welcome to my fuckin uhhhhhhhhhh

i put my shitty poetry and prose here for funsies. i also rb writing related stuff here tho - hi i’m atlas - pronouns they/he - i’m tall and gay and very cool and fun. i am all that and a bag of chips. - i’ve completed 23 revolutions around the sun yippee - my main is @fandomfishbish

[atlaswriteswords]

intro post

hi welcome to the writing words and stuff sideblog

read my bio for basic info about me and this blog

go to my main @fandomfishbish for more information about me

if you say anything i don’t like here i’ll block u mwah. i have a very low tolerance for bullshit when it comes to comments about my writing

aka if u aint got nuffin noice to say don’t say it 💪💪💪🔥🔥🔥💯💯💯

yeah that’s about it

[atlaswriteswords]

allowed myself to feel grief for the first time in many many months, then i looked under the grief and found anger, then i looked under that anger and there was the same loneliness i’ve felt my entire fucking life.

i’m so fucking sick of losing people

[chronicallyonline101]

I know this is a silly question but I literally don't know anything about describing environments in writing as in weather or surroundings etc. When do you think it is most relevant to mention them?

I'm asking this as someone who has HARDLY EVER written anything before

HELLOOO!!! THIS ISNT A SILLY QUESTION AT ALL this actually one of the first things my lecturer taught us when i started my uni course!

Describing environments, weather and outfits is one of the trickiest things in a novel/fic because if done at the wrong moment it can take the reader out of the story and break the flow that a paragraph has, SO HERE ARE MY TIPS FOR WRITING SCENERY:

One of the most important things to think about when writing is that a reader is going to be entering a story with pre-conceived ideas and images of everything that will be mentioned inside it. E.g., if the author writes about a 'house' and its innards, the reader will often put in its place an image of a house from their own memories, because of this when an author goes out of their way to describe anything inside that house it will break the flow and immersion that the reader had.

To stop this, you want to describe as little as possible while retaining as much of your concept as you can. What this means, is you need to describe the "vibe" of a room and any important objects inside it.

Examples of this: "The room was cold, damp where rotten wallpaper sagged astray from each wall." Here, we know that the room has been abandoned/is in a state of disrepair, but the readers imagination is not hindered - they are still able to insert their own furniture and layout. The exception to this rule is as I mentioned previously, when an important object lies within the room.

Let's say that a messy room is important to a characters personality, or, that a character needs to pick up an item from a table, or interact with any kind of furniture (as most characters do.) Continue to use this rule, but add to it.

Example: "The room was cold, damp where rotten wallpaper sagged astray from each wall. It's contents, a sofa and a small coffee table, lay rotten with disuse; littered with scraps of old trash and food wrappings. 'Character-A' took a small, cautionary step forward and grabbed at a half melted piece of chocolate from atop of a couch cushion, a grimace settling across her face." Instead of bombarding the reader with a full paragraph description of the room at once, you are slowly feeding objects to them and telling them how they are supposed to feel about the environment. Without hindering the readers imagination too much, you guide them into seeing the version of the room that you want them to.

A key thing to note is that you should always mention how light or dark a room is, as it sets the tone for an entire scene.

When it comes to outdoor environments, there is a lot more freedom to describe and explore your surroundings. Since being outdoors means a character is going to be in a much larger space with less semantic connotations, a reader is going to have a harder time inserting their own images into this environment.

There are two approaches you can take to describing an outdoor environment: The worldbuilding approach or the pathetic fallacy approach:

Example of worldbuilding: "I took a sharp breath, a cloud of condensation forming before my face. A crisp chill filled the air, carried along by dry, orange leaves that rattled across the pavement and stuck to the wet concrete." This scene suggests the story takes place in late autumn/fall or perhaps early winter, it has no relation to the main characters emotion and merely serves as an environmental tool to help the reader understand the time and place in which the story takes place.

Example of pathetic fallacy: "My nostrils flared as I let out a sharp breath, the air before my face fanning out into a sodden cloud. A crisp chill filled the air and sunk itself deep into my bones, it bit at the swollen skin beneath my eyes; delicate from tears freshly shed, and carried along with it dry, brown leaves that rattled across the pavement and stuck to the wet concrete." By connecting the weather to the main character, there is an inherent connection between it and their emotions. Pathetic fallacy uses the weather as a tool to set the mood for the main character. E.g., if it is storming then the reader will understand the main character is upset, if it is sunny the reader will understand that the main character is happy.

