), Makes people think. The secondary is then makes them feel.

Cons: When done badly, it can feel preachy, rather than introspective. And people often hate their morals being questioned so may refuse to engage. It’s also prone to getting banned.

Authors who stated they use this: Ursula Le Guin (Who gets hated by Structuralists)

Toni Morrison (Who said so on Charlie Rose--why would you think it’s conflict?)

Star Trek... most of it.

Some of the early writers of Star Wars.

A lot of Sci-fi writers including Octavia Butler.

A Tree with Deep Roots (K-drama) also engages in this.

As a secondary, Outlander often asks questions about Morality (Diana Gabaldon)

Making a story around this would look like finding a central moral question and then breaking that moral question into parts and then finding characters and events to address those parts.

You start from the widest point down and deliberately make it so.

Ways to Live

More common with Indigenous Peoples of N&C&S Americas, not all tribes/nations of course. And particularly with Plains tribes such as Zuni. Also common to Aboriginal people. A tad bit to some Polynesians, and parts of Africa (scattered)

Pros: When done well it makes you ponder on it for days, because often there is a central value, which is not a moral, and you’re turning it over in your head over and over again.

Cons: You have to craft the story very, very carefully, and it may take some time before you get it to land just right. This may not go over well for people who improvise their writing. Because when the story is well put together it suddenly has this clicking feel to it which is difficult to achieve.

Also kinda better for shorter stories (or I’ve never seen it done in novels yet--if you have one, drop it in the comments please~~) and made up folktales...

Themes

Thematic plotting is where you take a central theme and then kind of snowflake it out from that, similar to morality plotting. Often thematic plotting and morality plotting has overlap, meaning they often are done together.

But a theme can be anything like fairies, divorce, marriage, disability, etc. And then you’d break it down for each of the parts and figure out how to represent that through character and events.

So, let’s say your central theme is disability. You might break off Neurodiversity and put that to the side and ask if it is a disability. Then you might want to find someone to represent that and the views about it.

You might also then take someone who is a wheelchair user and then decide you need a character for that.

But you also may want someone who is in a walker.

Then you might decide that you need someone who is disabled, but doesn’t “look” disabled.

Then you might think about what does disability mean for each of them and how are you going to address disability rights in your story. So say the Neurodiverse person you’ve made has Sensory Processing Disorder. You might ask, “Is this really a disability?” And about ableism and disablism. From that, you might formulate an event to demonstrate this.

You can also do it from events. So for example, you think that a disability rights rally about X issue is needed to show the different views. But overall, it always loops back to the theme.

Pros: Engages the reader to think, primarily. Feel is kind of second on the list, if the theme is teased out well and focused. Generally the ones that do well are philosophical and delve deeper on an idea. Say motherhood. What does it mean to be a parent. Something with an endless well to talk about that interests the author. I love theme babies and when done well it can do things like make you cry over a damned potato. Or even rocks on a cliff. Damn you both. I’m tearing up thinking about it. WHY!? Why am I crying about rocks with googly eyes with text on the screen?

Cons: Themes that don’t grow beyond the base idea often feel stagnant. It’s better to let your themes evolve over the course of the story. If you choose a theme you don’t have a lot of ideas on it can feel too sparse. And if you over pack it without any kind of organization, it can feel chaotic, rather than organized.

Generally people who use milestones--or set out event points in the road do better with this one. Pure improvisers tend to dislike this, though it can work if you’re sure you can hit the points in an organized fashion.

Authors: 

Divorce Testimony by Na Hyeseok (Theme is divorce and marriage, and a memoir)

Hong Sisters (especially Greatest Love. Crying over a potato...)

Everything Everywhere All at Once (Primarily theme first, then tone).

Tone

I have to say Japan does it best... but I’ve also seen tonal theming from Indigenous peoples, Magic Realism, as a secondary on other East Asian drama regions, in Horror, as a secondary in some African Lit and West Asian Lit. It is really difficult to nail if you start with character+event. And honestly USians, in particular, have a really hard time nailing tone, in general.

Pros: Emotions come first and hits you directly in the feels first, which might make you reel in your head for quite a while. It’s much, much harder to guess plot points from the outside looking in. The bubble effect I refer to often in Japanese dramas which makes me envious is much easier to achieve. Because tone takes a while to develop over the course of the story, guessing ahead becomes near to impossible. You don’t know what the final effect will be until it hits you square between the eyes. And then the emotions are overloaded, when done well.

Cons: Tone takes a while to develop. It often dies a quiet death because of the whole “I NEED EVERYTHING ON PAGE ONE” mentality from US pressuring other regions to do the same. It does not work well with impatient people. Also, it takes a high amount of skill to do well, and usually command of tone on all levels is a last, not first skill for writers of all regions. Hitting people in the feels the same way across the board is HARD. Really hard, which is often why it’s paired with thematic and moral plotting.

Authors: 

Natsume Soseki Botchan is a master class in this.

(Central Story driver)

Sometimes, some regions just go by the central story driver which then dictates the rest of the events and character. Honestly, I think conflict is probably the worst for this because people don’t generally love it. Conflict is not on the list of things that makes things go viral. People LOVE cooperation, for example. But often people will go by a central tenant of the story driver and choose from there. Absurdists might think about ways to subvert the conflict to make a joke.

