#it means the world to me as a writer to see that people actually want to read my stuff!!!

[starrysnowdrop]

Were there any barriers to you establishing your OCs relationship? Perhaps social or cultural stigma? Or a concern that "ships" with that character were already overdone? Or simply a fear of being seen as "cringe"? If so then how did you overcome this?

Ohhh now this is a good one, as this is something that I’ve been told, that I have inspired others to “overcome their fears” of shipping based on certain stigmas in the FFXIV fandom, so let’s get into it shall we? Oh and I will apologize in advance, as this WILL get long.

The Stigmas

Hali x Aymeric

So for Hali x Aymeric, the obvious stigma is that Hali is a lalafell, and Aymeric is not. Though I’ve seen lately that this stigma has waned a bit, especially here on Tumblr where people who infantilize lalas don’t seem to last long, but keep in mind that there is still plenty of lala infantilism on the bird app and other places like Reddit and in game.

For my main ship, that is really the only thing that I see that makes the ship “problematic” to some in the fandom; some people still see lalafells as “child-coded”, despite lalafells being a fantasy race of little people, no different to gnomes, hobbits, dwarves, etc. in other fantasy media, and despite the in game world treating lalafellin adults the same as any other race.

Yume x Zenos

(Yume’s blog: @firelightmuse)

So for Yume x Zenos, but also to a lesser extent Urania (Hali’s Azem) x Hermes, and my other secret ship that I haven’t revealed yet because it’s still in development, these ships fall into the category of being “problematic” because they are Hero x Villain ships at their core, and because Zenos, Hermes, and the secret ship partner are all major antagonists in the story, they have many haters.

Now there isn’t anything wrong with not liking certain characters, as I truly think we all have certain characters that we just don’t vibe with for one reason or another. But there is a problem, however, when people go after villain shippers just because they happen to not like those characters.

Just like with the Lala infantilism problem, villain ships get a lot of hate in the fandom, but for different reasons. I would guess that the main reason is the haters assume that villain shippers either don’t see that the villains have done bad things and/or try to minimize or excuse the villains’ bad behavior. Now I won’t say that there aren’t a few people out there who will truly excuse a villain’s bad behavior and try to make them out to not be as bad of a person as they are written in canon. But I really do think that there’s not as many of them as the haters are likely to believe.

Remember: just because someone is a fan of a villain doesn’t mean they agree with their actions, and a writer is NOT the same as their character. For example, Yume may minimize and/or downright ignore all of the pain and suffering Zenos has inflicted upon not only her, but innumerable others, doesn’t mean that I as Yume’s writer share the same views. I actually consider Yume to ride the thin line between anti-hero and villain herself, just so y’all know.

How to Overcome the Stigmas

So now that the individual stigmas of each of my ships have been outlined, how did I overcome the stigmas? And how difficult was it for me to do?

Well, if you’ve followed me for several years already, you might’ve seen that Hali, my lala WoL, is not the first WoL I have written. That honor goes to Yume, who is a Raen Au Ra and she doesn’t come with the same stigma that Hali does as a lalafell. So I had the privilege for several years of being able to write Yume without the infantilism that Hali would have to fight against in the fandom. But those years gave me enough courage in my own writing to create Hali and to fend off the stigma of lala x non-lala shipping and my own insecurities surrounding it.

Though it was difficult, and it took me a long time to do so, I eventually realized that I was happier and way more fulfilled when I wrote what I wanted to and not what I thought my followers or my friends or anyone else wanted. Trust me, I tried more “popular” and less “problematic” ships before, and even though they were nice at the time, I ultimately dropped them because I realized that I didn’t feel fulfilled, and that I was scared to write for more “problematic” ships because I feared the backlash.

One HUGE thing that I highly recommend is to find yourself a good support system to surround yourself with. Whether that be reaching out to your mutuals here on Tumblr or joining discord servers with like minded individuals, having people there who can help you through your journey in shipping will help greatly! Trust me, I wouldn’t be where I am today without my support system to be there for me when I’m having a bout of anxiety and/or insecurity with my writing.

Another thing that I highly recommend you do is to Unfollow, Hide, and/or Block haters liberally!! Please, it’s for your own mental health and wellbeing to do so! If you’re wanting to ship your lala oc for example, never hesitate to block the lala haters out there! No good will come from seeing the hate all over your feed, because it will just bring you down.

That’s about all I have for now. If you have any other questions on this subject, please do not hesitate to send me a message, DM, or ask!! I am always happy to help with any questions or advice when it comes to shipping! Thank you so much @mimble-sparklepudding for the ask, and thank you all for reading this very long winded answer!! 💖

[letmetellyouaboutmyfeels]

That's so weird because my reaction to S4 finale is it was the moment that convinced me Buddie was going to be endgame. Now two seasons later and we could be heading back to that same ending for the season depending on the events of the finale leaves me doubting things ngl. The only things I'm clinging on to are the couch theory, Eddie saying that relationships with people you meet at a rescue never works, and the fact that we're being introduced to these women so late in the season. It just seems like the writers even know they're giving this the most superficial things so that they can fix what they did in early S7.

To put it bluntly it just sucks that you know if this was gonna be the final 2 episodes that instead of going towards a story they've been telling since S2 they decide to put Buck and Eddie with women we don't even know their last name or anything about them. But they got renewed and will be moving to ABC so they can do the story they wanted to tell and I imagine these women will be kicked to the curb early in S7.

Okay, I'm gonna be real honest with you. I've seen that you've sent asks to a few of my friends, all generally saying the same thing. So to see you send me this ask makes me feel like you don't really want to have a discussion and aren't looking for actual support or positivity, you just want to keep being upset and tell people until someone agrees with you and tells you that your opinion that the writers made a shitty choice etc is valid.

So, to repeat a few things my friends have said:

They have not been doing Buddie since season two. I don't know why people persist on claiming this. Buddie was never the original plan. They did not decide to have Eddie get with Buck in season two. In fact in season two they seemed kinda unsure what to do with Eddie since he wouldn't be with Maddie any longer, but they still wanted the character, and Ryan, on the show. For my money, they started exploring the possibility of Buddie and discussing it seriously in season three, and season four was when they locked that in.

Now, I don't know about you, since you're a stranger on the internet, but to me, as a writer, it is a much, much better choice for them to have taken the risk rather than cram Buddie together, for a few reasons.

One: They cannot walk it back once Buddie is together. You're telling me you wanted them to sacrifice their story's integrity to give us a rushed unsatisfying get-together? Get out of my house. Watching television is, inherently, a gamble because it means you might get your stories unfulfilled. If you can't take that risk, then leave the casino. I am willing to risk it because I want a truly satisfying get-together, not something that was rushed and therefore isn't worthy of the delicious slow burn they're building.

Two: How many times do I have to scream at everyone to consider the behind the scenes issues before people start actually listening to me? Oh, forever? Because everyone is operating in bad faith and nobody wants to actually listen? Good to know. This will be the last I say on the matter.

We do not know what behind the scenes was going on in addition to the cancellation. What if certain Fox executives weren't supportive of Buddie? You're telling me that the writers and cast and crew should have, right when they'll need new jobs, guaranteed that their last employers will talk shit about them for disobeying orders and putting two characters together that they were told not to put together?

This is purely conjecture on my part, but I have seen time after time in fandom certain cast members and certain crew members and certain writers want a ship to become canon, and others not, and I have seen the way that back and forth played out, and guess fucking what? NOBODY WANTS TO LOSE THEIR FUCKING JOB. NOBODY WANTS TO BE PREVENTED FROM HAVING ANOTHER JOB.

Now, again, that's pure conjecture, but Fox really hasn't treated OG well for a while in terms of renewal, marketing, etc. And I have never, EVER, seen a show snapped up by another network so quickly. It's always "we got cancelled!" and then a few days or weeks later it's "we were saved by another network!" ABC was ON it. This gives me hope for a lot of things, like perhaps a 22 episode season. But given Fox's lack of promotion and appreciation for OG, it wouldn't surprise me if the cast and crew wanted Buddie and some people in the network didn't, and that is why we've been delayed on Buddie going canon. And while YOU may cry viva la revolution, it's much easier to have your principles when you've got a belly full, and while it may suck creatively there is no reason to piss off your bosses right when you need them to write you a recommendation for a new job because your show got cancelled - and while I'm sure they were hopeful, given the cast's social media I do not think anyone knew until it was publicly announced that they had, indeed, been saved and gotten another season.

My point is, this is just one theory I'm pulling out of a hat like a rabbit. We do not know what other BTS stuff is going on that made them choose to delay Buddie until season seven.

Three: To go back to point one, I do not think you've seen the reactions when a ship goes canon poorly. I was there, Gandalf. I was there the day that Booth and Bones got together. I was in the trenches. It soured SO many people, including me, on the show. To quote MBMBAM: YOU DIDN'T STICK THE LANDING! YOU JUST FLIPPED IN THE AIR FOR TWENTY MINUTES!!!

Sticking the landing when getting a ship together is possibly the most important moment in the couple's story. You cannot fuck up that landing. The writers chose to take the chance on it never happening in order to stick the landing the way they wanted. If that pisses you off, FINE. But stop coming into our inboxes to say the same thing over and over again about it, because we do not agree and we are never going to agree. We are at an impasse.

Now, to move onto some other points, WHY IS EVERYONE CONVINCED THAT EDDIE WILL STILL BE WITH SOMEONE WHEN THE SEASON ENDS!? WHEN DID WE DECIDE THIS!? He could be! But holy shit he could just go on one date with her that fizzles out! We have no clue! If someone in this fandom can see into the future and knows for sure this is going to happen then give me the winning lotto numbers right this second!!! Give them to me!!!! I need to fund my world domination campaign!!!

And finally, I feel like you've answered your own concerns, here. Given that you have sent similar asks to my friends, I don't think you're actually interested in allaying those concerns, because you keep answering your own questions and repeating yourself ad naseum. I could be wrong. Again, I don't know you. But this sure seems to be the case given that you're saying to me similar stuff you've said to my friends in asks they've already answered.

But to look at your own ask, you just said why we shouldn't be worried. "It seems like the writers even know..." YES. YES, THEY DO KNOW. I would love to know who the hell decided that television shows are made by the Television Fairy who creeps into the studio at night and waves her magic wand to create all the good stuff we see on our screens while the writers sit around with their thumbs up their asses.

Let's imagine you are a showrunner and you are going into the second half of your season, and you learn that it is extremely likely this season is actually your last. You guys start negotiating quietly with other networks to move the show, while hoping against hope this is not, indeed, the end. But this means you now have, what, nine episodes? To put all your characters in a place that is, if not ideal, at least somewhat positive for your audience?

You can't start any too-major arcs. You can't end on too bad of an emotional cliffhanger. This means some things will wrap up faster. Other things will get pushed forward. And some things have to be delayed, because they might never happen, and you can't give people a third or a half of an arc. Which means that you're going to be throwing in some filler for those characters instead, and doing things differently than how you might have wanted.

I do not know how many times I have to explain this, but television is not fanfiction. When I sit down to write a fic, there's not a damn person in the world who can tell me what to do. I write the story that I want, and if someone doesn't like it, they can hit the bricks.

Television is not like that. Television is one of the biggest group projects there is. Picture the worst group project you had to do in school and then times it by ten. Welcome to the television and film industry. The fact that any film or show, even the truly awful ones, gets made is nothing short of a miracle given all the people involved and all the ways the ball can be dropped. As a show runner, you are answering to multiple executives, to the creators, to the executive producers, to your own writers' room, and to the fans. You are trying to balance what everyone tells you to do, what the fans want you to do, and what you and your (hopefully trusted) writing team want and plan to do. I could never be a show runner and while there are quite a few with whom I've got bones to pick, I cannot deny that they all do a job I would never, ever be capable of pulling off. I'd quit on day three.

So, yeah, they gave Buck a temporary girlfriend as filler, to kinda cap off his current arc if this was the end, or to provide more layers to his full arc if they got another season. If you don't like that, then that's okay. Nobody is telling you to like it. When you come into someone's inbox like this, the assumption is that you're looking to be reassured, and so that's why you're getting the responses that you are. The previous people who've answered you have been trying to reassure you and allay the concerns you seem to have.

But it seems to me like you want a more full conversation, and possibly, that you just want to rant and vent. That's fine, but find a friend for that. Join a discord server. Because when you send the same stuff over and over again to different people, all of whom give you basically the same reply, it just makes you look like a very obstinate stick in the mud who wants everyone else to join them in being upset, and people don't much like having the same conversation multiple times, or being pushed into being upset when they're not.

You might just have to agree to disagree, and move on. Find other ways to get this out of your system, because my inbox, and the inboxes of others, is not the place for your venting in circles.

Now, in spite of my firm tone, I hope you will believe me when I say that I hope you're taking care of yourself, and that you are staying safe in this scary world, and that you have a good rest of your day.

[strawberryicebreakers]

Hello, sorry to bother you but I'm a bit curious about the UHF fanfic you mentioned a while ago. Has it been updated since?

I haven't gotten around to it just yet; I got bit by the ted lasso bug, blinked, and now I'm nearly 40k into a fic with no signs of switching over to a different WIP :(

that being said, it is incredibly nice to see that people want to read my writing :') I do, eventually, want to finish the fic, but with the current WIP I'm working on and the semester starting up [yay college!], it doesn't look like I'll get to finish it anytime soon.

as a condolences/sneak peak, I'll put what I've got so far under the cut. it's about 7.1k, and it is a very, very rough draft, but again, I'm very thankful for the kind words I've gotten from people concerning the fic and want to show it! if you have any questions, feel free to hit me with them :)

Three months in, and Robert still couldn’t believe the station hadn’t crashed and burned. It wasn’t that he didn’t trust George, or Pamela, for that matter, but it seemed too good to be true. It made no sense to him that the same universe that let him flunk out of college and lose every minimum-wage job he’d ever held was the same universe that gave him a television station and said “hey, go nuts!”

It made no sense, but in all honesty, nothing in his life seemed to make that much sense to him these days. Just the other day, he’d had a group of teenagers break into the building in the middle of the night, probably trying to find a place to smoke, and got chased out by some robotic behemoth Philo’d built in the back of his station control room-turned-laboratory, all while having not told anyone he’d come back to begin with. He’d come in the next morning to see the door off the hinges and a hunk of metal with a wagging tail getting behind-the-ear scratches from Pamela.  

Pamela, who was slowly becoming another tally in favor of his life turning upside down. 

Ever since the night Channel 8 went off the air, she’d started paying attention to him, and it was beginning to concern him. Before, she’d said “good morning” and “good night,” or even the occasional question about any plans he might have, but over the past weeks, she’d turned her charm on to the highest setting possible. Despite the weather turning cold, her skirts grew shorter, her heels taller, and she’d started lingering by his desk for much longer than it took to ask him where the Rolodex went. 

