#could this be even considered as historical fiction?

[damnfandomproblems]

Fandom Problem #4968:

People calling "queerbaiting cowards!" for not canonically defining their characters' identities with terminology fitting in the context of 2022 Tumblr, because a historical figure or ancient god or pirate or Victorian steampunk or future person or a space alien ISN'T going to define their experience the exact same way we would.

"It's a cop-out!! If cishet people don't hear the terms EXACTLY they'll get it wrong!!" no, treating forms of not-straightness or not-cisness as a naturally-occurring thing instead of checking off boxes for representation or "people I would be able to sell my Etsy pride flag enamel pins to" is a good thing actually.

Fictional settings may not even have a concept of "gay" if same-gender relationships were never taboo.

And irl terminology evolves fast, hell not too long ago a trans person might call themself "transexual" or a "transvestite", which would be heavily frowned about now. Our current lexicon may be considered outdated and offensive in just a couple years.

I have characters I could see people calling transfem coded or aro/ace coded and it's fine for people to find comfort in a character they feel similar too but I don't want annoying savior complex types yelling at me for not specifically outlining their identity for fandom consumption, because actually alien societies of the future don't have the same view of identity or gender or relationships that we do.

Besides, most of the time when fandom talks about representation all they actually care about is setting rules about who they can or should be shipped with, and I don't wanna get involved with all that. I don't pick out an orientation for my characters, they have a particular character or characters that move their story forward. I'm not gonna dictate to the audience if they're meant to be percieved as gay or straight or bi or aro.

[olehoncho]

How I would fix Dr Who (revisited)

While I am sure there are folks that love the Doctor Who show and the direction it has taken under Chibnal, I know there are others who are not satisfied with certain developments. Ever since the end of Matt Smith's run there have been issues with the continuity of the series: - The expansion of The Doctor's regenerations was first explained via a "time lord energy infusion" in Town of Christmas, but was later revealed to be an aspect of the Timeless Child. - The swapping of sex/gender was first done with the Master and later explored with the Doctor. - Letting go of a Time Lord's power was explored in Human Nature and later in Uptopia, but revisited as being a "female presenting" quality later. - The Bi-Generation creating two time lords.

A lot of this new canon has been... not easy to absorb. And I'm not going to say there's any connection to ratings or audience scores, but as someone who is more interested in the science fiction aspect of the show, I think there is enough of the new canon to play with to fit in with the long-running series canon.

Make The Doctor a distinct being separate from The Timeless Child. - This is the main one, and could be done a couple of different ways. My previous theory was to make The Timeless Child the Time Vortex at the heart of the TARDIS (which explains why it is different from other TARDIS). This would explain the leeching of memories and power to other individuals as well. - Another way to do this would be to have The Doctor either be a bi-generation from The Timeless Child, or perhaps be the son of The Timeless Child who inherited some memories. There are options.

Restore the Regeneration Limit and explain how it was bypassed. - The previous explanation is that The Doctor is the first Time Lord and therefore has endless regenerations. This never felt right. The Doctor being a Time Lord whose uniqueness comes from their decisions, the promise to be "The Doctor" rather than their particular history is the key to the character. - You could do another bi-generation backstory into The Doctor's past, and that part of The Doctor has been dormant, sleeping aboard the TARDIS for near a thousand years (my personal choice would be the regeneration from 2nd to 3rd Doctor). - Then you would have to explain that The Doctor who has been adventuring has been part of The Doctor, but a being who got mixed up with The Timeless Child and is therefore confused. Then explain that the reason for the regeneration limit being bypassed is because of the TARDIS - so many Doctors regenerate in the TARDIS and this is shown to have led to many explosions of energy which were not present in earlier regenerations because this version of The Doctor is growing unstable. - Time Lords are not meant to live more than 12 regenerations, because the energy in their bodies becomes more than they can handle, like a dying star they either go supernova or become dwarf stars.

Kill off the current version of The Doctor and bring in "The Original" - This could be a series-long arc involving The Valeyard - with the "current Doctor" being the Valeyard and "The Original" questing to stop them, but would end up with The Doctor dying and creating their grave on Trenzalore that is eventually visited by 11 and Clara. - The "original" Doctor would then continue the adventures, absorbing all the memories of their alternate selves - and resume the regeneration limit from 3 (a new 3, not Pertwee) and then regenerating into 4.

Anyways, that's how I'd rework Doctor Who if it was up to me. But it's not, so whatever.

[bookished]

HOW TO GIVE PERSONALITY TO A CHARACTER

Giving personality to a character is an essential part of character development in storytelling, whether you're writing a novel, screenplay, or creating a character for a role-playing game. Here are some steps and considerations to help you give personality to your character:

Understand Their Backstory:

Start by creating a detailed backstory for your character. Where were they born? What were their childhood experiences like? What significant events have shaped their life? Understanding their past can help you determine their motivations, fears, and desires.

2. Define Their Goals and Motivations:

Characters often become more interesting when they have clear goals and motivations. What does your character want? It could be something tangible like a job or a romantic relationship, or it could be an abstract desire like happiness or freedom.

3. Determine Their Strengths and Weaknesses:

No one is perfect, and characters should reflect this. Identify your character's strengths and weaknesses. This can include physical abilities, intellectual skills, and personality traits. Flaws can make characters relatable and three-dimensional.

4. Consider Their Personality Traits:

Think about your character's personality traits. Are they introverted or extroverted? Shy or outgoing? Kind or selfish? Create a list of traits that describe their character. You can use personality frameworks like the Myers-Briggs Type Indicator or the Big Five Personality Traits as a starting point.

5. Give Them Quirks and Habits:

Quirks and habits can make a character memorable. Do they have a specific way of speaking, a unique fashion style, or an unusual hobby? These details can help bring your character to life.

6. Explore Their Relationships:

Characters don't exist in isolation. Consider how your character interacts with others. What are their relationships like with family, friends, and enemies? These relationships can reveal a lot about their personality.

7. Show, Don't Tell:

Instead of explicitly telling the audience about your character's personality, show it through their actions, dialogue, and decisions. Let the reader or viewer infer their traits based on their behavior.

8. Create Internal Conflict:

Characters with internal conflicts are often more engaging. What inner struggles does your character face? These can be related to their goals, values, or past experiences.

9. Use Character Arcs:

Consider how your character will change or grow throughout the story. Character development is often about how a character evolves in response to the events and challenges they face.

10. Seek Inspiration:

Draw inspiration from real people, other fictional characters, or even historical figures. Study how people with similar traits and backgrounds behave to inform your character's actions and reactions.

11. Write Dialogue and Inner Monologues:

Writing dialogue and inner monologues from your character's perspective can help you get inside their head and understand their thought processes and emotions.

12. Consider the Setting:

The setting of your story can influence your character's personality. For example, a character who grows up in a war-torn environment may have a different personality than one raised in a peaceful, affluent society.

13. Revise and Refine:

Don't be afraid to revise and refine your character as you write and develop your story. Characters can evolve and change as the narrative unfolds.

Remember that well-developed characters are dynamic and multi-faceted. They should feel like real people with strengths, weaknesses, and complexities. As you write and develop your character, put yourself in their shoes and think about how they would react to various situations. This will help you create a compelling and believable personality for your character.

