#our experiences make us the writers we are

[edwardteachswombtattoo]

"Namby-Pamby in a Silk Gown": Our Flag Means Death, Toxic Masculinity, Queer Culture, and the Feminine Man

So. Masculinity. Piracy. Our Flag Means Death. Gentlebeard. Izzy. Colonialism. What the heck does all this mean?

I've watched a lot of queer media in my life, from John Waters movies to more contemporary modern queer cinema like "Portrait of a Lady on Fire" and "The Handmaiden". I even watched through all six seasons of "The L Word". I had the original DVD box set and everything. But when I think of queer cinema, I think of camp. I think of old classics from the seventies and eighties and nineties. The Watermelon Woman, To Wong Foo, But I'm a Cheerleader!, Female Trouble, etc.

Our Flag Means Death is very camp. I'm not comparing it to classic queer cinema, it's a completely different experience from, say, watching a John Waters movie. But the show clearly pulls influence from classic queer cinema, at the very least for aesthetic purposes, i.e. Wee John's drag look in "Calypso's Birthday" heavily inspired by drag queen Divine. What makes Our Flag Means Death unique is it's artful sincerity and unabashed queerness for a show made so long after artful sincerity and unabashed queerness have become "taboo" in Western cinema.

This isn't me trashing modern queer cinema and modern queer fiction. I immensely enjoyed The Handmaiden and Badhaai Do, two excellent pieces of queer cinema that have come out within the past decade. Our Flag Means Death has entered the coveted position of best queer TV show I've personally seen in a very long time because of it's artful sincerity and unabashed queerness, not because it's better than anything that came before it...because it's not better or worse than anything that came before it! OFMD is it's own thing, it's own vibe, it's own story.

Our Flag Means Death is a story. And you can either engage with the story as written or engage only with certain small parts of it. The disconnect between audience and writers (and I say this as a writer myself) is that writers (most of them anyway) write stories for a media literate audience. But fundamentally, you do not need to reach a certain threshold of media literacy before you are allowed to engage with a story...you just engage. And this is both bad and good. No one should be barred from engaging with a story because they won't get it or even can't get it. Because if we prevent people who don't get it from engaging with the text, how are they ever going to learn how to engage with the text? They won't, is the answer. You can't gaslight gatekeep girlboss people into media literacy.

Our Flag Means Death is not a complex story. It's very straightforward. If you do not understand what the story is doing, it's not because you're being tricked or lied to: it's because, somewhere along the line, you've misunderstood. So when the story isn't making sense, it's useful to ask yourself: is this bad writing or have I misunderstood what's being said? And sometimes it is bad writing! Sometimes it is! But which is more likely: it's all bad writing or I've personally misunderstood what the story is trying to do? If you don't understand what a story is doing, all these little moments might look like bad writing--because your brain does not know what's happening! Your brain is trying to put a puzzle together but the pieces are all flipped over so you can't see the actual picture!

What is Our Flag Means Death is trying to do? If it's trying to do anything at all, what is it? And why does it make perfect sense for some people while others are confused, angry, even upset? And do they have a right to be? Fundamentally, if you think a story is trying to do something and it's failing at that, you have a right to be upset--and stories have a right to try and fail! That does not necessarily make the story objectively bad!

Our Flag Means Death is trying to commentate on masculinity. Like the oft misunderstood Fight Club (coincidentally, Fight Club was written by a gay man). This is relevant. It's actually all very relevant. There is a difference between what Our Flag Means Death is attempting to do vs. what it actually does. And the line between is thin to the point of nonexistence. The discussion surrounding masculinity and what it means to be a man is just so vast, so entangled with white colonialism and imperialism and racism that any discussion requires an understanding of how these systems function. And Our Flag Means Death invites this discussion--perhaps not intentionally, but it's there. It has to be there. We can't talk about what it means to be a man without talking about race. You cannot write a story featuring an indigenous brown man that partially centers masculinity without at least grazing these topics, intentionally or unintentionally.

This show is a comedy. A romantic comedy. I know that. We all know that. It's not going to spend forty minutes talking about race and colonialism. What it is going to do is have an indigenous man choke out a white colonizer while reading a love letter from his foppy fem boyfriend. What it is going to do is have little Ed murder his abusive white father to protect his mother. What it is going to do is have a bunch of British colonizers die horrifically after being poisoned by a black woman whose establishment they took over. What it is going to do is have Stede burn down a ship full of racist aristocrats while making sure we (the audience) see the servants escaping on a boat in the background while several of the aforementioned aristocrats jump off the burning ship to their probable deaths.

ed you are so fucking hot holy fuck oh my godd holy fuck

Ahem.

Our Flag Means Death is not a subtle show. So when it looks you directly in the eye and says "HEY!! THIS CHARACTER IS BULLYING THIS OTHER CHARACTER WHO JUST SO HAPPENS TO BE A FEMININE GAY MAN! I WONDER WHY THAT IS HMMM???" you should perhaps take that into consideration.

This show loves it's small details, it's winks and nods at the audience. Stede not wearing his rings the morning after "Calypso's Birthday", Wee John having a place to sit at all times, etc. But when it comes to overarching super important plot points? It's never whispered, always shouted. Or whatever Hozier said.

"Some namby-pamby in a silk gown pining for his boyfriend" --Izzy to Ed "A proper little seductress" --Izzy to Lucius "Who's the big gal?" --Jack to/about Stede "a heavyset woman in a silk dressing gown" --one of the British naval officers about Stede

White colonial masculinity tightens a proverbial vice around all the men in Our Flag Means Death. Some of them die for it. Others overcome and live beyond it. But it is a system enforced through emotional and physical violence. Bullying from your peers, threats of physical or emotional retaliation for stepping out of line. The coveted status of Man (patriarch, father, husband) and the inferior status of Woman (mother, wife) that must never touch. The status of Failed Man (feminine, weak, soft).

I think Orville Peck and Willie Nelson said it first.

"And I believe to my soul that inside every man is the feminine And inside every lady, there's a deep manly voice loud and clear" ... "And inside every lady, there's a cowboy who'd love to come out And inside every cowboy, there's a lady who'd love to slip out"

The answer to the question What is Our Flag Means Death trying to do? is a simple one. The show tells us, in very few words, what it is trying to do. The answer to Does it succeed in what it's trying to do? is subjective.

Stede's escape from traditional colonial masculinity and his subsequent disavowing of it are subjective interpretations. But what is objective is how Our Flag Means Death chooses to approach masculinity. "Gal", "woman", "namby-pamby", and "seductress" are words used against the least traditionally masculine characters by characters who (arguably) exemplify what being a man is supposed to look like--in other words, they are being degraded by men who exemplify that traditional colonial masculinity. And because they exemplify traditional colonial masculinity, degrading men who do not follow the doctrine is an essential part of that. There must be the status of Man, the status of Woman, and the status of Failed Man that overlaps with the status of Woman. Stede is the Failed Man who overlaps with the status of Woman.

