Yes, this is Luo Yi Rong, who absolutely is the same sculptor from that astonishingly inept self-own by an idiot.
His wife left him?? XD

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@nerd-spikey
Yes, this is Luo Yi Rong, who absolutely is the same sculptor from that astonishingly inept self-own by an idiot.
His wife left him?? XD
Rumi accidentally injures Celine during their confrontation under the tree but she doesn’t notice as she’s not in the best headspace and Celine no sells it. Doesn’t realize Celine is hurt till she finally decides to reconnect again and Celine won’t tell her how she got injured.
[And you might ask, hey aren't you busy writing that "short fic"? And I would say, yes. Don't worry about it. I definitely know how to allocate my time properly between all my projects. Everything is fine.]
//
In all honesty, Rumi didn't remember much of her argument with Celine.
Between the heartbreak of having everyone she trusted -- and yes, she had to admit to herself that she did trust Jinu, even if it had been a mistake -- turn on her and the despair-panic of facing against Gwi-ma himself, her talk with Celine had blended into a gray haze in the back of her mind. To be brought to the forefront of her mind when she was trying to relax; a memory of where she personally humiliated herself in front of her Celine that she couldn't talk to her girls about because, well, how else was anyone supoosed to take, "do what you were supoosed to."
my pronouns are she/her bc I'll never be him (anthony head playing on his pink ds in full costume on the set of merlin)
RIP King
Strange racists and homophobes on the internet seem to have access to an alternate way cooler version of TV than me. "every white character on TV is in an interracial relationship" "every show has a gay couple in it" "main characters keep having to secretly be bisexual and nonbinary" "every show has gratuitous full frontal nudity" like damn promise?? What channel???
as a black gay person real like where y'all be finding this stuff pass the name
for real though, those DO NOT WATCH OR YOU'LL CORRUPT YOUR CHILDREN lists put out by conservative christian family groups is where I find all the stellar tv shows. Like, shit I didn't know half of those existed, thanks for finding them for me, gonna go watch 30 hours of gay tv now!
I think I know how this works.
For personal context, before I went to the '98 Burning Man festival, one of the things I'd read from a couple different journalists was that "everybody" runs around naked. Which, fine by me, I'd already spent a lot of time in clothing-optional spaces, I'm not fanatic about it but it's nice.
So I got there early and set up a public shade structure on one of Black Rock City's main roads and spent most of each afternoon just watching the crowds go by. I don't remember seeing more than one actually naked person the whole week. I think a topless woman passed by my intersection maybe every half an hour, sometimes once an hour. So why in the hell were people, normally pretty smart and observant writers, coming away with the impression that everybody was naked?
Then I remembered an unrelated passage from Joel Garreau's great book about the history of the outer-ring suburbs, Edge City. Mall developers told him flat-out that they tried to keep the crowds in their malls less than 5% black. Not because they themselves were racist, but because they had determined, experimentally, that if more than 5% of the people in the mall are black, the median white shopper will wrongly describe the mall as at least half black, as mostly black. And not a few of them would describe it, at 6% black, as a mall where "only black people go." Why?
Because, emotionally, they were still upset over the last one when the next one came into view.
Same as the journalists describing Black Rock City as all naked. Same as the right-wing religious culture warriors describing television as entirely mixed-race and gender non-conforming. Not because it's even vaguely true, we know that, but because they haven't gotten over their discomfort over the last one by the time the next one comes along. The anger, not the stimulus, is the part that's continuous, so their mind lies to them that it's "all" the thing they can't get over.
Similar effect for the presence/proportion of women in things, by the way: https://health.howstuffworks.com/mental-health/human-nature/perception/how-17-equals-496-the-amazing-multiplying-women.htm
What’s the solution then? Or if there’s no solution, should we make things even queerer and more diverse?
Adding this from a comment on Reddit:
"If there's no solution, should we just make things even queerer and more diverse?"
Unironically, yes. Edge City was written in 1991 - do you think 5% is still the threshold for the "median white shopper" to describe the mall as half black, 35 years later? I'd be very surprised if so.
Except for a small minority of extremely hateful people, things like outrage and discomfort can't be sustained. They fade with time and exposure. This is the same idea with the Overton Window, it's what we mean when we say "normalization".
For some people, and in some ways, that idea of "normalcy" is locked where it was in your childhood, but most people are more pliable than we like to think. Marketing and propaganda are massive industries for a reason - what we see affects how we act and how we see the world, often without us realizing and in ways that aren't comfortable to admit.
So yeah, making things more queer and more diverse isn't giving up on a solution, it IS the solution.
Source: https://www.reddit.com/r/CuratedTumblr/s/5k5VwmIZwR
Writing advice #?: Have your characters wash the dishes while they talk.
This is one of my favorite tricks, picked up from E.M. Forester and filtered through my own domestic-homebody lens. Forester says that you should never ever tell us how a character feels; instead, show us what those emotions are doing to a character’s posture and tone and expression. This makes “I felt sadness” into “my shoulders hunched and I sighed heavily, staring at the ground as my eyes filled with tears.” Those emotions-as-motions are called objective correlatives. Honestly, fic writers have gotten the memo on objective correlatives, but sometimes struggle with how to use them.
Objective correlatives can quickly become a) repetitive or b) melodramatic. On the repetitive end, long scenes of dialogue can quickly turn into “he sighed” and “she nodded” so many times that he starts to feel like a window fan and she like a bobblehead. On the melodramatic end, a debate about where to eat dinner can start to feel like an episode of Jerry Springer because “he shrieked” while “she clenched her fists” and they both “ground their teeth.” If you leave the objective correlatives out entirely, then you have what’s known as “floating” dialogue — we get the words themselves but no idea how they’re being said, and feel completely disconnected from the scene. If you try to get meaning across by telling us the characters’ thoughts instead, this quickly drifts into purple prose.
Instead, have them wash the dishes while they talk.
To be clear: it doesn’t have to be dishes. They could be folding laundry or sweeping the floor or cooking a meal or making a bed or changing a lightbulb. The point is to engage your characters in some meaningless, everyday household task that does not directly relate to the subject of the conversation.
This trick gives you a whole wealth of objective correlatives. If your character is angry, then the way they scrub a bowl will be very different from how they’ll be scrubbing while happy. If your character is taking a moment to think, then they might splash suds around for a few seconds. A character who is not that invested in the conversation will be looking at the sink not paying much attention. A character moderately invested will be looking at the speaker while continuing to scrub a pot. If the character is suddenly very invested in the conversation, you can convey this by having them set the pot down entirely and give their full attention to the speaker.
A demonstration:
1
“I’m leaving,” Anastasia said.
“What?” Drizella continued dropping forks into the dishwasher.
2
“I’m leaving,” Anastasia said.
Drizella paused midway through slotting a fork into the dishwasher. “What?”
3
“I’m leaving,” Anastasia said.
Drizella laughed, not looking up from where she was arranging forks in the dishwasher. “What?”
4
“I’m leaving,” Anastasia said.
The forks slipped out of Drizella’s hand and clattered onto the floor of the dishwasher. “What?”
5
“I’m leaving,” Anastasia said.
“What?” Drizella shoved several forks into the dishwasher with unnecessary force, not seeming to notice when several bounced back out of the silverware rack.
See how cheaply and easily we can get across Drizella’s five different emotions about Anastasia leaving, all by telling the reader how she’s doing the dishes? And all the while no heads were nodded, no teeth were clenched.
The reason I recommend having it be one of these boring domestic chores instead of, say, scaling a building or picking a lock, is that chores add a sense of realism and are low-stakes enough not to be distracting. If you add a concurrent task that’s high-stakes, then potentially your readers are going to be so focused on the question of whether your characters will pick the lock in time that they don’t catch the dialogue. But no one’s going to be on the edge of their seat wondering whether Drizella’s going to have enough clean forks for tomorrow.
And chores are a cheap-n-easy way to add a lot of realism to your story. So much of the appeal of contemporary superhero stories comes from Spider-Man having to wash his costume in a Queens laundromat or Green Arrow cheating at darts, because those details are fun and interesting and make a story feel “real.” Actually ask the question of what dishes or clothing or furniture your character owns and how often that stuff gets washed. That’s how you avoid reality-breaking continuity errors like stating in Chapter 3 that all of your character’s worldly possessions fit in a single backpack and in Chapter 7 having your character find a pair of pants he forgot he owns. You don’t have to tell the reader what dishes your character owns (please don’t; it’s already bad enough when Tolkien does it) but you should ideally know for yourself.
Anyway: objective correlatives are your friends. They get emotion across, but for low-energy scenes can become repetitive and for high-energy scenes can become melodramatic. The solution is to give your characters something relatively mundane to do while the conversation is going on, and domestic chores are not a bad starting place.
I actually first learned this lesson when doing improv. Always have your character doing something, but don’t make the scene about what your character is doing. Come in and start putting groceries away and confront your roommate about sleeping with your boyfriend while you’re putting the groceries away. Be working in a clothes store folding shirts and be reunited with your long-lost cousin while working. Etc etc.
And then much later (partially bc I started writing regularly years after I started doing improv but even then it took me way too long to figure it out) I realized this can be applied to writing, and it’s great. Anytime there’s a long dialogue scene and it feels flat, rewriting it so they’re doing something else - something that on the surface is totally unrelated to the conversation - is a sure-fire way to make it more dynamic and open up whole new avenues for conveying thoughts and feelings to the reader.
We learned this in my comic mfa program as well. Comics are a showing over telling medium but sometimes you have to do a “talking heads” section where it is just characters talking at length and having your characters doing an activity makes the panels you draw more engaging. It gives you more options for framing things as well.
i get the vibe that people are reading less fic these days. confirm/deny?
in terms of reading fanfiction in the last six+ months...
i have been reading less fic lately for various reasons
i have been reading less fic and i'll tell you right now it's because of AI
i would like to read more but i'm in a fic reading slump
i never read all that much fic (less than one story per week)
i almost never read fic (less than once a month)
i read the same amount of fic as ever
i have been reading more fic lately
nuance/bald/i'll tell you in comments
"because of AI" i mean because of the number of fics that are written using AI.
i know you said we ride at dawn but i’m not a morning person actually. can we ride after lunch
Ummm she's literally sensitive :/
love is in the air? wrong. evil skull
Can I be honest with yall I don't want to hear SHIT against cishets at pride this year
"But it's not FOR them!!!" The biggest military power in the world belongs to a christofascist nation overseen by a felon found guilty of 34 federal crimes and has greenlit a gestapo with more direct funding than the entire military of Canada for the purpose of ethnic cleansing. Let Hetero Jessica throw some biodegradable glitter at a municipal parade
At this point if anyone is trying to exclude anyone benignly pro-queer from a pro-queer space I'm just going to assume you're a fed or something idk like something something destabilize the movement from within or whatever
soft rumira
This Pride, may you always remember to-
Be who you are
Love who you love
Be weird without fear
Be a freak without danger
Find community without division
Seek the truth with eyes unclouded
kind of a milf.
On Our Backs portrayed lesbian sex and sexuality, with real lesbians.
Created by, for, and about lesbians, On Our Backs came about in the tumult of the “feminist sex wars,” a deeply polarizing internal debate in the feminist movement regarding sex, sexuality, pornography, erotica, and BDSM. Divided into sex-positive and anti-porn camps, the sex wars saw rabid disagreement on what the nature of things like pornography were doing for lesbians and for society as a whole. Many feminists argued that pornography and erotica were inherently objectifying and abusive. Writer and theorist Andrea Dworkin argued that not just pornography but heterosexual sex as a whole was a “means of physiologically making a woman inferior,” and claimed that anyone aroused by porn that depicted sexualized violence (whether real or scripted) “was evidence of a mind that’s absorbed the propaganda of the patriarchy and eroticized the subjugation of women.” On the flipside, sex-positive feminists argued that pornography itself was not an inherent evil, but rather its morality was dependent upon the creators and participants. Rubin, one of the founders of the lesbian feminist BDSM group Samois, believed sexual liberation was a key component of the feminist movement and that public expressions of female sexuality were crucial in asserting women’s existence as fully realized beings.