[mostlysignssomeportents]

Amazon illegally interferes with an historic UK warehouse election

I'm in to TARTU, ESTONIA! Overcoming the Enshittocene (Monday, May 8, 6PM, Prima Vista Literary Festival keynote, University of Tartu Library, Struwe 1). AI, copyright and creative workers' labor rights (May 10, 8AM: Science Fiction Research Association talk, Institute of Foreign Languages and Cultures building, Lossi 3, lobby). A talk for hackers on seizing the means of computation (May 10, 3PM, University of Tartu Delta Centre, Narva 18, room 1037).

Amazon is very good at everything it does, including being very bad at the things it doesn't want to do. Take signing up for Prime: nothing could be simpler. The company has built a greased slide from Prime-curiosity to Prime-confirmed that is the envy of every UX designer.

But unsubscribing from Prime? That's a fucking nightmare. Somehow the company that can easily figure out how to sign up for a service is totally baffled when it comes to making it just as easy to leave. Now, there's two possibilities here: either Amazon's UX competence is a kind of erratic freak tide that sweeps in at unpredictable intervals and hits these unbelievable high-water marks, or the company just doesn't want to let you leave.

To investigate this question, let's consider a parallel: Black Flag's Roach Motel. This is an icon of American design, a little brown cardboard box that is saturated in irresistibly delicious (to cockroaches, at least) pheromones. These powerful scents make it admirably easy for all the roaches in your home to locate your Roach Motel and enter it.

But the interior of the Roach Motel is also coated in a sticky glue. Once roaches enter the motel, their legs and bodies brush up against this glue and become hopeless mired in it. A roach can't leave – not without tearing off its own legs.

It's possible that Black Flag made a mistake here. Maybe they wanted to make it just as easy for a roach to leave as it is to enter. If that seems improbable to you, well, you're right. We don't even have to speculate, we can just refer to Black Flag's slogan for Roach Motel: "Roaches check in, but they don't check out."

It's intentional, and we know that because they told us so.

Back to Amazon and Prime. Was it some oversight that cause the company make it so marvelously painless to sign up for Prime, but such a titanic pain in the ass to leave? Again, no speculation is required, because Amazon's executives exchanged a mountain of internal memos in which this is identified as a deliberate strategy, by which they deliberately chose to trick people into signing up for Prime and then hid the means of leaving Prime. Prime is a Roach Motel: users check in, but they don't check out:

https://pluralistic.net/2023/09/03/big-tech-cant-stop-telling-on-itself/

When it benefits Amazon, they are obsessive – "relentless" (Bezos's original for the company) – about user friendliness. They value ease of use so highly that they even patented "one click checkout" – the incredibly obvious idea that a company that stores your shipping address and credit card could let you buy something with a single click:

https://en.wikipedia.org/wiki/1-Click#Patent

But when it benefits Amazon to place obstacles in our way, they are even more relentless in inventing new forms of fuckery, spiteful little landmines they strew in our path. Just look at how Amazon deals with unionization efforts in its warehouses.

Amazon's relentless union-busting spans a wide diversity of tactics. On the one hand, they cook up media narratives to smear organizers, invoking racist dog-whistles to discredit workers who want a better deal:

https://www.theguardian.com/technology/2020/apr/02/amazon-chris-smalls-smart-articulate-leaked-memo

On the other hand, they collude with federal agencies to make workers afraid that their secret ballots will be visible to their bosses, exposing them to retaliation:

https://www.nbcnews.com/tech/tech-news/amazon-violated-labor-law-alabama-union-election-labor-official-finds-rcna1582

They hold Cultural Revolution-style forced indoctrination meetings where they illegally threaten workers with punishment for voting in favor of their union:

https://www.nytimes.com/2023/01/31/business/economy/amazon-union-staten-island-nlrb.html

And they fire Amazon tech workers who express solidarity with warehouse workers:

https://www.cbsnews.com/news/amazon-fires-tech-employees-workers-criticism-warehouse-climate-policies/

But all this is high-touch, labor-intensive fuckery. Amazon, as we know, loves automation, and so it automates much of its union-busting: for example, it created an employee chat app that refused to deliver any message containing words like "fairness" or "grievance":

https://pluralistic.net/2022/04/05/doubleplusrelentless/#quackspeak

Amazon also invents implausible corporate fictions that allow it to terminate entire sections of its workforce for trying to unionize, by maintaining the tormented pretense that these workers, who wear Amazon uniforms, drive Amazon trucks, deliver Amazon packages, and are tracked by Amazon down to the movements of their eyeballs, are, in fact, not Amazon employees:

https://www.wired.com/story/his-drivers-unionized-then-amazon-tried-to-terminate-his-contract/

These workers have plenty of cause to want to unionize. Amazon warehouses are sources of grueling torment. Take "megacycling," a ten-hour shift that runs from 1:20AM to 11:50AM that workers are plunged into without warning or the right to refuse. This isn't just a night shift – it's a night shift that makes it impossible to care for your children or maintain any kind of normal life.

Then there's Jeff Bezos's war on his workers' kidneys. Amazon warehouse workers and drivers notoriously have to pee in bottles, because they are monitored by algorithms that dock their pay for taking bathroom breaks. The road to Amazon's warehouse in Coventry, England is littered with sealed bottles of driver piss, defenestrated by drivers before they reach the depot inspection site.

There's so much piss on the side of the Coventry road that the prankster Oobah Butler was able to collect it, decant it into bottles, and market it on Amazon as an energy beverage called "Bitter Lemon Release Energy," where it briefly became Amazon's bestselling energy drink:

https://pluralistic.net/2023/10/20/release-energy/#the-bitterest-lemon

(Butler promises that he didn't actually ship any bottled piss to people who weren't in on the gag – but let's just pause here and note how weird it is that a guy who hates our kidneys as much as Jeff Bezos built and flies a penis-shaped rocket.)

Butler also secretly joined the surge of 1,000 workers that Amazon hired for the Coventry warehouse in advance of a union vote, with the hope of diluting the yes side of that vote and forestall the union. Amazon displayed more of its famously selective competence here, spotting Butler and firing him in short order, while totally failing to notice that he was marketing bottles of driver piss as a bitter lemon drink on Amazon's retail platform.

After a long fight, Amazon's Coventry workers are finally getting their union vote, thanks to the GMB union's hard fought battle at the Central Arbitration Committee:

https://www.foxglove.org.uk/2024/04/26/amazon-warehouse-workers-in-coventry-will-vote-on-trade-union-recognition/

And right on schedule, Amazon has once again discovered its incredible facility for ease-of-use. The company has blanketed its shop floor with radioactively illegal "one click to quit the union" QR codes. When a worker aims their phones at the code and clicks the link, the system auto-generates a letter resigning the worker from their union.

As noted, this is totally illegal. English law bans employers from "making an offer to an employee for the sole or main purpose of inducing workers not to be members of an independent trade union, take part in its activities, or make use of its services."

Now, legal or not, this may strike you as a benign intervention on Amazon's part. Why shouldn't it be easy for workers to choose how they are represented in their workplaces? But the one-click system is only half of Amazon's illegal union-busting: the other half is delivered by its managers, who have cornered workers on the shop floor and ordered them to quit their union, threatening them with workplace retaliation if they don't.

This is in addition to more forced "captive audience" meetings where workers are bombarded with lies about what life in an union shop is like.