Privately, he’d thought that was more of a question for Stanley, not him, but he didn’t want to embarrass her by pointing it out.

All in all, though, he knew he’d have to mention it at some point, if only to soothe his own conscience. The last thing he needed was to find her doodling hearts and “Mrs. Pamela Steckler” in her broadcast notes.

He glanced up at the clock and saw that all of a single hour had passed since he’d arrived. He’d started coming in early, around eight in the morning, to make sure the morning rerun segments ran smoothly; if it had the added benefit of getting an hour to himself before anyone else showed up, well, he wasn’t complaining. 

-

The scrape of the door on the tile floor that pulled him out of his reverie told him that someone else had arrived, and the click of a heel announced who it was. 

“Good morning!”

“Hey, Pamela,” he called out. “Any trouble with the drive?”

“Nah,” she said, pulling her coat off and hanging it on the rack. “Just some awful fog. I could barely see the street!” 

Through the lattice, Robert watched her rifle through her desk drawers, pulling out a few pens and her notepad. At his desk, he did the same, and began to look through the show proposals for the spring schedule; not reading them, just counting the envelopes. “Anything interesting to cover today?”

“The uzhe,” she said. “The shelter’s doing a PSA for families looking to adopt a pet for Christmas and I get to go down and get fur all over my legs.”

“Look on the bright side, Pam,” he said. “You get to play with puppies, and George and I are stuck down here, puppy-less. You have to admit, one seems a lot more fun than the other.”

She turned, swiveling her chair over to look at him through the lattice. “You saying you want to come down with me, Bobby?”

“No,” he said, a bit too quick to be polite. “No, I -, uh, I’ve got to stay up here. Keep everything in line, you know?” He held up the papers to her with a shrug. “You really think George wants to read these?”

He sent a quick prayer up, hoping she hadn’t seen George all but club him over the head the other night when he’d mentioned splitting the proposals in half and reading them separately. Reading what the people of Tulsa wanted to see on the TV was half the alleged fun of the job, and reading them together, laughing about it, made it borderline bearable.

She stood, walking over to his desk and perching on the edge. “Come on,” she said, smiling. “It’s me, you, and a bunch of cute little animals. What’s not to love?”

“I said no, Pamela.”

She huffed, crossing her arms. “You’d really rather be here?”

“I really would rather be here,” he said. “I can’t ditch work to hang out with you.”

They sat in silence for a moment before Pamela looked down at him, smiling. 

“What?”

“I mean,” she said, curling a lock of hair ‘round her finger, “if work’s the problem, we could always hang outside of work hours. Grab dinner, maybe a movie?”

“I -”

“I think Back to the Future two’s playing at the theater near my place. You ever see the first one? I always thought the guy who played Marty, the Fox guy, was pretty funny. He’s on Family Ties, too, and -”

“I can’t.”

“Why not?”

“I just -,” he sighed. “I just can’t.”

She pushed herself off his desk, and he saw her face begin to flush. “I don’t get it,” she said. “I mean, I’ve got a job, I’m nice, and frankly, I’m not too bad to look at, so what’s your deal?”

 “Well, I’m your boss, Pamela,” he said. “Pretty sure that’s illegal.”

“Fine,” she said. “If you weren’t my boss, would you date me?”

“No, but -”

“You got a girlfriend?”

“No -”

“Then what gives?” She slunk down into George’s chair with a groan, threading her hand through her hair. “I mean, is it my voice? My makeup? Shit, do I wear too much makeup?”

“You’re beautiful,” Robert said. “And your voice is fine, Pam. We wouldn’t put you on the air if it wasn’t.”

She huffed. “If it’s none of that, then what is it?”

“He’s gay, Pamela.”

They both jumped, nearly falling out of their chairs.

“Fuck, Philo,” Robert cursed, “how long have you been there?”

“Long enough,” Philo mused. He hummed while he worked, some odd little tune Robert couldn’t place while sticking a screwdriver into what looked like three batteries taped to a piece of glass. “And Pamela has an uncle like you, Robert. She wouldn’t have been rude about it, had you told her yourself.”

“How do you know about my uncle?” Pamela asked. “I haven’t said anything about him to you, or anyone here.” She turned, looking back at him. “He’s right, though.”

“Philo, you can’t say stuff like that,” Robert wheezed. He felt his heart racing under his shirt as if he’d run from one end of the station to the next, and tried to get himself to calm down.

For what it was worth, the older man looked genuinely confused. “I can’t?”

“No, you can’t,” he said. “Some people wouldn’t take that information very well.”

He considered it for a minute, then nodded. “My apologies, Robert.”

“Just don’t do it again, okay?”

“You have my word.” He pressed a hand to the right side of his lab coat, and gave a slight bow. With that, Philo walked away, returning to the back of the station to do god knows what, and left Robert alone with Pamela, who stared straight at him.

He knew she’d have questions; hell, he still had questions, sometimes, and it would be better to get the awkward part over with. “Whatever it is you’re trying to figure out how to ask, just ask it.”

“If you liked girls, would you like me?”

“For God’s sake, Pam.”

She giggled. “I’m sorry, I had to ask!” 

“If I wake up tomorrow wanting to date a woman,” Robert said, smiling despite himself, “you’re the first on my list.”

“Yes!” She pumped a fist in the air. “I knew it!”

“Any man would be lucky to have you,” he said. “You could choose any man you’d ever met, and chances are, they’d treat you like a princess.” He picked up the papers that had fallen from his hand when Philo’d appeared. “Not me, though. Maybe not Stanley, either.”

“You think he’s gay?”

“No,” he said, unfolding the first proposal. “I just think you can do better.”

-

She stayed with him until other employees began to trickle in, and by half past noon, they nearly had a full house. They were still missing George and a few others, but he wasn’t too worried; he’d heard George come in late the night before, and figured he probably wouldn’t drag himself into the station until the last minute. Cameras wouldn’t go live until they started filming some of the upcoming week’s segments at two, but it was nice to hear people moving out and about, typing out a new script or whatever it was they got paid to do. They’d hired an entire new rotation of employees, a good chunk of which were people who wanted to see their shares in the station put to good use, and they had an entire team of high schoolers acting as interns, doing side work for some sort of class credit. Technically, he and George were supposed to give them assignments, grade them, the whole nine years, but if he was being honest with himself, unless one of the kids managed to break something that actually mattered, he’d give them all A’s and call it a day. 

Life’s hard enough without some asshole in a tie trying to make it worse, he thought, watching one of them follow Stanley around as he mopped. 

Everything had grown to become so much more professional since they’d started revamping the station; between the new employees, broadcasting gear, and business cards that said “Robert” instead of “Bob,” he finally began to feel like an adult.

The phone at the front of the office gave out a short, shrill ring, and Pamela answered. After a moment, she held the receiver away from her mouth. “It’s for you, Bob!”

“Coming,” he said, halfway out of his desk already. There were only two types of calls they got: serious calls that required either him or George, and Pamela’s social calls from friends who realized that, unless she was on their television, she was available to talk. 

He lifted the receiver to his ear. “Robert Steckler, Channel 62.”

“I’m in hell, Bob.”

“George?”

Next to him, Pamela gave up any attempt she’d made at trying to look disinterested.

“Hell, Bob.” George repeated. He spoke slowly, as if he had to pull the words out of himself to say them loud enough to hear through the phone. “I’m in it.”

“What’s wrong?”

This time, Robert couldn’t hear the mumbled mess that came out of the speaker. 

“What?”

“My glasses broke.” George sighed, loud enough to be heard over the speaker, and despite the situation, Robert fought back a grin at the dramatics. 

“How’d that happen?”

“I didn’t put them in the drawer last night when I came in. Knocked them off the nightstand when I got out of bed since I didn’t remember they were there, and the second I put my foot down -”

Robert winced. “Crunch?”

“Crunch,” George echoed. “I just got off the phone with Visionworks. They’re doing a rush order for me ‘cause I might’ve mentioned I needed them for station work -”

“George -”

“which isn’t technically wrong, y’know, and they said the earliest they’d be in is Friday, so until then, I’m out of commission for anything that requires me behind the wheel of a car.”

“Got it,” he said. “I’ll be there in ten or so. You need me to help you down the stairs?”

A quiet chuckle came through the speaker. “I’m not your Grandma Ruth.”

“Yeah, but you’re both bordering on legally blind,” he replied, teasing, “so what’s the difference, really?” 

“Just for that, I’m throwing myself down the stairs. Have fun running U-62 on your own, Bob.”

“I will,” he said, and hung up the phone. He reached over, grabbing his coat out from underneath Pamerla’s and sliding it on. “I’ll be back in about half an hour,” he said, looking at her. “Try not to let the power get to your head.”

“You’ll come back, and they’ll be feeding me grapes,” she said. She lifted her legs, crossing them at the ankles atop her desk and leaning back like a queen on her throne. “His glasses broke?”

“Shattered, from what he told me.”

Pamela clicked her tongue. “Damn,” she said. “No spares?”

“Nah, neither of us have that kind of cash.”

“Well,” she said, flicking through the Rolodex, “at least we know his address.”

“Of course I know his address,” Robert said, feeling through his pockets for his keys. “We live together, Pam.” He found the keys, kept on an old keychain his dad had given him when he first came back to Tulsa.

Behind him, Pamela gasped. “Oh,” she said, eyes wide. “Oh, I get it now!”

He whipped around, hands up in alarm. “Not like that!”

“He’s not -,” she asked, then stopped herself. “You two aren’t -?”

“I don’t think,” he said, lowering his voice, “that George knows that being gay is an option, much less, well.” He waved a hand at himself. “So please, Pam, don’t mention it in front of him.”

She mimed zipping her lips shut, throwing an invisible key in the small garbage can by her feet. “My lips are sealed.”

-

The fog had grown stronger during the hours he’d spent in the station, and Robert quickly learned that Pamela wasn’t lying when she’d said that visibility was zero to none. His car was barely more than a lump of blue-gray, even though he’d parked in the closest line of spots to the building that morning. 

At least the roads were clear. The last of the lunch rush was still trickling back to their places of employment, but overall, the drive back home wasn’t too painful. He’d grown up around this type of weather in the winter, the days where you couldn’t see more than two feet in front of you followed by enough snow or ice to make it a hazard to anyone who didn’t know to look at the road when driving. Every year, car accidents littered the roads from December to mid-March, all because barely half of the town’s driving population consisted of Tulsa natives, and the other half was a combination of out-of-towners, the elderly, and teenagers that got their license that year. 

The very first winter they’d lived together, he’d had to go rescue George from a ditch eight miles from the apartment at ten o’clock at night; he’d tried driving home from his girlfriend’s house and lost control when his wheel hit the ice. It was the same winter where the heat went out, and George’s uncle Harvey managed to save their asses both times. He’d paid for the repairs on the car, and “had a guy” who came out to fix the heating, not just for their apartment, but for the whole building, at no cost. 

They’d met Kuni about a week later when he’d come by to give his thanks after he’d realized that the landlord hadn’t been the one to fix the heating, and he’d brought a Tupperware full of something his wife had made for them. Robert still didn’t know what it was; it’d been strawberries covered in some sort of soft, chewy coating that neither he nor George recognized. Whatever it was, though, was incredibly good, and after trying it, they had to count the individual pieces and divide them in half in order to make sure it was a fair split.

Whenever Kuni had a particularly loud class or a student who decided to try their luck punching through their walls, he brought the same dish over. It was partially apologetic, but mainly a “thank you for not reporting me to the landlord”-type gift, and with Harvey Bilchik’s various connections able to fix anything for free, neither young man ever even considered actually going legal with the various property damages they’d collected over the past four years. 

He parallel parked in his spot on the street, leaving the key in the ignition to keep the car warm while he was gone as he left the car. He took the stairs two at a time, reaching the door quickly and opening it, knowing George would’ve left it unlocked. 

At first glance, the apartment seemed empty. Both bedroom doors were shut, as was the bathroom, and the main room showed no signs of life. He stood still, not even breathing, and felt a small, irrational fear that someone had broken in and kidnapped his roommate creep into the back of his mind.

A small sigh coming from the couch gave him his second near-heart attack of the day.

Nearly camouflaged against the cushions sat George, hunched over with his head in his hands. If he’d worn anything else, he would’ve been visible, but the combination of the brown curls and light blue suit jacket made him a chameleon in their home. 

The sheer unhappiness that radiated from his friend, combined with the MAD poster above his head reading “what - me worry?” made him have to fight back a laugh. “You ready to head out?”

On the couch, George sighed, purposefully loud, and lifted his head. He stared forwards as he spoke, not even turning to face Robert. “I think you might actually need to help me down the stairs.”

Robert could count on one hand the amount of times he’d seen George without his glasses throughout the four and a half years he’d known him. He put them on first thing in the morning, and taking them off was the last thing he did before bed. Hell, he’s pretty sure he’s seen him leave the bathroom after a shower with them fogged up. The few times he’d seen him sans glasses were always temporary; despite the fact that he was a man in his twenties, he kept his glasses safer than his car, wallet,  and comics collection combined.

“That bad?”

George turned his head, lifting his bangs to reveal a bright red line going from his right eyebrow to his hairline. “I, uh, missed the bathroom door. Met the frame instead; turns out she’s a real mean lady.”

Curious, Robert lifted his hand in a Girl Scouts salute that would make his little sister proud. “How many fingers am I holding up?”

George glared at him. “You’re evil,” he said. “You know that, right?”

“I know,” Robert said, smiling. He held out his arm, palm facing the ceiling, the same way he’d always done for his grandma. “Come on, we’ve got about half an hour before the station burns down.”

“Fine,” George said. He reached out a hand, but instead of taking him by the elbow like Robert expected, took his hand, lacing their fingers together. “If you lead me off the stairs, I’m dragging you down with me.”

“Got it,” Robert replied, hoping his voice didn’t sound as strained as it felt when the words came out. 

He could feel the other man’s pulse, a slow thrum, through his fingers as he led them out the front door and slowly to the stairs, with George clasping the railing with his free hand the entire way down. It seemed as though the weather had grown even colder while he’d been inside, making him all the more aware of how warm his hand was with another wrapped around it. 

Logistically, he knew it wasn’t anything, but he was human, and it had been nearly three years since he’d been in a relationship, let alone held hands with someone. The weight of it was comforting; it was solid and steady, only verging onto tight once they’d made it to the bottom few steps. 

Thankfully, they made it down without any event, and Robert led them to his car, stopping at the passenger door. “Your carriage, ma’am.”

“Oh, you’re such a polite young man,” George said, finally cracking a smile. “If I’d known you were here to help, I’d have brought a dollar with me to tip you!”

“I’m just glad to be here for you in such a trying time.”