And what of Edward Teach?

This is where the status of Man, Woman, Failed Man, Failed Woman becomes less relevant. Because of course it's all fucking made up and the whole damn concept of the gender binary is colonial nonsense. But it is especially colonial nonsense when we're talking about an indigenous brown man whose concepts of masculinity are so very removed culturally from the fast encroaching shadow of colonization. The divide becomes more vast and deliberate than when we talk about Stede, because Ed and Stede's concepts of what it means to be a man are not fundamentally identical. And then we arrive at the part where Ed chokes out a British colonizer with one hand while reading a letter from his boyfriend with the other hand. And you know, it's very hot and I think we need more of that.

"Calypso's Birthday" is a celebration of queer love and queer joy and it's also where the themes of masculinity and embracing the feminine become so relevant. Because what else is there to say, except how much of this episode hinges on the transformative powers of love and the transformative powers of self-expression through gender fuckery? Wee John and Jim in drag, Izzy (the guy who spent most of last season getting upset that everyone on the fag ship was fagging it up all over the place) in drag, Stede and Ed's first time. And let's not forget the original plan for Episode 6 was for Stede to get a sexy makeover that involved him wearing eyeliner. We were robbed and I will be mad about this for the next 20,000 years.

There's a part of Our Flag Means Death that's about the transformative power of love and another about how toxic masculinity literally kills and another about how artful sincerity is more attractive than ruthless cynicism in fictional media and a big huge one about how you can't critique traditional toxic masculinity without getting into these discussions about colonialism. And Our Flag Means Death does these things very well, even when it's not doing them very well it's still doing them okay. I think the gay pirate show is going to be one of those "classic" pieces of queer media that people look back on fifty or so years from now in the same way people look at queer cinema from the seventies, eighties, nineties, etc. "Oh, Our Flag Means Death? That was a fun time. I wish there were more shows like that nowadays".

[operation-out]

Analyzing Once Upon a Time

This can't be how the story ends

Since this blog is now as old as Henry in the Pilot, we thought this would be a good time to re-introduce this Once Upon a Time theory to the new kids on the block - and to the old kids on the block, because we have learned a thing or two during the decade we've been researching this concept.

The heart of the theory can really be summed up in one sentence:

"Everything that happened on Once Upon a Time also really happened in our world, and it is all a metaphorical retelling of Emma's life experiences in the past and in the present."

That's the part of the theory that we are certain about. Every episode has a deeper meaning, there is no fluff and together they all form one big story.

Does that mean that the story that we watched, didn't really happen? No, it's more like getting two stories for the price of one. The best metaphor we can come up with is that of lenticular cards.

Remember those little cards that you would twist and then the image would change? It doesn't really matter which one of those two images is real, because they both are. Someone had to draw and print both of them and use the right technique so we could see them both. Usually the images tell a bit of a story when you combine them, but they work perfectly fine as two standalone images.

So what we are doing is simply twisting the card, we're revealing our second story. We've really emotionally invested in these characters and now we're entering an Alternate Universe that was written by the same writers. And that's the real appeal of this theory, to get another story after the show's been off the air for so long, with the characters we know and love, because they are both.

Let's say the genre of the story we watched on television for 7 years is fantasy and the genre of our new AU is magical realism. So take a seat, suspend disbelief and enjoy the ride, because we're about to watch the official trailer of this new ABC show called Once Upon a Time.

If you watch the trailer, you see the idea of the two sides of the story being reinforced. You also hear the voice-over tell us that "someone from our world" needs to save the fairy tale characters while showing an unconscious Emma. This is the moment when the story splits in two.

Once Upon a Time takes place in what Jung called "The Collective Unconscious", or in this case The Enchanted Forest - a place where humankind's stories are real, where the fairy tale characters we know and love live - the world of archetypes.

A metaphorical curse is cast when Emma crashes her car. She loses consciousness and travels to her own subconscious mind. The fairy tale world and Emma's personal world collide and she gradually steals the fairy tale characters to work through her own issues and traumas. This is how the fairy tale characters actually get trapped in our world.

This is why this version of the story is "Magical Realism" - In magical realism, the underlying idea is that the world we currently live in actually has an undercurrent of magic, of intelligence, a magic that expresses itself through uncanny coincidences. We see this in the Pilot. Emma makes a heartfelt wish, and a second later, her long lost son rings the door bell. Unlikely, but possible in our world. When she slams her car door in anger, electric sparks fly and when she looks up at the clock, it's stuck on 8:15. August 15th. The date her long lost son was born. Odd coincidences, but entirely possible.

This magical world, however, is also a world of karma, because she violently knocks a man against his steering wheel earlier in the episode. Later that night, she hits her own head. This was the only way for the hidden magic of our world to grant Emma's wish and to restore her karma. The intelligent universe forced her to confront her demons with the help of age-old archetypes, so she could heal from her traumas, learn the life lessons she needs to allow people like Henry and Regina into her life.

Everything we saw on this show was Emma's real experience during the show's timeline, but the undercurrent of the world she experienced was created by her memories and by everything what's going on in the world around her while she is in different states of consciousness. Like Jefferson points out during "Hat Trick", even fictional stories come from a real place. They come from the writer's emotions and experiences, codified into story.

What we didn't know when we first started writing this theory, was how weird our consciousness really is. Real comas are nothing like movie comas where people just sit up one day. Maybe they need a little bit of physical rehab and then off they go. No, in the real world, people spend days, weeks, months or even years living in between their dream world and reality, trying to make sense of it all. Some people report having no memory of the months after they woke up and after they were up and somewhat functional. Many report strange dreams and remembering conversations that happened around them - except they thought they were participating.

Based on this newfound knowledge, we concluded that Emma was only in a deep coma for parts of the show's timeline. We think Emma's state in this theory closely aligns with what medical professionals call a minimally conscious state (MCS). Sleeping curse victims in an MCS are awake but show limited awareness of their surroundings. They may respond to stimuli, have brief moments of purposeful behavior, or even show emotional reactions to familiar voices or events. While their consciousness seems fragmented, they can form connections between external events and their inner experiences. The show uses David's coma story to tell us what's happening with Emma. He is able to grab Mary Margaret's hand, which he couldn't do if he was in a full coma. That means Emma is sometimes saying words and interacting with the people around her. They can connect with her in meaningful ways. And they do.

The show is peppered with hints that point to Emma's state in the land without magic. Jefferson is one of the characters who is used as a part of her subconscious that is trying to make Emma aware of her situation in the reality realm, but during the second episode, Emma herself gives us a description of the curse that she is now trapped in.

Emma: "So, for decades, people have been walking around in a haze, not aging, with screwed up memories, stuck in a cursed town that kept them oblivious."

What's very important about this description, is the "screwed up memories". The flashbacks about Emma's life that we have seen, are just as metaphorical of the other parts. They did happen, but they didn't happen in the way we saw them happen. The best explanation for how these 'new memories' are created is by looking at one clear example.

