#it's easier to write nonfiction

[innocence-wont-save-you]

[An overseer is ‘sitting’ next to the scavenger as they look at Innocence’s sleeping form.]

Hey bud, isn’t it kinda weird our friend is uh… still sleeping? Like, we should be moving out by now. I mean I know we’ve been waiting for like, six minutes, but it feels like a month! And yeah, I know you don’t understand me.

(OOC: Heyyyy so uh, sorry if it’s rude but I didn’t see a place to submit an ask on the website so I’m asking here. Is this blog ever going to be updated in the near future? If not, do you plan to still continue it or is like, irl stuff putting weight in your shoulders? I wanna join the disc and ask questions but stupid anxiety is making me not do it. If you’re still working on it or left the project, don’t feel pressured to continue, it would be selfish of me to ask that of you.

tl;dr: I kinda just want an update on the current situation Innocence Won’t Save You is in.)

OOC: YES HI HELLO I'M STILL ALIVE THANK YOU FOR ASKING ACTUALLY

Short answer: Yes there's. Shit going on in my life. Mostly school work; this has been one of my busiest quarters so far and I'm constantly swamped with work and haven't had the free time to really sit with IWSY and work out what I want/need to do.

Longer answer: Yes there is currently no way to submit on the website I am so sorry. When I said this would move off Tumblr I meant it and I was finding ways to do that, but I kept hitting roadblocks because I started learning web dev Solely for IWSY. Ultimately my progress on the javascript tutorial stalled (due to aforementioned busyness) and other people let me know that Neocities isn't... the best place to host comments locally? So that threw a wrench into the plans.

I've admittedly not written much for IWSY in the time since I announced we'd be migrating off Tumblr. In hindsight I kind of wish I'd waited a little, but I think this quarter would have done this to me regardless of if I'd wanted to migrate or not. However, I still want to work on IWSY. This project is NOT abandoned. I'm just very busy :'D in a good way though! After a bit of a rough spell, my life right now is, without exaggeration, the best it's ever been, and aside from just plain being busy, I'm also trying to enjoy being alive for once. Unfortunately it means things have been and will continue to be very, very slow here for the foreseeable future.

But I do have a small update. I gave up on trying to code comments locally, and instead found an open source commenting plugin called Isso that I'm hoping to install on the website. Actually doing so will require time I don't currently have since I. Uh. Don't know python. But if all goes well, I will have that set up at some point, and then I can get started on scene 14. I can't guarantee anything on that while this quarter is still going on unfortunately, but I will promise you all that once my summer break starts (which is in June since my school runs on a quarter system), I'll put more time and effort into this again.

If you'd like to help get the comments set up I would deeply appreciate it, but again I don't think I can see myself writing any long form creative fiction until I have the time to dedicate my mind to it, especially given what IWSY is. I'm really sorry about that, but I'm glad to hear that you're still interested in this story! So sorry about the radio silence, I really should have updated a few times since the last post I made, but thank you again for asking and reminding me to at least say something.

So TLDR, no the story isn't dead, I'm just hella busy and trying to appreciate life.

[arielluva]

finished my essay draft (at least to fulfill the requirements, i still got one more body paragraph and the conclusion to write lol) as well as my lab assignment and whatever else and ourghhh im so tired.

[creatingblackcharacters]

"Ice, is my character a stereotype?Is my story stereotypical?"

Lesson 6: "Let's Have a Talk, First"- Stereotypes, pt 1

Lesson 6: “Why’s she so rude?” (She’s Not)- Stereotypes, pt2

Lesson 6: "Is He the Threat (Or Are You?)"- Stereotypes, pt 3

Application Example: How to spot a Stereotype: An Example

Before you ask me this, I need you to read every lesson and click and search through every single link!

There are as many ways to accidentally (or purposely!) scribble up a stereotype as there are stories to tell. It takes our entire lives to learn and keep up with the ways media (fiction and nonfiction) will find ways to depict us negatively in a narrative. Why would it be any easier for you? 😅

If you actually want to develop the skill to see what and how stereotypes manifest in your media, you have to study it. It will take you time! You will have to read, and then you will have to apply what you've read! That's part of media analysis and comprehension! Because at the end of the day, I could present you with a surface level, lovely story containing a stereotypical narrative, but if you didn't know what to look for and why, you wouldn't see it.

And again, I will always tell you to engage with Black stories. Why do you want to put me in your stories, but you don't want to engage with anything created by me? Why do you want to know how to write my voice, but you're not willing to read anything spoken by my voice? How else do you plan on figuring that out? What is your intention, here? Let's ask ourselves these questions!

[onbearfeet]

In Which the Wizard School Books Are a Hammer

Okay. I'm gonna tell this story once, and only once, because I think it might help people who are struggling to finally, FINALLY boot J.K. Rowling from their lives.

I can't precisely say I sympathize, but I definitely know how you feel, because I have already had to do this dance with someone I guarantee you've never heard of. I've had all the feelings you've had. I had to find a way through all by myself, and now I'm going to help you so you have an easier time. Okay? Okay.

Content warning: discussion of child sexual abuse (mentioned but not described in detail).

So there's this writer. I refuse to speak or write his name these days, so we'll call him Evil Bob. ("Bob" is my default placeholder name, and this Bob is evil.) Evil Bob was a damn good writer and, frankly, an underappreciated one in his time. I picked up a few of his projects out of the bargain bin on impulse when I was about 12, and after that he was one of my names to conjure with. If Evil Bob had written it, I wanted to read it. He had a kind of perfect workman's style--he did a lot of things pretty well, and he did them in such a way that a bright 12-year-old could see how the trick was done. I learned a lot of basic writerly technique from Evil Bob--things about dialogue and pacing and how to convey character through action and lots of other stuff. Evil Bob unlocked something in my brain, and I really blossomed as a young writer by applying the lessons of his work.

Evil Bob's fiction started to fall off in popularity eventually, so he switched to nonfiction and wrote a damn good history book that won a lot of awards. I read it in college. The man could really interview, I tell you what.

I even got to interview Evil Bob myself, eventually. I was working for a small magazine that wanted to publish an article about a certain minority group's representation in a certain fiction genre, and Evil Bob had written one of the seminal works in that niche, so I tracked down his contact info, called him up, and we had a lovely hourlong chat. He was kind and gracious and funny and --

Yeah, this is where you learn why I named him Evil Bob.

A few years ago, people in Evil Bob's old fiction genre started circulating a list of, shall we say, disgraced writers in the field. Think of it like a MeToo list. The list got passed around every time a new name was added, and at a certain point, after a much more famous name had just been added to it, the list crossed my feed for the first time in a while. I dutifully scanned down it in case there was anyone on it I'd missed; after all, I attended conventions for this genre, and some of these fuckers were on the list for assaulting fans like me, so I wanted to know who to watch out for.

And there, in the middle of the list, was Evil Bob.

Weird, I thought. Evil Bob had seemed chill when I spoke to him, and usually, being 22 with big boobs (as I was when I interviewed him) brought out the perv in these guys if there was any perv to bring out. Well, maybe this was something else--maybe he used a slur on an old tape or something. I googled.

It was something else, all right.