Again, the contrast couldn't be more stark. If you want to quit a union, Amazon makes this as easy as joining Prime. But if you want to join a union, Amazon makes that even harder than quitting Prime. Amazon has the same attitude to its workers and its customers: they see us all as a resource to be extracted, and have no qualms about tricking or even intimidating us into doing what's best for Amazon, at the expense of our own interests.

The campaigning law-firm Foxglove is representing five of Amazon's Coventry workers. They're doing the lord's work:

https://www.foxglove.org.uk/2024/05/02/legal-challenge-to-amazon-uks-new-one-click-to-quit-the-union-tool/

All this highlights the increasing divergence between the UK and the US when it comes to labor rights. Under the Biden Administration, @NLRB General Counsel Jennifer Abruzzo has promulgated a rule that grants a union automatic recognition if the boss does anything to interfere with a union election:

https://pluralistic.net/2023/09/06/goons-ginks-and-company-finks/#if-blood-be-the-price-of-your-cursed-wealth

In other words, if Amazon tries these tactics in the USA now, their union will be immediately recognized. Abruzzo has installed an ultra-sensitive tilt-sensor in America's union elections, and if Bezos or his class allies so much as sneeze in the direction of their workers' democratic rights, they automatically lose.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/06/one-click-to-quit-the-union/#foxglove

Image: Isabela.Zanella (modified) https://commons.wikimedia.org/wiki/File:Ballot-box-2.jpg

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

[writers-potion]

Writing Female Fighters

The Heroine Must. Fight.

Today's female protagonists cannot sit on the side crying and breaking down or whimpering as the battle ensues.

Readers want to see autonomous female fighters who can at least defense themselves with courage and adequate skill.

Not all women are the same, but the heroine should get her butt moving.

Less Muscle, but More Flexibilty

The average woman is shorter than the average man, which makes it more difficult to wield a long sword or slam something down on the opponent's head.

A woman who works out can plausibly be stronger than a male couch potato, but if her male counterpart works out as much as her, the man is going to be much stronger.

On the other hand, the center of gravity in a woman's body is lower than a man's which makes it harder to knock her off her feet.

She is also more flexible, which gives her advantage in grappling fights, making use of complex landscapes, or deflecting blows.

A woman's small size can also be an advantage if her opponent has only ever trained with male opponents. His big hands might not get a good grip on her slender limbs.

In historical fiction, giving your heroine good muscule build can be tricky as exercise was generally considered harmful for women, with some exceptions for horseriding any maybe archery at best.

In such cases, make your heroine an accomplished dancer or an eager horsewoman, or the only girl whose father considered to be son replacement and thus, gave her a boy's education.

Women of lower classes who couldn't afford to be fashionably weak will be plausibly stronger, perhaps even more than an idle gentleman.

More Room for Negotiation, but Prolonged Ruthlessness

In the Suspense part of your fight scene, females are more likely to negotiate and talk more, strategically trying to descalate the situation rather than attacking on a momentary impulse.

Generally, women are less aggressive than men and remain level-headed longer than her male counterparts, opting for non-violent methods first before using force.

Exceptions apply if she is trying to protect her children (or someone who she cares for as a child). Mothers can be tigresses.

A female pre-fight conversation may be: "If you had not done so-and-so and betrayed me with so-and-so, we could have been good friends as I thought we would be." "What do you mean? It was in fact you who brought bad blood between us. I can still hear you laughing with so-and-so, taunting me, purposefully making me look bad -" "But that was so long ago! If you want me to say sorry about something so insignificant, you should have just said so: I'm sorry. There. Satisfied?" "Ha! I can't believe you say that so easily. You still don't get it, do you?" "Who's being petty and unreasonable now?"

A male pre-fight conversation will be shorter: "Who's the coward now?" "You're wrong." "Prove it." "Bastard."

Compared to men, it will take more time for a woman's fight hormones (adrenaline, neurotransmitters and such) to kick in.

She would be slower to engage initially, throwing reluctant punches and thinking, but she'll grow more and more violent and lose all rational thought and compassion, and once she's in full flow, may not stop even when her opponent begs for mercy.

When writing a male-female duo, you can show him going for the first blow while she observes and strategizes first. When he's past his peak and panting, she is flying about left and right. Later when the tension wears off and she becomes wobbly and teary, she can rely on him to have recovered faster and distract other teammates so that they won't see her cry.

Plausible Skills and Backstory

In many cultures and time periods, the general attitude of society towards girls is that they have no place in fist fights or martial arts, unlike how it is encouraged for boys of the same age. So if your heroine has physical prowess that surpasses typical 'fitness' or is hidden, build a backstory of how she's obtained it.

For modern heroines, it can be as simple as signing her up for martial arts classes or yearly membership at the local gym. For historical fiction or girls with strict 'feminine' upbringing, it can be trickier.

It can be related to profession: maybe she was an erotic wrestler, catfighter, or an assasin who thought killing was more honorable than prostitution. They may have dabbles with it for a short time and is now trying to hide their past from their respectable employer or fiance.

It can be family backstory: Perhaps her mother was an accomplished martial artist or she had to fend for younger siblings on the streets from an early age. Maybe she was the only girl in a family of many boys who refused to be the punching bag.

Inexperienced Female Fighters

A woman with no fighting experience or training is likely to resort to one of these on instinct:

Try to talk herself out of the situation, attempting to persuade or negotiate for her life.

Grab something to use as a weapon. This instinct seems to be stronger for women than it is in men.

Use her hands to try and break free, or kick (often wth little success)

Pull hair

Scratch.

In a serious fight, pulling hair and scratching won't be helpful, except when the police come to find her body, they would find the opponent's DNA under her fingernails.

Plausible Weapons and Clothing

All of the above applies to scenes where both parties have no weapons, or has the bare minimum (like one dagger each).

Weapons are equalizers, and if your heroine is pointing a gun at her opponent she will definitely NOT hesitate to be the one to shoot first.

When giving your female character a weapon, choose one she can plausibly use. It would take an unusually brawny woman to wield a great medieval longsword.

For historical fiction, give your heroine something she'll plausibly own. Swords and firearm were a no-go for women, but archery was borderline acceptable.

For clothing starters, you definitely CAN NOT dress her in a tight miniskirt and chainmail bra with long, flowy hair and multiple silver chockers. Unless she's trying to seduce her way into her opponent's bedroom, and he has a chainmail bra fetish.

A practical heroine will have her thighs covered, preferably with leather but at least with fabric, since a lot of blood flows through the thighs and a slash would be critical.

She'll keep her hair tied, tucked under a helmet, braided back, etc. so that it won't impede her vision.

She'll support her breasts with a strong sport bra. In a historical eprioid, she'll either tie her breasts tight with a fabric bandage or support them with some kind of leather corset.

Invent a female version of male fighter clothing of the time you are writing about if it doesn't exist.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[writingwithcolor]

Non-offensive Historical terms for Black people in historical fiction

@pleasespellchimerical asked:

So writing historical fiction, with a white POV character. I'm not sure how to address race in the narration. I do have a Black main character, and I feel like it'd feel out of place to have the narrator refer to her as 'Black', that being a more modern term. Not sure how to do this without dipping into common historical terms that are considered racist today. Thoughts on how to handle this delicately, not pull readers out of the narrative? (fwiw, the POV character has a lot of respect for the Black character. The narration should show this)

There are non-offensive terms you can use, even in historical fiction. We can absolutely refer to Black people without slurs, and if slurs is all one can come up with, it’s time to go back to the drawing board. I cannot say which terms are best for your piece without knowing the time period, but hopefully the list below helps.