SOME IMPORTANT THINGS TO NOTE:

It is always relevant to describe the characters surroundings. There should be a description every time they enter a new room; how in-depth this description is should be dependent on how important the room/environment is to the story - if the room only appears once, then it isn't necessary to give it too much thought, but if it is a room that the character will enter multiple times then you want to be as descriptive as possible so that they can remember it when the character returns.

With creative writing, there are no rules; what I've said in this post isn't definitive and does not need to be followed, if you believe that your work would be best understood if you offered your audience an in-depth description of the environment (something that should most commonly be done if the surroundings are not 'common', i.e., a fantasy world or something wildly specific) then you shouldn't stop yourself from doing that! Writing is all about experimenting and figuring out what works best for you.

Environments shift dependent on the perspective in which the fic is being written in, 1st POV often creates a biased narrative that follows the strict memories of the main character which allows an author to be more creative with the psychology of an environment (an example of this would be the 'Red Room' from Jane Eyre and how Jane's memories of the room paint it differently from how the room really is), while 3rd POV allows a more realistic and direct description.

I KNOW YOU ONLY ASKED about the relevance of describing environments but i lowk went off on one... I JUST LOVE TALKING ABOUT LITERARY TECHNIQUES i get excited, i hope this helps! if you plan on writing anything, you should share it with me i would love to read 👀

[atlaswriteswords]

me when the fuckor of it all

- job being weird

- sleep schedule weird

- things happening

- plans being made

- time moving forward

- responsibilities being stressful

- life

it’s just like

damn

ig life rly is a fucking journey huh

[archaeren]

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

[fandomfishbish]

while attempting to type “calvin and hobbes” just now i instead almost wrote “carbon and hobbes”. the beloved childhood comic

[incognitopolls]

If you have boobs, do you feel emotionally or socially uncomfortable if you're NOT wearing a bra?

Yes, even when I'm home/alone

Yes, but it's fine if I'm home/alone

A little, but I don't let that stop me

No, I don't feel any social/mental discomfort going braless

Other

Show results

Voting ended onJun 28, 2024

Anon feels a visceral discomfort when they're not wearing a bra. Anyone else?

–

We ask your questions so you don’t have to! Submit your questions to have them posted anonymously as polls.

[fandomfishbish]

the wind should be whipping past my ears, i should be serenading the highway

the stars would be in awe of me,

and i would not raise an empty cup to the moon.

the sun in all its glory

would see me as i am

pure power, a force to be reckoned with

and it would think twice about melting my wax wings.

[joytri]

[coffeeandcalligraphy]

things I do to unstick my book

(I’m a pantser!)

Ask if this scene really needs to be a scene or if I can just summarize it

Ask if this summary really needs to be summary or if I need more scene

Write a very focused, very pretty sentence

Circle back a couple scenes & ask if one of them is causing “symptoms” later in the book

Get in and get out (push through a tough scene as fast as possible & then run forward and fast like wind to the next bit)

Add an exciting element (a new character, a change of location, other… things ;))

Pause and revise if I’m feeling destabilized

Be specific about what I DON’T like (example: I can’t get past this scene because the dialogue is so mechanical instead of “ahhh I hate it all”)

Read what I last wrote aloud (to hopefully sink into some momentum) OR get a robot to read it to me

Try a teeny tiny writing sprint (1-5 minutes of nonstop writing)

Write a flashback (bonus points if it’s connected emotionally or plot-wise to the fictive present)

Read from a literary godparent (this is when you pull out the books/stories/poems etc that make you excited about writing!)

Write or brainstorm every possible direction of a scene (sometimes grueling, sometimes worth it)

Sit and think (in a bathtub, on a walk—try to immerse yourself in your story like you’re a random character who got plopped in there; what do you see?)

Method write

Find a word that excites you and use that in your next scene

Double check if you’re hitting the right story beats (or if you skipped one, spent too long on one, spent too little on one, etc)

Write “bare bones” and come back to fine tune it later (similar to get in and get out)

Write with your eyes closed (be warned of incomprehensible text if you can’t type with closed eyes)

Break down your causal chain bit by bit (even the boring parts) and see if there’s a broken link. Then delete the boring parts (sometimes we just need to see how EXACTLY we got to a place and how EXACTLY that leads us to the important bit–I find I missed something critical when I do this).