As I sat there googling, Evil Bob was sitting in a federal prison a thousand miles away. He was there because, according to his Wikipedia page, he had been convicted of having so many CSA images on his hard drive that the judge in his case became physically ill. Honestly, I want to know where he got a hard drive that big in the year he was arrested, but I absolutely will not be asking him.

Evil Bob was EVIL. Fuck the carceral state, but also never let that particular dude near kids or a computer again.

So now I had a problem. I was going to stop buying Evil Bob's stuff, obviously--I would drop the man like a hot potato--but I couldn't so easily remove his influence on me. I'll never be 12 years old and digging through the quarter bin at the used bookshop again. There's no way to re-learn the foundations of my artform without Evil Bob. The bastard is part of me, whether I like it or not. He's left his fingerprints on my brain. And while I have negative interest in creating my own criminal hard drive, it's a little hard to shake the irrational guilt (especially since I had been raised in a high-control religious environment where any contact with sin could permanently stain one's soul, and Evil Bob's writing was part of how I escaped, and--you get the idea). I couldn't shed the stink of Evil Bob. I'd written that article. I was covered in the fuckin' ooze.

I'll spare you the six months of angst and self-flagellation. I've been to therapy since this happened. Here's what I eventually decided:

Evil Bob is like a hammer.

My dad gave me an old hammer when I moved out, along with some other miscellaneous hand tools in a paper bag. I bought a toolbox, I put the tools in it, and I use them when I need tools. My dad is an asshole who abused his children, but a hammer is a hammer. Scratch the previous owner's name off the handle, and you can build a pretty fine house with it.

What I learned from Evil Bob are the tools of a trade, and tools are not inherently evil. He taught me how to put sentences together--but I decide what my sentences say. He showed me how to convey character--but I choose what I'm conveying. He made me a writer--but I'm the one writing now.

So I still use Evil Bob's tools, with his name scoured off. I still teach some of those lessons, but he's the one source I don't cite. Oh, that dialogue hack? I picked it up in grad school, pinky swear. Here, let me share it with you for free, with no credit or compensation to the bastard who taught it to me.

I won't pretend Evil Bob wasn't an influence on my younger self, but you'll never hear me speak his legal name. I was one of the few people who really counted themselves fans of his work ... and he'll never get a whisper of a hint of that support from me again. I guarantee you won't be able to track him down from this post, and that's just the way I like it. There's a reason I haven't identified what genre he wrote in, or what his seminal fiction work was about, or whom he interviewed for that prizewinning book.

Damnatio memoriae, motherfucker. This is my hammer now, and it always has been.

So how do we give JKR the Evil Bob treatment?

Unfortunately, the Terf Queen has a larger media presence than Evil Bob ever did. One sad ex-Potterhead won't be able to erase her from culture. But there's a lot more than one of you, isn't there?

The thing is, cultural trends fade faster than you expect. Plenty of celebrities and famous artists of your parents' generation are nobodies now, and it's usually because their work spoke to your parents but not to you. I once witnessed my brother trying to read his sons a 1912 book about Spanish naval history as a bedtime story, and let me tell you, it did not go over well. Some art burns hot and bright and then it burns OUT.

The Potterheads are the parents now. Imagine how easy it would be to just ... stop talking about her. Stop buying the merch. Don't watch the new TV show or play the new game. Don't tell people you used to be a fan--not because you ought to be ashamed, but because you're not going to give her the satisfaction of saying her name. And when your kids ask about your tattoo, just tell them not to get blackout drunk in college.

Damnatio memoriae, motherfucker.

And if you feel the need to explain where you learned your kindness and courage, your unshakable loyalty to your friends (especially the trans ones), your hope in the face of overwhelming darkness ...

... why, that's your hammer. And it always has been.

[literaryvein-reblogs]

Writing Tips: Prose

If you want to improve the quality of your writing, the best place to start is with the fundamentals. These valuable tips can help you learn how to write better and elevate your creative output.

Tips for Writing Engaging Prose

Use these writing tricks and tips to elevate your prose:

Don’t worry about your first draft. A lot of writers fall victim to writer’s block at the very beginning of a project. It can be hard to start writing when you’re staring at a blank page, not sure exactly where a piece will end up. At this early stage, it’s best to put aside perfectionism and just get your story idea down on paper. Start out by freewriting with a writing prompt or by building an outline. This can help you gain the confidence you need to complete a draft.

Cut the fluff. Editing can transform good writing into great writing. When editing, look for scenes that don’t advance the plot, overly long descriptions, and anything that won’t sustain a reader’s attention. Whether you’re working on short stories, business writing, content marketing, or nonfiction essays, try to match the word count of similar published pieces.

Rewrite, then rewrite again. Most great writers consider rewriting an integral part of the writing process. Writing a scene multiple times in different ways can help you distill these different attempts into the best writing you have to offer. Rewriting helps you work out any parts that don’t make sense or are illogical, which will help your writing sound smarter and more considered.

Read your work out loud. Reading your work out loud will almost certainly make you a better writer. Embarrassing as it may seem in the moment, speaking the words out loud is a great way to notice the rhythm of your sentences and catch any unintended repetition or awkward word choices.

Learn how to hook your readers. Your hook-writing style will depend on whether you’re a fiction writer working on a novel or a copywriter blogging for a company, but every good writer has a strategy for generating interest. Try starting your piece with an emotional scene or a surprising statement. The important thing is that your first sentence, scene, or page creates questions in your reader’s mind, encouraging them to keep reading. Beware of the obvious hook—spend time coming up with a thoughtful, unique hook that will make your writing sound smart, not gimmicky.

Write concisely. Short sentences with simple words tend to sound smarter than long sentences full of big words. You don’t have to sound like Ernest Hemingway, but you should try cutting unnecessary language from your text. Often, it will make your piece more concise and authoritative.

Use the active voice. When writing in the active voice, the subject of a sentence performs the action. Passive voice sentences contain subjects that are the object of the sentence’s verb. They are not the “doer” of the sentence; they are the recipient of an action. Sentences constructed with the active voice use fewer words and are easier to understand.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[edwin-paynes-bowtie]

I never really thought of what Edwin's hypothetical life it he hadn't been murdered would have been like. My reason for this is that he absolutely would have been drafted in WW1, and if he miraculously survived he was 100% going to end up in prison. But, now I'm thinking -

If Edwin miraculously wan't drafted or survived the trenches, I personally like to think that maybe he would have moved to France or Italy. I agree with George that he would have become estranged from his family eventually (my headcanons for his family seem to match up well with George's.) This would have made it easier for him to build a new life outside of England. Homosexuality was legal in France and Italy (hence why I selected them - Edwin's no idiot, and he's kind of an anxious person, so I think he's feel less anxious and safer there.)

He could, like George said, study literature and write his books there. And I think he could also be a professor or a cartographer, writing nonfiction about his experiences. And sometimes he would write detective novels too, by the Italian coast. Maybe in Naples or something. And one day he can get a partner and have someone to spend his days with and he could have his little books.

I don't know, I never thought that he could have had a good life before in the best of cases. He had a family that didn't care if he went missing, he had no friends, and he was transparently gay enough to get persecuted. But I am so honestly hopeful to think maybe he could have had a real life, because maybe our queer ancestors could have had happy lives.