Historical terms to use for Black people (non-offensive)

African American documented as early as 1782 (documented in an ad in the Pennsylvania Journal). Note the identity isn’t accurate for non-American Black people.

African could refer to African people or “from 1722 as ‘of or pertaining to black Americans.’”

The place of origin could also be used. For example, “a Nigerian woman”

Africo-American documented as early as 1788.

People of Color documented as early as 1796 (with specific contexts, usually mixed people)

Afro American documented as early as 1817, 1831 (depending on source)

Black American documented as early as 1831 

Black was used in Old English to refer to dark-skinned people. Black was not capitalized until recent years, so “She was a young black woman.” would make sense to say, though “She was a young Black woman.” is the better standard today, although not universally adopted. I personally prefer it capitalized. 

Moor was used as early as the late 1400s for North African people, but had a somewhat flexible use where anyone visibly Black / Of African descent or the Afro Diaspora might be referred to or assumed as a Moor. Note, it has other meanings too, such as referring to Muslim people, but that doesn’t mean the person using it is going by the dictionary definition. Not really the way to go today, but okay in a historical setting (in my opinion).

Biracial (1860s), mixed race (1872), multiracial (1903) and multicultural (1940s) are also terms to refer to people of two or more races.

Occupation + description. Throughout history, many people have been referred to as their occupation. For example, the Carpenter, The Baker, the Blacksmith. Here’s an example of how you might go about using occupation and traits to identify a Black character in history. Here’s an example I came up with on the fly.

“You should go by Jerry’s. He’s the best blacksmith this town’s ever seen. Ya know, the real tall, dark-skinned, curly haired fellow. Family’s come here from Liberia.”

Offensive and less-sensitive terms for Black people 

Blacks was used in plural more, but this is generally offensive today (Even writing it gives me **Thee ick*)

Colored was mostly used post-civil war until the mid 20th century, when it became unacceptable. This is not to be conflated with the South African Coloured ethnic group.

Negro/Negroes were also used as early as the 1550s. Capitalization became common in the early 20th century. I'm sure you know it is offensive today, though, admittedly, was not generally seen as such until around the 1960s, when Black replaced it. It does have its contexts, such as the trope “The Magical Negro” but going around using the term or calling someone that today is a lot different. 

Mulatto referred to mixed people, generally Black and white, and is offensive today. 

The N-word, in all its forms, is explicitly a slur, and there is absolutely no need to use it, especially in a casual manner, in your story. We’ve written about handling the N-word and alluding to it “if need be” but there are other ways to show racism and tension without dropping the word willy-nilly.

Deciding what to use, a modern perspective

I’m in favor of authors relying on the less offensive, more acceptable terms. Particularly, authors outside of the race. Seldom use the offensive terms except from actual direct quotes.

You do not have to use those offensive terms or could at least avoid using them in excess. I know quite famous stories do, but that doesn’t mean we have to so eagerly go that route today. Honestly, from teachers to school, and fellow non-Black students, it’s the modern day glee that people seem to get when they “get a chance to say it” that makes it worse and also makes me not want to give people the chance. 

It goes back to historical accuracy only counting the most for an “authentic experience” when it means being able to use offensive terms or exclude BIPOC from stories. We’ve got to ask ourselves why we want to plaster certain words everywhere for the sake of accuracy when there are other just as accurate, acceptable words to use that hurt less people. 

Disclaimer: Opinions may vary on these matters. But just because someone from the group cosigns something by stating they’re not offended by it, doesn’t mean a whole lot of others are okay with it and their perspectives are now invalid! Also, of course, how one handles the use of these words as a Black person has a different connotation and freedom on how they use them.

~Mod Colette

The colonial context

Since no country was mentioned, I’m going to add a bit about the vocabulary surrounding Black people during slavery, especially in the Caribbean. Although, Colette adds, if your Black characters are slaves, this begs the question why we always gotta be slaves.

At the time, there were words used to describe people based on the percentage of Black blood they had. Those are words you may find during your searches but I advise you not to use them. As you will realize if you dive a bit into this system, it looks like a classifying table. At the time, people were trying to lighten their descent and those words were used for some as a sort of rank. Louisiana being French for a time, those expressions were also seen there until the end of the 19th century.

The fractions I use were the number of Black ancestors someone had to have to be called accordingly.

Short-list here :

½ : mûlatre or mulatto

¼ or ⅛ : quarteron or métis (depending on the island, I’m thinking about Saint-Domingue, Martinique and Guadeloupe)

1/16 : mamelouk

¾ : griffe or capre

⅞ : sacatra

In Saint-Domingue, it could go down to 1/64, where people were considered sang-mêlé (mixed blood for literal translation, but “HP and the Half-Blood Prince” is translated “HP et le Prince de Sang-Mêlé” in French, so I guess this is another translation possibility).

-Lydie

Use the 3rd person narrative to your advantage

If you are intent on illustrating historical changes in terminology consider something as simple as showing the contrast between using “black” for first person character narration, but “Black” for 3rd person narrator omniscient.

-Marika

Add a disclaimer

I liked how this was addressed in the new American Girl books it’s set in Harlem in the 1920’s and there’s a paragraph at the beginning that says “this book uses the common language of the time period and it’s not appropriate to use now”

-SK

More reading:

NYT: Use of ‘African-American’ Dates to Nation’s Early Days

The Etymology dictionary - great resource for historical fiction

Wikipedia: Person of Color

[what-even-is-thiss]

People who get mad about poc being included in medieval fiction and fantasy are not only racist but they also have a deep misunderstanding about how their own ideas of race and culture work.

Perhaps, yes. Most people living in Europe in the time period we call the Middle Ages would’ve been what we now consider to be white. But that doesn’t mean poc wouldn’t have been there at all and it doesn’t mean they understood identity in the same way we do.

“Outsiders” could be from within the same city or from a world away. A lot of peoples loyalties and who they saw as being from the same group as them had to do with religious conflicts, politics, and combinations of the two. Maybe just based on what neighborhood or village they lived in.

Historically before the era of colonialism Catholic countries like Portugal have sometimes given aid in various forms to Ethiopia because they’re both christian countries. People in the area we now call Italy would’ve killed neighbors less than a 20 minute walk away over papal politics.

People also traded frequently with people from other continents. Married people from other continents. Early into the so-called age of exploration Portuguese and Spanish explorers were known to sometimes marry women traders from west Africa for their wealth and trade connections. People from all over the Muslim world have also often been traders, enemies, allies, and mercenaries all over Europe and vice versa with Christian and Jewish traders, scholars, mercenaries, traders, crusaders, etc. traveling and living within the Muslim world as well.

Vikings got around. To Eastern Europe, the Mediterranean, North America. Many stayed where they went or made deals with the locals. Many brought prisoners, slaves, illegitimate children, and new wives back home.

Not only did the concept of whiteness and any other modern understanding of race not exist yet, people intermingled, intermarried, moved around, converted religions, traded across continents. Sometimes people made it all the way to North America even if that route and the colonies that came out of it faded out of memory eventually. The world was still interconnected even if it did move much slower.

Also when talking about fantasy and not historical fiction, it’s fantasy. There’s dragon. And wizard. Why are you worried about your racist ideas about “realism”? Besides the racism I mean.

