#traditional western “feminine features” start fading then

[jotun-appologist]

Still riding the high from last night when a customer who I have helped a few times before in the past and I finally broached the subject of gender and admitted we both clocked the other as trans and both didn't know how to broach the subject. We were talking about the pins on her bag and I was like

"I still need to get a progess flag one, my bag is covered in pretty much only the nonbinary flag right now"

And she got the most excited face and was like

"I knew it!" All giddy because she had guessed right lol

[caitlynnrosespn]

Need Help With Jack?

I AM NOT SAYING YA'LL ARE DOING IT WRONG I AM JUST HERE TO HELP WITH SOME OF THE TRICKIER PARTS OF HIM OKI

Before we begin I just wanna say that I have CPTSD (what he would reasonably have from his childhood) and I am have been doing theater and performances for a very long time, so while I don't have a perfect understanding of Jack there are some things I can help with (by the way @the-l-is-silent-yall did a great post about writing Mihaly which encouraged me to post this so check that out)

This is going to be long, so here we go:)

First off. His makeup.

I've seen some people say he is wearing makeup to seem more feminine, but that's not really the purpose of this kind of makeup. This is a type of makeup that is formerly known as contemporary makeup. In traditional western theater, it is used on performers (usually actors or dancers) to highlight their features so they don't fade in the bright stage lights. Without it, performers would look washed out or blank to the audience. It is composed of powder, foundation, rouge, lipstick, and eyeliner. Female or feminine presenting performers will also wear mascara, and some actors will apply highlighter and bronzer to accentuate or create features depending on the character they play, but actors of all gender orientation will have to wear some sort of makeup. The most telling mark of Jack wearing this type of makeup is the eyeliner and lipstick, which helps you more clearly see his features when the camera zooms out. It also helps the performer's features stand out, since he is covered in white paint. Now up close this makeup looks like it's too much makeup or it makes his features look weird, but that's the point. I have had directors tell me "if you look in the mirror and see a clown, you are doing it right." Theater makeup of any kind looks over exaggerated up close on purpose, so it reads to the audience who is far away.

Next let's talk about how to write a very important part of his story: his trauma.

Now I've seen a lot of fics talk about Jack's relationship with The Traveler, and how there is mutual distrust, and how basically Jack is afraid of The Traveler in the same way Jack fears Nightswan. While I'm not saying this is necessarily wrong, (although I would love to see The Traveler be a good father just this once) it would make more sense if Jack was afraid of someone else:

Si'ha Nova.

In Jack's life, most of his trauma and insecurity came from his mother. He was raised to believe that Nightswan's treatment of him was normal among all families. Because that trauma came from Nightswan, he has a bigger chance of struggling with women in parental roles rather than men in father roles. Because most of my trauma was from my dad and other men, I had a hard time trusting older men. PLEASE don't take this the wrong way and think "oh, see he hates women." NO! What I'm saying is that Jack would have a hard time trusting and opening up with anyone he perceives as motherly. He might have more trauma responses when around Si'ha, such as flinching more around her or seeming more closed off. This can of course be helped, and I'm sure Si'ha won't have a hard time building trust with Jack. Now of course he might still have his trust issues and reservations about The Traveler, but it would be a lot less worse than those he would have with Si'ha. (i'm saying this in a mean way, this is just what I've learned about childhood trauma)

Now let's take about the inevitability of a trigger for Jack.

Triggers are the weirdest thing in the world. Sometimes they are obvious things. As an abuse survivor, I don't like people jump-scaring me and I feel uncomfortable when people start handling belts (i even rarely wear one) which is all pretty self explanatory and stuff and you would think that's the same for the rest of my triggers, right? Nope! No I can't watch Victorious, I freeze up when the Arizona Storm alarms play, and I will have a literal breakdown whenever I see one of those plagiarism warning screens. Also can't watch horror movies. Do they make sense to me? Not at all. But the reason they trigger my CPTSD is because somewhere in my brain, in my suppressed memory, my brain is reminded of my trauma and is launched into flight or fight mode.

Jack's triggers might be something that makes sense, like being in the mirror room or seeing something about the Swan Soldiers. But, he would also have more explainable or random triggers. A specific color could remind him of his mom. A melody could remind him of a song that was playing during a rehearsal gone wrong. A certain smell could remind him of a room that he wasn't particularly fond of in Nightswan tower.

So what exactly would be the best way to write Jack having a breakdown? Glad you never asked!!! I shall still answer!!