[mostlysignssomeportents]

Doublethink sump linkdump

On OCTOBER 23 at 7PM, I'll be in DECATUR, presenting my novel THE BEZZLE at EAGLE EYE BOOKS.

Trigger warning for #eikositriophobia: this is my 23d linkdump (Hail Discordia!), an erratic Saturday purge of the open tabs I haven't managed to blog this week; here's the previous 22:

https://pluralistic.net/tag/linkdump/

When I was a kid, I idolized Harlan Ellison. I loved his prose styling, his stage presence, the way he blended activism and fiction, and the way he mixed critical nonfiction with fiction. As a 17 year old, I attended a writing workshop that Ann Crispin was giving at a local science fiction convention and she told me that I had the makings of a great writer, just as soon as I stopped trying to be Harlan Ellison.

But Harlan was a complicated figure. I attended the Clarion Workshop in 1992 specifically because he was our instructor, and came away bitterly disillusioned after he targeted one of my fellow students for relentless, cruel bullying, a performance that was so ugly that the board fired the director and permanently barred him from teaching the workshop.

Later on, Harlan became the kind of copyright maximalist who called for arbitrary internet surveillance and censorship in the name of shutting down ebook piracy. During a panel about this at a sf convention, he called one of the other panelists a "motherfucker" and threatened to punch him in the face. He took to badmouthing me in interviews, painting my position – whose nuances he certainly understood – in crude caricature.

But Harlan and I had many friends in common, people I really liked, and they were adamant that Harlan's flaws were not the whole story: if Harlan liked you, he would do anything to stand up for you, no matter the cost to himself. Famously, when Harlan taught Octavia Butler's Clarion, he demanded to know why she wasn't writing full time, and she replied that there was the inconvenient matter of making rent and groceries. He replied, "If that's all that's stopping you, come live in my guest house for as long as it takes, eat my groceries, and write." Which she did.

Which is great, but also: one of my own Clarion students told me about when his then-teenaged mother met Harlan at a sf convention and told him that she dreamed of becoming a writer, and he propositioned her. She was so turned off that she stopped writing forever (her son, my student, is now an accomplished writer).

So Harlan was a mixed bag. He did very, very good things. He did very, very bad things. When Harlan died, in 2018, I wrote an obit where I grappled with these two facts:

https://memex.craphound.com/2018/06/28/rip-harlan-ellison/

In it, I proposed a way of thinking about people that tried to make sense of both Harlans – and of all the people in our lives. There's an unfortunate tendency to think of the people that matter to us as having their deeds recorded in a ledger, with good deeds in one column and wicked deeds down the other.

In this formulation, we add up the good deeds and the bad deeds and subtract the bad from the good. If the result is a positive number, we say the good outweighs the bad, and therefore the person is, on balance, good. On the other hand, if the bad outweighs the good, then the person is bad, and the good deeds are irrelevant.

This gets us into no end of trouble. It means that when someone we admire slips up, we give them a pass, because "they've earned it." And when someone who's hurt us does something selfless and kind and brave, we treat that as though it doesn't matter, because they're an asshole.

But the truth is, no amount of good deeds can wipe away the bad. If you hurt someone, the fact that you've helped someone else doesn't make that hurt any easier to bear. And the kindnesses you do for other people make their lives better, no matter what bad things you've done to others.

Rather than calculating the balance of our goodness or badness, I think we should just, you know, sit with our sins and virtues. Let all the harm and joy exist in a state of superposition. Don't cancel out the harm. Don't wave away the good. They both exist, neither cancels the other, and we should strive to help more, and to do less harm. We should do everything we can to help those we harm. No one owes us a pass because of the good we've done.

That's the lesson Harlan taught me, and he taught it to me by absolutely failing to live his life this way – a fact that exists alongside all of the good he did, including the great art he made, which I love, and which inspired me.

Not long after Harlan's death, I got a phone call from J Michael Straczynski, Harlan's literary executor. As part of his care for Harlan's literary legacy, Joe was editing a new anthology of short stories, The Last Dangerous Visions, and did I want to contribute a story?

https://www.rollingstone.com/culture/culture-features/harlan-ellison-last-dangerous-vision-1235117069/

Of course I did. Harlan edited Dangerous Visions in 1967: a groundbreaking anthology of uncomfortable science fiction that featured everyone from Philip K Dick to Samuel Delany. The followup, 1972's Again, Dangerous Visions, was, if anything, even more influential, including Le Guin's The Word For World IS Forest, as well as work by Joanna Russ, Kurt Vonnegut, David Gerrold, and James Tiptree, Jr.

Though some of the stories in these books haven't aged well, together, they completely changed my view of what science fiction was and what it could be. But The Last Dangerous Visions was a different (ahem) story. For complicated reasons (which all cashed out to "Harlan being very difficult to work with, sometimes for damned good reasons, other times for completely petty ones), TLDV was, at the time of Harlan's death, fifty years behind schedule. It was "science fiction's most famous unpublished book." Harlan had bought early work from writers who had gone on to have major careers – like Bruce Sterling – and had sat on them for half a century.

Then Joe called me to tell me that he was starting over with TLDV and did I want to contribute a story – and of course I did. I wrote a story for him with the title "Jeffty Is Five," part of my series of stories with the same titles as famous works of sf:

https://locusmag.com/2012/05/cory-doctorow-a-prose-by-any-other-name/

Joe liked the story, but not the title. He thought Harlan wouldn't have approved of this kind of appropriation, and he wanted to do right by the memory of his old friend. My first reaction was very Harlan-like: this is supposed to make you mad, it's my art, and if it offends you, that's your problem.

But I remembered the most important lesson I learned from Harlan, about good deeds and bad ones, and I thought about Joe, a writer I admired and liked, who was grappling with his grief and his commitment to Harlan's legacy, and I changed my mind and told him of course I'd change the title. I changed the title because Harlan would never have done so, and that's rather the point of the story.The story is (now)) called "The Weight of a Heart, the Weight of a Feather" (a very Harlanish title), and it's about the legacy of complicated people, whose lives are full of noble selflessness *and careless or deliberate cruelty. It's about throwing away the ledger and just letting all those facts sit together, about lives that are neither washed of sin by virtue, nor washed of virtue by sin.

It's a good story, I think, and I'm proud of it, and I'm interested in what the rest of you think now that the book is out:

https://www.blackstonepublishing.com/products/book-fyhm

Harlan was the writer who made me want to get good at reading my stories aloud. I was a charter member of the Harlan Ellison Record Club, as you can see for yourself from the time Harlan (accidentally) doxed me:

http://harlanellison.com/text/paladin.txt

After nearly 20 years of podcasting, I'm actually pretty good at this stuff. I'm going to be podcasting a reading of this story – eventually. I am nearly done "de-googling" my podcast feed, ripping it out of Feedburner, a service that I started using nearly two decades ago to convert a WordPress RSS feed to a podcast feed. In the intervening years, WordPress has come to support this natively and Feedburner has become a division of Google, so I've been methodically removing Feedburner's hooks from my feed, which is now proudly available here, without any surveillance or analytics:

https://craphound.com/feeds/doctorow_podcast

I'll be writing up the process eventually. In the meantime, I'm about to embark on another podcast fiction project, serializing my novella Spill, a "Little Brother" story that Tor's Reactor just published:

https://reactormag.com/spill-cory-doctorow/

The first part of "Spill" will go out tomorrow or Monday. Reactor also just published another "Little Brother" story, "Vigilant," which I read in last week's podcast:

https://craphound.com/littlebrother/2024/09/29/vigilant-a-little-brother-story/

One of my long-running beefs with Harlan was his insistence that the answer of copyright infringement online was to create an obligation on intermediaries – like ISPs – to censor their users' communications on demand from anyone claiming to have been wronged by a post or upload.