The "memory" of Emma giving birth to Henry is actually a metaphorical memory of Henry coming back into Emma's life, through parallels and visual clues. In this new memory, she expresses how she really felt in that moment, in so much emotional pain she could scream, and terrified to be asked to be a mother. This is how all the stories are created.

Much of the show works this way, except unlike during this scene, we haven't seen the original experience that the metaphor is based upon. So to decipher the rest of Emma's memories, all we can do is look at the recurring themes and storylines, as they show what Emma is wrestling with. Season 1 is full of car crashes, because crashing her car in the Pilot is a very recent trauma. Parents giving up children is a recurring trauma, because it matches both her story and Henry's story. This is the translation key to figure out Emma's story. Look at the patterns.

If we listen back to the show's trailer one more time, the theme song that was chosen to represent the show couldn't be more of an invitation to see the reality layer of the story.

Rescue me

Show me who I am

'Cause I can't believe

This is how the story ends

Fight for me

If it's not too late

Help me breathe again

No, this can't be how the story ends

This is Emma fighting for her life in reality. Asking Regina and Henry and the people around her to help her come back to life, because this can't be how the story ends. This can't be how she dies.

Ooookay... so where's the fun exactly?

You may be wondering, what is the appeal? Admittedly, this story is somewhat sad and dark at first glance, but remember when you watched the first season and you were trying to guess the characters' fairy tale identities? You get to do that again, except this time you are trying to guess the real world identities. You get to experience the curse from the inside and it really does feel like you can recapture some of the fun from the first time around.

Once you realize that the memories we saw were warped, many questions bubble up to the surface. How did Henry really find Emma? Who gave him the story book and why? How did he come to his conclusions? Is he the author because he is creating the fairy tales he is reading to Emma? Who are Emma's real parents? Why was she given up for adoption? What really happened to her in foster care? Is Neal really Henry's father or is there more to the story? What is wrong with Emma? Was there something fishy about the adoption? Why is she in and out of consciousness? How do Henry and Regina react? Did Regina really try to kill her? If Regina wasn't actually the evil queen, why did Henry think she didn't love him? Why is everyone suddenly related? Who is Emma Swan? Who is Regina Mills? Who is Henry? And Gold? And Hook?

It becomes a gigantic mystery, a fantastical true crime show. And the more people lend their ears and their eyes to it, the better our chances are to actually solve this very, very weird puzzle. Because as we said, the only part of this theory that we are sure of, is that everything we saw, is all a metaphorical retelling of Emma's life in the past and in the present. We report on the connections we find, the possible interpretations. The recurring themes. The meaningful parallels. We don't claim those are the correct interpretations, because they change as we dig deeper.

So consider this an invitation to take a bite out of the forbidden fruit of knowledge, join in and share your observations, because we would like to see the full picture once we tilt our little card to take another look.

[phightinghottakes]

Might be a mid take tbh but my take is: Soda is far too harsh on the wrong side of the fandom. Or, well, the fandom at all but my point stands.

She seems outright offended by.. headcanons and jokes, it feels. Like the Shuriken eating bugs thing? I'm pretty sure that was a joke/bit. Soda's reaction felt odd, like she didn't quite get that it's just.. the fandom doing as a fandom does.

Overall Soda is very critical of the fandom for. Being a fandom. She frequently posts (on bluesky, at least, the only social of hers I follow) about how the fandom mischaracterises, misconstrues, and generally fudges lore and characterization. And yet... she makes no effort to fix it! The lore is kept locked up tight, an active dialogue rewrite means our mischaracterisations are accidental in the first place, and seriously, what are we meant to make of the vague mess tossed at us that loops back and contradicts itself and fudges itself?

I love phighting. The lore is (probably) amazing. The characters are all plenty fascinating and fun to explore. But damn, getting told I'm plain wrong for putting my own condiments on the nothing burger of proper explanation we have currently is getting tiring.

~ redshift anon (claiming that or smth in case I ever drop a take in here again)

I think it boils down to the fact that, to my knowledge, none of the devs are writers, [In a sense that they've had specialized schooling for it.] Nor have experience with being responsible for a fandom.

It can be hard to tell the story you want even with training, it can get infuriating when people misunderstand and misconstrue your work despite your best efforts. I've had instances in workshops where my pieces have been so horribly misunderstood that it physically hurts.

Even if people are just being silly and joking, it can suck to see something you poured your soul into so mischaracterized–even if you recognize and understand that other people don't have the same knowledge of the characters like you do.

[gracieheartspedro]

I know it’s been said before but I want to format this in a way where everyone can understand.

tw/ mentions of dark themes.

mostly everyone has seen a horror movie. whether you’ve enjoyed said film or not is one thing. but nonetheless, you watched it, reveled in the content of it, and moved on with your day. you may have been disgusted, horrified, intimidated, whatever, but you still indulged and watched.

because it’s a work of fiction, you know that the actors in that film didn’t actually die gruesome awful deaths or experience traumatizing events for our eyes to watch. they were just acting. none of it was real. most filmmakers didn’t actually torture their employees and mostly all the actors were paid and compensated for the work they agreed to make. (this is not always true, especially in older horror movies.)

but alls that to say that this is how to frame works of written fan(fiction) and dark themes.

like a movie, these characters are not real. the situations are not real events that have happened. these situations can range anywhere from incest, rape, murder, etc.

you can rest assured that what happened to the fictional character did not happen to an actual person. it may have happened in real life to someone, maybe even you, but your beloved fictional character didn’t experience it. because they are not real.

luckily with fanfiction, more than 90% of writers are vigilant on tagging warnings onto their content and never force others to read their work. because dark content is not meant for everyone. if you cannot stomach such things, you should do what you do when you’re not enjoying that horror movie and just walk away. switch the page. lock your phone. delete the app.

there comes a time in every person’s life when you realize the world does not revolve around you. some people get a thrill/enjoy reading and writing dark content. their reasons could be as simple as they enjoy the heart racing anticipation of reading such things. or they could be more complex like using the content to work through trauma. whatever the reason, their motivations are valid and reasonable.

everything in the world is not meant for you. and that’s okay. it’s okay to let others enjoy what they want to enjoy. we don’t sit outside of movie theaters when the newest horror movie comes out and yell at the moviegoers that they are “sick in the head” or “psychopaths”.

fanfiction is an outlet. write and read what you want.

[opreaadriann]

Last Update of 2024

Hello, everyone! The year where I’ve come back is coming to an end and High School Revenge, unfortunately, is nowhere near the end haha.

I’m going to start this update by thanking everyone for the continued support, it’s amazing to see so many people from back in 2018 still coming back here to check on the story and to see so many new readers invested in my characters. Hopefully in 2025 I’ll push a bit harder than I did this last month and we’ll maybe finish more than one chapter haha. I would also like for our MC to get revenge at least on one of the characters, a semi-big one at least, in the near future…

In theory things should get simpler for future chapters, since I’ll still use many of the events from this chapter and many things that I wrote now will come up later, so that’s gonna be really nice. I’ve also noticed I haven’t played the game myself in a long time, so first thing I’ll do after finishing this chapter is actually reading my own story haha.