Jack having a breakdown could go down one of two ways. One, he could get really combative, aka fight. Not like throwing hands combative, but like suddenly being overly defensive and irritated over little things. Assuming someone notices this change of behavior, it would take a few moments until his brain finally perceives that there is no actual threat, and then celebrate by gifting Jack with an intense breakdown complete with tears and a panic attack that will literally leave him breathless. Option two, the flight option, will see Jack suddenly feeling the need to escape. Maybe he'll need to leave a room, or need to get off the street and into a building, or he might not even be able to be in the same room as someone. When his brain finally decides the danger is no longer in the room with us he will have a similar breakdown as he did in option one. But of course, there is a third, more fun, more secret option. Option three, freeze.

I'm a freeze person, and freeze is ten times worse than option one and two combined. When someone freezes, they will escape to a space devoid of people or possible threats. They will then find a place where they can observe all sides of the room without needing to turn, preferably a corner, make themselves smaller via holding their chest to their knees, and then have that extra special breakdown. The problem with freeze is your brain never has the opportunity the decide if the threat is actually gone, so instead of moving on you are stuck in this feeling of being in danger even if obviously you are not.

The best way you can write someone (most likely Wanderlust, knowing you guys) helping out is:

-No touching until he calms down. Touching always makes things worse. Not until he can voice that he is calming down.

-Trying to communicate breathing/grounding exercises. It will take a minute before he responds and partakes. @apexious wrote a really good example of this, just with reversed roles.

-Weighted blankets weighted blankets weighted blankets weighted blankets

-Have them try to voice what he is feeling/what he perceives the danger to be. Usually helps reduce trigger responses if they are encountered again.

And the last thing I want to note about Jack is that traumatic memories will most likely fade with time. Not the actual trauma or the memories behind them, but specific details will be hard to recall such as his specific age when it happened, where it happened, or other specific details. The brain likes to do that to protect you from specifically traumatizing or harmful memories.

Sorry for the essay, but I hope this helps!!! If you have any other questions regarding this, feel free to message me/drop it into my dropbox!!! Happy writing!!!

[brokenmusicboxwolfe]

I wrote this a while ago (4 months?) . Sorry it’s so long, but that’s the drawback of insomnia and no one to gush about a movie to...

Short verson? Unexpectedly I really liked an obscure old western called To the Last Man, basically because the romance at it’s center really connected with me. 

It’s interesting when a movie takes you by surprise.

I’ve been watching a a DVD set Pop fished out of a $5 bin a very long time ago. It’s one of those “20 movies crammed onto two discs, and how watchable the image and sound are doesn’t matter” kind of things. And geez, some of these look horrible. In the case of one movie there were times I couldn’t even tell which character was on screen. These are the sort of churned out discs where the just throw whatever they can get a hold of onto it, quality be damned.

 Not being a huge western fan, and having recently endured a similar set of early John Wayne films Pop had * I wasn’t looking forward to it at all. Still, it was the last of the unwatched movie DVDs so I figured I might as well play them.

Turns out they have been a facinating variety of westerns, covering at least 40 years. For instance one film was a a spaghetti western that actually involved a circus ** and a film next to it was a pilot to a 1970s tv show set in 1914 with the heroes traveling the west in a car. 

Which leads me to the biggest surprise so far, a barely movie length film from 1933 called To the Last Man. 

Now I went into it expecting very little. It was one of those movies so short it wouldn’t be considered feature length now, a western staring Randolph Scott who always seems to fade from my memory as soon as I finish a film. *** Even after it started it seemed to be a Hatfield and McCoy style family fued migrating west, with an already old fashioned silent era quirk of putting the names of the character and actor on screen when they first appeared. And then they added a Romeo and Juliet to the story…

Again I had low expectations, When they introduced the girl, daughter of the baddie family, I thought I knew exactly where it was going. Once out west the girl is a bronco busting, sometimes trouser wearing despite being the 19th century, kind of gal. I liked her, which made me dread the romance ahead.

See stories have traditionally had problems with romances involving  non-traditional women. 

In some stories the woman will be there for the fella, saving his life or something like that, but whatever affections he may have for her the love will be unrequited. Sometimes she dies, sometimes she gets a supporting character love interest, but always the hero goes off with the traditional princess type girl.

 In the stories where there is dainty, aloof beauty for the hero to moon over instead, they go a different route. Those are the stories where women are tamed. The hero often mocks and teases the woman for her non-traditional ways, even outright bullying her and accusing her of not being a “real” woman. She goes through an awkward phase of attempting to be properly feminine, to humorous effect, before eventually transforming into what a woman is “supposed’ to be for the love of her man.