Rely on crutch words, boring details & trust you can edit it later (sometimes the idea of perfection in draft 1 can be unproductive)

Ask a friend to read the work & tell you what they think (sometimes we need help; writing is hard)

Ask a friend for a compliment read (sometimes we just need to be hyped up)

Change the tense (temporarily & be warned that different tenses may require different approaches when drafting, I only do this when I’m not sure what else to try)

Talk myself through the problem as if I’m talking to a friend (I pull up my notes and literally start typing: “so I’m struggling with XYZ scene right now for XYZ reason and I don’t know what to do. What if XYZ happened, or what if I changed XYZ?”)

Take a break—sometimes I’m just tired/burnt out/not in the mood to write (that’s okay!)

I post more tips I’ve picked up along the way on youtube!

[thewritingumbrellas]

Writing advice from my uni teachers:

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.

[writerlyn]

This is legit good writing advice, especially the first bullet point! In playwriting class we did a bit where every bit of dialogue had to be an accusatory question and it was glorious.

[mapsontheweb]

US climate with equivalent cities from around the world.

Keep reading

[shabbytigers]

This is the greatest map I have ever seen. I want an interactive version where you can click on any city in the world and get a pop-up list of all the climate-equivalent cities.

[shabbytigers]

so it turns out this exists and it makes a fine rabbit hole for passing the time during a conference call

[queenbookwench]

OK, this is super neat and also a great tool for writers’

[skinhorses]

tender quotes:

1.  “The number of hours we have together is actually not so large. Please linger near the door uncomfortably instead of just leaving. Please forget your scarf in my life and come back later for it.” (mikko harvey, from “for m,”)

2.  “I still feel like the world is a piece of bread, I’m holding out half to you.” (eileen myles)

3. “Wherever you are it’s okay. You can come back from it. Whatever happened to you down there, whatever the world looks like now, that’s not how it always looks. That’s not how it’s always going to look. There’s more. There’s always more.” (patrick ness, from “more than this”)

4.  “I was making dinner and I got a message. Go look outside, she said, go look at the sunset. My apartment is small, with four rooms and two windows that don’t see much light so I had no idea. I pulled my coat on and hurried out. I was running to this sunset, suddenly the only thing that mattered. I hurried past the taller buildings to the park and the sky was leaking shades of pink and purple. It was beautiful and fleeting, there one minute and gone the next. I would’ve missed it; I almost kissed it. And so I started thinking, how great it would be to get a nudge, a tap on your shoulder, a moment or two before your life changes. Stop what you’re doing and look around, you’ll want to remember this later. In a minute, you’re going to fall in love.” (kelsey danielle, from “unexpected sunset”)

5.  “Today is a day like any other: twenty-four hours, a little sunshine, a little rain. Listen, says ambition, nervously shifting her weight from one boot to another―why don’t you get going? For there I am, in the mossy shadows, under the trees. And to tell the truth I don’t want to let go of the wrists of idleness, I don’t want to sell my life for money, I don’t even want to come in out of the rain.” (mary oliver, from “black oaks”)

[fandomsandfeminism]

“What? Like, a disabled protagonist? How would that even work? How could someone with a disability be the hero in an action show?” local anime trash boy wonders while sitting next to his box sets of Full Metal Alchemist, showing no hint of irony or self awareness. 

[artifactoftoday-deactivated2018]

but is Ed really disabled? sure I get he lost his arm and leg

but he’s still able to move and do things perfectly

[fandomsandfeminism]

He has prosthetics. Having prosthetic limbs (that more than once break amd need repair) doesnt make him not disabled

[ladyloveandjustice]

It should also be noted that Ed:

-had to undergo very painful surgery to get automail

-had to relearn how to write because of his prosthesis (there’s a post going around showing he had to switch hands etc) and his handwriting is likely a lot worse due to that. This means automail isn’t super good for delicate work, unsurprising, considering what it’s made of. 

-experiences phantom limb pain and therefore other associated stuff (this was only really shown in the manga)

-cannot go anywhere too cold without changing his automail or he’ll get really bad frost bite and it will stop working

-cannot go anywhere too hot, period, because the metal attached and under his skin will overheat and he will be badly burned

-Reattachment is painful, but needs to be done frequently if he breaks or outgrows his automail

- it’s HEAVY so much so that the strain has the potential to cause stress on his body, enough that it’s even theorized as possibly stunting his growth.

-it requires regular maintenance or it will break down, as shown when he forgets to do that and it…breaks down

-when it does need to be repaired, it takes time to do that, during which Ed uses regular prosthetics (that usually don’t quite fit him).