[darkandstormydolls]

PSA to all historical fiction/fantasy writers:

A SEAMSTRESS, in a historical sense, is someone whose job is sewing. Just sewing. The main skill involved here is going to be putting the needle into an out of the fabric. They’re usually considered unskilled workers, because everyone can sew, right? (Note: yes, just about everyone could sew historically. And I mean everyone.) They’re usually going to be making either clothes that aren’t fitted (like shirts or shifts or petticoats) or things more along the lines of linens (bedsheets, handkerchiefs, napkins, ect.). Now, a decent number of people would make these things at home, especially in more rural areas, since they don’t take a ton of practice, but they’re also often available ready-made so it’s not an uncommon job. Nowadays it just means someone whose job is to sew things in general, but this was not the case historically. Calling a dressmaker a seamstress would be like asking a portrait painter to paint your house

A DRESSMAKER (or mantua maker before the early 1800s) makes clothing though the skill of draping (which is when you don’t use as many patterns and more drape the fabric over the person’s body to fit it and pin from there (although they did start using more patterns in the early 19th century). They’re usually going to work exclusively for women, since menswear is rarely made through this method (could be different in a fantasy world though). Sometimes you also see them called “gown makers”, especially if they were men (like tailors advertising that that could do both. Mantua-maker was a very feminized term, like seamstress. You wouldn’t really call a man that historically). This is a pretty new trade; it only really sprung up in the later 1600s, when the mantua dress came into fashion (hence the name).

TAILORS make clothing by using the method of patterning: they take measurements and use those measurements to draw out a 2D pattern that is then sewed up into the 3D item of clothing (unlike the dressmakers, who drape the item as a 3D piece of clothing originally). They usually did menswear, but also plenty of pieces of womenswear, especially things made similarly to menswear: riding habits, overcoats, the like. Before the dressmaking trade split off (for very interesting reason I suggest looking into. Basically new fashion required new methods that tailors thought were beneath them), tailors made everyone’s clothes. And also it was not uncommon for them to alter clothes (dressmakers did this too). Staymakers are a sort of subsect of tailors that made corsets or stays (which are made with tailoring methods but most of the time in urban areas a staymaker could find enough work so just do stays, although most tailors could and would make them).

Tailors and dressmakers are both skilled workers. Those aren’t skills that most people could do at home. Fitted things like dresses and jackets and things would probably be made professionally and for the wearer even by the working class (with some exceptions of course). Making all clothes at home didn’t really become a thing until the mid Victorian era.

And then of course there are other trades that involve the skill of sewing, such as millinery (not just hats, historically they did all kinds of women’s accessories), trimming for hatmaking (putting on the hat and and binding and things), glovemaking (self explanatory) and such.

TLDR: seamstress, dressmaker, and tailor are three very different jobs with different skills and levels of prestige. Don’t use them interchangeably and for the love of all that is holy please don’t call someone a seamstress when they’re a dressmaker

[rivkae-winters]

Edit: the app launched and Is down- I have the initial apology video in a post here and I’m working on getting a full archive of their TikTok up ASAP. I’m letting the rest of this post remain since I do still stand by most of it and also don’t like altering things already in circulation.

Warning for criticism and what I’d consider some harsh to outright mean words:

So I’ve just been made aware of the project known of as ‘lore.fm’ and I’m not a fan for multiple reasons. For one this ‘accessibility’ tool complicates the process of essentially just using a screen reader (something native to all I phones specifically because this is a proposed IOS app) in utterly needless and inaccessible ways. From what I have been seeing on Reddit they have been shielding themselves (or fans of the project have been defending them) with this claim of being an accessibility tool as well to which is infuriating for so many reasons.

I plan to make a longer post explaining why this is a terrible idea later but I’ll keep it short for tonight with my main three criticisms and a few extras:

1. Your service requires people to copy a url for a fic then open your app then paste it into your app and click a button then wait for your audio to be prepared to use. This is needlessly complicating a process that exists on IOS already and can be done IN BROWSER using an overlay that you can fully control the placement of.

2. This is potentially killing your own fandom if it catches on with the proposed target market of xreader smut enjoyers because of only needing the link as mentioned above. You don’t have to open a fic to get a link this the author may potentially not even get any hits much less any other feedback. At least when you download a pdf you leave a hit: the download button is on the page with the fic for a reason. Fandom is a self sustaining eco system and many authors get discouraged and post less/even stop writing all together if they get low interaction.

3. Maybe we shouldn’t put something marketed as turning smut fanfic into audio books on the IOS App Store right now. Maybe with KOSA that’s a bad idea? Just maybe? Sarcasm aside we could see fan fiction be under even more legal threat if minors use this to listen to the content we know they all consume via sites like ao3 (even if we ask them not to) and are caught with it. Auditory content has historically been considered much more obscene/inappropriate than written content: this is a recipe for a disaster and more internet regulations we are trying to avoid.

I also have many issues with the fact that this is obviously redistributing fanfiction (thus violating the copyright we hold over our words and our plots) and removing control the author should have over their content and digital footprint. Then there is the fact that even though the creator on TikTok SAYS you can email to have your fic ‘excluded’ based on the way the demo works (pasting a link) I’m gonna assume that’s just to cover her ass/is utter bullshit. I know that’s harsh but if it walks like a duck and quacks like a duck it’s probably a duck.

I am all for women in stem- I’ve BEEN a woman in Stem- but this is not a cool girl boss moment. This is someone naive enough to think this will go over well at best or many other things (security risks especially) at worst.

In conclusion for tonight: I hope this person is a troll but there is enough hype and enough paid for web domains that I don’t think that’s the case. There are a litany of reasons every fanfic reader and writer should be against something like this existing and I’ll outline them all in several other posts later.

Do not email their opt out email address there is no saying what is actually happening with that data and it is simply not worth the risks it could bring up. I hate treating seemingly well meaning people like potential cyber criminals but I’ve seen enough shit by now that it’s better to be safe than sorry. You’re much safer just locking all your fics to account only. I haven’t yet but I may in the future if that is the only option.

If anyone wants a screen reader tutorial and a walk through of my free favorites as well as the native IOS screen reader I can post that later as well. Sorry for the heavy content I know it’s not my normal fare.

[goodluckclove]

You Don't Need an Agent! Publishers That Accept Unsolicited Submissions

I see a few people sayin that you definitely need an agent to get published traditionally. Guess what? That's not remotely true. While an agent can be a very useful tool in finding and negotiating with publishers, going without is not as large of a hurdle as people might make it out to be!

Below is a list of some of the traditional publishers that offer reading periods for agent-less manuscripts. There might be more! Try looking for yourself - I promise it's not that scary!

Albert Whitman & Company: for picture books, middle-grade, and young adult fiction

Hydra (Part of Random House): for mainly LitRPG

Kensington Publishing: for a range of fiction and nonfiction

NCM Publishing: for all genres of fiction (YA included) and nonfiction

Pants of Fire Press: for middle-grade, YA, and adult fiction

Tin House Books: very limited submission period, but a good avenue for fiction, literary fiction, and poetry written by underrepresented communities

Quirk Fiction: offers odd-genre rep for represented and unagented authors. Unsolicited submissions inbox is closed at the moment but this is the page that'll update when it's open, and they produced some pretty big books so I'd keep an eye on this

Persea Books: for lit fiction, creative nonfiction, YA novels, and books focusing on contemporary issues

Baen: considered one of the best known publishers of sci-fi and fantasy. They don't need a history of publication.