This would be bad for free expression under any circumstances, but it's an especially dangerous vision for ISPs, who are among the worst-run, most venal businesses in modern society ("We don't care, we don't have to, we're the phone company" -L Tomlin).

It's hard to overstate just how terrible ISPs are, but even in a field that includes Charter and Comcast, there's one company that rises above the pack when it comes to being grotesquely, imaginatively awful: Cox Communications.

Here's the latest from Cox: they sell "unlimited" gigabit data plans that cost $100 for the base plan and $50 to add the "unlimited" data. But – as Jon Brodkin writes for Ars Technica – Cox uniquely defines "unlimited" as severely limited:

https://arstechnica.com/tech-policy/2020/06/cox-slows-internet-speeds-in-entire-neighborhoods-to-punish-any-heavy-users/

Now, you're probably thinking, ho-hum, another company that offered unlimited service and then acted like dicks when a customer treated it as unlimited, ::laughs in American Airlines::

https://www.forbes.com/sites/jamesasquith/2019/11/13/unlimited-first-class-flights-for-lifehow-american-airlines-made-the-most-expensive-mistake-in-aviation-history/

But that's not the Cox story! Cox doesn't just throttle "unlimited" customers' internet to 2006-vintage DSL speeds – they slow down the entire neighborhood around the unlimited customer to those speeds.

As Brodkin writes, every Cox customer in the same neighborhood as an "unlimited" customer named "Mike" had their upload speeds reduced by more than two thirds, from 35mbps to 10mbps, to punish Mike. And they're not the only ones!

https://www.reddit.com/r/GNV/comments/gkicjg/comment/fr670cx/

Cox confirmed they were doing this, saying "performance can be improved for all customers in the neighborhood by temporarily increasing or maintaining download speeds and changing upload speeds for some of our service tiers."

Cox has been on a roll lately, really going for the shitty-telecoms-company gold. Back in August, 404 Media published a leaked pitch deck in which Cox promised advertisers that they were secretly listening to their customers' smart devices, transcribing their private conversations, and using them to target ads:

https://www.404media.co/heres-the-pitch-deck-for-active-listening-ad-targeting/

This isn't just appalling, it's also almost certainly fraudulent. As terrible as "smart" devices are (and oh God are they terrible), the vast majority of them don't do this. That's something a lot of security researchers have investigated, doing things like hooking up a protocol analyzer to a LAN with a smart device on it and looking for data transmissions that correspond to ambient speech in earshot of the gadget's mic.

My guess is that Cox has done a deal with a couple of the bottom-feedingest "smart TV" companies (as a cable operator, Cox will have relationships with a lot of these companies) to engage in this conduct. Smart TVs have emerged as one of the worst categories of consumer technology, on every axis: performance, privacy, repairability. The field has raced to the bottom, hit it, and then started digging to find new lows to sink to. This is just my hunch here, but I think it's highly likely that if there's a class of devices that are bugging your living room and selling the data to Cox, it's gonna be a smart TV (top tip: buy a computer monitor instead, and use your phone or laptop to stream to it).

Ask a certain kind of very smooth-brained, Samuelson-pilled economist about the enshittification of smart TVs and they'll tell you that this is a "revealed preference":

https://en.wikipedia.org/wiki/Revealed_preference

As in, sure, you may say that you don't want your TV to secretly record your private conversations and sell them to Cox, but actually you quite like it, because you have a TV.

While this is a facially very stupid argument, it's routinely made by people who think they're very smart, a point famously made by Matt Bors's "Mr Gotcha":

https://thenib.com/mister-gotcha/

Comics turn out to be a very good medium for stringing up the revealed preferences crowd on their own petards. This week, Juan Santapau's "The Secret Knots" added to the Mr Gotcha canon with an equally brilliant webcomic, albeit one with a very different vibe, entitled "Remind Me Later":

https://thesecretknots.com/comic/remind-me-later/

Santapau really catches the zeitgeist with this one, which is more of a slow burn than a zinger, and which shows how online "revealed preferences" nonsense grooms us for the same bullshit in every corner of our lives, even our psychotherapist's office. Highly recommended – an instant classic.

"Revealed preferences" comes from the Chicago School of Economics, a field that decided that a) economics should be a discipline grounded in mathematical models; and b) it was impossible to factor power relationships into these models; so c) power doesn't matter.

Once you understand this fact, everything else snaps into focus – like, why the Chicago School loves monopolies. If you model an economy dominated by monopolists without factoring the power that monopolists wield, then you can very easily assume that any monopoly you discover is the result of a lot of people voluntarily choosing to spend all their money with the company they love best.

The fact that we all hate the monopolists we have to deal with is dismissed by these economists as a mirage: "sure, you say you hate them, but you do business with them, therefore, your 'revealed preference' shows that you actually love them."

Which is how we end up with absolutely outrageous rackets like the scholarly publishing cartel. Scholarly journals acquire academics' work for free; get other academics to edit the work for free; acquire lifetime copyright to those finished works; and charge the institutions that paid those "volunteer" academics salaries millions of dollars to access their publications:

https://pluralistic.net/2024/08/16/the-public-sphere/#not-the-elsevier

These companies don't just lock up knowledge and tie an anchor around the scientists' and scholars' ankles, dragging them down. Their market power means that they can hurt their customers and users in every way, including through rampant privacy violations.

A new study from SPARC investigates the privacy practices of Springerlink, and finds them to be a cesspit of invasive, abusive conduct that would make even a Cox executive blush:

https://zenodo.org/records/13886473

Yes, on the one hand, this isn't surprising. If a company can screw you on pricing, why wouldn't they scruple to give you the shaft on privacy as well? But The fact that a company as terrible as Springer can be the dominant firm in the sector is still shocking, somehow.

But that's terminal-stage capitalism for you. It's not just that bad companies companies thrive – it's that being a bad company is a predictor of sky-high valuations and fawning coverage from the finance press.

Take Openai, a company that the press treats as a heptillion-dollar money-printer whose valuation will eventually exceed the rest of the known universe. Openai has a lot of problems – a mass exodus of key personnel, a product that doesn't work for nearly all the things it's claimed as a solution to – but the biggest one is that it's a bad business.

That's the theme of a fantastic, characteristically scathing-but-deep Ed Zitron article called (what else?) "Openai is a bad business":

https://www.wheresyoured.at/oai-business/

Zitron does something that no one else in the business press does: takes Openai's claims about its business fundamentals – its costs, its prices, its competitors, and even its capabilities – at face value, and then asks, "Even if this is all true, will Openai ever turn a profit?"