I hate those, both of them. With the first,  I find myself grumbling the gal is to good for him if he cares more about a proper bit of styling and pretty face than courage or kindness. With the second, it’s even worse. Love does NOT demand that the person you love deny their nature and remake themselves to satisfy your tastes. If they have to change into something else to earn your love then you don’t love them at all. 

Anyway, I was sure how this was gonna go, especially with references in the conversation between the father and his thug pal about her wildness. This was gonna be a taming. I liked her as she was, and they were going to break her…

But I was wrong! 

The initial “meet cute” involved her swimming (naked…it was1933) and being harrassed by the thug until the hero rides up and intervened. When afterwards they chatted I was surprised. Sure it was flirty and established their attraction, but in more authentic way than I expected. When he refered to her as a lady and she assumed he was mocking her, in most movies there would be truth in her belief. But not here. To be honest I was as thrown as she was by his sincerity.

Later she talked to one of her father’s men, trying to figure out how a lady would dress because she wanted to dress that way before heading out to find the hero. I thought, “oh no, here it comes”, but again I was wrong. The conversation was sweet as the guy used his mother as an example and offered to help the girl go shopping, only to have her say she couldn’t wait that long. The hero would be camping for the night nearby, so she would have to go find him wearing her usual ratty clothes. She did NOT do the comedy attempt to fancy up!

And then we get to the campfire scene.

They may have met while she was swimming, but he has a body too. She surprises him as he shirtlessly shaves, so there is a bit of admiring the male form, complete with her saying she would think he was “soft” (for shaving so often in her rough world) if it weren’t for the fact she could see his strong arms. Even now too many movies don’t do something as simple as this: Let the man be physically admired by the woman.

During their conversation after he dresses, for all her attraction she is also self conscious of her rough around the edges appearance. When he notes her bare feet must find the mountains painful, she is defensive, expecting it to be a slight. But he quickly reassures her that no insult was meant, and it’s true. He didn’t. Not once in that scene, or in any scene, did he ever belittle her or tell her that she is somehow wrong for being herself.

When he was ready to say goodnight she announces she is staying. While she does tell him he must treat her “like a man” for the night, it’s still a woman boldly telling a man she’s spending the night with him whatever ended up happening after the fade out.

Now next morning she fixes him breakfast. In most movies this would either be the comical “non-traditional woman inept at proper womanly skills” or it would be the “non-traditional woman embraces properly womanly role because of love”. It was neither. She fixed him breakfast, an affectionate gesture to be sure,  but no fuss was made of it. She cooked it skillfuly and he didn’t seem astonished. It was just….breakfast.

Naturally as they are now head over heels for each other, this is when they find out each other’s family names, with the expected emotional turmoil. Now you would expect a few hostile scenes between them before they get over the whole feud thing, but they actually get over it quickly. By the time he buys gifts for his reunion with his family, he buys one more gift for her. And sure, when he leaves it where she can find it she at first angrily tosses it in the fire…before fishing it out. The fact is they are still in love, family war or not.  

About that gift..yes, it is a dress, but it doesn’t feel like a judgement or a nudge but a gift given with love of something she desires. He doesn’t know that when her father got out of prison he commented on her shabby dress,which she explained was her only dress after the hard life she’d had to live. He does know she was self conscious about the dress she wore when they met. It feels like a thoughtful gesture.  

The next time they are together, her family has stollen his family’s horses and she is joyfully riding the horse his brother had recently given to him. This would be a  moment for a lot of shouting and protesting that their own families were in the right. Instead we see little of the encounter except from the viewpoint of the distant thug. Considering the couple kiss and he smilingly sees her off on what had been his horse, I really don’t think there was much shouting.

Naturally the thug, who has designs on her,  tells her father abouther romance. The dress she’d hidden away is dug out as proof. She defiantly says she intends to wear the dress at her wedding to the hero, and her father lashes her. It’s off camera but we see him swinging the whip, so whoa, horrible daddy there! 

Stuff happens with the feud, which I’ve almost totally ignored**** despite it being the main plot, which culminates in the thug engineering a rock slide. The only survivor of the men folk from both clans is, of course, our hero. As he staggers to the girl’s home he seems horribly injured and dazed almost to senselessness. There is no sudden miraculous recovery for the sake of love scenes, fights or plot.  This is convincing the way 99% of all action movies ever aren’t when it comes to traumatic injuries. He needs care..