To celebrate a bit, here’s a list of all the stuff I’ve written and done this year since coming back, just so I can feel better about it all and not feel like the lazy writer that I know I am:

Chapter 1 – Rewritten a bunch of stuff (18 year old me didn’t do English that well…) – Made Olivia try to stop you from jumping right into the Tragedy – MC’s head now bleeds after being hit with a metallic crown (yikes) – Connor now manipulates MC into feeling accepted by the group

Chapter 2 – Choice to change pronouns and/or transition to a different gender (making dad 1 hate you, yikes…) – Created hobby skill stats (I forgot these didn’t exist) – Become financially independent (kinda…) – Recruit both Angela and Marcus (you could only recruit one. Yikes…) – Extra week for preparation – Colored contacts for eyes – Sexuality and romantic experience choice – Nice little comments if you choose the same family name as one of your other fathers – Choose if you’re a smoker (most important choice here)

Chapter 3 – Chapter 3! This was not a thing before my unfortunate disappearance! Funny thing, the conversation with Michael was already written before my death, but I got very annoyed with the choices I wrote. I allowed you to punch Michael in the face, which resulted in a really weird start for the game. When I saw how weird everything went, I gave up. When I came back, I killed the idea completely. Maybe we can punch him at the start in a DLC… – Rewrites over rewrites. – The first hobby events! – The first meetings with all of the ROs!

Chapter 4 – Too much to write down… Short of it would be: – Relationship events with all ROs – Second hobby event, first chance to ruin your targets’ private life! – Random events! – Burt can stalk people now! (yikes…) – You go to a party and stuff happens! – You can learn one of Connor’s and Michael’s secrets! – You can campaign to become homecoming royalty! – You can ask most of the ROs to homecoming! (I’ll finish this, I promise) – Marcus is much more useful as an ally than Angela! (she’ll get her chance to shine, don’t worry Angela-mancers)

Anyway, more words might have been written, but I forgot. I came back at the end of March, so it’s been 9 months. Pretty crazy stuff. Thanks again for all the support, let’s make 2025 the year we finally get revenge and live out our sick fantasies (and likely feel bad about it afterwards…).

[biggest-gaudiest-patronuses]

the fact that shakespeare was a playwright is sometimes so funny to me. just the concept of the "greatest writer of the English language" being a random 450-year-old entertainer, a 16th cent pop cultural sensation (thanks in large part to puns & dirty jokes & verbiage & a long-running appeal to commoners). and his work was made to be watched not read, but in the classroom teachers just hand us his scripts and say "that's literature"

just...imagine it's 2450 A.D. and English Lit students are regularly going into 100k debt writing postdoc theses on The Simpsons screenplays. the original animation hasn't even been preserved, it's literally just scripts and the occasional SDH subtitles.txt. they've been republished more times than the Bible

[puppyeared]

who up seeing their disorder in a fictional character but feel like its not their place to put a name on it

[travellingtribble]

after much consideration I've come to the conclusion that no Nandermo is better than dead Nandermo.

It might be the Supernatural 15×18 "Despair" 6 November 2020 Election Putin Day trauma speaking, but still.

[silhouettecrow]

365 Days of Writing Prompts: Day 218

Adjective: Sweet

Noun: Haunt

Definitions for those who need/want them:

Sweet: having the pleasant taste characteristic of sugar or honey, or not salty, sour, or bitter; (of air, water, or food) fresh, pure, and untainted; smelling pleasant like flowers or perfume, or fragrant; pleasing in general, or delightful; highly satisfying or gratifying; (informal) used to express approval or admiration, or excellent; working, moving, or done smoothly or easily; (US) denoting music, especially jazz, played at a steady tempo without improvisation; (of a person or action) pleasant and kind or thoughtful; (especially of a person or animal) charming and endearing; (dated) (informal) infatuated or in love with; dear, or beloved; (archaic) used as a respectful form of address; used for emphasis in various phrases and exclamations; used to emphasize the unpredictable individuality of someone's actions

Haunt: a place frequented by a specified person or group of people; a ghost; a place or event involving a ghost or spirit haunting a person, location, or object

[girl4music]

FRAZAR (NOBODY): “I had to see you before I left. You know? Seeing as I might never come back.”

EMILY: “All that? Look, you can’t take that whole me having a vision about how you’re gonna die thing seriously. I am a weirdo. You know that. I’m the crazy one. Right? I’m sure you’re gonna be fine, and-“

FRAZAR (NOBODY): “-Please don’t do that.”

EMILY: “Don’t do what?”

FRAZAR (NOBODY): “Don’t be all fake and happy like the rest of ‘em. You’re the only one who’s ever been real with me about what this war might cost. You’re the only one who’s brave enough to face the truth. You don’t try and peddle some false hope.”

EMILY: “What if hope is all we have?”

FRAZAR (NOBODY): “Sometimes… the most hopeful thing you can do is to look directly at the darkness.

*lightens up the tone*

And by the way, I don’t think you’re crazy.”

EMILY: “You don’t?”

FRAZAR (NOBODY): “No! It’s the world that’s insane. The only thing that makes you different is you’re not afraid to call it like you see it. It’s what makes a great writer. You know? Great writers don’t flinch at the truth, even if it’s tragic. Look at Dante. The Inferno. He went all the way down into hell, came back to tell about it.”

EMILY: “Well… I really hope you come back.”

Wow! What a conversation. What an interaction! That was so well written. Especially the part about how the most hopeful thing you can do is look directly at the darkness. I often say something like that myself. But rather I put it as being authentic in and with the moment as you experience it. Expressing the truth regardless whether it’s positive or negative. Because it’s the truth. It’s what you personally experience - what you feel. Frazar is right. Holding on to hope is no good when it’s not honest. It’ll only serve to make you even more in pain because your expectations of the outcome aren’t realistic. You’ll be much better off seeing things for as they are. It’s less painful in the end. At least in terms of knowing who you are in it. It’s still painful for what it is - of course - but least you can say that you never escaped from the pain you felt. You faced it head on. You looked directly at the darkness. Because pain and darkness aren’t bad things to feel. They’re what make you appreciate pleasure and the light when it is the honest truth, the real experience.

I loved that. I thought that was extremely insightful. Probably the best piece of writing from this show yet and certainly something I’m going to remember in life.