The answer is a pretty convincing "no." Zitron calls it a "subprime AI crisis" in a nod to Tim Hwang's must-read 2020 book about the ad-tech bezzle, Subprime Attention Crisis:

https://pluralistic.net/2020/12/06/surveillance-tulip-bulbs/#adtech-bubble

The fascinating thing about both Zitron and Hwang's analysis isn't that there are big companies that suck – it's that they are able to suck up so much money and credulous excitement, despite how badly they suck.

That's where power – the thing that neoliberal economists say doesn't matter – comes in. Monopoly power is a self-accelerating flywheel, as Amazon's famous investor pitch explains:

https://vimeo.com/739486256/00a0a7379a

Once a monopolist or a cartel wields market power, they can continue to dominate a sector, even though they're very bad – and even if they use their power to rip off both their customers and very powerful suppliers.

That's the lesson of Michael Jordan's lawsuit against NASCAR, as Matt Stoller explains in his latest BIG newsletter:

https://www.thebignewsletter.com/p/michael-jordan-anti-monopolist

Jordan is one of the most famous basketball players, but after retiring from the game, he became a NASCAR owner, and as such, has been embroiled in a monopoly whose abuses are both eerily familiar to anyone who pays attention to, say the pharmacy benefit manager racket:

https://pluralistic.net/2024/09/23/shield-of-boringness/#some-men-rob-you-with-a-fountain-pen

But on the other hand, the fact this is all happening to race-cars and not pharmacies makes it very weird indeed. As with, say, PBMs, NASCAR's monopoly isn't just victimizing the individuals who watch racing, but also the racecar teams. These teams are owned by rich, powerful people (like Jordan), but are "almost always on the verge of bankruptcy."

Why is that? NASCAR rips them off. For example, teams have to buy all their parts from NASCAR, at huge markups, and the purchase contract prohibits them from racing at any rival event. There are a million petty schemes like this, and NASCAR carefully titrates its bleed-off to leave its victims almost at death's door, but still (barely) solvent enough to keep racing.

NASCAR also bought out all the rival leagues, and most of the tracks, and then locked the remaining tracks to exclusivity deals. Then the teams all had to sign noncompetes as a condition of competing in NASCAR, the only game in town – forever.

Hence Michael Jordan, a person who steadfastly refused to involve himself in politics during his basketball career, becoming a firebreathing trustbuster. Stoller cites Jordan's transformation as reason to believe that the anti-monopoly agenda will survive even in the event that Harris wins but bows to corporate donors who insist on purging the Biden administration's trustbusters.

That's a hopeful note, and I'd add my own to it: the fact that the NASCAR scam is so similar to the pharma swindles, academic publishing swindles, and all the other monopoly rip-offs means that there is a potential class alliance between university professors, NASCAR owners, and people with chronic health conditions and big pharmaceutical bills.

That high note brings me to the end of this week's linkdump! And here's a little dessert in case you've got room for one more little link: Kitowares "Medieval Mules", a forthcoming clog styled as trompe l'oeil plate armor:

https://www.kitowares.la/

Pair with old favorites like lycra armor leggings:

https://loricaclothing.com/collections/leggings-1/products/the-augsburg-legging

And a DIY crotcheted knight's helmet:

https://www.etsy.com/listing/590854477/knights-helmet-w-detachable-visor

Tor Books as just published two new, free LITTLE BROTHER s tories: VIGILANT, about creepy surveillance in distance education; a nd SPILL, about oil pipelines and indigenous landback.

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

https://pluralistic.net/2024/10/05/farrago/#jeffty-is-five

[weepingchoir]

can you give some concrete examples of what "writing defensively" sounds like? I'd like to apply the advice to my work but I don't know exactly what it means.

It manifests differently in nonfiction and fiction.

Nonfiction is easier. I get a lot of essays that take momentary asides to promise that they're making a point, and that we'll all get to enjoy the point soon, if you just bear with them. Not only is saying that you're making a thesis not in fact making a thesis (and by literary rudiment, wordcount bloat), it's also drawing attention to the ways you haven't yet arrived at your thesis. It is counter-thesis.

In fiction, I find that it manifests in largely two ways:

Good King Syndrome. You take the time to explain to the audience that this particular instance of something you understand to be real-life ethically, socially or politically incorrect (pardon my french) is exceptional and good.

Very Bad King Syndrome. You take the time to remind the audience that you are real-life aware that the thing you're portraying is wrong.

Both of these methods of literary self-defense preempt a dialogue with the audience, a dialogue that doesn't actually have to include the real-life you. A complete work of literature can, if you let it, be a standalone entry into a discussion. It can run its own course. By preempting the dialogue, though, you are opening it, and by emphasizing the ways in which it does or doesn't reflect your real-life morality, you are inserting yourself into the dialogue. You've created a gap in your work through which your actual self is vulnerated, like a House of the Dead boss.

Often, defensive fiction will warp a character into a mouthpiece for author opinions. Readers can very easily pick up on when you're doing this. It disbelieves their suspension, and it turns the rest of the work into an open hunt for your real-life beliefs, invalidating its worth as narrative fiction in favor of a morality essay. Writing morality essays is the favorite activity of most bad writers, and most bad writers are readers. Which is why defensive writing doesn't repel haters, but in fact attracts them. You're giving them free raw material!

[ckret2]

How do you have the willpower to not consume content from any of your other fandoms? I always get pulled in and out of the same ones and it stops me from getting projects done but I get so bored! Teach me your ways!

So the downside of ADHD is that it takes a ridiculously high amount of effort to push yourself to do things—even things you want to do and like doing—unless you put even more effort upfront into making it convenient for yourself.

But the upside is, if you know this about yourself, and if there's media you want to not be consuming, you just...... don't do anything to make it convenient to consume.

I don't have Amazon Prime. All I have to do is not bother to get Amazon Prime (easy!!) and not bother to hunt out a way to watch Hazbin some other way (also easy!!) and bam, I've got a 100% success rate of not watching it.

Do you know how many Transformers series I'm currently behind on? I sure don't! Because I haven't put the effort into looking it up! I can't be assed! There's like, at least three I think! Don't tell me, I'm not currently interested in finding out!! It would take work for me to figure it out; I can just go "work?? Naaah. Not doing that."

You can resist temptation by just being too lazy to pursue it! Make that ADHD work for YOU!

Caution: if you can't get yourself to put effort into doing anything that brings you pleasure, that's either Pretty Serious Depression or it's gonna cause Pretty Serious Depression and it's not good. However. If you master the art of ADHD, you can save up the effort you didn't put into distractions, and use it to put effort into different activities that also make you happy.

Last year I picked up a podcast about cults. It's all right. But because I'm already listening to it and spotify keeps pushing it to the top of my screen, when I need a low-effort audio distraction, it's easier for me to default to putting on the podcast about cults than it would be for me to, say, dig up The Magnus Protocol to start it. And bam! Now I'm doing more research that'll help me write about a cult leader, for free, by listening to a podcast I'm not at risk of hyperfixating on!