Chicago Review Press: only accepting nonfiction at the moment, but maybe someone here writes nonfiction

Acre: for poetry, fiction and nonfiction. Special interest in underrepresented authors. Submission period just passed but for next year!

Coffeehouse Press: for lit fiction, nonfiction, poetry and translation. Reading period closed at time of posting, but keep an eye out

Ig: for queries on literary fiction and political/cultural nonfiction

Schaffner Press: for lit fiction, historical/crime fiction, or short fiction collections (cool)

Feminist Press: for international lit, hybrid memoirs, sci-fi and fantasy fiction especially from BIPOC, queer and trans voices

Evernight Publishing: for erotica. Royalties seem good and their response time is solid

Felony & Mayhem: for literary mystery fiction. Not currently looking for new work, but check back later

This is all what I could find in an hour. And it's not even everything, because I sifted out the expired links, the repeat genres (there are a lot of options for YA and children's authors), and I didn't even include a majority of smaller indie pubs where you can really do that weird shit.

A lot of them want you to query, but that's easy stuff once you figure it out. Lots of guides, and some even say how they want you to do it for them.

Not submitting to a Big 5 Trad Pub House does not make you any less of a writer. If you choose to work with any publishing house it can take a fair bit of weight off your shoulders in terms of design and distribution. You don't have to do it - I'm not - but if that's the way you want to go it's very, very, very possible.

Have a weirder manuscript that you don't think fits? Here's a list of 50 Indie Publishers looking for more experimental works to showcase and sell!

If Random House won't take your work - guess what? Maybe you're too cool for Random House.

[bethanythebogwitch]

Wet Beast Wednesday: parrotfish

Which fish hangs out on a mermaid pirate's shoulder and repeats what she says in a high-pitched voice? The parrotfish, of course. Or at least in fiction they should (certainly will in my D&D world). But even in real life, parrotfish are still pretty interesting.

(Image: a common parrotfish (Scarus psittacus) seen from the side in front of rocks and corals. It is a brightly-colored fish, mainly light blue but with patches and stripes of yellow and pink on the fins. Its mouth is open, revealing what appears to be a beak. End ID)

Parrotfish are fish famous for their mouths and eating habits. There are about 90 species known. While they were historically considered their own taxonomic family, they have since been reclassified a subset of the wrasse family and there is still some debate on how to classify them. Most species are on the smaller size, but a few can get very large. The largest species is the green humphead parrotfish (Bolbometopon muricatum) at 1.5 meters (4.9 ft) and 75 kg (165 lbs) while the smallest species is the bluelip parrotfish (Cryptotomus roseus) reaching 13 cm (5 in). I could not find an average weight for the bluelips. What makes parrotfish really stand out visually is their colors and their mouths. Most species are very brightly colored, with distinct markings and males are usually more brightly colored than females. Their mouths are dominated by what appear to be beaks, which gave them their common name. These beaks are actually made of approximately 1,000 teeth arranged in 15 rows. As the teeth wear out, they drop off and are replaced by the row behind them. The teeth are made of fluorapatite, the second hardest biomineral int the world. To support their hardness, the fluorapatite crystals that make up the teeth are woven together in a structure very similar to chainmail, resulting in very hard teeth that measure in at a 5 on the Mohs scale of hardness. For reference, iron is a 4 and higher numbers are harder. The teeth can also handle 530 tons of pressure. You could put the weight of 200 black rhinos on a tooth and it would be fine. The beaks are powerful enough to bite through rock. Which is what they use it for, but more on that below. Another unusual feature of parrotfish is how they sleep. Some species make their own sleeping bags, which would be adorable if they weren't made of mucus. The mucus is produced using glands in the gills and looks like a transparent bubble. The fish sleeps in the mucus cocoon and when it wakes up, it eats the cocoon. There have been several proposed benefits of the cocoon. It contains chemicals that harm skin parasites while also providing a barrier that keeps new parasites from reaching the fish. It also likely blocks the fish's scent, helping it hide from predators.

(Image: a green humphead parrotfish (Bolbometopon muricatum) swimming over yellow coral. It is large and mostly a uniform green color, except for the front of its head, which is pink. It has a large, fleshy lump on the top of its head. End ID)

(Image: a close-up of a parrotfish's beak. The top and bottom beaks are divided into two halves, left and right. The beak is bade of small, circular teeth that overlap each other. End ID)

(Image: another common parrotfish seen from the front. It is inside of a mucus cocoon, which appears as a transparent bubble around the fish. Bits of sand dot the cocoon's surface. End ID)

Parrotfish live worldwide, though the majority of species are found in the Indo-Pacific. They live in warm, shallow waters with lots of rocky reefs, especially coral reefs. They use those powerful teeth to eat and what they eat most is algae. There are three main types of feeding behavior: excavating, scraping, and browsing. Excavators bite into rocks to get their food, scrapers crape food off of the surface of the rocks, and browsers go after larger food sources like seagrass and sponges. Some of the larger parrotfish species also make coral a large part of their diet. When they eat, they naturally get rock in their mouths, moreso in excavators. Because their food clings to the rock, spitting the rocks out would deny them food. Instead, parrotfish use pharyngeal teeth set in their throats to grind the rock into sand, which then passes through the digestive tract. When it exists the digestive tract, it is in the form of fine grains of rock. Or to put it another way, parrotfish eat rock and poop sand. A single parrotfish can produce up to 40 kg (88lbs) of sand yearly, and bigger species can produce even more than that. The process of rock being broken down by living things is called bioerosion and parrotfish are one of the most famous sources of bioerosion. The sand they produce can serve as the basis for new growth of coral or other species and helps reinforce nearby islands. In places like Hawai'i, the Caribbean, and the Maldives, it's estimated that up to 80% of the famous white sand is produced by parrotfish and they serve as a major source of incoming earth to support the islands. This makes parrotfish ecosystem engineers. Their eating of algae is also majorly important to their ecosystems. Algae can overgrow and smother delicate ecosystems like coral reefs and seagrass beds and decaying algae draws oxygen out of the water. Parrotfish help the health of their environments by keeping the algae population at healthy levels. Parrotfish also eat seaweeds and sponges that grow much faster than coral and can smother coral reefs. Parrotfish are considered keystone species in many reefs, including the great barrier reef and their population dropping correlates with reduced health of reefs. Damaged reefs tent to have larger parrotfish populations and those populations drop as the reef recovers.

(Image: a group of many parrotfish feeding on coral. They are all the same species and are mostly blue, with yellow heads and stripes on the face. They appear to be biting the the coral. End ID)

Parrotfish are protogynous sequential hermaprodites. This means that all parrotfish are born female and can become male later in life. The transition is usually triggered when there are too many females or not enough males in a location, though in some species any fish that reaches a certain size will become male. Some parrotfish are solitary while others are social. In social species, the social groups consist of a large male and a harem of females that he protects and claims mating rights with. Other males will attempt to fight the male for dominance via headbutting and threat displays and occasionally one of his harem members will become male to challenge him. Males are usually more colorful than females, which they use to woo females, but also puts them at greater risk of predation. If the harem leader dies and is not replaces, one member of the harem will transition to male and replace him. Many species perform courtship dances during nights of the full moon. In non-social species, males will perform displays and fight with each other to attract females. In social species, the dominant male will mate with his harem while smaller males without harems will try to sneakily woo claimed females or sneak in and mate without being noticed. Parrotfish are broadcast spawners. The female releases her eggs into the water and the males releases sperm to fertilize them. The eggs will drift on the current until settling, after which the larvae will hatch. As with most fish species, only a very few of the larvae will reach adulthood.