While I wish this kind of conversation could have been between Emily and Sue - for historical accuracy’s sake - I’m glad that they kept it between Emily and Frazar. Yeah, emotional conversations and interactions like this are something I always want from WLW ships in TV art/entertainment because of WLW representation. But the sentiment to get across is still represented so it’s still substantial to me to hear something like this between any characters in TV art/entertainment. The lesson is still there to learn - if you so wish to learn it. And I’m all about that. I’m always all about the education and the storytelling before anything else. It’s really just a bonus to get it between WLW ships because it makes for a real reason to care about them besides from the fact that they’re two women in love. It all helps to build on their relationship and make a foundation for why they are so in love with each other. That’s why I think it’s necessary for the characters in the WLW ship to both be main characters in the show.

But at the end of the day - it’s all down to the intention of the show runner and the writers they employ for it. So you can have any characters with any relationship to or with each other have profound dialogue like this. It’s what I always look for and it’s what I will always regard as what makes me decide whether it’s a good show or not because - as I said - I care about the learning. I don’t care about being entertained. I don’t care about the pleasure principle. I care about the art.

When I truly love something - when it truly hits my heart. I’ll never stop thinking or shut up about it. You know I’m passionate about any art I interact with or engage in when all I can do is express myself on it. It becomes a part of me in such a way that never leaves. It becomes a part of my core. Who I am - what I am. How I identify - how I navigate. “I” disappear within it and end up knowing myself all the more because of it.

After all, I don’t believe in “identity”. It’s too solid and too permanent to ever be able to define that “I Am”. And I think the whole point to this Frazar (Nobody) character is to emphasise that notoriety is pointless because when you’re known for who you are, you become lost in the delusion that you’re ever anyone.

[darlingofdots]

the vast majority of fanworks are bad, and that's fine, actually. they are bad for the same reason that the average number of legs for a human person to have is less than two: statistics. like with all endeavours and especially creative ones, most people who write fanfiction or draw art of their favourite characters are bad at it. if you line up all the crochet projects in the world, most of them will be, well, bad. some are bad because they're the first thing a person ever made, or the second or third or tenth, and this kind of thing takes practice. others are bad because the person who made them is just not very good at it. maybe they just learned how to make granny squares and they're perfectly happy to never expand or improve on that. most people who dance or bake or garden or braid hair are not amazing at it! and you'd never go to your kid's dance recital or eat your friend's homemade carrot cake and expect the same experience as you'd have at a professional ballet performance or award-winning bakery. And that's if we assume there is an objective measure of Good Art, which there isn't! Some art is just "bad" because you don't like it!

I think though that specifically with fanfiction, we sometimes forget that when we read a book or watch a movie, dozens of people have looked at it and given feedback and made changes and done quality control before the final product reaches our shelves or screens, and that's not counting the original writer's learning process and past experience. A published book is not anyone's first crochet project, even if it is their debut novel. But with fanfiction, the barrier to entry is so low (on purpose! this is a good thing!) that we do get to see a lot of wonky granny squares, and on sites like AO3 they're sitting on the same shelf as the hand-made silk lace wedding dress and you can't always tell just by looking at it which is which. The consequence of this is that we encounter fic that we think is unpolished, has bad punctuation, is out of character, and we are tempted to think "well, this is awful! how dare this person put this wonky granny square on the same shelf as the lace wedding dress!" But that's not how fandom is supposed to work! That wonky granny square is somebody who is really excited about this TV show they just watched and they are reaching out into the void to share their excitement with you. To scoff at them for not making a lace wedding dress is really, really rude. Even if they did make a lace wedding dress, maybe it's just really not your style, or you think they should have used a different pattern, and it's still their wedding dress. You don't have to wear the dress and you don't have to read the fic.

We all know that there is some fanfic out there that is incredible. I think it's important to talk about that! But the vast majority of people who post their writing online are just sharing their little hobby projects that they make for fun and I also think it's important to remember that.

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[thewriteadviceforwriters]

25 Prose Tips For Writers 🖋️✨ Part 1

Hey there!📚✨

As writers, we all know that feeling when we read a sentence so beautifully crafted that it takes our breath away. We pause, reread it, and marvel at how the author managed to string those words together in such a captivating way. Well, today I'm going to unpack a few secrets to creating that same magic in your own writing. These same tips I use in my writing.

But before I begin, please remember that writing is an art form, and like any art, it's subjective. What sounds beautiful to one person might not resonate with another. The tips I'm about to share are meant to be tools in your writer's toolkit, not rigid rules. Feel free to experiment, play around, and find what works best for your unique voice and style.

Power of Rhythm 🎵

One of the most overlooked aspects of beautiful prose is rhythm. Just like music, writing has a flow and cadence that can make it pleasing to the ear (or mind's ear, in this case). Here are some ways to incorporate rhythm into your writing:

a) Vary your sentence length: Mix short, punchy sentences with longer, flowing ones. This creates a natural ebb and flow that keeps your reader engaged.

Example: "The sun set. Darkness crept in, wrapping the world in its velvet embrace. Stars winked to life, one by one, until the sky was a glittering tapestry of light."

b) Use repetition strategically: Repeating words or phrases can create a hypnotic effect and emphasize important points.

Example: "She walked through the forest, through the shadows, through the whispers of ancient trees. Through it all, she walked with purpose."

c) Pay attention to the stressed syllables: In English, we naturally stress certain syllables in words. Try to end important sentences with stressed syllables for a stronger impact.

Example: "Her heart raced as she approached the door." (Stronger ending) vs. "She approached the door as her heart raced." (Weaker ending)

Paint with Words 🎨

Beautiful prose often creates vivid imagery in the reader's mind. Here are some techniques to help you paint with words:

a) Use specific, concrete details: Instead of general descriptions, zoom in on particular details that bring a scene to life.

Example: Instead of: "The room was messy." Try: "Crumpled papers overflowed from the waste bin, books lay spine-up on every surface, and a half-eaten sandwich peeked out from under a stack of wrinkled clothes."

b) Appeal to all five senses: Don't just describe what things look like. Include smells, sounds, textures, and tastes to create a fully immersive experience.

Example: "The market bustled with life. Colorful fruits glistened in the morning sun, their sweet aroma mingling with the earthy scent of fresh herbs. Vendors called out their wares in sing-song voices, while customers haggled in animated tones. Sarah's fingers brushed against the rough burlap sacks of grain as she passed, and she could almost taste the tang of ripe oranges on her tongue."

c) Use unexpected comparisons: Fresh similes and metaphors can breathe new life into descriptions.

Example: Instead of: "The old man was very thin." Try: "The old man was a whisper of his former self, as if life had slowly erased him, leaving behind only the faintest outline."

Choose Your Words Wisely 📚

Every word in your prose should earn its place. Here are some tips for selecting the right words:

a) Embrace strong verbs: Replace weak verb + adverb combinations with single, powerful verbs.

Example: Instead of: "She walked quickly to the store." Try: "She hurried to the store." or "She dashed to the store."

b) Be specific: Use precise nouns instead of general ones.

Example: Instead of: "She picked up the flower." Try: "She plucked the daisy."

c) Avoid clichés: Clichés can make your writing feel stale. Try to find fresh ways to express common ideas.