Part of avoiding breaking your own hyperfixation is figuring out what media you enjoy, but don't hyperfixate on. Because you still need to, like, have fun. That's why you wanna watch The Things You Like, because it's fun. If you're not having fun you'll wanna go watch The Things You Like, and rightly so. So you've gotta make sure you're having enough fun with things you don't hyperfixate on.

Like, I know that when I watch Columbo or read Poirot, I find the detectives charming while I'm observing them, and then almost as soon as the mystery is over I stop thinking about them. They aren't the kind of characters that latch into my brain. I know they won't become blorbos. So I'm safe there. I know I enjoy horror movies but 99% of the time totally forget who the characters are, like if there's 2 white guys and 2 white girls it is guaranteed I won't be able to tell them apart, so they're safe to watch, I'm not gonna hyperfixate on them. I know that I enjoy nonfiction/educational books & podcasts, but I only hyperfixate on fiction, so it's safe for me to pick up nonfiction. If it's nonfiction that's somehow thematically relevant to whatever I'm currently hyperfixated on, it even helps feed the current hyperfixation.

And those are my "protect your hyperfixation" lifehacks.

On the other hand, if you, anon, don't personally have ADHD, then I can't help you. idk how people with executive function function.

Final advice: if you know you keep falling in and out of the same 3 or 4 fandoms, maybe try writing a crossover fic about all 3 or 4 fandoms at once. That way it won't matter which one you're currently into. You win no matter what. I've never actually tried this, don't trust this advice.

[ashstfu]

Hi Ash! What would you recommend for someone who wants to learn to be more articulate?

(I literally look up to you)

hi love <3 being articulate is a skill that definitely takes time but its so worth it. i’d recommend starting with reading a lot! different genres like classics, essays and nonfiction will expand ur vocabulary and expose you to various ways of structuring thoughts. and writing regularly!! whether its journaling or just jotting down your thoughts, helps clarify thinking. speak speak speak!!! even if it’s in front of a mirror or with friends. focus on pacing, tone and clarity. and listen listen listen!!! watch TED talks or listen to (good) podcasts and notice how speakers express themselves. engage in discussions on complex topics, it will force you to articulate ur thoughts on the spot. stay curious forever and ask questions! the more you know, the easier it becomes to talk about a variety of topics with ease. you’ve got this!

[helenstudies]

Reading Books in Your Target Language

My favorite way to read in a foreign language is to take a book and read it in my native language or english first, and then pick said book in my target language. This technique is even more helpful if you also pursue translation studies but that's a plus, not a requirement. Since I've already read it in a language I can fully comprehend and critically analyze, I am not only able to read the book in my TL much quicker, I'm also able to fully grasp how a native speaker would rephrase or interpret the same sentences.

If the TL book you're reading is a translated version, you're able to see which words the translator used to convey the meaning. This answers questions such as: Did they translate words literally? Did they use localization instead? What did they do with puns or jokes from the original book? What kind of rephrasing did they do? The translated version tells you how the translator think about certain sentences and certain kinds of writing. Sometimes your TL is a very literal and direct language. Sometimes your TL uses a lot of metaphors or polite sentences instead of being direct. You will learn to absorb these lines of thinking by reading the translated version.

If the TL book you're reading is the original version, you're about to see all the things I've said but flipped. You've got the way the line of thinking goes in the translation. Now you're gonna see how they go about it. And most of the time, this path sort of takes you like "oh! I don't know how to read/interpret this word at all but the translator used x to say it so I'm just going to keep reading." You will realize that you can read much faster, since you remember how it went. (unless it's non fiction since you can't follow the plot in nonfiction, but I find that in language learning, non fiction reading is much easier because there's less flowery and literary language.) I mostly do this when I want to read fast and have no need to reach for dictionaries or to refer to the translated version. This helps me read other text in my TL extremely faster.

Another tip about reading that has nothing to do with language reading more about bookish snobbery: a book is a book is a book. If your purpose is to read in your TL, you don't need to pick up classics if it's intimidating for you. Pick any book. Hell, pick pamphlets if you need. I personally prefer to read adult's graphic novels. I don't mean 18+ graphic novels. I just mean comics that are not for children. I find that children's picture books are much harder because most of them are to teach vocabularies to children, which is taxing for language learners because apparently children love onomatopoeia so much. Also, they have adults to explain everything to them. Comics for adults have jokes and stories instead so I like then better but hey, if you like children's picture books, you do you.

Another another tip: You don't have to finish the books. At all. Ever, actually. Pick up, do twenty pages each and put down if you'd like. You're the boss. Do it your style.

Happy learning!

[olderthannetfic]

As a writer, how do you balance butt-in-seat writing time commitment with reading enough of other people's work not to stagnate as a writer? I'm fortunate enough to (humblebrag) not have any trouble simply sitting down and making myself write, but among my other time commitments, I'm a bit worried I'm not doing the latter - especially because snatching bits of writing here and there is easier for me than finding the time to sit down with a novel, i.e. the form I'm trying to write in.

--

Eh... I think this becomes more of a problem if you're writing novels full time for 20 years or something. If you're only just starting (as I frankly am still), you have your entire reading history behind you. I guess if you're getting started at 15, maybe that's more of an issue, but most people are well into adulthood when they make their first serious attempt at a novel.

Plenty of novel writers read more well-written nonfiction while they're actually writing than they do other people's novels.

If you're actively studying how some aspect of novel-writing works, absolutely, go read novels for research. But if you just want to keep the sound of good language in your ear or think about plot, all the other stuff you consume and all the stuff you've consumed in the past will also inform you.

And, tbh, reading only novels in some narrow niche will also potentially have issues. Read some good journalism. Read popular nonfiction. Read dry academic articles. Watch all kinds of things. Take a walk and observe the world.

If you're finding that you are stagnating, that's one thing, but I wouldn't just assume it's going to happen.

[literaryvein-reblogs]

Some Tips & Advice for Writing Fiction

"Since advice is usually ignored and rules are routinely broken, I refer to these little pearls as merely 'suggestions.'....There’s nothing binding here. All suggestions can be ignored when necessary." ���John Grisham

Love your story. Many writers create their best work when they’re deeply invested in their characters and plot.

Withhold information from your readers. When writing fiction, only give readers the information they need to know in the moment. Ernest Hemingway’s iceberg theory in writing is to show your readers just the tip of the iceberg. The supporting details—like backstory—should remain unseen, just like the mass of an iceberg under the water’s surface. This prevents readers from getting overwhelmed with information and lets them use their imagination to fill in the blanks.

Write simple sentences. Think of Shakespeare’s line, “To be or not to be?” famous for its brevity and the way it quickly describes a character’s toiling over their own life. There is a time and place for bigger words and denser text, but you can get story points across in simple sentences and language. Try using succinct language when writing, so that every word and sentence has a clear purpose.

Mix up your writing. To become a better writer, try different types of writing. If you’re a novelist, take a stab at a short story. If you’re writing fiction, try writing nonfiction. Try a more casual writing style by blogging. Each piece of writing has a different point of view and different style rules that will help your overall writing skills.