So here comes the thug. The girl quickly hides the hero in the loft and goes to work to deal with the villian. She has to feign normalicy, then react as he would expect her to react, while he makes clear she is to be considered his property and she has to figure out how to play that considering she is trying to hide her beloved. The dazed hero can hear what’s going on, tries to aim his gun, and drops it. The villian know the hero is there, so it’s time for a fight scene..l.

And the fight is between the villian and the girl!! And this is no dainty girly crap like so many movies have thrown at us. 

Mom and I used to have this thing of yelling at the screen “Hit him!!!!!” whenever heroes and villians would fight and the love interest would stand by looking helpless. I mean, I dunno about you but if someone is trying to kill someone I love they are gonna find themselves fuckin’ fughting TWO people!

And here the girl was doing some serious full body, roll on the floor punching and biting fighting. This wasn’t damsel in distress “You brute!” thumps at the chest or gingerly smashed vases on the head. She fought like she was trying to save the life of someone she loved. Which should be expected, but isn’t when watching an old western.

Alright, so the hero does finally do in the baddie by dropping down with a knife…but now that I think about it maybe SHE was the hero of the movie anyway.

Well, maybe to me she was because she was my identification character. Most of these westerns haven’t had women I could relate to at all, and here was one I related to on some very deep level. I got her. 

Now my family was nothing like hers, not only in the lack of violence (with the ones exception of a relative you can guess) but that they were hardly uneducated (say hello to the ONLY relative I even know of that didn’t graduate college…that would be me BTW) Heck, Pop was a total sweetheart.

And yet I got her. 

An unconventional woman type myself, I never learned the girly stuff. Partly that was accidental and partly it was impractical for the life we lived. I did have to be willing to be rough and tumble, with no line between guy stuff and girl stuff. When I was a kid I was also the only girl in a neighborhood of boys where being a sissy was the worst insult and you had to be ready to fight. I was the girl that swam in the river and played in the woods. And for various reasons ( would take a while to explain) I’ve spent most of my life in worn out work clothes. 

Actually that’s an aspect that makes her resonate even more: clothes. 

I don’t dress like her, but I have my own version shabby woods girl going on. As I write this I’m wearing one of my father’s old t-shirts with holes in it, jeans worn at the knees, a broken hair barrette in my hair, and steel toed men’s work boots on my feet. 

Now there are reasons for all of these. The practicalities of farm amd woods life, being poor enough I’d have to choose between new clothes or things like books, a childhood trauma that gave me a lifelong desire to dress for fight or flight, not having a social life so 99% of the time no human sees me, living in a rural area with no credit card for onlinr ordering and, in the case of the boots, just the fact they are all I can find locally that work with the ankle braces my flat feet force me to wear.

But notice what is missing from all these reasons: fashion. I almost never get to wear clothes I actually like. I’d flip through catalogs or wander stores and imagine wearing this or that. I have strong feelings about clothes I like or don’t, but no real chance to express it. I actually fantasize about that, living the sort of lifestyle where even if you are adventuring you get to pick clothes you want to wear.

Somewhere along the line people started assuming I what I wear reflects my taste, or rather lack there of. I used to ask my cousin at Christmas to please give me something pretty. She couldn’t understand it as a request, but folks just never thought of me as wanting pretty things. What would it have been like, just once, to try to be pretty. 

Actually I’d probably have been laughed at, a comedy buffoon, the hideous lady trying to look cute, the ugly step sister. Just as well life never gave me a chance to try. 

So being self conscious about my appearance is normal for me. I know how I look to people. I also know from experience that people can be cruel, and have taken my share of insults and mocking. In her position I would have thought he was making fun of me too and reacted almost exactly like her. In fact, I have. 

Here is a heroine I can relate to, and she gets the fantasy too. The fella falls in love with her, and loves her as is, not as a fix it upper. He loves her and doesn’t tease her about things where she is sensitive. He gives her a gift of something pretty just because he thinks she will like it. She gets to admire him (and his strong arms). She even gets to fight the bad guy to save him! 

Geez, of course I ended up loving the movie!

Never saw that coming, a Randolph Scott film I will actually remember! But the question is, will I finally remember his face or just his arms?

*NOT  a John Wayne fan, and these were some sort of 1930s filler less than an hour formula stuff.

**I REALLY enjoyed this one, but of course I have a thing for circuses. Woody Strode as a trapeze artist gunfighter and Victor Buono as the big bad were nice bonuses.

***That’s always puzzled me. I usually have an excellent memory for faces from movies, but I forget his instantly.

****Also forgotten, Buster Crabbe, Shirley Temple and the rest of the costars.