Example: Instead of: "It was raining cats and dogs." Try: "The rain fell in sheets, transforming the streets into rushing rivers."

Play with Sound 🎶

The sound of words can contribute greatly to the beauty of your prose. Here are some techniques to make your writing more musical:

a) Alliteration: Repeating initial consonant sounds can create a pleasing effect.

Example: "She sells seashells by the seashore."

b) Assonance: Repeating vowel sounds can add a subtle musicality to your prose.

Example: "The light of the bright sky might ignite a fight."

c) Onomatopoeia: Using words that sound like what they describe can make your writing more immersive.

Example: "The bees buzzed and hummed as they flitted from flower to flower."

Art of Sentence Structure 🏗️

How you structure your sentences can greatly affect the flow and impact of your prose. Here are some tips:

a) Use parallel structure: When listing items or actions, keep the grammatical structure consistent.

Example: "She came, she saw, she conquered."

b) Try periodic sentences: Build suspense by putting the main clause at the end of the sentence.

Example: "Through storm and strife, across oceans and continents, despite all odds and obstacles, they persevered."

c) Experiment with sentence fragments: While not grammatically correct, sentence fragments can be powerful when used intentionally for emphasis or style.

Example: "She stood at the edge of the cliff. Heart racing. Palms sweating. Ready to jump."

Power of White Space ⬜

Sometimes, what you don't say is just as important as what you do. Use paragraph breaks and short sentences to create pauses and emphasize important moments.

Example: "He opened the letter with trembling hands.

Inside, a single word.

'Yes.'"

Read Your Work Aloud 🗣️

One of the best ways to polish your prose is to read it aloud. This helps you catch awkward phrasing, repetitive words, and rhythm issues that you might miss when reading silently.

Edit Ruthlessly ✂️

Beautiful prose often comes from rigorous editing. Don't be afraid to cut words, sentences, or even entire paragraphs if they don't serve the overall beauty and effectiveness of your writing.

Study the Masters 📖

Please! Read widely and pay attention to how your favorite authors craft their prose. Analyze sentences you find particularly beautiful and try to understand what makes them work.

Practice, Practice, Practice 💪

Like any skill, writing beautiful prose takes practice. Set aside time to experiment with different techniques and styles. Try writing exercises focused on specific aspects of prose, like describing a scene using only sound words, or rewriting a simple sentence in ten different ways.

Remember, that developing your prose style is a journey, not a destination. It's okay if your first draft isn't perfect – that's what editing is for! The most important thing is to keep writing, keep experimenting, and keep finding joy in the process.

Here are a few more unique tips to help you on your prose-perfecting journey:

Create a Word Bank 🏦

Keep a notebook or digital file where you collect beautiful words, phrases, or sentences you come across in your reading. This can be a great resource when you're looking for inspiration or the perfect word to complete a sentence.

Use the "Rule of Three" 3️⃣

There's something inherently satisfying about groups of three. Use this to your advantage in your writing, whether it's in listing items, repeating phrases, or structuring your paragraphs.

Example: "The old house groaned, creaked, and whispered its secrets to the night."

Power of Silence 🤫

Sometimes, the most powerful prose comes from what's left unsaid. Use implication and subtext to add depth to your writing.

Example: Instead of: "She was heartbroken when he left." Try: "She stared at his empty chair across the breakfast table, the untouched coffee growing cold."

Play with Perspective 👁️

Experiment with different points of view to find the most impactful way to tell your story. Sometimes, an unexpected perspective can make your prose truly memorable.

Example: Instead of describing a bustling city from a human perspective, try describing it from the point of view of a bird soaring overhead, or a coin passed from hand to hand.

Use Punctuation Creatively 🖋️

While it's important to use punctuation correctly, don't be afraid to bend the rules a little for stylistic effect. Em dashes, ellipses, and even unconventional use of periods can add rhythm and emphasis to your prose.

Example: "She hesitated—heart pounding, palms sweating—then knocked on the door."

Create Contrast 🌓

Juxtapose different elements in your writing to create interest and emphasis. This can be in terms of tone, pacing, or even the literal elements you're describing.

Example: "The delicate butterfly alighted on the rusted barrel of the abandoned tank."

Use Synesthesia 🌈

Synesthesia is a condition where one sensory experience triggers another. While not everyone experiences this, using synesthetic descriptions in your writing can create vivid and unique imagery.

Example: "The violin's melody tasted like honey on her tongue."

Experiment with Sentence Diagrams 📊

Remember those sentence diagrams from school? Try diagramming some of your favorite sentences from literature. This can give you insight into how complex sentences are structured and help you craft your own.

Create a Sensory Tour 🚶‍♀️

When describing a setting, try taking your reader on a sensory tour. Move from one sense to another, creating a full, immersive experience.

Example: "The old bookstore welcomed her with the musty scent of aging paper. Dust motes danced in the shafts of sunlight piercing the high windows. Her fingers trailed over the cracked leather spines as she moved deeper into the stacks, the floorboards creaking a greeting beneath her feet. In the distance, she could hear the soft ticking of an ancient clock and taste the faint bitterness of old coffee in the air."

Use Active Voice (Most of the Time) 🏃‍♂️

While passive voice has its place, active voice generally creates more dynamic and engaging prose. Compare these two sentences:

Passive: "The ball was thrown by the boy." Active: "The boy threw the ball."

Magic of Ordinary Moments ✨

Sometimes, the most beautiful prose comes from describing everyday occurrences in a new light. Challenge yourself to find beauty and meaning in the mundane.

Example: "The kettle's whistle pierced the quiet morning, a clarion call heralding the day's first cup of possibility."

Play with Time ⏳

Experiment with how you present the passage of time in your prose. You can stretch a moment out over several paragraphs or compress years into a single sentence.

Example: "In that heartbeat between his question and her answer, universes were born and died, civilizations rose and fell, and their entire future hung in the balance."

Use Anaphora for Emphasis 🔁

Anaphora is the repetition of a word or phrase at the beginning of successive clauses or sentences. It can create a powerful rhythm and emphasize key points.

Example: "She was the sunrise after the longest night. She was the first bloom of spring after a harsh winter. She was the cool breeze on a sweltering summer day. She was hope personified, walking among us."

Create Word Pictures 🖼️

Try to create images that linger in the reader's mind long after they've finished reading. These don't have to be elaborate – sometimes a simple, unexpected combination of words can be incredibly powerful.

Example: "Her laughter was a flock of birds taking flight."

Use Rhetorical Devices 🎭

Familiarize yourself with rhetorical devices like chiasmus, antithesis, and oxymoron. These can add depth and interest to your prose.

Example of chiasmus: "Ask not what your country can do for you – ask what you can do for your country." - John F. Kennedy

Even the most accomplished authors continue to hone their craft with each new piece they write. Don't be discouraged if your first attempts don't sound exactly like you imagined – keep practicing, keep experimenting, and most importantly, keep writing.