Write every day. Great writers have a regular writing habit. That means dedicating time every day to the craft of writing. Some writers assign themselves a daily word count; Stephen King writes 2,000 words a day. You might also join a writing group; being accountable to other people is a great motivator. Don’t worry if what you jot down is technically bad writing or you struggle to get something onto a blank page. Some days will be more productive than others. The more you write the easier it gets.

Set milestones. The average word count for a book is 75,000 words. That can make novel writing intimidating. If you’re working on your first novel, stay motivated by setting milestones. This will help you break the book down mentally so it is easier to manage and easier to stick with.

Understand basic story structure. Professional writers are well-versed in the framework most stories follow, from exposition and rising action through to the climax and falling action. Create an outline to map your main plot and subplots on paper before you get started.

Don't write the first scene until you know the last. This necessitates the use of a dreaded device commonly called an outline. Virtually all writers hate that word. Plotting takes careful planning. Writers waste years pursuing stories that eventually don’t work.

Learn strong character development techniques. There are effective ways to create a character arc in literature. Learn what character information to reveal to increase tension in your story. Your main characters should have a backstory that informs their actions, motivations, and goals. Determine what point of view (POV)��first person or third person—complements the character’s interpretation of events.

Use the active voice. Your goal as an author is to write a page-turner—a book that keeps readers engaged from start to finish. Use the active voice in your stories. Sentences should generally follow the basic structure of noun-verb-object. While passive voice isn’t always a bad thing, limit it in your fiction writing.

Take breaks when you need them. Writer's block gets the best of every writer. Step away from your desk and get some exercise. Getting your blood flowing and being in a different environment can ignite ideas. Continue writing later that day or even the next.

Kill your darlings. An important piece of advice for writers is to know when words, paragraphs, chapters, or even characters, are unnecessary to the story. Being a good writer means having the ability to edit out excess information. If the material you cut is still a great piece of writing, see if you can build a short story around it.

Don't introduce 20 characters in the first chapter. A rookie mistake. Your readers are eager to get started. Don’t bombard them with a barrage of names from four generations of the same family. Five names are enough to get started.

Read other writers. Reading great writing can help you find your own voice and hone your writing skills. Read a variety of genres. It also helps to read the same genre as your novel. If you’re writing a thriller, then read other thrillers that show how to build tension, create plot points, and how to do the big reveal at the climax of the story.

Read beyond what you like. Dutch writer Thomas Heerma van Voss says: "Read as much and as widely as possible. See how other writers construct their scenes, tease the reader, build tension. Don’t be afraid, especially when starting out, to steal or imitate – all arts begins with imitation. One of the Netherlands’ most famous writers began his writing career by copying out stories by Ivan Turgenev in an effort to master his rhythm and way of writing."

Read writers who do not write like you. Trinidadian-British poet Vahni Capildeo says: “Make friends with writers who do not write like you. Swap books. Show each other work. Take the long view and the wide view. Writing adds your lifetime to the lifetime of everyone else who has written or read, or who will read or write, including non-‘literary’ folk. All sorts of people work carefully or lovingly or effectively with words. You may find inspiration in a law report (ancient or contemporary) or a tide chart, or in an ‘unplayable’ play…"

Research. Critically acclaimed novelist Guinevere Glasfurd says: “Writers are often exhorted to ‘write what they know’. But what if your protagonist is a fourteenth-century nun? Or a drag queen from Kentucky (and supposing you, the writer, are not)? Start by reminding yourself why you want to tell the story. Research can be frustrating; sometimes the archive is silent, the answers are not there. There’s a reason for that and that should spark other questions. Research can also be enormously rewarding. It can, and likely will, reveal something unexpected. It is important to remain alert to that, to be attentive and open to surprise. Research is an iterative process. Research a bit, write a bit, research a bit more. Allow your writing to remain fluid at this point, open to question, encouraging of further enquiry.”

Write to sell. To make a living doing what they love, fiction writers need to think like editors and publishers. In other words, approach your story with a marketing sensibility as well as a creative one to sell your book.

Write now, edit later. Young writers and aspiring writers might be tempted to spend a lot of time editing and rewriting as they type. Resist that temptation. Practice freewriting—a creative writing technique that encourages writers to let their ideas flow uninterrupted. Set a specific time to edit.

Get feedback. It can be hard to critique your own writing. When you have finished a piece of writing or a first draft, give it to someone to read. Ask for honest and specific feedback. This is a good way to learn what works and what doesn’t.

Think about publishing. Few authors write just for themselves. Envision where you want your story to be published. If you have a short story, think about submitting it to literary magazines. If you have a novel, you can send it to literary agents and publishing houses. You might also consider self-publishing if you really want to see your book in print.

Ignore writing advice that doesn't resonate with you. Not every writer works the same. You have to figure out what works for you in the long run. If working off of bullet-point outlines gives you hives, then don't do it. If you work best writing scenes out of order, then write those scenes out of order.

Sources: 1 2 3 4 ⚜ More: Writing Notes & References

[strangebiology]

25 goals for 2025! (Including the Free space.)

I think BINGO goals are best when they are:

SMART (Specific, Measurable, Attainable, Realistic, and Timely)

Small (for this, anyway, since there are so many. "Read one nonfiction book from the shelf" is easier to measure and check off than "read more")

Varied (My categories are Writing, Career, Travel, Bones, and Other)

More info, ideas an suggestions about making your own here

I used bingocardgenerator.com. Yes, they do that annoying thing where they try to charge you after you make the BINGO card, so I just screenshotted it. Also, you can download a "sample" PDF of the card you made for free, as long as you're ok with them randomizing it.

[legendoflozer]

lu headcanons because I abandoned my bois-

- Warriors, Twi and Four have a mini book club! They all have wildly different preferences! Warriors loooves those cheesy romantic books, Twi enjoys poems and short stories while Four prefers nonfiction books. They all come together and recommend books and share their opinions on things. They all greatly enjoy this!! Helps bond them

- love the idea of Hyrule being scrappy while fighting, one of the better Links at hand combat but only because he will use any tactic he can to come out on top. The type to bite and throw dirt in your face, the others had to learn the hard way while wrestling with him. Wild enjoys it the most, and it usually causes him to join in!

- I can’t remember if I mentioned this before, but to me, Warriors is the type to write everything down in a dairy. He has notebooks with him and he started journaling during the war to keep his thoughts in orders and to help his mental health. Started out as letters to his family before realizing it helps him cope, now he mainly writes about his day and his thoughts/concerns. The others (fondly) tease him about it but they all understand that it helps and that it’s private.

- Wild loves keeping track of the other Links’ favorite foods. I like to think during the earlier parts of the adventure, when they’re all still getting to know each other. If Wild notices one of the others feeling down and he doesn’t feel confident enough to talk to them, he’ll make a meal he noticed they liked. Of course now he has an easier time talking to the others but still makes their favorite meals whenever anyone is down in the dumps.