-costs a lot of money (not a problem for Ed due to high state alchemist salary/having mechanics as surrogate family, but explicitly noted to being the reason why most people in the fmaverse stick to regular prosthetics along with the painful surgery)

So Ed can’t actually do everything perfectly and experiences a lot of extra hassle, problems and pain people without automail don’t have to deal with!  And any advantages he does have are more suited to fighting than day to day life (being able to incorporate weapons/fake out people who want to blow up his arm). 

Arakawa did her research and thought it through. Automail is by no means a magic cure that solves all problems associated with losing a limb.

[i-aint-even-bovvered]

This is barely an addition, but I’m pretty sure it was proven that it stunted his growth. It was mentioned in Dublith, and then Winry made him lighter automail in Briggs. Now, after a couple of days of being together, the two of them don’t meet up again for months.

When they finally meet up again:

You could argue something about angles here, but at the end of the series?

In conclusion, the original automail did stunt his growth.

[adrunkensailor]

As a writer, creating a disabled character can often be difficult. Ed only worked because the world he was created in has very advanced prosthetics which (despite some draw backs) move and acts exactly like real limbs. It’s a very particular case and required some additional write-arounds to make work. And plus the disability factored into the story which is good.

In many scenarios a disabled character simply wouldn’t work. And a writer isn’t obligated to make their character disabled.

[fandomsandfeminism]

Give an example of a story in which none of the characters truly and honestly could not be disabled in some form or fashion. Explain how it “simply wouldnt work.”

Because Im a writer, and that sounds like unimaginative laziness.

[gay-jesus-probably]

Yeah I have no idea how disabled people could possibly be heroes, that’s why Luke Skywalker had all his limbs and appendages through every Star Wars movie, cause if he had a prosthetic he wouldn’t work. And that’s why Tony Stark is never written as having a life threatening heart condition and being on 24/7 life support surgically implanted into his body, then it just wouldn’t make sense for him to be Iron Man. And it’s why Bucky Barnes has all his limbs too, and why Daredevil’s known for having eyes that definitely work. And who could forget that memorable scene at the end of the first How To Train Your Dragon movie where Hiccup slays the Red Death, and then immediately jumps up and talks about how great it is he didn’t lose a foot in the process, before going on to be the lead in six TV seasons and another two movies, while definitely having both feet. God knows people are helpless the second they aren’t completely abled.

Like… the thing about disabilities is that there is always going to be a work around. That’s kind of how it works. If someone is born disabled, or suddenly becomes disabled, they don’t just shrug and go “oh well guess i’m never doing things ever again”. This may shock you, but disabled people actively work to adapt to their situation and find ways to lead the life they want to lead. So people missing limbs are going to have prosthetics, and they’re going to know what they’re doing with them, because that’s kind of the point of having a prosthetic in the first place. People missing senses will find ways to fill in the blanks that leaves behind, cause they still have lives to lead and they figure it out as they go.

Believe it or not, disabled people don’t magically stop being disabled when they’re not completely helpless.

[kipplekipple]

Just nudging in to remind everyone that a lot of us are adapted to living in conditions abled people would struggle with a lot more. Like post-apocalyptic wasteland that isn’t suitable for human travel? I call that going to Tesco. World full of people who randomly hate you and wish you ill? That’s being visibly neurodivergent. We spend more time than you ever will, thinking about unconventional travel hacks and ways to avoid potentially dangerous conflict with others. You think in the event of some cataclysmic event, you’re just suddenly going to learn those skills? Go roll a manual wheelchair across 10 metres of pavement with a gentle camber and come back to me.

[derinthescarletpescatarian]

The idea that in most cases a disabled character “simply wouldn’t work” is baffling to me. I mean, you’re not gonna make a blind sharpshooter without superpowers or extremely advanced equipment, but you can make a legless sharpshooter. You can make a blind romcom protagonist. You can make a mute military general, a one-armed assassin, and the neurodivergent detective is its own tired cliche at this point. There’s nothing about disability that straightup makes a character “not work” without advanced tech or magic. It isn’t even hard. Writers will spend three hours learning about the history of cheesemaking to write a dinner scene, it’s not hard to learn about disabled people. It’s just lazy.