Your unique voice and perspective are what will ultimately make your prose beautiful. These techniques are simply tools to help you express that voice more effectively. Use them, adapt them, or discard them as you see fit. The most important thing is to write in a way that feels authentic to you and brings you joy.

Happy writing, everyone! 🖋️💖📚 - Rin T

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[mortalityplays]

You need more free art.

I quit my job yesterday. Well, actually I quit my job eight weeks ago, but they finally released me yesterday for good behaviour. Don't get me wrong, I love what I do - but I do it for the wrong reasons. Working for major charities, you learn very fast that 'I want to make the world a better place' is a phrase you use to ask people for money, not to give them things. I was an ass-backwards fit for that world.

You need more free art. I need more free art. Everyone has felt the shift in our media landscape over the last ten years, away from access and towards nickel-and-diming the human experience. That lack of access is making life and culture worse for all of us, across the board. Paywalled news sites leave us less informed, attacks on the Internet Archive leave us less capable of research. Algorithmic social feeds and streaming walled gardens trap us inside smaller and smaller demographic bubbles, where we are increasingly only likely to encounter ideas that have been curated for us by marketing departments. Hasty efforts to resist AI commodification have only led to more artists locking their work away and calling for even more onerous systems of copyright law. This is not good for us.

We all need more free art.

So what am I going to do about it?

This is a question I have been asking myself for years. It's easy to sit here feeilng frustrated and thinking 'boy I hope SOMEONE does SOMETHING'. It's harder to take action in a world where I still have rent to pay. But hard doesn't mean impossible. Sometimes hard just means time-consuming, frustrating and slow. And sometimes it's worth doing something time-consuming, frustrating and slow because...I want to make the world a better place.

I'm going to do this:

1. From April 1st, I am relaunching as a freelance writer and editor.

This is the one that will (hopefully) help to pay the bills. I am a very good and experienced editor. I've worked on hollywood movies, I'm a member of the Chartered Institute of Editors and Proofreaders, I have clients who have been coming to me exclusively for more than 10 years.

Alongside bigger contract jobs, I am going to refocus on offering my services to small-press creators at a reduced rate. That means you, graphic novelists. That means you, itch and amazon writers. I want to help you develop your work, the same way I help large organisations. You can learn more about what an editor even does and what kind of pricing you can expect here.

2. I'm also going to start giving shit away. Like, constantly.

Next week I'm going to launch a new free shop. If you're unfamiliar, a free shop, giveaway shop, swap shop, etc. is an anarchist tradition of setting up a storefront where anyone can take what they like for no cost. Offline, this often means second-hand clothes, tools, furniture, food etc. Online, I am going to be giving away digital art. Copyright-free, no strings attached. It will (eventually) feature everything from print-res posters to zines, poems, tattoo flash, t-shirt designs and anything else we come up with.

Yes, I said 'we' - while this is a curated collection, it will feature work from a variety of credited and anonymous artists and activists, all of whom have agreed to give their work away to the public domain. Some of it will be practical, some of it will be political, but a lot of it will be decorative or personal. This is, in part, a response to recent difficulty I had finding somewhere that would print a one-off joke poster for a friend that featured the word 'faggot'. Enough. No middlemen - no explaining ourselves. Just print our shit and enjoy it.

I'm very, very excited about this project. I'll have more to say about it closer to the launch, but you can expect it to go live on March 27th.

2.2 I forgot to mention the ACTUAL LAUNCH GIVEAWAY

To celebrate my launch, I am going to be giving away a ton of physical prints. When I went looking for my old stock to see if it was worth setting a new (paid) storefront up, I realised I had way more old work in storage than I thought. This will be announced in its own right on Monday, but this is why I've been hinting you should go follow my Patreon.

On April 1st, I will pick 8 random patrons (from across all tiers including non-paying followers!) and mail them a bundle of assorted prints and postcards. The prize pool includes A3 and A4 posters, packs of A6 postcards, and printed minicomics that I've previously sold for up to £12 each.

You don't have to be a paying subscriber to enter - this is strictly no-purchase necessary. It is purely and entirely a celebration of the concept of GIVING ART AWAY FOR FREE.

3. PORN, YOU PERVERTS

Because I still have to pay to stay alive, I am going to be subsidising all this free art with the introduction of Fuck You Fridays. Starting from March 29th, I will drop a new 18+ short story on the last Friday of every month, over on itch.io (yes I know my page is desolate right now, don't worry I'll get there).

The first edition, Go Fuck Yourself, is about, well - telling your boss where to stick it. Julia has had it with her millionaire man-child manager, and is just about ready to let him know what she really thinks. It's a short and steamy 5k words, with a gorgeous cover illustration by @taylor-titmouse, and you can pick it up for $3 starting from March 29th.

4. ANOTHER BIG SURPRISE

I'm keeping this one under wraps for now, but April 1st will also play host to one more (FREE) launch. If you've been following me for a long time, you might remember the other significance of this date (no not April Fool's day, though that is certainly thematically relevant to this entire effort). That's all I'll say right now. Watch this space.

tl;dr: I'm sick of paywalls and career ladders. I'm literally putting my money where my mouth is. More free art for everyone and I'm not kidding around!!!

[imsiriuslyreading]

being a POC in the Marauders/HP fandom is really interesting to me because it seems and feels like a really predominantly white space, which, hey, nothing new! and that does come with some challenges. for the most part, they're fairly under the radar.

it's things like being able to count the POC in a discord server on one hand, even though there's 100+ people in the community.

it's people not taking into account racial dynamics whether that be in a fic, or in a tiktok, tumblr, whatever. there are innate power imbalances in our society (regardless of what country you live in) and to assume because this fandom is a largely open, liberal and leftist space, that they don't carry over to fandom, is exceptionally naive. buuuuut, we live and learn, so people can and should be given a certain amount of grace. but what is unforgivable is to have them pointed out to you and for you to dismiss, ignore or belittle them. Not only that, but you as a white person, do not get to be the forgiving voice to another white person when they make one of these mistakes. please please please respect and understand that.

there's also (and i'm sorry if this is controversial and frankly it makes me really nervous to even write this), a trend of assigning ethnicities, cultures and races to characters in stories without having a proper understanding of them, or having a particular reason for doing so. I'm never going to sit here and say "you as a white person shouldn't write about ____ race!", because I don't believe that. but what I would really, really love to see, is for white creators and writers to ask themselves some questions beforehand:

what does the race of this character add to the story outside of me chasing clout with a particular group of people/is it necessary for me to be writing the lived experience of a culture/ethnicity I've never taken the time to learn about?

if so, why?

am i the right person to be doing this?

are my actions outside of my writing towards these POC reflective of this?

i also think it's really important to remember that unconscious bias is a thing, and it's really easy for us to spot in your writing if it isn't something you've addressed. Not only that, but even if you write the most well-researched POC in your fic, even if you're sharing posts about Lebanon and Palestine, none of that matters if your actions when interacting with us show us that you are indifferent to the power dynamics at play with you being a white person, often with a large audience, in this space. virtue signalling is spectacularly unhelpful if you're writing checks your ass can't cash.

that being said, I think throwing 'racist' around as a term at people who make mistakes is really unhelpful. because every situation has context and nuance, and dogpiling never helps anybody. there are opportunities for learning, developing and understanding here. but please remember, if a POC tells you something is upsetting, harmful or offensive - even if other POC haven't said that to you - it's not your place as a white person to dismiss that.

anyway, hope that helps, love u very much xo

[cripplecharacters]

Does Your Scarred Character Have to Hate Themself?