(Image: a Mediterranean parrotfish (Sparisoma cretense). It is mostly bright red, but with a yellow patch above the tail and a yellow stripe around the eye that runs down to the belly. A large patch behind the eye is blue. End ID)

Thankfully, most parrotfish species are not particularly endangered. The largest threat to them comes from habitat loss as pollution and climate change harms coral reefs. Reintroducing parrotfish to damaged reefs helps them recover. All species are edible, though there is no commercial fishery for them. While parrotfish are capable of delivering powerful bites, there are few reports of humans getting bit. That being said, I found one case where someone had skin on his penis bitten off by a parrotfish. And yes, that link has pictures. Enjoy.

(Image: a blue parrotfish (Scarus coeruleus) looking at the camera. It is a blue fish with darker patches around the eye. Its snout is bulbous and the beak points downward. End ID).

[forestdeath1]

The Black family as representatives of ancient "Anglo-Saxon elite"

To me Blacks were never partially French. I'm not saying the headcanon "Blacks are partially French" isn't valid, it's just not as interesting to me and it strips away nuances from their history. Here's why.

(It’s just my fantasies mixed with historical facts! Don’t take it too seriously)

Firstly, their choice of surname.

I've noticed that two main Death Eater families bear surnames of French and Norman origin. Lestrange and Malfoy (fictional, but the "origin" is clear). And then there's Rosier and Avery. Rosier – definitely French, and Avery – from the Middle English and Anglo-Norman French personal name Aevery, a Norman form of Alfred. There are no other surnames like this in Harry Potter, except for Peverell (correct me if I'm wrong).

Clearly, this is a reference to the Norman Conquest of 1066. These Death Eaters could be associated with aristocratic and influential families who came to England after the Norman Conquest. This is a nod to the historical division in English society between Normans and Anglo-Saxons, where Normans represented the upper echelon of society, while Anglo-Saxons were less privileged.

Yes, I'm Captain Obvious here. So let's move on to the Blacks.

The surname Black is typically Anglo-Saxon. It could have derived from the Old English word 'blæc,' meaning 'black' or 'dark,' and may have been used to describe someone who wore black clothing or had dark hair.

(Old English emerged around the 5th-6th centuries and was used in England for about 600 years, until the 11th century. This period ended after the Norman Conquest in 1066).

Hogwarts, canonically, appeared over 1000 years ago. That is, before the Norman Conquest. (But Hogwarts Castle couldn't exist yet, because castle technology was brought by the Normans). The Blacks call themselves "the noble and most ancient house of Black." That is, the oldest family, and also the noblest. Maybe they were "noble" in the sense that they belonged to the elite of Anglo-Saxon society (which was fragmented into small kingdoms). But they consider themselves the oldest family among those who trace their lineage and uphold the nobility (purity) of their blood. Considering that "Hogwarts" appeared before the Norman Conquest, I fantasize that such families already existed back then. A lot of families are extinct. Except the Blacks.

So the Blacks are a reflection of "Anglo-Saxon aristocracy." And here I headcanon that the Blacks still considered themselves more entitled than everyone else, mocked the Malfoys and Rosiers, and generally looked down on anything French. Fanatics to the bone and lovers of elevating themselves above all.

Why the motto in French – in the Middle Ages, the use of Latin and French languages was common among European aristocracy (despite the fact that there is NO aristocracy among wizards, but they could have been part of the aristocracy before the introduction of the Statute of Secrecy). The French language was often considered the language of diplomacy and culture, and its use in mottos and coats of arms was a common phenomenon. Here I just headcanon that one of the Blacks either had a strange sense of humour, or wanted to put an end to the ancient feud of the Blacks with all things French and start the family on some new beginnings. Maybe they married someone with French roots to expand their influence.

Of course, all this can be explained differently. The headcanon that the Blacks have some French part also makes sense. But for me personally, that's not so interesting, considering the obvious connections of the Lestranges and Rosiers with France (Vinda Rosier, Lestrange family Mausoleum in Paris). I prefer the Blacks who are so arrogant that they even consider themselves "true English wizards," not "like those Malfoys." And I headcanon that this was not a real confrontation, but rather a pretext for jokes and fuel for greater kindling of their vanity.

[alpaca-clouds]

What even makes a story Solarpunk?

I thought to myself that given the fact I am gonna review a few more Solarpunk short stories and given that there is some interest in me talking about Solarpunk media, it would make sense for me to talk a bit about what - to me - makes a story Solarpunk.

As I have established before: I can think of quite a few stories that are not technically Solarpunk, but feel very Solarpunk.

To make it simply: I think there is two aspects to Solarpunk in storytelling. One of them is themes, the other is the worldbuilding. And yes, I think a story can be kinda Solarpunk just based on the themes, even if it just takes place in a normal fantasy setting, a historical setting or just in the modern world.

Solarpunk Themes

I talked about it last week how Dungeon Meshi feels quite Solarpunk to me. And the reason for this is the themes it deals with. Because those themes are absolutely there.

Themes I would consider to be Solarpunk:

Community/Found Family

Mutual Aid

Environmentalism in some way

General Living in Harmony with Nature/Respecting Nature

Respecting Indigenous ways of life

Decolonialisation

Marginalized people banding together

I do not think that a single one of those themes is making a story Solarpunk, but when several of them come together.

I also talked about how the movie Misaki no Mayoiga, which takes place after the Tohoku earthquake, feels very, very Solarpunk, even though it takes place in 2011. Because it just features so many of those themes. Big theming around community and found family. Big use of mutual aid. Living in harmony with nature specifically according to old Shinto traditions.

And that just makes the movie feel so very Solarpunk.

Solarpunk in Worldbuilding

Then there is obviously the way that a story can be set in a Solarpunk setting. Which probably is some sort of science fiction setting (though I do argue that it could also be fantasy) that features certain aspects.

Energy in this setting is probably generated by some sustainable source (maybe solar, hydro, wind, maybe some other source)

There are efforts being done that the world is being rewilded in some way

Sustainable living is a big theme in the world

The society in the world is more accepting and integrated than it is right now

There might be some sort of decolonization efforts going on

There might be some development towards (or already archived) anarchism

The world at large does at least make efforts to move past capitalism (because really, everything else is not archivable under capitalism)

While I would argue the world can be in different stages when it comes to the different points, I do think that to really get Solarpunk each of the points has to be addressed in some way or form.

Though it is to me also very speaking, that a lot of folks really do not seem to be able to imagine a post-capitalist world...

What I am trying to say

I do think that a piece of media can absolutely qualify as "kinda solarpunk" if it just uses those themes above. And yes, this also means that a lot more media can be considered Solarpunk in terms of themes, than by fitting the Solarpunk worldbuilding so far.

I would love to see more Solarpunk worldbuilding, though. :)

[live-love-be-unique]

I Am No Bird; And No Net Ensnares Me

Summary: Ghost finds himself starting an informal book club with the newest addition to the taskforce.

#22. Ghost and Reader are in a book club for @glitterypirateduck Ghost Challenge.