George took his hand away, opening the door and sinking into the seat. Still in the cold outside, Robert wasted no time in making his way to the driver’s side and climbing inside. He looped his arm around the back of the passenger seat, checking the street for cars behind him before pulling out onto the main road. 

They made it out to the highway before either of them spoke.

“Can you still do the Town Talk segment tonight?” Robert asked. “”Cause if you need me to, I can do it.”

“I can deal with it,” George said. “I know how much you hate being in front of the camera.”

“I hate being in front of the camera as Bob-o the Clown,” Robert corrected. “I’m fine being on air as Robert.”

George shifted in his seat, looking over at him, or at least looking in his direction. “You’re really sticking with Robert, aren’t you?”

“Yep,” Robert said, popping the ‘p.’ “Sounds more professional, which means the other channels take us seriously.” George snickered. “Only if they haven’t seen the shows we’ve greenlit.”

“Speaking of,” he said, turning onto the side road leading to the station, “we’ve got a new batch of proposals for spring. The people of Tulsa have spoken, and they want more insanity in the writer’s room.”

“Don’t tell me you read them without me.” George whined.

“I didn’t,” he said. “Just counted them. We’ve got about twenty, give or take.”

“And how many slots do we have open on the schedule for next spring?”

“Like, two.”

“Phenomenal.”

-

A little while later, they pulled into the station’s parking lot, and Robert was glad to see that no one had taken his spot while he’d been gone. He parked, taking the keys out of the ignition and slipping them into his pocket. 

“You want my help again?” Robert asked.

“I think I’m good,” George said, “but thanks.”

“Alright,” he said, unconvinced. There were a few steps leading up to the door, and he didn’t want to see George eat concrete when he knew neither of them had dental insurance. They were still trying to get that all squared away, but the steps for registering a business with the various insurances wasn’t the easiest thing in the world, especially when neither of the bosses had ever had insurance to begin with.

They left the car, and Robert watched, wary, as George made his way to the front door, both hands splayed out in front of him. He followed close behind in case he managed to hit something and fall backwards, but to his pleasant surprise, neither of them hit the floor. 

“Good afternoon, Stevie Wonder,” Pamela said, seeing them stumble through the door. “Had a nice drive?”

“If he’d driven, we’d be wrapped around a tree right now.”

“Very funny,” George said. He’d narrowed his eyes, but it wasn’t exactly clear if it was out of annoyance or if he was just squinting. “Make fun of the blind guy when he can’t see you well enough to punch back.”

“With your gangly limbs? Honey,” Pamela said, “I don’t think you’d manage to land a hit. Even if you could, you’re too sweet to hit a lady. It’s a mystery how no one’s snapped you up yet.”

He looked over at George, who stayed quiet, fiddling with the cuff of his suit jacket. “Someone has,” Robert said, perplexed at the silence. “His girlfriend, Teri Campbell. And before you ask,” he said, cutting Pamela off, “yes, like the soup.”

“Must’ve been born under a lucky star,” Pamela mused. “Rich girlfriend and a steady job at what, twenty-two?”

“Twenty-five,” Robert clarified, then paused. With the chaos of the first weeks at the station, he realized he’d never actually asked her, or anyone at the station, something as basic as an age. “Wait, how old are you?”

Pamela hummed, setting her pen down. “How old do you think I am?”

Robert laughed. “I’m not dumb enough to fall -”

“Twenty-seven,” George answered. He looked at the other two, who stared back at him. “Her birthday’s in April.”

“How do you know that?”

“It’s on her paperwork, Bob.” George said, the way one would expect to hear “duh” tacked onto the end.

He cocked his head to the side, surprised. “You read that?”

George mimicked him, cocking his head to the other side. “You didn’t?”

“I’ve been meaning to get around to it,” he mumbled, feeling his face heat up. 

“Stanley’s thirty-two,” George continued, pointing at the janitor as he swept the floor near Robert’s desk. “Raul is forty-four -, no,” he corrected, “sorry, forty-eight. Kuni’s fifty-one, and Philo never actually filled out his papers to begin with.”

“Is he allowed to do that?”

A loud BANG! rang out from the back room. 

“I say we let him do what he wants, and in return, we get an on-site engineer who’s willing to host a show without extra pay.” 

He eyed the back room’s doors, taking note of the odd green glow that shone from the porthole windows. “That’s fair,” he said. 

Together, they made their way to their desks, sitting down just in time to avoid the crowd that pushed their way in seconds later. 

The live studio audience had arrived, and they were loud, almost overwhelmingly so. They couldn’t wait to see the people they usually saw on small boxes in real life, excited to participate in the shows they watched with family and friends. Parents with children they’d pulled out of school for the day as an early Christmas present were shown by Pamela to the largest spare room-turned-sound stage, the one with yellow walls and bleachers to fit all those coming to spend a day at Stanley Spadowski’s Clubhouse. A smaller, noticeably older crowd, directed by the interns, were ushered to Town Talk’s half-living room set-up, all the way across the building. 

The other shows filming — Secrets of the Universe, Raul’s Wild Kingdom, and You Bet Your Pink Slip — wouldn’t film until after the first two, and luckily required no such audience. Raul chose to film on-site at his apartment complex, Philo hated the idea of anyone in his lab space that didn’t explicitly have to be there, and Pink Slip was shot at whatever place of employment had someone willing to, as the show’s title suggested, bet their pink slip on something insane. 

One of the interns, a short, dark-skinned girl that was one of the first to sign up for the job, rushed over, the rubber soles of her Converse slapping against the linoleum. “Mr. Newman?”

George glanced up at her. “What do you need, Gloria?”

 “Mrs. Nichole wants you in make-up for your segment,” she said, rushing through the words. “She wants to try something new with your hair for the episode, and told me to tell you to,” she paused, focusing, “‘get your ass in the chair and don’t complain like you always do or she’ll shave your ‘stache next time.’” She grimaced, then added, “her words, not mine.”

“I’m not letting her put glitter on me again,” he muttered, standing up. He smoothed out the creases of his jacket, and straightened his tie. “I’m still picking pink flakes out of my sheets and it’s been a full month.”

“Last I saw, she had the eyeliner out,” Gloria said, “so I think you’re safe for today.”

“Don’t jinx it.”

Gloria left, spinning on her heel so fast it could’ve left a burnout, running back to Nicole’s hair and makeup station, operating out of a converted bathroom they’d found when planning out the station’s space, once they’d realized what was on the horizon. George followed her lead, not wanting to incur the wrath of Nicole, especially if his hair was at-risk of retaliation.

“Hey, George?” Robert said.

George stopped, and looked back at him. “Yeah?”

“Break a leg.”

George smiled back at him. “You know I will.” He turned back around, not wanting to lose Gloria in the hallway.

A moment later, after Robert had gone back to sorting through the bills they’d received for the upcoming week, a quiet thump! could be heard to those who knew to expect it.

“I didn’t mean it literally,” Robert called out.

“Oh, go to hell, Bob.”

-

Seven o’clock came quicker than he’d expected; between paying the bills, fielding calls from Raul’s suppliers, then having to speak to one very confused, very new-to-town police officer who’d seen Raul unloading a komodo dragon out of a van, and placing Philo’s order of calcite, dolomite, glass squares, and a bottle of hydrochloric acid, he didn’t have the time to, well, check the time.

“You planning on going home soon?” Pamela asked, packing up her purse. Around them, the station was nearly deserted; the camera crew left to film the next segments at four-thirty and the interns left at five, leaving only a skeleton crew at Station U-62. George had locked himself in the writer’s room, saying he needed the quiet to think of the next week’s Town Talk. “News segment finally wrapped, so I’m out of here.”

“Yeah,” he said, packing the last of his papers away into his desk drawer, “just waiting for George.”

“Mhm,” she said. She grabbed her coat off the rack, slipping it on and zipping it tight. “Can I ask you something?”

“Depends,” Robert replied. “Do you want to come closer and not shout it out?”

Pamela rolled her eyes as she made her way to his desk. “How long has George been dating that girl, Carrie?”

“Teri,” Robert corrected. “And, Christ, I don’t know. They’ve been on-and-off for as long as I’ve lived with him, why?”

“Just curious,” Pamela said. “How long have you two lived together?”

“Four years. Five this April, if that helps with whatever timeline you’re plotting out in your head.”

She pursed her lips. “Curious,” she repeated.

Robert sighed. “Fine, I’ll bite. What’s so curious about them?”

“They date for four, probably five years, and he still hasn’t popped the question?”

“With their breaks, they’ve probably only dated two years, to be honest.”

“And that! I mean,” she said, throwing a hand in the air, “if the guy I was with still didn’t know if he wanted to marry me after five years, even after seeing what life was like without me, I’d find myself someone who knew they wanted me.”

“Hey,” Robert interrupted, trying not to get upset, “he’s not leading her on, if that’s what you’re trying to imply. He’s a good guy, Pam.”

“I know, I know,” she reassured, “but it’s weird, right? I mean, is he breaking up with her every time they have a spat, or what?”

“I never said he was the one breaking up with her. In fact, every time they’ve broken up, Teri breaks up with him, and he doesn’t ever see a new girl. Ever. He just mopes around and waits for her to take him back.”

“Seriously?”

“Seriously,” Robert confirmed. “It’s kind of sad.”

“Has he ever dated another woman?”

“I don’t know, I’d have to check his diary,” Robert said, half-kidding. It wouldn’t surprise him to find out his roommate had an actual diary. “Why do you suddenly care about George’s dating life?”

“Well, since you’re off the table -”

If someone had thrown a bucket of gasoline and a lit match onto him, Robert still would’ve felt the cold creeping up his spine. “Pamela, you can’t -” “I’m kidding!” Pamela laughed. “Sheesh, I wish I had my camera!” She wiped a tear from the side of her eye, taking care not to smudge her mascara. “I’m just trying to learn a little more about my bosses today, is that a crime or something?”

“Go home before you send me into a stroke, Pam.”

“Don’t have to tell me twice,” she said, gathering her purse under her arm. “Drive safe tonight, ‘kay? I don’t think the next managers will let me wear what I want on air like you two do.”

“I will,” he said, “and same to you; drive safe.”

She waved, then let herself out, closing the door quickly to keep any of the afternoon’s snow from floating in. 

With his papers safe and secure, he locked his drawer and walked down the hall to the writer’s room. It was the one of the only rooms they used that was actually created for the purpose they used it for, though without an official writing team, it was rarely occupied. George tended to flit inside when he needed the quiet, and any staff who doubled as writers would go in and out in pairs depending on what they were working on.

He knocked on the door, three quick beats. When he didn’t get a response, he inched the door open. “George?”

The man in question sat at the long cherrywood table, one hand twirling a pen, the other lost in his curls. “What’s better,” he said, not looking up, “local grocery stores already stocking Valentine’s Day merchandise before the month’s over, or the movie theater’s highest grossing films for this year and what they say about the people of Tulsa?”

“Movie theaters,” he said, leaning against the door frame. “You ready to head home?”

At the table, George scratched “TULSA MOVIE THEATERS” in large, blocky handwriting, making the lines thick enough to see, even without his glasses. “Definitely,” he said. 

He got up, but as he walked toward the door, Robert noticed something on his face. “You’ve still got eyeliner on,” he said, staring at his eyes. 

“Got to chat with the local punk scene,” George said. “They’re a pretty nice bunch, once you stop gawking at them.”

“Good to know,” he said. “It -, uh, it suits you.”

“The eyeliner?” George asked. “I’d agree with you, but I couldn’t see it when Nicole did it. She nearly put me in a headlock though; apparently, I’m squirmy.” He made air quotes with his fingers around the last word. 

“Pamela thinks you’re gangly, and Nicole calls you squirmy,” Robert said, tsk’ing. He opened the front door, holding it for George to exit first. “What does Teri say about you?”

“Bad things, probably,” he muttered, reaching for Robert’s car. He laid a hand on the hood, trailing his fingers on the metal as he found his way to the passenger door. It was quiet outside; Philo usually took care of the station’s graveyard shift, which let the rest of the crew go home at a semi-normal hour. There were only two other cars in the lot aside from his, and he knew one belonged to Stanley while the other was probably Philo’s, though he’d never actually seen the man leave the property line.

Robert came up behind him, unlocking the door, then went to his own side, quickly getting inside and turning on the ignition. He turned the wipers on, clearing out the light dusting of snow they’d accumulated during the day, then reversed, clearing out of the lot before the car had begun to warm up. He reached over, clicking on the radio, and for a few minutes, they drove in silence, only broken up by the soft sounds of Sinatra’s Christmas album.

They made it all the way to the main road before Robert’s concern won out. “Hey, is everything okay with you? Between the glasses and -,” he didn’t want to say “not mentioning your girlfriend to Pam” out loud, so he settled on, “your general demeanor, you’ve been really off today.”

George hunched deeper into the seat, shoulders ‘round his ears. “I’m fine,” he said.

From the driver’s seat, Robert felt his hands grip the wheel a bit tighter than they usually did. He was well-accustomed to George’s moods; he knew everything from the giddy delight he had when the newest issue of MAD came in the mail to the slightly self-destructive depressive tendencies that came with Teri calling it quits, but the quiet sadness, the quiet anything, was never a sign of something good to come. “You sure?”

“I’m sure,” George said. He stared straight forwards into the empty night, deliberately avoiding Robert’s gaze. In all their years of living together, he knew George only did that when he was hiding something. He had a shit poker face, mainly because whenever he lied, as rare as it was, he did so while refusing to look at the person he was lying to. 

Robert knew he wouldn’t talk about it on his own, but he’d wanted to give him the chance. Now was the time for him to take out the pliers and pull it out of him. 

He decided to try for the most obvious cause first, then work his way down. “Is it about Teri?”

The thud of George’s head hitting the headrest told him he’d struck gold on his first try. “She wants me to spend Christmas with her family.”

“And that’s -?” Robert trailed off, waiting for George to fill in the gap.

“Not good,” he said. “It’s not bad, either, but I -,” he groaned, threading a hand into the tuft of hair that’d started hanging loose from the rest as months went by with no haircut, “I don’t want to do it. I don’t want to go.”

“Well, why not?”

George scoffed. “Her family hates me, Bob,” he said, voice thick. “All they see me as is the guy that’s terrorized their only daughter for five years. One Christmas isn’t going to change that.”

“It could.” Robert turned off of the main road, pulling onto the side street they lived on. “People are weird about the holidays, especially people like Teri’s parents. They get all holy ‘bout it, wanting to forgive those who trespassed against them,” he said. 

It surprised him; it’d been years since he’d said the Lord’s Prayer, but he still remembered it, at least partially.