In fact, just writing the sharpshooter example reminded me of Juno Steel. Juno Steel (from The Penumbra Podcast) is a private eye on Mars whose main marketable skill is his excellent sharpshooting abilities. His need (and ability) to perfectly hit a target comes up a LOT. Partway through the podcast, he loses an eye, and becomes unable to shoot anything (which, given the large amount of somewhat ridiculous shootouts he ends up in, is a serious problem). He compensates for this via the “superpower” route, getting a cutting edge bionic eye that can do all sorts of cool things for him, including making him an even better sharpshooter, AKA Toph or Daredevil or… a lot of blind characters, actually. (Why is it so common to give blind characters superpowers that just come out as ‘a different kind of sight that’s EVEN COOLER?’) The new eye goes great, saves his life many times, he’s a cool private eye with a cool implant that makes his sight even better, yeah! Until… it turns out that the technology can’t be trusted. And he goes through a painful and extremely dangerous process to get it removed again.

He’s a sharpshooter, without any superpowers, and one eye. Who can’t shoot. So, what does he do?

He trains under another sharpshooter. (Who’s also disabled, by the by.) He trains under her every single day, for a really long time, putting in the hours to compensate for the lack of depth perception he once relied on so heavily. Until he can hit a target again. Until he can hit a target reliably again. Until he can hit a target reliably and, faced with a near-impossible shot, still evaluate the risks and take the shot without being paralysed by his own insecurity.

Juno Steel is a sharpshooter with one eye. So… I guess I was wrong, in the first paragraph. You CAN make a (partially) blind sharpshooter who doesn’t use magic or extremely advanced equipment, and make it one of the most interesting podcasts on the internet.

[thunderoad]

“People can’t anticipate how much they’ll miss the natural world until they are deprived of it. I have read about submarine crewmen who haunt the sonar room, listening to whale songs and colonies of snapping shrimp. Submarine captains dispense “periscope liberty” - a chance to gaze at clouds and birds and coastlines - and remind themselves that the natural world still exists. I once met a man who told me that after landing in Christchurch, New Zealand, after a winter at the South Pole research station, he and his companions spent a couple of days just wandering around staring in awe at flowers and trees. At one point, one of them spotted a woman pushing a stroller. “A baby!” he shouted, and they all rushed across the street to see. The woman turned the stroller and ran. Nothing tops space as a barren, unnatural environment. Astronauts who had no prior interest in gardening spend hours tending experimental greenhouses. “They are our love,” said cosmonaut Vladislav Volkov of the tiny flax plants - with which they shared the confines of Salyut 1, the first Soviet space station. At least in orbit, you can look out the window and see the natural world below. On a Mars mission, once astronauts lose sight of Earth, they’ll be nothing to see outside the window. “You’ll be bathed in permanent sunlight, so you won’t eve see any stars,” astronaut Andy Thomas explained to me. “All you’ll see is black.””

— Mary Roach. Packing for Mars: The Curious Science of Life in the Void.  (via hummeline)

[crittizen]

since the cowboy and the samurai were both dying out in the 1800s i want an action adventure historically wildly inaccurate comic about the last cowboy and the last samurai teaming up BUT one of them is gay and the other doesn’t understand what being gay is and there are multiple comedic mishaps resulting from this

[crittizen]

after lots of frantic googling of “were samurais gay” “were cowboys gay” “how did gay samurais work” “did gay cowboys love each other” ad nauseam i have decided that it’s actually funnier if both the cowboy AND the samurai are gay but not for each other and also they both have their very culturally specific understandings of gay social politics so both of them still are equally like “dude why are you like this” to each other

[crittizen]

samurai, trying to comfort the cowboy who just got dumped over pony express: when my lover left me for another man, i killed both him and his new lover, and proved to all in shudo that it is what happens when you leave me for another, and i felt much lighter. would doing that also help you?

cowboy, absolutely reeking of the flask, who stopped howling purely out of confusion to try and figure out if the samurai was being serious: dude what the fuck is wrong with you

[crittizen]

the depictions of homosexual identity at the time are painstakingly accurate and very clearly heavily researched, and this is purposefully in direct contrast to how absolutely absurd and crazy the entire rest of the premise of the comic is

[vividviverrid]

"what advice do you have for new writers?" well i could say the typical (but important!) "practice" "read books" but my PERSONAL advice as someone who's been writing since he was a toddler is as follows: feel every emotion u can & touch every texture u can & search for obscure facts or antiquated words or animal behavior or something you wouldn't normally think about. the most arbitrary things can bring inspiration. branch out! leave your comfort zone and seek things that are new & unknown to you. learn to find wonder and beauty in some aspect of the world, but hopefully many aspects. learn how to be patient tbh. fall in any kind of love with anything. most importantly treat yourself with kindness and care and forgiveness - i get wanting to write about pain, trust me, but also trust me, your writing will evolve as your perception of yourself softens. oh yeah and always have a pen on you

[faelanvance]

Oh, I love this.