Parings: Ghost x f reader

Warnings: angst, death and an unconfessed love

You’d been reading your book, when you looked up noticing him staring “you can borrow it if you want? Price says we’ll be sitting tight for a while”

You weren’t kidding, three days later and the exfil still hadn’t shown up. Ghost devoured your book in the meantime, it was actually pretty good, a story about two sisters that had been separated during German-occupied, war-torn France. A little too heartbreaking for his liking but still a good read. One quote amongst the many you had underlined in gray lead pencil had stuck with him: “if I have learned anything in this long life of mine, it is this: in love we find out who we want to be; in war we find out who we are."

Days later you’d been sitting on the break room sofa, talking with another female soldier and as he passed he dropped a novel onto your lap. Not a fiction story like you preferred, this one was a memoir of a retired Navy SEAL who was also a Guinness world record holder and an ultramarathon runner. He’d met the man once, respected the hell out of him, for an American. “Thought you’d enjoy this” he offered to your questioning glance as he passed.

It quickly become a habit between the two of you, packing a novel in amongst your supplies for missions to swap during to periods of waiting. Almost like a little unofficial book club. Sometimes, you’d find yourselves together in the break room decompressing after a long mission discussing the books you’d read over cups of tea. He’d learnt you preferred fantasy, dark romance and mystery while he enjoyed thriller, true crime and the odd biography.

He also learnt that you weren’t above the odd prank either, during one particular downtime, he was reading the book you’d brought along and, as he was invested in a pretty graphic sex scene involving a gun, Soap had spotted the book’s title, it also didn’t help that he had been imagining it was you underneath him in that same position. Once Gaz had caught onto what was happening he knew he’d been hearing about it for weeks. He caught sight of you giggling away behind his copy of the historical non-fiction he’d lent you about America's first considered serial killer.

He retaliated by bringing what he imagined you’d think was the most boring book in his collection, all 411 pages of a nautical historical fiction about a young naval lieutenant newly promoted to master and commander. He was right, you’d read the entire thing, under sufferance of course.

He found himself watching you as you read, the way you chewed on your lip as you concentrated, the way you smiled when you read something you enjoyed and frowned when you didn’t. He even learned to love the little notes and quips you left in the margins of his books when at first it annoyed him. He’d watch you, hoping to catch you glancing over at him, above the pages of your book, sending a soft smile his way.

The last mission had been a mistake, anything that could have gone wrong did, and you had born the brunt of it. You’d been raced to the medbay unconscious and barely breathing, they’d had to intubate you immediately and had moved you to a hospital off base for treatment. He hadn’t left your side since.

He spent his time devouring any medical textbooks he could find on your condition, so much so that Gaz was convinced, if allowed, he could perform your surgery.

Price had visited a few days later, citing mission reports as the reason for his delay, bringing with him a box of your belongings, “some comforts from home” he’d muttered. At the bottom of the box, buried underneath a well-worn sweatshirt and a teddy bear that was signed by friends and family from back home, his hands brushed against a small paperback.

The cover was tattered and pages dogeared and a little note on the inside cover from someone he could only guess at being your grandmother telling you how this was her favorite story as a young girl and how she hopes you love it as much as she did. It was clear that you loved it as much as she had hoped as his eyes trailed over sections you had underlined and the little notations you’d made in the margins, it was like a window into your soul as he found the first page a started to read aloud to you in that quite hospital room.

“There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question.” His voice thick with exhaustion and emotion as he read. He read to you throughout the night and into the next day.

Your heart monitor flatlined just as the story ended and Jane and Mr Rochester were reunited. Even though the doctors and nurses said you probably hadn’t heard anything, he liked to think you’d held on long enough to hear him finally finish your favourite book.

Days later Ghost found himself standing at the front of the large crowd of mourners, surrounded by colleagues and friends alike as they lowered your coffin into the ground. He couldn’t move as the others dispersed, your younger brother clapping him on the shoulder as he passed by. Price had stayed with him, Gaz and Soap stood close behind, giving them a moment.

“Did you tell her?” Price had asked him.

“Tell her what?” He muttered, watching as they filled in your grave.

“That you loved her” Price murmured, chewing on the end of his cigar.

“No” he shook his head. “Didn’t get the chance”

“She knew, lad, she knew” Price sighed, placing a comforting hand on his shoulder.

She does now, he thought as he absentmindedly scratched at his chest. The sandiderm covering the fresh tattoo itched like crazy underneath his suit. The simple line-work done immediately after your passing, your favourite quote, directly over his heart: "I am no bird; and no net ensnares me”

List of books mentioned:

The Nightingale by Kristin Hannah

Can’t Hurt Me by David Goggins

Haunting Adeline by H. D Carlton

Devil In The White City by Erik Larson

Master and Commander by Patrick O’Brian

Jane Eyre by Charlotte Brontë

[redpanther23]

TL;DR A few homeless people you meet wear nazi symbols without even knowing what they mean. I try to be friendly to them if they seem alright because usually they are just kinda dumbasses. My dad is Jewish and he taught me to feel this way.

This is an important meeting of diplomats from extremely different cultures. I know this one will be controversial, but I'll never disrespect someone who compliments me (it's a great way to avoid fights.) A lot of street punks are only nazis because it looks cool, you just gotta show em what's cooler. My great grandfather on my Choctaw side was present for the liberation of the Dachau prison camp in Nazi Germany, and he said the most striking thing was that the guards were just as skinny as the prisoners. At the beginning of the war, prisoners were fed pretty well and even given rations of chocolate and tobacco. He thought the Germans began exterminating prisoners because they couldn't feed anyone, Jewish or white. During Nazi Germany, most white German people suffered horribly and had to eat their pets just to survive. Only a few very rich people profited, and they gained power by tricking people into hating each other. (You can also read about this in MAUS by Art Spiegelman, which is an excellent comic, a lot like mine.)

There are so many more beautiful periods of German history to celebrate, including this one happening right now! (I am Ashkenazi to those whom it may concern.) If you're more into historical stuff, the period before WWII was called "weimar," and it's commonly considered the most culturally rich period in German history - during the war, a lot of films were destroyed because the materials they were made from could be used to make explosives, and so many libraries were burned that a lot of written works were lost, but the surviving pieces of fiction are some of the greatest epic fantasy works ever written, and were heavily influential on J.R.R. Tolkien, and hundreds of modern writers. The Nazi regime damaged not just Jewish and Romani people, but German people and our world culture as a whole.

[cryptotheism]

any historical knowledge on theistic satanism/demonology? I think it’s really interesting how some people worship the demons that were basically created by bored church leaders who were in the mood to write Satan fan fiction.

Well, satanism is a relatively recent phenomena, but demonology is definitely not!

So, this answer is gonna be very Christian-centric:

Christians have been fascinated with demons for as long as there have been Christians. They're the augurs of evil in the world, so it makes sense that a priest may want to understand or even control them.

And I say priest, because much of the historical knowledge of demonology we have comes from records made by priests, as they were the only people who could read. Over the years, this led to the production of many texts that dealt with concepts like "using the power of Christ to compel demons to one's will." An action that could be considered magic or not by church authorities.

Clerical interest in these concepts led to what Dr. Sledge calls the Clerical Necromantic Underground; a sort of grey market trade in dubious knowledge among the medieval clergy.

Not to say that these guys were summoning demons per se, they probably weren't, but there is evidence that some priestly organizations may have been teaching more divination methods and superstition than authorities may have liked.