“They’re going to want me to go to church with them, and I’m going to embarrass her, again, in front of her parents. I don’t know the words, or the customs, or -,” he spiraled, waving his hands as he spoke, “when to stand up and sit down, and I -”

“George, relax,” Robert said, keeping his voice calm. “Half of the entire Christian population only goes to church on Christmas, Easter, and for, like, funerals and weddings, if they go at all. You’re not going to be the only one there who doesn’t know what he’s doing.”

“Teri’s parents are Catholic,” he said. “Not Christian, I think.”

“It’s basically the same thing.” He swung into his spot, and turned the car off. “Just mumble through the prayers, don’t take the wafer or wine, and you’re good to go.”

“I don’t think I’m even supposed to go into a church,” George mumbled. 

“Why,” Robert asked, “afraid you’ll burst into flames?”

He knew it was stupid, but it got a laugh out of George, and that’s what he was aiming for. 

“Very funny,” he said, monotone. He reached for the door handle as the car’s engine died.

Together, they left the car, standing in the cold. It was nearly pitch-black outside, save for the streetlights, which cast a warm amber glow onto the pavement below. A few patches of ice remained solid, mostly on the road, but a few scattered on the sidewalk, one of which was too close to George for Robert’s comfort.

“Hey,” he said, stepping over the ice to the other man. He held out a hand close enough for George to see. “Grab on.”

He expected some form of protest, whether it be outright refusal or stubbornness, with or without a comment mentioning how he was a grown man, but like that morning, he said nothing, just stretched his hand out, wrapping his fingers around Robert’s.

Carefully, he guided George up the stairs, taking his time after seeing more patches of ice hiding on the steps. He waited until the front door was open to let go, putting the hand that had held George’s against the small of his back instead, ushering him inside. 

“You can get first shower,” Robert said. “If I make Kraft, do you want any?”

“Yeah, I’ll take some,” he said.

“Try not to slip and break your head open.”

Robert watched as George stretched out his arms, making sure he didn’t run into any door frames again, and kept his eyes on him until he saw the bathroom door shut. Satisfied with the knowledge he wouldn’t have to hunt around for the first aid kit, he reached up to the wire shelves, grabbing one of the twenty-odd remaining boxes of Kraft mac ‘n’ cheese he’d bought at Costco a few months back, and turned on the burner.

-

He’d just finished divvying up the pasta into two bowls when he heard the water turn off in the bathroom. He hunted around for a minute, searching through the drawers, then the dishwasher, until he came up with two clean forks, and set them in either bowl. He brought both bowls to the small hunk of wood they called a coffee table, sitting down on the couch and turning the television on. 

“CBS is doing a M*A*S*H marathon!” Robert yelled. “You down?”

The bathroom door opened, and George shuffled out. From the corner of his eye, all Robert saw was a mass of light gray; after all the times he’d seen the other man do laundry, he knew that George had a tendency to buy his sweatpants and hoodies in matching colors, so seeing just one hue wasn’t out of character. 

Robert patted the cushion next to his. “Come on, it’s dinner and a show.” He shoveled a forkful of macaroni into his mouth and cranked up the volume.

The couch groaned as George dropped down beside him. “Which ep’?”

He watched for a minute, trying to place it. “Think it’s the one where the guy gets the Dear John letter,” Robert said. “God, imagine how much that would suck. You’re fighting a war, the only thing keeping you together is knowing you’ve got someone to go home to, then -” he turned, looking over to George, and - “oh my God, George.”

“What?” George asked, confused. 

He couldn’t help the snort of laughter that came out, but he tried to smother it as best as he could. “I’m sorry,” he said, chuckling. “I’m sorry, it’s just -, you look like a raccoon, dude. Did you use anything to remove the stuff Nicole put on?”

[justanisabelakinnie]

Unpopular fandom opinion but: "If it's not in the movie/book/show itself then it isn't canon, idc what the creator says!" is such a stupid af bullshit take lmfao.

[yuridovewing]

Feel like one of the best ways you can convince someone that no, villains with compelling motives that have sad backstories are not terrible writing compared to straight up born evil villains who just want to kill everyone and be done with it, is to tell them that Warrior Cats writes born evil villains constantly while literally preaching “That’s how evil works, you can’t CHANGE, you’re either touched by demons at birth or you aren’t!” and it blows chunks

[brainfilehasstoppedworking]

Teacher: If you don't get anything in to your boss on time, guess what? You'll be fired!

Me: Crazy. Guess who's staying unemployed for the rest of her adulthood?

[odinsblog]

“One weird, silver lining positive from the WGA's strike has been a sense of calm over a reality that has plagued me with anxiety for years — the fact that despite having a great agent, manager, and lawyer, despite having been in hundreds of rooms with top execs and producers, despite having pitched countless networks, and despite having sold multiple pilots and pitches, I still work in food and bev. For so long, it felt like such an embarrassment in so many ways because it felt like I was the only one who was biding time in between sales with a side hustle. When I would tell people at work that I wrote television, they'd look at me like I had ten heads, or like I was delusional. They couldn't IMAGINE someone who *actually* wrote television would also be asking them what temp they wanted their salmon.

But the reality is, TV money goes fast, especially when it's just a pilot sale. And if shit doesn't get picked up to series, that money only lasts for so long. Being responsible meant swallowing my pride and keeping a job that was more consistent and steady but also gave me the ability to take pitch meetings, to write on my down time, do rewrites, answer e-mails, and take notes calls.

And for so long I thought I was a minority in that regard. Like I had done something wrong to not be successful enough to rely solely on my career as a writer.

Yet the strike has pushed SO many stories to the forefront of writers doing the exact same thing I've done, GOOD writers, great writers, writers who shit I watch all the time, whose names I instantly recognize, whose reputations in this industry precede them. So when the studios leaked that the goal was to bleed writers dry, to make it so we lost our homes, I had to laugh. Writers like me will literally do anything to keep the dream of writing alive. It's in us. It never goes away, no matter how many steaks you server, how many martinis you mix, how many cold calls you make, how many Uber passengers you pick up, how many pizzas you have to deliver. We always always always find a way to make it to that next great hope of a pitch, a sale, a green light.

And that's how you know that the CEOs are so fucking out of touch with reality. With the industry. With the POINT of the industry the point for most (not all, but most) has never been to be filthy rich, or own a yacht, or even have a membership to SoHo house. It's been to make something we love. To see it come to life, and make other people happy, or sad, or angry, or scared. To take this story you have kicking around your head and turn it into some epic journey. To be part of the process of making worlds and characters come to life. To tell stories.

The CEO's point has been to make as much money as humanly possible. And so they think that's all there is motivating writers. it's not. It never has been. Just because those CEO's wouldn't wait tables or mix drinks or drive a Lyft in order to keep a dream going, doesn't mean the rest of us wouldn't. The CEO's don't have a dream, they have a lifestyle. And I promise you a dream is a much better motivator than a yacht or a Porsche.

Try to bleed us dry, guys. Just because you'd let your own dream bleed to death, doesn't mean we would. We will always find a way to keep it alive.”

—Stefanie Williams, a tv writer on strike

[mortalityplays]

You need more free art.

I quit my job yesterday. Well, actually I quit my job eight weeks ago, but they finally released me yesterday for good behaviour. Don't get me wrong, I love what I do - but I do it for the wrong reasons. Working for major charities, you learn very fast that 'I want to make the world a better place' is a phrase you use to ask people for money, not to give them things. I was an ass-backwards fit for that world.

You need more free art. I need more free art. Everyone has felt the shift in our media landscape over the last ten years, away from access and towards nickel-and-diming the human experience. That lack of access is making life and culture worse for all of us, across the board. Paywalled news sites leave us less informed, attacks on the Internet Archive leave us less capable of research. Algorithmic social feeds and streaming walled gardens trap us inside smaller and smaller demographic bubbles, where we are increasingly only likely to encounter ideas that have been curated for us by marketing departments. Hasty efforts to resist AI commodification have only led to more artists locking their work away and calling for even more onerous systems of copyright law. This is not good for us.

We all need more free art.

So what am I going to do about it?

This is a question I have been asking myself for years. It's easy to sit here feeilng frustrated and thinking 'boy I hope SOMEONE does SOMETHING'. It's harder to take action in a world where I still have rent to pay. But hard doesn't mean impossible. Sometimes hard just means time-consuming, frustrating and slow. And sometimes it's worth doing something time-consuming, frustrating and slow because...I want to make the world a better place.

I'm going to do this:

1. From April 1st, I am relaunching as a freelance writer and editor.

This is the one that will (hopefully) help to pay the bills. I am a very good and experienced editor. I've worked on hollywood movies, I'm a member of the Chartered Institute of Editors and Proofreaders, I have clients who have been coming to me exclusively for more than 10 years.

Alongside bigger contract jobs, I am going to refocus on offering my services to small-press creators at a reduced rate. That means you, graphic novelists. That means you, itch and amazon writers. I want to help you develop your work, the same way I help large organisations. You can learn more about what an editor even does and what kind of pricing you can expect here.

2. I'm also going to start giving shit away. Like, constantly.

Next week I'm going to launch a new free shop. If you're unfamiliar, a free shop, giveaway shop, swap shop, etc. is an anarchist tradition of setting up a storefront where anyone can take what they like for no cost. Offline, this often means second-hand clothes, tools, furniture, food etc. Online, I am going to be giving away digital art. Copyright-free, no strings attached. It will (eventually) feature everything from print-res posters to zines, poems, tattoo flash, t-shirt designs and anything else we come up with.

Yes, I said 'we' - while this is a curated collection, it will feature work from a variety of credited and anonymous artists and activists, all of whom have agreed to give their work away to the public domain. Some of it will be practical, some of it will be political, but a lot of it will be decorative or personal. This is, in part, a response to recent difficulty I had finding somewhere that would print a one-off joke poster for a friend that featured the word 'faggot'. Enough. No middlemen - no explaining ourselves. Just print our shit and enjoy it.

I'm very, very excited about this project. I'll have more to say about it closer to the launch, but you can expect it to go live on March 27th.

2.2 I forgot to mention the ACTUAL LAUNCH GIVEAWAY

To celebrate my launch, I am going to be giving away a ton of physical prints. When I went looking for my old stock to see if it was worth setting a new (paid) storefront up, I realised I had way more old work in storage than I thought. This will be announced in its own right on Monday, but this is why I've been hinting you should go follow my Patreon.

On April 1st, I will pick 8 random patrons (from across all tiers including non-paying followers!) and mail them a bundle of assorted prints and postcards. The prize pool includes A3 and A4 posters, packs of A6 postcards, and printed minicomics that I've previously sold for up to £12 each.

You don't have to be a paying subscriber to enter - this is strictly no-purchase necessary. It is purely and entirely a celebration of the concept of GIVING ART AWAY FOR FREE.

3. PORN, YOU PERVERTS

Because I still have to pay to stay alive, I am going to be subsidising all this free art with the introduction of Fuck You Fridays. Starting from March 29th, I will drop a new 18+ short story on the last Friday of every month, over on itch.io (yes I know my page is desolate right now, don't worry I'll get there).

The first edition, Go Fuck Yourself, is about, well - telling your boss where to stick it. Julia has had it with her millionaire man-child manager, and is just about ready to let him know what she really thinks. It's a short and steamy 5k words, with a gorgeous cover illustration by @taylor-titmouse, and you can pick it up for $3 starting from March 29th.

4. ANOTHER BIG SURPRISE

I'm keeping this one under wraps for now, but April 1st will also play host to one more (FREE) launch. If you've been following me for a long time, you might remember the other significance of this date (no not April Fool's day, though that is certainly thematically relevant to this entire effort). That's all I'll say right now. Watch this space.

tl;dr: I'm sick of paywalls and career ladders. I'm literally putting my money where my mouth is. More free art for everyone and I'm not kidding around!!!

[inkskinned]

yesterday while feverish i wrote about how boats can moor next to each other like pigeons, cooing with the gentle rap of water against their hull. you once said that that the way i see things - birds in the water, feathers in marina paint - was "childish and naive." you said i'd been misdiagnosed - "it can't all be adhd. you might be just kind of stupid and lazy."

i still do certain things like how you taught me - turn the pillow case inside out before putting it on. drive defensively. hate myself entirely.

the prompt for this poem is "mahler's fifth." i wish it wasn't, but mahler's fifth was our song. it ended up in my book. every person that knows your name has promised me they'll give you one swift rabbit punch, right to the face. dean read the book and showed up on my front porch, drenched in sweat from running the 8 miles at 4 in the morning. he was shaking. pacifist and gentle - he works with children - i'd never seen him furious. a punch isn't going to do it, he said, and then said i'm sorry. i had to come to see if you were okay.

mahler's fifth was mine first, like my girlhood. i like the way each movement piles onto the next movement, each instrument bleeding into the next. i like the horn version the best. before i met you, i danced to it on grass still-wet from sprinklers.

later you would tell me that the way you heard it was somehow better. you understood something in it that i couldn't quite wrap my fingers into. once, on our anniversary, you asked the classical music radio station to play it for us. we missed hearing it because we were fighting. one of the things people get wrong about abuse is that sometimes victims are, like, brutally aware of the stupidity of our situation. what do you mean that you thought i wasn't good enough for you? you? you're just... nothing.

sometimes people can pull the poetry out of your life. i watched my words become clothesline, and then thin out into kite twine. i watched you chew through every good syllable of me. so many good songs and places and moments were ruined. i am glad you didn't like most of my music - less to tie back to you.

but still mahler's fifth. the music swells, and i am 21 and throwing up in a bathroom on my birthday. a woman i will later refer to as lesbian jesus runs a cool hand down my back, her perfect pantsuit starch-pressed. she told me to leave you. she said - and this is true, and not an invention of rhyme or fantasy - i'm you from the future.

i am 22, and i got home from an award ceremony, and i remember you telling me - you act so proud of yourself when you're actually so fucking embarrassing. i took you to disney world. you took my virginity. i gave up visiting spain for a week with my family - i instead choose you, to spend the time just-cuddling. you called it "our fuck week." the music swells. it probably should have been a red flag that for about 3 years - i just gave up on crying. my grandfather died and you said nothing. my uncle died and you ghosted me for 3 weeks. you said i need to protect myself from your ongoing tragedy.

every so often i come back to the memory of one of our last afternoons in person. i had just told you that i wasn't going to law school, despite the free ride - i was going to join a creative writing program. master's in fine arts. i was going to finally do it - i was going to follow my dreams. this blog was already internet-famous. however reluctantly, i would occasionally refer to myself as a poet. i got into umass amherst's writing program for fiction authors. it is one of the the top 5 programs in the country.

wait are you seriously considering actually attending that? dumbfounded, you turned completely towards me in your seat. for the 3rd time in our relationship, you almost crashed the car. you actually want to be a writer?

the first time i went viral, it was for a poem i wrote about you:

he wants to say i love you but keeps it to goodnight because love will take some falling and she's afraid of heights.

every time i see that, i want to throw up. you weren't in love with me, you were in love with the control you had over me. a little truth though: i am afraid of heights. you caught a rabbitgirl and skinned her alive.

mahler's fifth still makes me sick.

give me that back. give me back music. give me back everything i had before you. give me back fearlessness. give me back bravery. give me back a scarless body.

give me back what you took from me.