- I saw a post a while back about the boys picking up songs from each other and I love!! That!! So much!!! Just picking up hums and tunes from each other, especially since music is so important to a few of them!! I can just see Time teaching the others the song of healing (Twi helps join in)!! Such a great idea <3

[floetcoeur]

you said, and i quote, “if you're basing it off Latin countries like Mexico or southern countries, then why not add more of that inspiration in it? Like poverty, high criminality, ... Because right now, DDVAU looks like any white country.”

this is an incredibly stereotypical take on an entire continent based on your conceptions of specifically mexico. this comic is not based on mexico. south american countries are incredible diverse, and while problems like crime and poverty exist there (as they do everywhere else in the world), generalizing the entire continent to say “if the people aren’t visibly poor and criminals they must be in a white country” is harmful. the idea that characters have to look poor or be criminals to be convincingly latino-coded is harmful. for the record, this is why the entire comic team blocked you. it had nothing to do with your original post of criticism and entirely for the second post you made, and these ideas about latin america which were hurtful to read

i am NOT calling you racist. i AM saying this is a harmful and untrue idea based on stereotypes and a lack of knowledge. you yourself admitted you don’t know much about the world or history. the fact you’ve come to stereotypical conclusions is understandable, but it doesn’t have to be the end of your understanding. with the internet, learning more about these places is easier than ever. you can always research online through academic articles and texts, read nonfiction books, listen to people who have different lived experiences than you do, and replace these limited understandings with actual knowledge

i know earlier you listed your experiences with taking a spanish class and visiting mexico once. it’s good you’ve had some experience and you want to learn! but you still have further to go, and that’s okay, too! so long as you’re actually willing to learn, instead of getting defensive, or trying to speak over people or correct them on their own lives

for example, the comic is based off of chile and uruguay. the experience depicted in the comic is similar to the lived experiences of two people who live in those countries. it is not the same as the lived experiences of people in mexico, nor is it the same as how movies and games will portray mexico or mexican characters (also, as an aside, mexico is part of the continent of north america, with canada and the united states)

the social issues of the comic are based mostly off of chile, based on doody’s lived experiences of chile as as well as the experiences of their own family and the extensive research they’ve done on their own country’s history and politics. simply put, they know a lot about their own country and its social/political issues, and they are writing thoughtfully with that impressive knowledge base in mind

it’s okay if you dont know much about uruguay or chile right now. we all always have more to learn. it’s okay to not know IF you can acknowledge that you don’t know and are willing to put in the work of listening to people who have lived experiences and learning from them. what is NOT okay is talking as though you know more about these countries than the people who live there and have done that research on them do. what is NOT okay is telling those people that their treatment of their own country’s social issues in fiction is incorrect because it is not the same as how your country handled their social issues. what is NOT okay is saying their lived experience is wrong because it is different to how you understand the socials issues of mexico, a country 7000 km from either of their counties

it’s also not okay to generalize an entire continent based on limited understanding of one country, and doing so genuinely upsets the people who live in the places you speak ignorantly of and over to say “i know more than you about your own life, and you are writing your own country and history wrong because you didn’t write yourself as enough of a stereotype”

you don’t have to know everything about latin america when you haven’t yet done any research. but when you act as if you do by talking OVER actual latino people about their own lives and say something ignorant about the home they’re proud of where they can see it, they are within their rights to block you for it

you don’t have to answer or post this if you don’t want to. i am not trying to insult you as a person, just point out that these ideas and conceptions have caused real hurt to people you admire, and to ask you to do research before you make generalizations next time

- Lew (on anon because my mcyt blog is a sideblog) (for the record, i do not write the comic, like you seemed to believe last post. i just edit the script that maruu and doody write)

Hello! First of all, I never said you wrote it. I know you’re an editor. But you are contributing to the story. Everything down to the tiniest line in a comic is telling a story. It’s the most important thing of any media. You’ve also wrote a few lines for it. Also yes I might’ve generalized it because I know more about Mexico than any other latino country. I am guilty of that. And I’m also bad at organizing my thoughts so misunderstandings might happen. So the high criminality rate isn’t necessarily true in other latino countries but without something like that I don’t see how a majority would stay oppressed in a democratic world. Also my post was about societal issues, not architecture or food. And there are respectful ways to explore high criminality that isn’t racist because after all the victims are also Latino. And I’m aware that that issue also exists in some European countries so it’s not an inherently Latino thing. I was honestly thinking of Italy. And a simple Google search showed me that Uruguay is an 88% white country. Chile seems to also have about an half white half Metis population so it isn’t like the majority is really under oppression. I am doing research because I do not want to say anything wrong. The fact that I’m a westerner and that a lot of “woke” media try to do the cheap trope of rich white man bad (not necessarily linked to racism) does affect my vision on things because it is quite tiring to be generalized by others. I hate double standards and generalizing white people IS also racism. We all come from different places with different cultures and religions. I genuinely considered taking an university course on Latino countries because I want this comic to be good. And I want to have the proper tools to analyze it and convince you.

And poverty and crime happens everywhere but they are not caused by the same thing. And since racism seems to be so rampant in DDVAU you can have characters that are broke because they struggle to find a job. And because they can’t find a legal job they resort to crime. And like I’ve said before just because they have an illegal job doesn’t mean they’re a douche. They can just do it to get their kid a proper education and not wish for them to follow their own path. Anyway, you (the team) don’t seem interested to show a rich and powerful mutant either. Or to show the positive aspects of your culture. The comic doesn’t make me wanna learn more about the Chile culture if all that you have to show is how horribly racist the place is. I way more prefer Latino (or any country but to you, only Latino counts in this argument) artists who use their culture to tell stories based on their mythology or created creatures based on said myth or gods, the sort of clothes they traditionally wear or the beautiful architecture they have. It’s way more compelling than just talking about race shit. Yeah, of course you can bring that up in your story but if it’s all you’ve got in therm of inspiration to represent your South American heritage, it’s kinda lame.

With all said and done, I just think it doesn’t really work because you said it: every person has a different culture so mutants probably don’t have the same culture as a Latino from any South American culture. Especially since as far as I’m aware mutants are all over the world. You have immigrants, refugees, children who are born in the place that DDVAU is set in. All those people would have a different take on life and what it’s like to be a mutant. And the government might consider others like Scar to not be mutants, but what do they think about the subject? They probably have mutant parents themselves. They might face a different form of discrimination for not-being-mutants-but-kinda-not-human-also. I know the comic doesn’t have to answer all of that but those are things that I think would solidify the world building. After all, we’re not talking about humans with a different skin tone but a whole different species.

I won’t ever tell you that your own experience is wrong but your own experience doesn’t represent a whole continent.

It also might be a subjective thing but seeing the mutants fight racism and bite back (in a more legal way than proving to the racists that you’re a violent criminal even if you’re right in your ideals) is more entertaining and empowering. Show em to have an arc. From fear to courage.

Genuine question: isn’t Mexico part of Central America?

Also blocking me means I can’t read your posts, which means I can’t learn more. And improve. It’s like sending a racist guy back to his group of friendly Nazis with a Pat on their back. No one on the Double Hearted team has to read my posts and I won’t tag any of you anymore. I just want to be able to read said comic.

And if you do believe I’m not racist and that I can improve, can you please tell your fans to stop calling me a racist over and over? I get the message, thanks. I’m not anonymously harassing you so I don’t see how they should be allowed to do so just because they think they’re right.