Epsilon

23 yo, INTP, Writer and french (sadly)

[digitalkiddo]

If you're writing anything involving cons, scams, heists, or morally questionable characters who are very good at lying, here are some free resources I've been using for research. Saving you the "why is this in my search history" anxiety.

1. The FBI's Famous Cases & Criminals archive (fbi.gov/history/famous-cases) has detailed breakdowns of real fraud cases, Ponzi schemes, and confidence operations. The language they use is clinical and precise, which is perfect for getting the procedural details right.

2. The FTC Consumer Sentinel Network publishes annual reports on the most common fraud tactics in the US. Great for understanding how modern scams actually work and what makes people fall for them.

3. The Smithsonian's American Art Museum has a free digital collection of forgery case studies. If your character forges documents or art, this is gold.

4. Court Listener (courtlistener.com) is a free legal database where you can read actual court transcripts from fraud trials. Want to know how a real con artist talks under oath? This is where you find out.

5. The Internet Archive's collection of old newspaper crime sections. Search for "confidence man" or "swindle" in papers from the 1920s through 1960s and you'll find incredible real stories that would feel too dramatic for fiction.

Bonus: The Psychology of Fraud section on the Association for Psychological Science website has accessible articles about why people trust, how deception works cognitively, and what makes someone a convincing liar. Essential reading if you want your con artist characters to feel psychologically real.

Reblog to save for later. Your WIP will thank you.

[aq2003]

honestly it really is sick and twisted that the anne hathaway twelfth night photoshoot is one of tumblr's favorite images but that actual production is like. lost media

[cash4bees]

I think the reason I still enjoy tumblr is that even though this all still pisses me off, I know that anything that makes me mad on here is 100% earnest. It's not ragebait or engagement farming, y'all are actually just that stupid sometimes

[bencan-t]

Ok I just watched this and it slapped, so here's your reminder that Twelfth Night with Lupita Nyong'o, Sandra Oh, Peter Dinklage, Moses Sumney and more "holy shit, wow" people is FREEEEE to watch rn on the PBS website if ur in the U.S.

Twelfth Night ~ About | Great Performances | PBS

The Shakespearean comedy of mistaken identity starring Lupita Nyong'o, Sandra Oh, Peter Dinklage, Jesse Tyler Ferguson, Junior Nyong'o and m

[ransomnote]

every fleetwood mac documentary i've ever watched is like "the band was at the height of their success, enjoying the fame rolling in from their #1 hit 'i know about the other woman, lindsey'. however, nobody could have sensed the tension brewing between members."

[ransomnote]

"the group initially disbanded immediately after the release of the single 'well get the fuck out if you're going to be like that', leaving thousands of fans shocked."

[nationwidedornermoment]

The last of the classically trained tumblrinas

[livsmessydoodles]

go my silly little hobbits

[catcrumb]

[mortalityplays]

This is a dangerous sentiment for me to express, as an editor who spends most of my working life telling writers to knock it off with the 45-word sentences and the adverbs and tortured metaphors, but I do think we're living through a period of weird pragmatic puritanism in mainstream literary taste.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

And it's risky, because unmeasurables come with the possibility of rejection or failure. Drop in too many allegorical descriptions of the rose garden and someone will decide your prose is 'purple' and unserious. A lot of online audiences seem to be terrified of being considered pretentious in their tastes. That creates a real unwillingness to step out into discursive spaces where you 🫵 are expected to develop and explore a personal relationship with each element of a work. No guard rails, no right answers. Word of god is shit to us out here. But fear of getting that kind of analysis wrong makes people hove to work that slavishly explains itself on every page. And I'm left wondering, what's the point of art that leads every single participant to the same conclusion? See Spot run. Run, Spot, run. Down the rollforth land, yonder horizonways. I just want to read more weird stuff.

[octobersfeast]

Do you have any suggestions for letting go and improving WITH your weird shit? I'm in university for Creative Writing and I haven't been taught SHIT other than how to engage with a text and how to continue to write at my highschool base-line level. No teaching, no instruction, only critiques of mine and my peers work that doesn't inform us of much in the long run.

I'm desperate for help, if you have Anything it's much appreciated. I'm asking because I felt seen in this post

[mortalityplays]

1. READ. Read widely, read deeply, read slowly when a text demands time. Seek out work that seems strange or challenging. If/when you need to pick up something that's deep in your comfort zone, read consciously. If a passage hits you as dense and difficult, ask yourself why: word choice? complex nesting of concepts? are you distracted, or did you misinterpret something a few lines back? If a passage feels easy and fun, ask yourself why: satisfying rhythm? clear set-up and follow-through? Look for experimental texts, read more poetry even if you don't want to write poetry. The more experienced you are with the vast flexibility of the written word, the more confident and natural your own experimentation will get.

2. Try things out. You don't have to show them to anyone. Sometimes a stylistic idea will get stuck in my head and I just have to write freeform for a couple of thousand words to see how it feels on the page. One time in college I was possessed by the urge to write the vilest, foulest, most unsympathetic and filthy first-person narrative just to figure out how it would actually read, so I scribbled out a couple of pages until it was out of my system. I never did anything with those passages, but they're in my repertoire now, I know how that material hits. I'm always comparing writing to chefing - not everything you cook is a restaurant meal. You can experiment with flavours in your own kitchen, where you are free to make something completely unpalatable and then toss it right out with a better understanding of the process.

3. Be less scared. This isn't just directed at you, it's directed at everyone, and at me. Someone I know once brought a personal piece of writing to a writer's group, about the way her mother's death affected her. Someone in the group was absolutely scathing about it, because they felt that the way she reacted to and wrote about the bereavement was inappropriate. What a horrible experience! What an awful, unhelpful critique. But it didn't shake her, because she knew what she had felt and was steadfast in her right to express it. Sometimes (often, even) criticism will come from angles that are literally just not relevant to what we've set out to do. Like I said in the original post, a lot of readers are kind of ambivalent or hostile to weirdness at the moment. But if weirdness is your goal, those people are simply not your audience. It's a lot easier said than done, but have faith in your own intentions and your own taste. Listen to criticism, but always ask yourself 'will this help me accomplish what I want this piece to accomplish?' It is not the end of the world to be temporarily misunderstood.

[pixiecaps]

big fan of whatever the youth is doing to torment scientology buildings

[pixiecaps]

they couldnt take the heat

[doctordotdj]

[milanesa42]

“The employees need a larger salary” “hmmmm large celery”

[jamesroach]

4:35 Blaze it sorry traffic was crazy

[jamesroach]

oh we missed the ten year anniversary of the worst post i’ve ever made

[professionalchaoticdumbass]

traffic again?

[crustystherat]

Random thing for people to consider is that since Laika is the saint of one way trips should Felicette be known as the saint of safe landings since she did make it back to the ground safely

[somefishycat]

tu LANCES félicette ? tu lances son corps comme la fusée ? oh ! oh ! prison pour les scientifiques ! prison pour les scientifiques pendant Un Mille Ans !

[halondrus]

I CANNOT GET THIS VIDEO OUT OF MY FUCKING HEAD. HUNGRY HUNGRY PIZZA FOR ME. MY HUNGRY ASS WILL EAT JUST ABOUT ANYTHING!

[akiragatr]

Tumblr is super big on the "I didn't say it was good, I said I liked it" but really need to discover the value in its opposite of "I didn't say it was bad, I said I hated it".

You can acknowledge that something is good, great, a masterpiece even, and just straight-up not enjoy it.

[bigenderweed]

everyone make sure to set out cheese & crackers for neil tonight <3

[intergalacticboner]

What the fuck have I been clicking on man

[yummycactusjuice]