Other methods

For example, Diana Gabaldon takes pieces from her research, makes a scene from it, and then writes characters around it, and then slowly stitches it together. She started out originally with character, however, the bulk of her writing, according to her is done through research then write method. The downside of this is huge word count since integration is not the first concern.

Some people start with interesting subjects they’ve found such as Guy Gaviriel Kay. He starts with research, then works on integration. Similarly, Ordinary People by Judith Guest was started from a newspaper clipping.

Some authors start with a sharp image, rather than event or character.

Some authors start with setting. Since there are so many parts to “What makes a story” theoretically you can start with any of them. The only thing I would think you really have to think over is how will it hang together.

The point is, while starting with character or event is not wrong, finding other methods to plot might make your story stronger depending on how you command the tools. And let’s not forget that writing is a craft, so why not utilize as much of the toolbox as possible?

[recappers-delight]

I AM INFURIATED!!!!

But not for the reasons you think.

How many of you watched the She-Ra panel tonight? ACTUALLY WATCHED IT?! Because I did and here's what I saw:

1. "_____ called someone the D slur"

He DID NOT call anyone that word. He used it in the context of announcing a panelist to the show. The word is IN THE TITLE of her podcast. He was literally just stating the title. That's it.

2. "Noelle said Double Trouble would be creepy around kids."

What Noelle said was that to get the inspiration for Flutterina, Double Trouble would have gone to a coffee shop, found a girl to imitate, and stare at her until they got her mannerisms down. Because of the implications here irt trans people and the stereotypes of "creeping on children", this could have been worded better. BUT this whole headcanon was in response to Noelle DEFENDING Double Trouble against the rest of the crew thinking they straight up murdered the real Flutterina. And again, problematic because of larger implications, but on the show Double Trouble IS A VILLAIN. Just because we think they're awesome doesn't mean they're not capable of shady shit. I saw very few people having a problem with this before. Other things they said about DT?

They specifically searched for a non-binary trans activist to voice the role.

Double Trouble was the whole cast's favorite character.

Everyone had a crush on them.

They support DT x Peekablue headcanon and think they should date.

3. "Noelle said Entrapta and Hordak are great representation."

Literally just did not say this. This comment was made by a fan writing in. A fan who, by the way, IS DISABLED THEMSELVES, and was writing in to thank the crew for the rep THEY saw in these characters. Noelle didn't agree or disagree at all. She goes on to give a character analysis about them both, and that's it.

4. "They made Bow's brothers slaves."

No. They didn't. It's a crew inside joke that all of Bow's brother's have pun names that rhyme with "Bow". The brother in question came from one of the other male creators making the joke "which one of Bow's brothers tills the field? Sow." Here's a pic from Noelle about the rest of the brothers.

Because of the complicated history between black people and "farm work" it's best to not make any joke at all like this. It was tasteless and misguided, but hardly a reason to grab pitchforks. Black people have the phrase "whites gonna white" for a REASON. We know there's no such thing as an unproblematic person. Creator or otherwise. Is it still wrong? Yes. Should people strive to do and be better? Absolutely. Should allies listen when POC talk about things that make us uncomfortable, and support us when WE call it out? Please, for the love of God!!! But I do not think the level of backlash the crew-ra is getting is at all warranted.

I understand I do not speak for all black people or lesbians, and I don't speak for ANY of those other groups mentioned and possibly offended, because I am not one of them. However, I felt the need to speak for myself. I am SO SICK of everyone knee-jerk reacting to every little thing that could possibly offend someone. Noelle is not perfect, but she has done a SHIT TON of work for representation and the progression of normalizing queer, inclusive stories to younger audiences. She also went to bat for a diverse cast of characters to be voiced by a diverse cast of VA.

The truly fucked up thing? There was a question someone wrote in about how a cis, straight, white person can respectfully tell the stories of underrepresented and marginalized communities. Noelle then goes on for 5 minutes about how it's difficult, and how it's more important to hold doors open for creators who actually come from those communities to be able to have their own voices heard. And this is the woman you throw flames at? Ridiculous. Our true enemies are able to so easily conquer us, because we so easily divide ourselves.

No one owes allegiance to any one fandom or creator. But we have got to start picking our battles more carefully. If we don't, people will become desensitized to our cries when REAL threats and offenses happen. And white people? PLEASE stop being so outraged at every little "off-color" remark someone makes YOU think might offend ME. I appreciate you wanting to be an ally, but you are drowning out our voices over things that really matter. That's why we get shit like musicians and sports teams changing their "racially insensitive" names, while police are STILL killing unarmed black peple in the streets without repercussions. It shouldn't be an either/or thing, but it often is, so please focus your attention on "canceling" THAT.

TL;DR: Don't just retweet and reblog everything you see without doing your own research and forming your own opinion. Speak out against bigotry, but understand when it's time attack, and when it's time to educate. Stop holding people on so high a pedestal they have no room to grow, and can only fall. Do not speak for, or louder, than the people you say you are standing up for. We can speak for ourselves. Help amplify our voices; DO NOT BECOME OUR VOICES. And finally, because we really do just have so much bigger fish to fry: