Tag your oc with social anxiety.
You know the one.
occasionally subtle
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Tag your oc with social anxiety.
You know the one.
I don’t want my kids growing up afraid to tell me things. You drank? Okay. You smoked? Okay. You’re struggling? That’s alright. I want them to be able to talk to me without feeling like they’re going to be punished, so they end up isolating and keeping things from me. I want them to feel safe opening up to me without fear or judgment. When it’s hard to trust anyone nowadays, I want them to know I am always here, even when everyone leaves.
“When you punish a child for their honesty they begin to lie.”
as of tonight with the lesbian couple from empire dying, here is the list of lesbian and bi women characters killed on tv in the first just over 3 months of 2016:
zora - the shannara chronicles
carla - code black
julie - mao the expanse
rose - jane the virgin
ashleigh - janet king
lexa - the 100
kira - the magicians
denise - the walking dead
nora and mary louise - the vampire diaries
mimi and camilla - empire
that’s 12. in just over 3 months. this report from 2015 says there were 35 lesbian or bi women characters on television. so far in the first quarter of 2016, over one-third of them have been killed off.
this is not okay.
Writer’s Mood Ring Colors, by M. Kirin.
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book of secrets
Miss Peregrine's Home for Peculiar Children | Official Trailer [HD] | 20th Century FOX
The Lodge at Gallow Green
Tv Writers: *Ruin your ship*
Fanfic Writers:
“It is our choices, Harry, that show what we truly are, far more than our abilities.”
—Harry Potter and the Chamber of Secrets
20 Basic Plots
These basic plots are from the Tennessee Screenwriting Association, but I thought it would be useful to share them with you all. Many writers believe that there are only so many “basic plots” that make up a story, 20 of them to be exact, and that it all depends on how you develop these plots. This is the same idea that there are only so many story arcs, and that all of our stories fit into a certain category. This is not to say you can’t create something that is uniquely yours, because you can mess with these elements, but when cut something down to the bare bones—nothing is really original. These recognizable story forms work and that’s why they’re used over and over again. Here are the 20 basic plots—
1. QUEST – the protagonist is searching for something (person, place, thing, or idea) and is on a journey to find it.
2. ADVENTURE – the protagonist searches for their fortune, but has to leave home to do it.
3. PURSUIT - hide-and-seek plot, one group or person chasing another.
4. RESCUE - the protagonist is searching for someone or something that needs to be saved—this usually involves protagonist, victim, and antagonist.
5. ESCAPE – the protagonist wants to escape some sort of situation, on a quest to get away.
6. REVENGE - retaliation against someone else for wrong-doings.
7. THE RIDDLE - the protagonist’s search to find the hidden meaning of something.
8. RIVALRY - the protagonist is competing for same object or goal as another person.
9. UNDERDOG – the protagonist has a great disadvantage and faces overwhelming odds while trying to reach his or her goals.
10. TEMPTATION – the protagonist is tempted into doing something that is unwise, wrong or immoral.
11. METAMORPHOSIS - the physical characteristics of the protagonist actually changes from one form to another.
12. TRANSFORMATION - the protagonist journeys through a stage of life that moves them from one significant character state to another.
13. MATURATION - the protagonist faces a problem that causes them to learn from it and mature into adulthood.
14. LOVE - the protagonist overcomes the obstacles that prevent him or her from engaging in true love.
15. FORBIDDEN LOVE – the protagonist overcomes obstacles that prevent him or her from true love, but sometimes find the outcome too high a price to live with.
16. SACRIFICE - the protagonist is motivated by a higher purpose such as love, honor, and charity or for the sake of humanity.
17. DISCOVERY - the protagonist, having to overcome a life-changing event, discovers a deeper meaning of life that changes their outlook.
18. WRETCHED EXCESS - the protagonist pushes the limits of acceptable behavior to the extreme and is forced to deal with the consequences.
19. ASCENSION – this rags-to-riches plot deals with the rise of the protagonist due to a dominating character trait that helps them to succeed.
20. DECISION – this riches-to-rags plot deals with the fall of the protagonist due to dominating character trait that eventually destroys their success.
It’s easy to see that some stories can fit into a few of these categories and you can build your story up around several of these basic plots. Generally, a story will fit into one category more than another. There are many references on basic plots, and not all writers have the same opinions on it, so it helps to research them yourself. I just thought this might give you a little motivation or help you structure your story better.
- Kris Noel
Writing is a form of therapy; sometimes I wonder how all those who do not write, compose, or paint can manage to escape the madness, melancholia, the panic and fear which is inherent in a human situation.
Graham Greene, Ways Of Escape (via wordsnquotes)
I want to hear the rant so I'll ask: why do you dislike Rainbow Fish?
Alright. Strap yourselves in, darlings.
Firstly, you must be aware that I was an intensely individualistic and self-aware five year old, and fairly intelligent as well. By kindergarten I had already worked my way through my children’s Bible, the dictionary, and half of the Chronicles of Narnia, just to name a few books, so even in pre-school I was often given the task of reading to the other children, a task I mostly enjoyed.
In kindergarten, my teacher would usually have me do this with whatever book we were discussing that week, so that she could have time to clean up the mess from our other activities. One week that happened to be that Rainbow Fish book. At the time I was going through a phase where I wanted to be a marine biologist, so everything ocean related was good for me, and at first I liked the design and layout of the book - I remember being very tactile with the shiny scales on the fish.
And then, as I read the entire thing aloud to my classmates, I had a new emotional experience: pure, unadulterated, seething rage.
Look, the moral of that book is supposedly “sharing is good!” which, hm, even as a child I knew was sort of contextual. It would not be good, for example, for me to share my lunch with someone even if I had the bigger lunch, because my mother was raising me on less than twenty thousand dollars a year and it would have been stupid of me to haphazardly give away food. But even disregarding that “message”, that’s not what actually happens in the story.
What happens in the story is this: everyone gets jealous that the Rainbow Fish is the brightest and most beautiful, and refuses to be his friend when he won’t cut off parts of himself to give to everyone else. So then he asks an adult figure for advice. And the adult figure pressures him into tearing off parts of himself and giving them to everyone else. And we are supposed to celebrate this as a good thing.
Let me reiterate: we are supposed to agree with the idea that we should dim ourselves, our natural outstanding qualities, in case some random people get upset by or jealous of them. We are supposed to agree with the idea that it’s perfectly fine to pressure people, including children, (because, shockingly, I think of children as people) to sacrifice their individuality and natural characteristics for the sake of fitting in and making stupid, petty friendships that are entirely built on parasitic behavior. This isn’t a plate of cookies that’s being represented here - the message is that the fundamental traits of our nature should be available to hack up whenever the crowd doesn’t agree with them. Or when they covet them.
I opposed this mentality at five years old, and I most certainly oppose it now.
I can’t tell you how many times I got in trouble, by teachers or other adults, for correcting their spelling, or “reading above [my] grade level”, or “doing work that is too difficult”, or any other inane and stupid reasons to penalize a smart child. We discourage exceptional traits on the ridiculous assumption that it’s somehow “unfair” to everyone else to let them be proudly displayed - but the fact is that everyone is the best at something. We have simply devalued certain traits and so are unable to see that.
If we allowed children and adults to flourish where their natural talents truly lie, think of everything we could achieve. But no. This is the message we internalize: the parts of yourself that shine the best and brightest? Mutilate them.
I won’t stand for it.
I had the same problems with Rainbow Fish
So much so that a few years ago when I was a camp counselor and I was supposed to lead an activity based around the book I refused.
This post was a holy experience.
Most writers were the kids who easily, almost automatically, got A’s in English class. (There are exceptions, but they often also seem to be exceptions to the general writerly habit of putting off writing as long as possible.) At an early age, when grammar school teachers were struggling to inculcate the lesson that effort was the main key to success in school, these future scribblers gave the obvious lie to this assertion. Where others read haltingly, they were plowing two grades ahead in the reading workbooks. These are the kids who turned in a completed YA novel for their fifth-grade project. It isn’t that they never failed, but at a very early age, they didn’t have to fail much; their natural talents kept them at the head of the class. This teaches a very bad, very false lesson: that success in work mostly depends on natural talent. Unfortunately, when you are a professional writer, you are competing with all the other kids who were at the top of their English classes. Your stuff may not—indeed, probably won’t—be the best anymore. If you’ve spent most of your life cruising ahead on natural ability, doing what came easily and quickly, every word you write becomes a test of just how much ability you have, every article a referendum on how good a writer you are. As long as you have not written that article, that speech, that novel, it could still be good. Before you take to the keys, you are Proust and Oscar Wilde and George Orwell all rolled up into one delicious package. By the time you’re finished, you’re more like one of those 1940’s pulp hacks who strung hundred-page paragraphs together with semicolons because it was too much effort to figure out where the sentence should end.
Why Writers Are the Worst Procrastinators - Megan McArdle - The Atlantic
The Why Writing Is So Hard field of psychology is very interesting to me.
(via abbrasions)
hagrid: yer a horcrux harry
hagrid: wait shit wrong plot reveal
Move over Shakespeare, teen girls are the real language disruptors
Hate vocal fry? Bothered by the use of “like” and “just”? Think uptalk makes people sound less confident? If so, you may find yourself growing increasingly unpopular—there’s a new wave of people pointingout that criticizing young women’s speech is just old-fashioned sexism.