[bixbythemartian]

Hey there, this is Bix! I unfortunately cannot work, I'm a writer here on tumblr and I'm asking for a little help. A little more than usual- see, up until earlier this year, I had a roommate out here, and he was covering half the bills.

He's actually moved out, mostly (some of his stuff is still here) and he's still been helping with the rent and the electric, but he's also got some big expenses coming up, so he can't keep doing that.

I'm currently looking around for a roommate, but for several reasons, finding someone is probably going to be pretty tricky.

Unfortunately, as you can imagine, this about doubles my bill situation. Fortunately, I live somewhere that's been very cheap to live, which means all my bills doubled is still less than an apartment in some places, but it's more than I've been asking for by a big chunk, and that stresses me out.

If you can't help, I get it. I don't want anybody's last dollar, I don't want your lunch money. If you have some money you don't have earmarked for something, I would appreciate a dollar or two, but I do not want something that you don't have to spare.

If you don't wanna help, that's fine too, everybody's got their own priorities right now. I use the same tag for all these posts specifically so you can block 'em, if you want.

Anyway, I appreciate every single donation I get, small or large. I appreciate everybody who reblogs these, I see all of them, I see your comments, and they mean the world to me.

Anyway, my ko-fi is here if you've got some money to spare. You can also apparently set up monthly donations, if you want? I'm not sure how that works, but people have done it.

Goal for this month is 1200.

Thanks a lot sorry this one is so long, I just wanted to explain why I'm asking for so much more this month.

Okayloveyoubye

[cvnt4him]

Emergency request bc I’m literally struggling so bad and feeling neglected as shit rn

ofc if you’re up to it pooks ik ur alr stressing over stuff and I don’t want to make it worse :(

Maybe some iida or monoma x reader that try’s hard to do stuff but always gets neglected? Thanks pooks 💕

I hope I got to this in enough time for you, I'm sorry for whatever you're going through n trust you're not making my situation any worse, you're actually helping me get rid of writers block so ty for this n I hope this reaches you well and is what you hoped for🫶🏽🫶🏽

mha boys x reader.

Included; izuku midoriya, kirishima ejirou, bakugou katsuki, tenya iida, monoma neito, denki kaminari.

Not in order.

Genre: angst? comfort/feel-good/fluff.

Izuku midoriya is none other than a saint. He helps everyone around him and he strives to keep his good boy/golden boy title. You admire him for that and you know others do, you also know one day he'll not only be yours but belong to the world. It gets to you but you try so hard to not let it.

When you two started dating no one knew at first, but izuku couldn't just stand by and let people not know that you were his. That he finally had a girlfriend who thought he was worthy of love. You truly felt that he deserved to be loved and he felt so seen with you, more than anyone else had ever made him feel.

Sooner or later after people found out, people began giving you such disgusting looks. Mostly girls you noticed. They would whisper about you when you were alone and look at you with mean and disgusted looks and they would laugh at you while you walked. No matter what you did you always had eyes on you. People laughing at the way you ate or spoke or dressed, it was draining.

You knew why it was happening and you tried so hard not to let it get to you. But none of that could even begin to compare to once your friends found out the two of you were dating.

You walked into the girls locker room to see all of the girls standing in a circle, you had already heard through the door they were having a conversation however you didn't exactly try to make out what they were saying. They all turned to look at you before slowly looking away to continue dressing, the silence had gotten rather too loud for your liking. They were just having a conversation before, why stop now that you were there? It bugged you the wrong way but you didn't want to make a commotion.

"so you and midoriya?"

Mina questions looking you up and down with a pointed look. She was one of your best friends, why was she looking at you like you're being investigated in a murder?

"uh.. yeah! We're dating."

You confirmed turning away to finish undressing. She hummed sucking her teeth and crossing her arms.

"you're dating him.. whilst knowing ochako liked him the whole time?"

She instigates, trying to get you to admit something. What the hell? Why would she say this? It's not your fault ochako didn't confess to izuku in enough time. It's not your fault he agreed to date you. It's not your fault he wanted everyone to know, so why was she trying to grill you like it was?

"look. I don't know what you're trying to get out of me, but--"

"just that you're a backstabbing bitch."

Silence filled the room once more as you scoffed clearly offended. She and the other girls stared at you with such disgusted and disappointed looks. You look around the room to see everyone staring at you with hatred and spite.

"are you fucking kidding me?!"

You ask around looking at all of them, there was no way they all hated you this much because you liked a boy.

"I mean.. you did kind of steal him off from under her.."

"you knew she liked him. Kind of bitchy."

"what about girl code, dude"

All the girls began saying their own opinions ganging up on you and practically eating you alive. They all shared their own fair share of mean words and side eyes before you finished getting dressed and slammed your locker shut making them all quiet down.

"fuck all of you."

You spat out while flipping them all off and leaving the room. You couldn't believe they're trying to decapitate you because ochako didn't have the balls to do what you did. Why does that make you a bad person.

The week started getting harder and harder as everyone, even some of the boys who knew ochako liked deku, started distancing themselves from you, al because of what mina would whisper in their ears, feeding them whatever she could pin in her web. And like the idiot fools they were, they believed her.

You were being neglected by your friends, all because you liked a boy. It began to be too much for you. Putting up this front for everyone who didn't even bother to see it or even your side of the story. You can't be happy with someone who has all these people liking them and making you feel shitty for also liking them. Maybe you'd have to break up with izuku.

When you came to him with this information he was furious. But not even with ochako or mine. With everything. The fact you'd been feeling shitty and didn't tell him and the fact you didn't tell him these people were bothering you. Izuku loves you more than he does himself and he isn't afraid to show that. He also loves his friends but he isn't going to let these people sit here and make you feel like shit because you're together.

He held you close that night, assuring you he wouldn't let this stand any longer. He was going to confront everyone for whatever they said to you and he wouldn't give a single shit about it. You were his and he loves you.

"I'm sorry for the way you've been feeling, love. I'm sorry that people have been treating you shitty and neglecting you because of our relationship. But you don't need any of them as long as you have me."

Tenya iida, one of the most compassionate hard working and caring people anyone has ever been graced to know. He is strong resilient and brave. He cares so much about everyone and it's so admirable. Some people see him as a wack job robot who just yells and screams or dotes too hard but to you he's perfect. An angel sent from the heavens above.

You've been working hard on something for a really long time. You hadn't told anyone about it because when you planned on it you wanted to also tell them the good news that would come with it. However that good news nevwr came. What you were doing wasn't good enough and it effectsd you deeply. Your grades fell, you started getting rather sluggish with your movements and you jardlt had the energy for anhone kr anyrhing.

Not getting the good news for what you've done was draining. It drained you to the point you wanted to break down and cry, yet nothing would come out. When people told you what you worked hard on, for so long, wasn't enough. It broke you, scarred you deeper than you could even begin to imagine. But tenya seen, he seen how you began to act, how you began to look more and more dead, how you'd began neglecting yourself. It was all too much for him to bear or watch you go through alone. He couldn't sit by and watch the love of his life perish.

Tenya held you in your dorm and let you cry on his shoulder for as long as you needed, having tissues on standby and rubbing your head gently. Placing kisses on top of your forehead and shushing you lightly as you both cuddled, he would be patient with you. He would wait until you were ready to talk or open up about what you were going through, but for now he wanted you to know you were loved and that he was proud of you.

"I love you, y/n. So much more than you could possibly fathom. I see you, and I am so incredibly proud of you. You are worthy and deserve someone who would move heaven and earth for you, I hope I am adequate enough for you."

Dating bakugou katsuki was hard. Not because he was an angry fiery shit head, but because he had such a burning passion for what he did. He never stopped striving and fighting to get what he wanted. He knew what he wanted and grasped at it and held onto it tight. It was nothing less than admirable.

The fact he could come back to you and tell you he loves you was admirable. He loved you and that meant so much to you. You loved him just as much and tried so hard to show up and be there for him. Through thick and thin, lows and highs, you wanted to be by his side regardless. He loved you for that reason alone, but he'd give you so many other reasons why he loves you.

He seen how hard you were working, how hard you were trying, how no one dared to even glance at you. He seen a faller bird that had potential and was worthy. Bakugou katsuki seen you. He wanted you and promised you he'd love you.

But for fucks sake, it always angered him to watch you get in such moods. To watch you neglect yourself and struggle with bad things. To put yourself under so much pressure and stress for no reason. When you'd cry your eyes out alone because you were tired.

He wanted to do so many things to you in that moment, but all his body could do was rush to you and hold you. He held you tightly, his fingers digging into the side of your hip. He buried his face in your neck and inhaled your sweet scent that always made him go feral.

You were his and he wouldn't dare let you sit here and feel shitty over whatever it was that was making you feel this way. He pushed and poked at every corner he could to get you to talk. Once you did he told you to shut the fuck up. You wanted to cry even more but you were sure he had reason to it.

And boy did he, he had such caring words laced with such menas things that were all wrapped in the cutest bow. He was emotionally constipated and had a hard time making people feel better. But watching him slightly struggle to find nice words to make you feel better while holding you close in his arms makes you feel so much better. Giggling at how he stammered over his words and how he tried to uphold a gentle voice to match the gentle strokes of his fingers on your side.

"look.. just. sigh. You're great okay. I love you and I'm not gonna just sit here n' let you whine n' shit for nothin'. Don't let whatever stupid shit is bothering you get t'ya. Or I'll beat yer' fuckin' ass."

Being kirishima eijirou's girlfriend was nothing other than a pure utter blessing. To be blessed with such an amazing caring and helpful boyfriend like him was genuinely a gift from the god above. He treated you like a queen who deserved to be worshipped.

It didn't take long for him to notice how hard you were struggling with things. He made sure before you got back to his dorm that it was all cozy and comfortable for you. One of the most romantic gestures he could have ever done for you. The way he had his laptop on his bed with so many plushies and comfortable pillows, and the fluffy cover he has and all the snacks you could ever imagine. He was nothing more than a blessing.

He held you tight and let you watch whatever you wanted, kirishima doesn't care about weight or anything like that, [yes I had to add this bit, bite me.] He loves training and working out with you, sure but he would never force you to do those things. He wants you to be nothing but comfortable with him and your body, so he would never shame you for how much you are or how you are in front of him. He loves you, all of you and he made sure you knew that. He kissed you and told you he loved you so many times. You fell asleep in his arms while he whispered sweet nothings in your ear.

"I love you.. I hope this could make you feel better. I will always be here for you."

Denki kaminari. Where to even begin with him. He was such a funny guy that it was hard to tell when he was joking or being serious about committing arson. He always made sure you knew that he loved you. He always hung by you and stayed by your side. He wouldn't ever tell you but he was a bit insecure. There were some things about himself he wished he could change for you, some things he wished he could do for you. He never intended to bring himself down but sometimes he thought you were this super cool goddess who was worthy of something more than a tiny little pebble like him. He felt like he was gum beneath your shoe.

Denki knew he wasn't good at a lot of things, he knew he could be dumb or even useless at times but when he seen how short you were feeling and how you would start crying because of how stressed you were he couldn't just sit by and let you feel this way.

He let you vent to him like you laid in his arms. He let you out face masks on him and let you do his hair or paint his nails or draw on him and just let your rant to him about all of your worries and woes. He wanted you to feel the way you made him feel so he tried hard to keep his mouth shut and listen. Whenever he'd notice you quieting down because you thought he was getting tired of listening he'd ask you "why'd you stop?" It'd make you feel so happy to have someone like him.

Finally after you were finished he decided to carefully pick and close his words to make himself sound just a bit smarter and more cool for you.

"hey...I'm sorry that you're going through this.. I wish there was something a bit more that I could uhm.. do? I don't want you to feel like I'm a burden but I promise you I'm here for you, if you ever want to vent like this again or just have someone to talk to, or-- or even just sit in silence with someone.. I'm here."

Neito monoma, he's quite the distinguished fellow. He always hated class 1A and he seemed to make his whole personality about just that. Or so you thought. You two getting together was not on your 2024 bingo. But he knew how to make you feel things.

He gave you butterflies by just smiling. His laugh was loud and carefree. He wasn't afraid to boast and brag about anything you did, he even did it in front of you. It was hard to feel insecure with him around. He wanted the world to know you were better than them, especially class 1A.

He would give you flowers or cute bows or just things he felt you'd like. He learned you and your every move well. He'd even practice certain conversations before the two of you have them. He felt you were rather predictable in an exciting way. A way that could never make him unlove you.

You being in a bad mood angered him, he confronted you about it and was so ready to beat someone's ass. With his words. But once you assured him why you were feeling this way his gaze softened. He grabbed you by your shoulders and pulled you into a hug. One that felt like it could last an eternity. One that you hoped would.

He sighed and just held you for a while and took it to his bed which led to a cuddle sesh. He rubbed your shoulder while you buried your face in his chest, he felt the way your breath fanned all over him and it made a shiver go down his spine.

You listen to his heartbeat and breathe in as much of him as you could, you were afraid if you didn't take all of him in right now he might disappear. Every time he kissed your forehead lightly or peppered kisses over your ear snapped you back into reality and helped you realize this was real, that he was real and was with you. That he loved you and would do anything for you.

"I love you darling and I hope you know just how much I do. I'm rather angry that you hadn't told me how you were feeling but I suppose I can let it go for now.. get some rest, my love."

AN: so I decided to make it a to character thing n don't even mind that I basically made a whole story for izukus... We all know how I feel ab him..

Also off topic and not that anyone cares but I'm thinking ab updating my masterlist yk? Js make it more aesthetically pleasing to myself. Also I wrote this all in one go, this took ab maybe two hours?????

[inky-duchess]

Fantasy Guide to Creating Your Own Language

When writer's set out to world-build, language has a huge role in creating new cultures and lending a sense of realism to your efforts. A world and people just feel more real when language is involved. As the old Irish proverb says "tír gan teanga, tír gan anam”. A country without a language, is a country without a soul. So how can we create one?

Do Your Homework

First things off, you should start by studying languages. Nobody is asking you to get fluent but it's important to understand the basic mechanics of language. You will start to see certain tricks to language, how verbs are conjugated and how gender effects certain words. It will be easier to make up your own when you know these tricks. For example, in Irish one doesn't scold but "gives out to" - "a thabhairt amach". In German, numbers are arranged differently to the English with the smallest digit arranged before the tens for example 21 - Einsundzwanzig. By immersing yourself in an array of different languages (I recommend finding ones close to how you want your language to sound), you can gain the tools necessary for creating a believable language.

Keep it Simple

Nobody expects you to pull a Tolkien or channel the powers of David J. Peterson (hail bisa vala). You're not writing a dictionary of your con-lang. You will probably use only a handful of words in your story. Don't over complicate things. A reader will not be fluent in your con-lang and if they have to continually search for the meaning of words they will likely loose patience.

Start Small

When you're learning a language, you always start with the basics. You do the exact same when writing one. Start with introductions, the names of simple objects, simple verbs (to be, to do, to have for example) and most importantly your pronouns (you will use these more than any other word, which is why I always start with them). Simple everyday phrases should always be taken care of first. Build your foundation and work your way up, this is a marathon not a race.

Music to the Ears

If your creating a new language, you're more than likely doing it phonetically. Sound is important to language and especially a con-lang because you want to trick your reader into thinking of a real language when reading the words on the page. I suggest sitting down and actually speak your words aloud, get the feel of them on the tongue to work out the spelling. Spellings shouldn't be too complicated, as I said before the readers aren't fluent and you want to make it easier for them to try it out themselves.

Also when you're creating the con-lang, it's important to figure out how it sounds to an unsuspecting ear. If a character is walking down a street and hears a conversation in a strange language, they will likely describe to the reader what it sounds like. It might be guttural or soft, it might be bursque or flowery. It's always interesting to compare how different languages flow in the ear.

Writing in Your Language

Now that you've written your language and created some words, you will want to incoperate them into your story. The way most writers do this is by italicising them. As a reader, I generally prefer authors not to go too overboard with their con-lang. Swathes of con-lang words might intrigue a reader but it can leave them confused as well. It is better to feed con-lang to your readers bit by bit. In most published works writer's tend to use words here and there but there are few whole sentences. For example in A Game Of Thrones by George RR Martin, has actually only a handful of short sentences in Dothraki despite the language being prevalent throughout the book. Daenerys Targaryen pronounces that "Khalakka dothrae mr’anha!"/"A prince rides inside me!" and it's one of the only sentence we actually see in actual Dothraki.

There's also nothing stopping you from just saying a language has been spoken. If you're not comfortable writing out the words, then don't make yourself. A simple dialogue tag can do the trick just fine.

Know your Words

I do recommend keeping an actual record of your words. Make a dictionary if you want or a simple list of words you need. This is one of the most entertaining aspects of world building, have fun with it, go mad if you like. Also here's a short list of questions you can ask yourself about language in general which might help your juices flow.

[goyayato]

a list of cool website i found and use

radiooooo.com- pretty much you can listen to any music any place in the world and also... you can choose any TIME. Sometimes a person just likes to listen to russian music during the 1970s yk? (i recommend btw)

onelook.com (thesaurus)- can't seem to find the word you're thinking of? What the hell is that blanket that you only use for the couch/living area??? Oh wait- a throw. Go check out onelook, it has definitely saved me time for my writing.

datayze.com- CALLING ALL WRITERS, or i mean if youre gonna have a baby too ig this would work. datayze literally will help you find a name for your oc! And if you already have a name it gives you alot of good info you may want to know about your oc'c name. Or you could always make a name by mixing two together, like you can... on datatyze.

bandcamp.com- I cannot for the life me explain this website but TRY IT OUT, YALL. You can find alot of underground artists or new songs :D

mix.com- kind of like tumblr? but kind of like reddit? but also kind of like twitter? what im trying to say is that it's called mix for a reason. It takes cool things from multiple different websites and compiles it into one website, really cool when you're into a really specific fandom sometimes.

lab.nationalmedals.org- tbh idk, it's pretty and cool. it's pretty cool. i used to play this a lot.

worldchatclock.com- i use this for some of my friends that i volunteered with online to find a perfect time for us to meet. It finds a time where which you and up to a few people in different time zones can find a perfect meeting time.

earth.nullschool.net- so ive been getting back into flying my kite and this has been a life saver for my time.

radiogarden.com- i made a whole post about this website, uhh just look it up or try and find the post- im sorry im getting tired pLease

(I have like 2 other websites but i am not going to log into my old school email to try and find the bookmarked websites)

HONORABLE MENTION (actually i did this on purpose. best for last yk?)

azejournal.com- HELLO AROS AND ACES OR BOTH!! THIS IS THE WEBSITE FOR YOU. This is full of cool poems, stories, personal experiences, etc, about being aro or ace or both. I am literally in LOVE (no romo) with this website, it makes me feel more understood sometimes. Also I just love seeing us as a minority having a safe space to make and post creatively.

[cripplecharacters]

Media Representation and Writing Characters with Facial Differences

[Large Text: Media Representation and Writing Characters with Facial Differences]

A writing (?) guide (?) consisting of an explanation of what facial differences are, some basics about the community of people with facial differences, a terminology guide that is extremely subjective, a very long explanation of the real-life effects of misrepresentation of facial differences, a subjective guide on why most tropes surrounding facial differences are awful and unoriginal, and the part that people actually want to see (I hope at least) AKA "types of characters I do actually want to see". As always, this post is meant for people who have no experience with the subject, and not in any way an attempt to tell writers with facial differences on what to do in their own writing.

What Does "Facial Difference" Mean?

[Large Text: What Does "Facial Difference" Mean?]

"Facial Difference" (FD for short) is an umbrella term for any kind of scar, mark, or condition that makes your face visibly different. This encompasses anything from not having parts of the face or having less of them (e.g. anophthalmia, anotia, hemifacial microsomia), having "more" to the face (e.g. tumors, neurofibromatosis), conditions affecting how the face moves (e.g. facial paralysis, ptosis, cranial nerve diseases), ocular differences (e.g. hypertelorism, nystagmus, strabismus), conditions affecting the colors of the face (e.g. rosacea, vitiligo, pigmentation conditions in general), a "look" that signals a specific disability (e.g. Down Syndrome) and approximately a million more things - scars, burn marks, craniofacial conditions, ichthyosis, cancers, and a lot more.

Despite popular opinion (popular ignorance would be more accurate because no one knows about it in the first place but opinion sounds better-) people with Facial Differences have both a movement (Face Equality) and a specific word for the oppression we experience (Disfiguremisia). There is even the Face Equality Week that happens every year in May! This is a real thing that has been happening, and we are generally going unnoticed, even in the "representation matters" circles, the body positivity movement, disability spaces, and so on. There is an alliance of organizations dedicated to this called Face Equality International, who can help you learn about the real-world community and movement! They even have sections specifically about media representation, which is foreshadowing for how important this topic is to the community and for how long the "explaining the issues of representation" part of this post is.

And of course, if you have a facial difference/disfigurement, you can do whatever the hell you want when writing! Call your characters how you call yourself, subvert the tropes you want. I don't want to preach to people who already know all of this firsthand. This post is meant to explain some things to people who don't have experience with having FD.

Terminology

[Large Text: Terminology]

There is a lot of words to describe people with FD. Some of them are alright, most of them are awful.

Please keep in mind that all of these terms (maybe except for the... last one...) are used by real life people. This isn't me saying "you can't say that about yourself" (more power to you!) but rather to educate able-bodied people that some words they refer to use with aren't as neutral as they think (at least not to everyone).

"[person] with a facial difference" - generally the most polite and widely accepted way to refer to us. That's what is generally used in the Face Equality movement, sometimes alongside the next term which is...

"[person] who has a disfigurement" - an alright term that is sometimes used interchangeably with the one above. However, most things that involves the term "disfigurement" to me sound kinda medicalized and/or like lawyer speech. It's not offensive, but just generally used in more official ways etc. Has the potential to make you sound like a medical report or a legislature sometimes. lol.

"A disfigured [person]" - starting to steer into the "uhh" territory. Describing a whole person as disfigured is, to me, just plain weird. I get that some communities push for the identity first language, but this just isn't it most of the time. Could be way worse, could be slightly better.

"[person] who has a deformity" - "deformity" is such a negatively charged word that I don't understand how people (without FD) still use it thinking it's neutral. This sounds awkwardly medicalized in a "case study from the 80s" way which is definitely not a good thing.

"A deformed [person]" - pretty much the jackpot of bad terminology, the term deformed, the calling of an entire person by it, it has everything I hate about writers describing people like me. The only one that I think is even more awful is...

"Horribly/gnarly/nasty/monstrous deformity/scar/[name of the specific condition]" - again, I'm impressed by what some people think is neutral wording. If you're searching a thesaurus for synonyms of "scary" to describe your character, I think it's time to just stop writing them. This is about using ableist terminology, sure, but I just can't imagine that someone calling their character that actually will represent FD well. It shows the negative bias and attitude of the writer.

However, there is also one pretty awesome and simple way to describe them!

Say what they have specifically. Really. Assuming you know what condition your character has (which... you should) it should be very easy. "She has Treacher-Collins Syndrome." "Xyr forehead has a port wine stain on it." "They can't fully open one of their eyes." It's clear and lets your readers know what you mean. You don't always have to throw around euphemisms to describe someone not having a nose.

Tropes and Current State of Representation

[Large Text: Tropes and Current State of Representation]

If you have read basically any of my previous posts about FD then you probably know what I'm about to say in this section. Still worth a read though? I hope. Warning that this is long, but you probably expected that already.

One thing I will note at the start is that I'm aware that a lot of writers were already turned off from this post just because of the terminology section. I know that artists love describing people like me as ugly deformed monsters! It's literally a tale as old as antiquity, and that's how overdone and stale it is. Visibly disabled = ugly. I get it, I heard it a thousand times before, I hear it majority of the time someone is excited to tell me about how horrible and gross their OC's scar is. But now some guy (me) from that group is telling you to like, maybe stop calling your disgustingly deformed character that!

I want to make it very clear that FD representation in media is not treated like a real thing that's worth anyone's time, even by the most "representation is so important!" writers. I guess it's too inconvenient to unpack the amount of baggage and uncomfortable implications this would cause. It's too good of a device in writing; everyone knows that if a guy with a scar shows up that it means he's evil, the easiest way to make a villain visually interesting is to make them a burn survivor, and if you need a tragic backstory for a serial killer just give them a congenital disability that caused literally everyone in the world to treat them horribly, so of course they started killing people. It's such a good moral signifier that literally every book and tale has done - pretty is good, ugly is bad. Dichotomy is so helpful. What is less helpful in the real world is that what is considered "ugly" is generally very tightly bound to what visibly disabled people look like. Ugly Laws weren't just like, coincidentally including disabled people and disability activists aren't still forced to speak out against being put in those "Ugliest People" lists by accident. This is all to say that facial differences are considered to be "ugly" completely uncontested, and you probably have this bias too, as the vast majority of people do. The whole "the character is ugly, then they become evil, if they're evil, they become ugly"... you need to be conscious to not do that. Don't make them evil if they're visibly disabled because it will always end up being the same old trope, no matter how many weird excuses and in-universe explanations you give. I want to put it in people's heads that you are writing about a community of people who are technically visible in real life, but have no large voices that the general public would listen to when it comes to how we are seen. The general public relies on media to tell them that.

Putting people with FD in your books or your art seems to suddenly be intimidating for a lot of artists when they realize that not only is facial difference a real thing, but people who have it can see what you write or draw (and your other readers will take some things out of what you write, subconsciously). When an author is faced with the fact that maybe they are doing harm with their writing, they either: suddenly don't want to do that anymore at all, or say: "I don't care! I'm going to be very innovative and make my very evil OC be deformed!" which is kinda funny to me that people actually seem to think it's edgy and cool to repeat the most tired Hollywood tropes but that's the best we can get I guess lol...

The attitudes that people have around the topic of facial difference and the whole "media impacts reality" are very interesting to me in general. On one hand, when I tell someone that I was bullied or ostracized because of my disabilities, no one is ever surprised. On the other hand, everyone is for some reason uncomfortable when I say that this doesn't just... appear out of thin air. People are taught from childhood that facial differences and the people who have them are scary, untrustworthy, or literal monsters. Media is a major factor in that. Like, looking back at it, it makes sense that my parents told me not to stare at other kids because they would get scared. After all, I looked like a kindergarten version of the bad guy from some kid's book. Other kids were able-bodied and looked like the good guy, I was visibly disabled and looked like the bad guy. That's the lesson kids get from media on how people with visible disabilities are: evil, scary, not to be interacted with. So they avoided me because of that while I had adults telling me to not even look in their direction. Dichotomy is so helpful, right?

And this doesn't magically stop at children. When I post a self-portrait or a selfie, I usually deal with multiple grown people comparing me to sometimes an animal, usually a specific character from a movie, sometimes even making my face into a meme right away. But if people don't generally see people with facial differences on the daily, then how are there so many specific reactions and so many similar problems that we go through? If it's so rare, then how are people so quick to tell me the character I remind them the most of- Yeah, media. It's always media. It's almost funny how everything circles back to one thing.

I want you, the author, to understand the impact of misrepresentation of facial difference. If you feel uncomfortable because you have done these tropes before, good! That's a sign of growth. If you want to help instead of harm, you need to get over your (subconscious) biases for a minute and think about how a person with the same condition as your character would feel like reading about them. Maybe you are even currently realizing that that one OC with scars is just five harmful tropes glued together. Maybe you are going to reblog this and tell me in the tags that somehow your character decided to be like that, as if they have free will instead of being written by a biased human being. Or, as I said earlier, a lot of people will be annoyed by this post and keep doing their thing. Which is like... whatever, I guess ?? There are a dozen huge movies and TV shows every year that do this. It's so basic and normalized that whatever reach this post will have will change very little. I have been signaled "we don't care what you think about how we portray people like you" my entire life, I'm frankly more surprised when people do actually claim to care. You can, practically speaking, do whatever because the FD community is fully ignored by uh, everyone, and even if I'm disappointed or annoyed I'm just one man and I know (from experience) that most people won't have my back on this topic. It's too ingrained in our culture at this point to challenge it, I suppose. I mean, there have been multiple media campaigns telling writers to treat us as people, and they had practically zero impact on the writing community. But even with my absurdly pessimistic view on this subject, I still decided to write all this. Sure, there are no signs of the industry changing and the writing community doesn't seem to care much, but I still naively hope that maybe the right person will read this and at some point in the future I will be watching or reading about a character that looks like me and actually have a good time, and even more naively that maybe people will gain some amount of awareness of the damage that has been and still is happening to people with FD through media, so that the next time they see that the villain has facial scars for no reason they will think "damn, this sucks" the same way I do. And very, very naively, I hope that people who read this will start seeing us as people. Not villains, not plot devices, not monsters.

Sad part over(?), now the fun(?) part. AKA the tropes! Yay.

"Dramatic Reveal of The Deformity".