[large text: Does Your Scarred Character Have to Hate Themself?]

(TLDR: no. literally no.)

A frequent topic that shows up around facial differences is the self-hatred, self-disgust, self-insert-negative-emotion that we must surely experience. I want to ask* writers without FDs - why? Why do you feel about us in such a way that that's the most common way of depicting us?

*- rhetorical question. I promise I know the answers, but I'm not sure if writers do.

It's frankly worrying to me. Is it really that common to assume that disabled people have this internal, never-ending hatred for themselves? The overwhelming majority of us don't. We hate inaccessibility, when people stare, or some symptoms when they get in the way, or how expensive being disabled is, but I find the concept of us being so completely disturbed by our own disabilities extremely strange. It’s “tragedy porn” intersecting “most basic ableism”.

“But trauma!”

[large text: “But trauma!”]

Trauma of what! People with facial differences don't have some sort of default trauma that we come with like it’s a factory setting. We are a group of people with tens of thousands of stories and experiences!

“Trauma of experiencing ableism/disfiguremisia” - that's better, at least this means something. If you're writing a story about this, please get a sensitivity reader with a facial difference. You can assume how we feel all you want, but in my experience these assumptions are often bizarre and unrealistic. Or just end up writing the same “disability so sad” sob story that everyone has seen a billion times. If you want to write about disfiguremisia, you need to understand the nuance and have more than just the basic level knowledge (which 99% of people don’t have either). If you can’t do that, don’t write about it. Simple as that.

“Trauma of the accident” - thankfully, the accident is an event and a facial difference is a disability. If you want to connect these two like they're one and the same, you're almost surely going to demonize disability. People with traumatic spinal cord injuries, acquired amputees, people with TBI, people with acquired facial differences - we participate in our communities, we have hobbies, we date, we play with our dogs. Disability isn't a death sentence. Media who make it feel like it is certainly don't help people who do suddenly become disabled, don't you think?

Here's a post by @blindbeta about blind characters becoming blind through trauma that’s better made than anything I could hope to write here. I heavily recommend giving it a read.

And, I can't stress this enough - most of us didn't have “the accident”, most of us are born like this! "Traumatic scars" isn't the only facial difference that exists, far from it, it's only one of thousands. It's 99% of our representation and "representation". If you want to make a character with FD - please consider that we aren't a monolith. Just like not all physical disabilities are "wheelchair user with paralysis", not all facial differences are "traumatic scar with somehow no nerve damage".

The overrepresentation of it is incredibly telling, and sometimes - or very frequently - feels like the writer doesn’t actually even want to deal with us. They want to use our disability as a way to cheap drama, moral metaphors, tragic backstories. Not to represent us as living people who are much more similar to you than you apparently think.

Now, I do have enough awareness to know that that's a big part of the appeal. “Horrific Thing #2456 happens” and boom, instant drama! Of course, it's a reasonable response that they would hide their disability for years, avoid talking about it in any way, and magically change their personality to be mean and reclusive, or at least be constantly soooo sad about how much it sucks to be disabled, right?

Do I really need to say that having your character becoming disabled be the worst thing ever is ableism 101? We have been talking about this for so long at this point. Writing about the process of adapting to a specific disability is better left to people who have actual experience in it.

To give an example that will hopefully resonate more with Tumblr users, I will use the fact that I'm also gay. It's not perfect by any means but probably much more familiar territory.

Imagine, let's say, a character. He's gay. The story he's in is supposedly progressive, certainly not trying to be homophobic. The character has experienced an incident, maybe an act of aggression or a hate crime, that happened because he’s gay, which was traumatic. Happens IRL, sure. So of course the character starts hating being gay. He talks about how gross and disgusting it is, he never lets anyone know that he could be “one of them”, certainly not take a stance against homophobia. You can't mention him without mentioning the accident, they're seemingly fused together. No gay love, joy, even basic happiness, he would actually choose to be straight in a heartbeat if given the option to and complains that he can't. This is shown as a neutral, obvious thing that a gay man would do, no one comments on it. He stays like this the whole time, unless there’s a plot twist in the last 10 pages where the world is now magically perfect ("we fixed discrimination, yay!"). This is the only LGBT character in the story.

Keep in mind that there are people similar to this in real life, living with extreme internalized homophobia.

Is this, in your opinion, realistic and thoughtful representation? How does it feel when written by a cishet writer, versus a gay writer who is recalling his experiences? Do you think that it's reasonable for the majority of media representation to be like this, or very close to it? How would it affect younger gay people who might already be uncomfortable with being queer? Are gay men the target audience, or are they not even considered as a group of people who read books? Is this helping or damaging the general public's idea of how it is to be gay? Why or why not?

The Masterpiece

[large text: The Masterpiece]

From 13 to 19 of May, we are celebrating Face Equality week (what a coincidence!). It’s important to me in general - and I wish it was more important to abled people, but I digress - especially its theme for this year.

“My Face is a Masterpiece”

Great statement, it represents the community well, I do enjoy how bold it is. Very cool stuff, I love the work our advocates are doing!

But why do I bring this up?

Well, to very non-subtly show that we aren’t a self-hating group of people. We are a community, a community saying “our faces are beautiful, look!”, we are saying “treat us equally, and do it now!”. Our activism isn’t about self-disgust. It’s about fighting your-disgust. 

Why can’t writers keep up? Why are you still stuck decades behind?

Is this the only reason I bring it up?

The Call to Celebration

[large text: The Call to Celebration]

FEI, the org behind organizing it, asks a very simple question (emphasis mine):

“Why do we so often see stories about facial difference as a ‘tragedy’, when they should be about triumph?” “Calling all artists, allies, creatives, galleries.  You can rewrite the story to bring about #FaceEquality and celebrate the unique artistry found in every face. Your participation this #FaceEqualityWeek will help to tell the real story, that there is a masterpiece in every face.”

Here. We are calling for you to stop. Directly from the biggest international advocacy alliance group that's out there. If you create, this is for you.

The last argument to not have your character with a facial difference hate themselves? Because we don’t want this. We are tired and frustrated. For me personally, I’m also offended by this kind of assumption. We aren’t tragedies or cheap entertainment for abled people to pity or be horrified by. We are people, and if you can’t internalize that, you have no reason to write about us.

For once, celebrate us. Happy Face Equality Week!

mod Sasza