I agree, but I think we can go even further: young women’s speech isn’t just acceptable—it’s revolutionary. And if we value disruptors and innovation, we shouldn’t just be tolerating young women’s speech—we should be celebrating it. To use a modern metaphor, young women are the Uber of language.
What does it mean to disrupt language? Let’s start with the great English disruptor: William Shakespeare.
Shakespeare is celebrated to this day not just because he wrote a mean soliloquy but because of what he added to our language—he’s said to have brought in over 1,700 words. But recent scholars have called that number of words into question. As Katherine Martin, head of US Dictionaries at Oxford University Press, has pointed out, if Shakespeare was inventing dozens of new words per play, how would his audience have understood him? Rather, it’s likely that Shakespeare had an excellent grasp of the vernacular and was merely writing down words that his audience was already using.
So if Shakespeare wasn’t disrupting the English language, who was? And how did we get from Shakespearean English to the version we speak now? That’s right: young women.
A pair of linguists, Terttu Nevalainen and Helena Raumolin-Brunberg at the University of Helsinki, conducted a study that combed through 6,000 personal letters written between 1417 and 1681. The pair looked at fourteen language changes that occurred during this period, things like the eradication of ye, the switch from “mine eyes” to “my eyes,” and the change from hath, doth, maketh to has, does, makes.
In 11 out of the 14 changes, they found that female letter-writers were changing the way they wrote faster than male letter-writers. In the three exceptional cases where the men were ahead of the women, those particular changes were linked to men’s greater access to education at the time. In other words, women are reliably ahead of the game when it comes to word-of-mouth linguistic changes.
This trend hasn’t changed much. While young people have long driven innovation, it’s not just an age thing—it’s also a gender thing. During the decades that sociolinguists have been researching the question, they’ve continually found evidence that women lead linguistic change.
Young women are leading the change away from the distinctive /r/ pronunciation of New York City, they’re leading the vowel changes in US cities around the Great Lakes, the /aw/ pronunciation in Toronto and Vancouver, the “ch” pronunciation in Panama, the /r/ pronunciation in Montreal, the ne deletion in Tours, /t/ and /d/ pronunciations in Cairo Arabic, vowel pronunciation in Paris, not to mention entire language shifts, like that from Hungarian to German in Austria—and the list goes on.
Plus, young women are on the bleeding edge of those linguistic changes that periodically sweep through the media’s trend sections, from uptalk to “selfie” to the quotative like to vocal fry.
The role that young women play as language disruptors is so well-established at this point it’s practically boring to sociolinguists. The founder of modern sociolinguistics, William Labov, observed that women lead 90% of linguistic change—in a paper he wrote 25 years ago. Researchers continue to confirm his findings.
It takes about a generation for the language patterns started among young women to jump over to men. Uptalk, for example, which is associated with Valley Girls in the 1970s, is found among young men today. In other words, women learn language from their peers; men learn it from their mothers.
While the pattern is well-established, we still don’t know for sure yet why young women reliably lead linguistic innovation. Maybe it’s nature, maybe it’s nurture; but we do know that young women tend to be more socially aware, more empathetic, and more concerned about how their peers perceive them. This may translate into a greater facility for linguistic disruption. Women also tend to have larger social networks, which means they’re more likely to be exposed to a greater diversity of language innovations.
And of course, women are still likely to spend more time caring for children than men—even if a particular woman works outside the home, daycare workers and elementary school teachers are disproportionately female. This means that even if young men were disrupting language as much as women, they would be hard-pressed to pass it along.
All of this leads us to the biggest question: if women are such natural linguistic innovators, why do they get criticized for the same thing that we praise Shakespeare for? Plain old-fashioned sexism.
Our society takes middle-aged men more seriously than young women for a whole host of reasons, so it’s only logical that we have also been conditioned to automatically respect the tone and cadence of the typical male voice, as well as their word choices.
Sure, let’s encourage young women to speak with confidence, but not by avoiding vocal fry or “like” or whatever the next linguistic disruption is. Let’s tell them to speak with confidence because they’re participating in a millennia-old cycle of linguistic innovation—and one that generations of powerful men still haven’t figured out how to crack.
—Gretchen McCullough writing for Quartz, 7 August 2015 [x]
“The role that young women play as language disruptors is so well-established at this point it’s practically boring to sociolinguists” *weeps with joy*
THIS IS SO FUCKING COOL also @loveandfolly I feel like this thing with sensitivity to/ disruption of language describes our high school circles
HAPPY INTERNATIONAL WOMEN’S DAY, YALL.
“why should lgbt characters get special treatment?”
since when is “not constantly dying” considered “special treatment”?