Use of the word "deformity" very much on purpose here. This is arguably the most common trope when it comes to FD, and it's always awful. At the very best it links FD with trauma and talks in a Very Sad Voice about how having a FD is the worst thing imaginable, I guess (think a "X did this to me... now I'm Deformed For Life..." type of scene) and at worst it does the classic revealing that the main villain actually was a burn survivor under his mask, because of course he was. In media, people with FD are evil. If they're not, then it's because someone very evil did it to them (the most evil thing of all - causing someone to have a facial difference. the horror!). It can't be a thing unrelated to someone's morality, there's gotta be evil somewhere around it. There is literally nothing good about this trope. Showing FD as something to hide? Check. Dramatizing FD? Check. Placing the way someone's face looks as the worst thing possible? Check. General treating FD as some kind of circus attraction to stare at with your mouth open? Check!

"Wearing a Mask*."

I made a whole post about this one actually, that's how much it annoys me. Putting your character with FD in a mask is so overdone, lazy, and boring I'm not even offended as much as I thought I would. It's like... really? Again? For the millionth time, the character with FD is forced to hide their disability? Is the author scared..? What is the point of giving your character a visible difference if all you're doing is hiding it? And yes, I know that your character chose to do that for reasons that you as a writer somehow can't control. It's always so strange how it's the character that's in control and the writer is in the passenger seat when it comes to annoying tropes.

Found yourself already waist-deep into this trope? Take a look at this post I made.

*"mask" here refers to anything that covers the character's facial difference (e.g. eye covering, surgical mask, whatever. It's about hiding it and not a technical definition of "what is a mask").

"Good Guy has the Tiniest Scar You Can Imagine, but Don't Worry! The Villain is Deformed As Hell."

A genre on its own. In the rare instance that a positive character has a facial difference, they have a curiously limited choice - you can have:

the thinnest, definitely-very-realistic straight line going through the eye (the eye is always either perfectly okay or milky for reasons the author couldn't tell you),

the same exact line but going horizontally across the nose,

and if you're feeling spicy you can put it around the mouth,

regardless of location, just make sure it doesn't look like an actual scar (certainly not a keloid or hypertrophic one) and is instead a straight line done with a red or white crayon. Interestingly, villains have unlocked more options which stem from scars, craniofacial conditions, burn marks, cleft lips, ptosis, colobomas, anisocoria, tumors, facial paralysis, to pretty much everything that's not infantilized, like Down Syndrome. These are always either realistic or extremely bloody. I sound like a broken record by now, but no, your morality has nothing to do with your physical appearance and being evil doesn't make a visible disability get more visible. Shocker. And don't get me started on...

"The Villain turned Evil Because They Have Scars."

Ah, how nice. Disabled people are evil because they're disabled, truly a timeless classic for able-bodied writers whose worst fear in life is being disabled. In case that needs to be said, having a facial difference doesn't turn you evil, doesn't make you become a serial killer, doesn't make you violent, doesn't turn you into an assassin with a tragic backstory seeking revenge for ruining their life. If anything, having a FD makes it more likely for other people to be violent towards you. Speaking from experience.

"The Villain Just Has Scars."

An impressive attempt at cutting out the middleman of "clumsily and definitely not ableist-icly explaining why getting a scar made them evil" and not even bothering with a tragic backstory or anything. They are evil, so of course they have a facial difference. What were you thinking?

"Facial Difference is a Plot Point."

As anyone who's read like A Book will tell you, the only way to get a facial difference is to be in a very dramatic fight or an extremely tragic accident who will become a plot point and thus the facial difference is now Heavily Emotionally Charged and a symbol of The Event/The Tragedy. If you look at media, congenital FD isn't a thing, illness-related FD doesn't exist and boring domestic accident or a fall causing FD has never been seen. It has to be dramatic and tragic or else there's no point in them having it. A true "why are they [minority]" moment, if you will.

"Character gets a FD but then Gets Magically Cured Because They're Good."

Truly one of the tropes that make me want to rip my hair out. Curing your character with FD sucks just as much as curing a disabled or neurodivergent character. Who is this even for? That's not how real life works. This is some actual Bible shit, that's how old this trope is. The only thing you're doing here is making people think that those who do have FD just aren't "good enough". Every time I see it, I wonder what the author would think of the congenital disorder I have. According to this kind of in-universe rules, was I born evil and just never got good? or ??

"Character with FD has Self-Esteem Issues and Hates Their Face."

I admittedly mocked all the previous tropes because they're absurd, ridiculous, offensive, boring, all of the above, and have zero basis in reality. This one however... ouch, right in my own tragic backstory. This is unfortunately a very real experience that a lot of people with FD go through. I even have a hunch there wouldn't be as many if the general public didn't think of us as monsters, but I digress. Yes, a lot of us have or had self-esteem problems, and a lot of us wished that we wouldn't have to go through all the BS we were put through because of it. Thankfully for you, you don't have to write about it! Seriously. You don't need to. As one million people have said before me, "maybe don't write about things you haven't experienced" and I agree here. I have yet to see an able-bodied author get anything about this right. Instead of the deeply personal, complex experience that involves both you, everything around you and the very perception of what others think of you that this is, somehow writers keep giving the tired "character crying and sobbing because they're "ugly" now", because the author thinks we're ugly. Or maybe they're sad because all the other characters with facial differences are evil, and they didn't have the time to prepare their evil monologue for when they inevitably become evil in the sequel? Who knows.

"The Author Doesn't Know."

I'm not sure if a trope can be the lack of something like this, but the author not knowing what their character actually has going on medically is common to a ridiculous extent - this applies to all kinds of disabled characters as well. You don't need to name-drop the Latin term for whatever your character has, but you need know what it is behind the scenes. You need to know the symptoms. You need to know the onset and the treatment or lack of it. Please do your medical research.

Things I Want to See More of in Characters with Facial Differences

[Large Text: Things I Want to See More of in Characters with Facial Differences]

The thing you might have noticed is that I want Facial Differences and People with Facial Differences to be presented as normal. Not killers, not SCP anomaly whatever, not monsters. I'm aware that the term is tired, but I absolutely want Facial Differences normalized as much as possible.

I want to see more characters with facial differences...

who have friends that don't bully or make fun of them because of their appearance.

who have support from their family.

who know other people with facial differences - even if they're just background characters, or mentioned in passing. Marginalized people tend to gravitate towards each other, people with FD aren't an exception to this.

who are queer.

who aren't only skinny white cis dudes in general.

who are disabled in other ways! A lot of us are Blind, Deaf, both, unable to speak, intellectually disabled, having issues with mobility, and a million other comorbidities.

who are fantastical in some way - preferably not the "secretly a monster" way. But a mermaid with CdLS or an elf with neurofibromatosis? That's cool as hell.

who are allowed to be cute or fashionable.

who have jobs that aren't "stereotypical bad evil guy jobs". Give me a retail worker with a cleft lip or a chef with Down Syndrome!

who are reoccurring characters that just happen to have a FD.

who are those stock/generic characters that aren't typically associated with FD. Hero's mom has septicemia scars? Cool! The popular cheerleader at school has alopecia? Awesome! The bartender of the place the heroes secretly meet up at has Möbius Syndrome? Goes hard! The kid that the MC used to hang out with before they moved somewhere else has Crouzon Syndrome? Great!

who have their FD be visible.

who aren't ashamed of their FD.

who are feeling very neutral about their face.

who are proud of how they look.

who got their FD in a very boring way or were just born with it (and maybe make up very silly, obviously not real ways of how it happened when annoying people ask them. Think "oh, I was fighting a shark").

who have facial differences other than small scars.

who's angst is fully unrelated to their FD. I love me an angsty teen character! Even more if they are angsty about their crush, or basically anything that's not their disability.

who have a significant other who doesn't do the whole "I love you despite your looks" thing. It just kinda sucks. Sorry. I would hate if someone said this to me.

who are children and aren't implied to be "cursed" or "demonic".

in genres that aren't just horror or thriller. RomCom or slice of life, anyone?

who aren't evil.

I want to see stories with multiple characters with facial differences. I have nerve damage and facial asymmetry, and I am friends or mutuals with people with Williams Syndrome, Bell's palsy, Down Syndrome, neurofibromatosis, facial atrophy, ptosis... and a lot of other things. Your character would have (or, would probably want) some connection to their community. We aren't rare!

And, I want stories with the whole spectrum of facial differences shown. Of course you can't represent the whole spectrum, but you can still aim for at least a few. Don't give every single character with FD the same scar-through-eye + eyepatch combo. It's not unrealistic to have a range in your writing. Here is a list of facial differences you might want to check out for inspiration. Don't be scared to give them something rare - no matter how uncommon, people still have it. My specific condition is allegedly extremely rare - I still want representation!

Closing Remarks

[Large Text: Closing Remarks]

Facial difference and the media is a topic that plagued me for the past almost two decades and won't stop ever, I think. It's a very unique relationship of a group of people who just aren't allowed to get into the industry and an industry that clearly hates them, loves to use their image, and defines how people see them all at once. There's this almost overrepresentation that is consistently awful and damaging to an absurd degree. Most people know more villains with FD than actual people. Certainly doesn't feel great to be one of the aforementioned actual peoples. But I hope that this will change - the negative portrayals that are plaguing the FD community will slowly fade out and a newer wave of portrayals will come in, hopefully this time realizing that we are real people and care about us a bit more.

The thing with facial difference is that it's pretty much impossible to make a specific guide of what it's like and what to do in context of writing because it's an incredible vast category that includes conditions that are very different from each other. That's why this post was more focused on "why you should care in the first place" (sorry for the clickbait) rather than being a straightforward guide that would still be very lacking even if 20 different people were collaborating on it. I really, really encourage everyone who got through this rather long post to do their research on what they plan to write about, be conscious of their own biases, don't pull inspiration from movies because they're all hellholes full of tropes and just sit down for a minute, think of the real-world people with facial differences, and read what we have to say. I know that drawing a guy with a line across his eye is more fun than realizing you're low-key scared of or uncomfortable around the real-world equivalent, but sometimes you have to get over yourself and try to be a better person. Caring about the people you write about is, dare I say, essential. That will certainly make your writing of us better :-) (smiley face with a nose)

If you have any specific questions, feel free to send an ask

Mod Sasza

[bloop-bl00p]

So there’s Voodoo but no Lwas?

Before everyone decides to jump me just know that I’m black, I grew up in a very Catholic environment and my grandparents implemented African traditions to worship God. Throughout the years of my dear old childhood, I also witnessed cults and beliefs outside of Christianity and know briefly of a few African Deities, spirits, syren, and many more.

So I can talk about voodoo, I still tried to do as much research as possible, and if someone sees any mistakes in what I say I apologize, be polite when pointing it out to me and I’ll modify it.

So here’s the first thing I want to address…

White people can do voodoo… what? You don’t believe me, here…

It’s been done since the 19th in New Orleans and whoever can worship is a much more nuanced issue.

You see in voodoo, there are these things called Houses (Humfo). It’s a temple where a community of people worship diverse Lwa and are led by a priest or priestess.

It’s a closed religion which means that you have to ask before entering one House. Some may refuse you because you have European ancestry, and I won’t lie Voodoo is mainly dominated by people with African origins due to its roots. You still could eventually find a house that’ll accept you but you can’t randomly start on your own without going through the process of initiation. Don’t mess with African spirits or spirits in general, voodoo is a group activity for a reason.

Now that all of this is cleared I want us all to come to one conclusion. Voodoo is only and ONLY for the people who will respect it. This applies to all religions.

And to writers.

Write about what you know and if you don’t know something research it! Don’t stop at Wikipedia, go on other sites, see documentaries or videos, and get books from the nearest library. Maybe you know someone who is more experienced in the subject you’re trying to write about?! I know it can be a long boring and annoying process, but sweetheart who told you writing respectfully about a preexistent thing was easy? If you’re unable to sit and open Google for research then don’t write about it!

Now that we all agree on something, do these scream respectful representation to you?

[“I care about representation!” Sure Viv, we believe you.]

Okay, voodoo dolls aren’t used for harm. That’s a myth from Pop Culture and Hollywood and it’s one of those examples of African religion being deemed as malevolent by popular media. Thank you Vivziepop for contributing to the stereotype, a big thanks. 🙂

Seriously, the usual voodoo dolls we see in media are usually tourist traps sold in New Orleans but aren't used by actual practitioners. But, there’s a thing called fetish or bocio, usually, those are figurines made of wood and hung on the tree in front of cemeteries to maintain a spiritual communication between the deceased and the living.

From a personal experience, when I was like 10 or 11 my parents saw safou (African fruit) growing near a restaurant, and the owner said to not get too close as fetishes were hung to avoid people from stealing the fruits. So it also has a protection function.

But I’m not here to talk about my childhood, see I mentioned something called Lwa, let’s see what those are.

Voodoo is a monotheistic religion, it teaches that Bondye [Bon Dieu in French literally Good God] is the supreme creator of this universe mirroring him to the Christian God. But he has no evil counterparts so no Satan or Lucifer.

Bondye is disinterested in humanity and innacesbile to us, but he still keeps tabs through the Lwas giving a polytheistic aspect of the religion. People pray to them and give specific offerings depending on which Lwas they want to please.

They also can communicate with us through dreams and possessions. All Lwas have multiple domains of expertise and if you want something specific you’ll have to call a specific Lwa.

Each Lwa has a symbol related to them they are called Veve. It helps them manifest in the physical world, offerings, sacrifices, foods, and drinks are placed upon them.

“Where are you going with all of these informations?”

Here are the symbols that appear every time Alastor gets spooky or threatens someone.

These symbols alone don't mean anything but they are drawings that can appear in multiple veve. Veves are usually much more detailed and they used complete ones with little simplification in the Pilot, since it’s still canon I’m counting it…

My little theory is that if they decided to simply it is because the animators were already suffering so they lifted up the pain by sparing a lot of details. I mean they used the complete symbols for trading cards.

With all of these it is natural for me to come to the conclusion that to get his powers Alastor calls on the Lwas that grant these extremely powerful ✨tentacles✨, weird red gremlins voodoo dolls thingies, deals-making abilities, and probably other things we haven’t seen yet.

Which means that Bondye exists—

“Th3r'$ n0 God in HH. 🤓☝️”

Sure I can work with that, the Lwas exist and are independent, I guess Viv still has creative liberties.

Since Alastor depends on them that means that he chooses specific spirits to gain the specific power that he has, so I decided to search for a few symbols that have a resemblance to the one of Alastor and we’re gonna test Viv's ability to make something consistent.

A rant about Alastor’s power:

Obliviously they are not all of the symbols in correlation with the one in Hazbin Hotel. I just took these to showcase something fascinating with Viv’s writing style.

1. Marassa-Dossou-Dossa:

They are androgynous twins. They represent the power and purity of children, families, and procreation alongside benediction, love, justice, and innocence. They are children, usually, you can offer them candies, drinks, or banana leaves. They are summoned at the beginning of each ceremony after Legba to signify their importance in the religion.

The Marassa are extremely powerful despite being represented as kids. They usually help people who have issues with getting a child or other important aspects like the death of a newborn. While they are mostly nice and all, they are responsible for bad luck and bring sickness when not correctly served or forgotten.

2. Damballa:

He is one of the Loa who helped Bondnye when making the cosmos and, you can imagine, a very important figure.

Damballa is represented by a giant snake and is often associated with St Patrick's. He is the keeper of knowledge, wisdom, and healing magic representing the symbol of life, peace, purity, and goodness. His partner is Ayida-Weddo who forms rainbows, together they use the same Veve.

They are extremely strict with rules regarding their ceremonies. Everyone needs to be dressed in freshly cleaned clothing, women need to wear a white headscarf made of silk. Alcohol, nicotine, and else are forbidden when calling upon him.

Damballa doesn't have legs, so during the possession, the possessed will fall and wiggle on the ground like a snake and sometimes hiss.

3. Le Baron Samedi:

He’s the spirit of the dead, resurrection, and the giver of life, it’s him you need to call if you wanna get in touch with your ancestors. He avenges the souls of the dead (witches, those who were wronged, etc, …)

Le Baron Samedi will heal your wounds if you’re willing to pay back, while it’s not his only ability the rest may be considered sinister since he’s a master of black magic and curses. If someone sends you a hex that brings death so long as Le Baron doesn't let you, you won’t die. Oh and you see the Christian Cross, it’s also his symbol.

Le Baron can manifest himself in our physical realm through specific rituals I won’t bother to describe how he presents himself just search his name on Google and look at the image. Despite being married to Maman Brigitte, he is still known for cheating. He’s also openly lewd quick to swear and likes to mess with people with a big ego.

Usually, his followers can be seen wearing black and purple as he favors these colors but it’s not obligatory.

4. Ayizan:

She’s a sweet grandma and protector of commerce. You can see her with a white dress and deep pockets buying groceries in local markets, and she gives candies to children and people who are respectful.

She’s associated with the rites of initiation in the religion, which is a ritual or ceremony to signify when someone passes from one group to another it implies a change of status in the society. (ex: passage of child to adult)

She’s a typical priestess and knows of the many wisdom and mysteries regarding initiation and the natural world. She’s one of the greatest healers of the pantheon and while she doesn't heal physical wounds, she heals psychically offering health.

5. Papa Legba:

He’s the spirit of crossroads, both metaphorical and literally. It’s symbolizes choices and opportunities. He’s also the intermediate between men and the spirit world people said he’s always in front of Houses. Papa Legba is invoked at the beginning of ceremonies to open the way for communication with other sprites and deities. While he’s mostly benevolent, he can be stern and enforce spiritual rules.

Some may also depict him as a fertility God, a tricker, or a protector of children. In Haiti, he facilitates communication, speech, and understanding. Children like him and he’s often asked to babysit.

He’s associated with Saint Peter since this figure also has keys that grant access to an afterlife.

Debrief:

With all of this informations, we can all agree that none of these spirits works with Alastor as there’s mainly associated with what we could consider a positive aspect of spirituality. Alastor isn't really an example of purity, goodness, and else. Plus his powers have no links to any of the–

“But there’s Le Baron Samedi, he does Black Magic.”

That’s true and he’s actually the only Lwa from my list who could potentially work with Al but there are a few issues. Le Baron Samedi messes with people with a big ego, even if Al decided to work with him it would be quite complicated. Add to that Alastor's respect for women, I don’t think he’ll like to work with someone who cheats on his wife.

But let’s actually think of the potential here, making him a tangible entity Alastor could speak to, would have led to interesting character dynamics with Le Baron mocking Alastor and making him rethink his decision every time he tries and acts selfishly. Le Baron Samedi could have been the one slapping Mister Deer Boy to reality.

Personally, I think it would have been cool to add hints of the partnership by making Alastor’s suit black or giving him purple accessories but Viv's palette of colors is unfortunately very limited to the same shade of red.

“You only listen to 5 deities that appear to be popular, maybe somewhere there’s actually a Lwa that is working with Alastor and you simply didn't choose to show it to us.”

There’s actually one spirit I can think of. Bakoulou Baka, I did not find pictures of his veve unfortunately.

What I can say about him is that he grants powers and wealth. But since he’s associated with dark energy, those things are finite and you’re royally fucked if you don’t repay him in time. He is so evil that people are scared of calling upon him.

Baka in general is a term used to refer to spirits willing to deal with very powerful sorcerers. They pretty much will do anything only if the price is right, they are malevolent spirits who’ll turn on you if you don't do your part of the deal.

Alastor was mentioned to be stuck in a deal, it would be a great twist if the one who got him in this situation was an Evil Lwa he underestimated and failed to repay when he was alive. But we know Vivziepop that won’t be the case.

“You’re too harsh on her those will be obliviously mentioned in season 2.”

Think back to all of the things I said in this post, the different terms like House, initiation, Lwa even the word Voodoo itself, are they even mentioned ONCE in the show? Did Vivziepop make an effort in the FOUR YEARS of production to include them? Did she make the slightest bit of effort to make sure that the new audience knows that Alastor practices voodoo?!! Even by watching the pilot you can’t tell it’s mentioned once fastly by Charlie AS A JOKE.

“IT’$ h@rD t0 Do that.”

Yeah, writing is hard you have to deal with it. And be for real, there’s a scene where Vaggie enters Alastor’s room and sees him eating a deer, rather than see him in the middle of breakfast that could have gone like that:

“What the hell are you going?

– Just a few offerings to keep the Lwas happy.”

Smart people would have been like “What What the hell is a Lwa?” They would have searched it on Google, and Bam people know Al does voodoo.

“But th3 szeN3 w@s to sh0w h3 was a canibal.”

We’re talking of the same guy whose bestie is the cannibal queen, when Rosie proposed fingers to Charlie he could have accepted it. Good now the audience knows he’s a cannibal too, yay!

Religion is an important aspect of characters as it explains most of their behavior. That’s the type of thing you introduce in the first seasons then expand on the second.

And we’re talking of the same show where Husk looked at the screen and told us each of the main character archetypes. I’m surprised Alastor hasn't been called Voodoo Man or something.

I thought of those rewritten scenes in the span of two minutes and you’re telling me Viv couldn't in four years?!

“But HH is b@seD 0n B|blic@l t3xt. Voodoo |s DifeREnt. 🤓☝️”

Are you aware Voodoo is essentially a very big salad of multiple beliefs mixed together rights? You know that one of them is Christianity right?! Some Lwas are associated with Saint, so nothing prevented Viv from making a new class in Heaven called Lwa whose job is to assist the Saints in their task.

When Charlie and Vaggie presented themselves in front of the gates, Saint Peter could have been the one holding the keys and Papa Legba would have been the one reading the book to know who was entering or not.

With the bare minimum in terms of research (1 week), I managed to think of quick easy but effective ways to implement voodoo in the Hellaverse in the span of 2 poor minutes. So why can’t Vivziepop do this when she had FOUR YEARS?!!

Or maybe it’s just that… she doesn't care.

She doesn't care

You need to have a very VERY blatant lack of care for the source material to present voodoo the way Vivziepop did it. Every time the veve appears around Alastor it’s to communicate one thing danger and threat, it’s a harmful stereotype that needs to end people pointed it out she refused to listen.

And it’s because of this lack of respect that bullshit like these happen in her fandom.

Alongside this, you can count the many comics of Alastor using voodoo dolls to hurt/control someone. I’m not blaming any of these fans, I’m blaming Vivienne Medrano for feeding such harmful ideas about the community and not making it clear enough that those symbols are part of a rich culture that people hold dear to their hearts and NOT A FUCKING AESTHETIC

You want an actual example of respect for foreign beliefs?

In the movie Exhuma, the main characters are a shaman and a geomancer, obliviously those who worked on the movie took creative liberties regarding shamanism in Koran culture BUT they actually called a Shaman. There’s a scene where one of the main characters is supposed to do rituals, the actors learn an actual choreography and do it as accurately as possible the shaman was there to supervise everything from beginning to ends.

All I’m asking is for Vivziepop to open Google and do a deep dive. It’s like a school presentation, you sacrifice at least 2 or 3 hours of your days to research your subject, and she had 4 years to do that a little bit of everyday.

Noo it’s too complicated apparently and come on look at these beautiful veve! It’s edgy if I draw them with red on a dark background they look EeViiiIil.

I said it I said it again, if you’re not willing to research as much information about a preexisting subject.

Don’t write about it.

If you don’t have a little bit amount of respect for a religion and care about representing them properly.

Don’t write about it.

Don’t be like Vivziepop.

[bloodbenderz]

there was a lot of mistakes made in the live action but the worst one without reservation was that the creators did not understand patriarchy and they did not understand women's liberation outside of an american context ( or any context if we're being honest )

it's easy to see on a surface level how that fucked up katara's whole character how she wasn't allowed to have her character defining moments how she wasn't allowed to be angry or even excited or impulsive but i think it doesn't really become clear how deeply wrong the show's conception of gender & patriarchy is (and the implications for the political landscape of the show) until you get into how they destroyed sokka's character too

sokka's whole Complex is born of patriarchy. i'm not trying to do men's rights advocacy here but in my experience when a people is under constant threat, constant assault, constant violence (much of which is gendered) and the traditional "protectors" or "providers" of that people are men, the masculine role becomes protecting women and children. i am not saying this is a good thing or a bad thing but it is true the narrative of violent resistance is overwhelmingly about men. to be a man in a time & place like this means fighting to protect your women, & to die for them is honorable. that is where sokka gets this idea that he has to be a warrior & he has to fight & if necessary die for katara & the rest of the tribe. it's about duty. everyone has a part to play, a role to fill

everyone including women! which is the other half of this. the duty of women is to keep up the home, to maintain a country worth fighting & dying for, to raise children so that the community can have a future. it becomes especially obvious in the context of the show when you see how the nwt lives & in specific how yue lives and dies.

many women participate in patriarchy. many colonized women participate in patriarchy. most of my family comes from or still lives in a country completely devastated by colonialism & its aftereffects & many women in my family believe wholeheartedly in the idea that everyone in the house has a role to play. it's not because these women are stupid or they hate themselves. but when you grow up believing that men & women are fundamentally different, and seeing that women are in specific danger because of their gender, it actually makes a lot of sense to expect the men in your family to protect you, and to raise your sons that way.

in practice that means that men aren't really expected to do anything around the house, especially when there's no actual danger. my aunt literally 2 days ago told me this lol like she doesn't make her sons do anything bc she wants to let their lives be easy before they have to go out into the world & take care of their wives & children.

what does women's liberation look like when an entire community is under threat? colonized women have been dealing with this question as long as colonialism has existed. the writers of this show don't even pretend to understand the question, much less to formulate a thoughtful response to it. they just say oh, well, katara, yue, & suki are all the exact same type of liberated girlboss for whom patriarchy is no significant obstacle.

which brings us back to sokka lol. sokka, at the beginning of the show, has completely subscribed to patriarchy, has integrated it into his sense of self. he has a lot of flaws, but he also has a lot of really good traits. his bravery, sense of honor, loyalty, work ethic, selflessness, all of this came from him striving to be a good man. he would die to protect katara, because she's his sister. he also has her wash his socks & mend his clothes, because she's his sister. even after he meets suki, humbles himself, & expands his view of the role a woman can play, he doesn't completely disengage from patriarchy. at the end of the day he believes in his soul that a good man's duty is to fight & if necessary die for his people, & that's exactly his plan. this is a very real psychic burden. pre-aang, it's also largely fictional & completely ridiculous. we're SUPPOSED to think it's ridiculous. he's spending his time training babies & working on his little watchtower. the swt hasn't been attacked since their mother was killed because it has been completely stripped of all value or danger it once held for the fire nation, & everybody knows this. there is very little "men's work" left, aside from hunting & fishing, which is so damaging to sokka's self image he resorts to toddler bootcamp to feel useful. the contradiction here is comical. it's also completely devastating. that's supposed to be the fucking POINTTTT like colonialism & patriarchy convinces this young boy he needs to be a soldier & die for his family. & you know what he does? He acts like a young boy about it. they didn't just leave this unexplored in the remake they completely changed the circumstances to 1. make sokka incompetent for some reason 2. make his "preparations" seem less ridiculous. Which ruins the whole character. Possibly the whole show.

all this makes the writing of katara & the other women infinitely more offensive to me. katara is a good character because she believes in revolution. she wants to liberate her people from imperialism, & she wants to liberate women from colonial gendered violence, traditional patriarchy in her own culture, & the complicated ways those things interact. it is LITERALLY the first thing you're supposed to learn about her. she's the PERFECT vehicle to address the question of women's liberation under colonialism. one of the things i was most looking forward to seeing in this show was how labor is distributed in a place where almost everything that needs to get done is "women's work" & how it affects katara & sokka's day to day relationship when their lives weren't at risk constantly. what actually are her responsibilities every day, & how do they compare to sokka's? how does her grandmother enforce these traditions with katara & sokka, & how is that informed by her own experiences in the nwt? what does patriarchy look like in a tribe made up of mostly women & children? it's so important to who katara is & what she believes! but why bother exploring any of that when u could instead make her a shein model who has nothing in common with the source material except her hairstyle lol.

yue is actually even worse to me bc yue is supposed to be sokka's counterpart. she's supposed to show you how destructive it is for women specifically to internalize this gendered duty so completely. it sucks for sokka, but he is a man & thus his prescribed role gives him some agency. yue's role affords her no agency whatsoever, & this is the POINT. to make her someone who's allowed to break things off with her fiance if she likes, who sneaks off to do what she wants when she's feeling stressed, whose will is respected as a monarch, like what is even the point of yue anymore? in the original the whole reason she was even allowed to spend time with sokka was because her father knew she was with a trustworthy boy. her story completely loses all significance when the dimension of patriarchy is removed from it. the crux of her whole story is that she is not just a princess but the literal & spiritual representation of the motherland. that's what women are supposed to represent during wartime, at the cost of their own sense of self. in order to fulfill her duty to her people she gives her life to them in every single way that matters.

it's just so unbelievably frustrating (and WRONG) that the only types of characters for these writers are "soulless misogynistic fuck" and "liberated american-style feminist." there's no nuance at all! they don't bother exploring how real love manifests in patriarchal communities, & how patriarchy defines the limits of that love. or how for so many of these people their idea of goodness, morality, & honor is gendered. or how imperialism affects not just individuals but entire cultures & their conceptions of gender. but why do any actual work when you could completely change sokka & katara's general demeanors, their entire personalities, & their roles in the tribe so you can dodge any & all nuance

Anyways. in conclusion. it was bad