#something to be said that with the three examples i used

[anhed-nia]

R.O.T.O.R. -- AGAIN!

Even ripoffs can be beautiful.

I am writing about R.O.T.O.R., neither for the first time nor the last, because something new strikes me about this startling movie every time I see it. Its amazing premise, which amply rips off THE TERMINATOR and JUDGE DREDD (but not ROBOCOP, oddly, which began shooting after R.O.T.OR., also in Dallas) provides fertile ground for all sorts of useful interpretation. This time I was most struck by the fact that R.O.T.O.R. is all about jobs and going to work.

The story concerns "police scientist" Captain Coldyron (cold-iron) who has invented the Robotic Officer Tactical Operations Research/Reserve, a T-800 type of android made out of a "self-teaching alloy" that can kick anybody's ass. Coldyron resigns in a huff when his boss conspires with local politicians to rush the lawbot to market, and the project races forward dysfunctionally until R.O.T.O.R. inevitably busts lose and starts killing people for minor mischief. Coldyron hooks up with the robot's coauthor Dr. Steel (female bodybuilder Jayne Smith who is like something out of Crying Freeman, which I mean as the highest compliment) to hunt their creation down and destroy it.

Coldyron is played by Richard Gesswein, who was also created in a lab.

That might sound pretty action-packed, but in execution R.O.T.O.R. is heavily focused on the drudgery of daily life. Enormous amounts of time are spent walking through parking lots, traversing the atria of hotels, finding parking, being seated in restaurants, and most of all, spending hours and hours at work, making countless phone calls. You have never seen so many people on the phone in a movie in your entire life. There's work phones, home phones, payphones, and even CB radios. At times it feels as if you may never see more than one person on the same set again. On the phones, people say things to each other that have already been said earlier in the movie if not earlier in the same scene, if not earlier in the same monologue. In the scene where Coldyron learns that R.O.T.O.R. has gone rogue, he delivers this incredible screed during one of THREE calls that he makes in a row:

"Its last program was prime directive... Prime directive to our ROTOR unit is judge and execute. It stops felons, judges the crime, and executes sentence. Justice served, COD. You call the Senator and you tell him ROTOR walked through a busload of nuns to get to a jaywalker, with malice towards no one. It won't stop. It wasn't ready. Its brain functions are incomplete. It can't think twice, can't reason, can't change its prime directive. It's like a chainsaw set on frappe..."

It begins to feel as if he will never stop reiterating whatever he (and others) just said, and this is not the only such example.

Most of these calls, like all of the activity in the movie, are focused on jobs. Coldyron calls his girlfriend first thing in the morning to tell her that he is getting ready for work, and to ask her if she is also getting ready to go to work at her own job. He promises that "if you're a good girl and go to work" then he will grill steaks at her house later. When he goes out to buy charcoal for the reward steaks he stumbles upon two creeps robbing the store and trying to take a hostage--a woman who stops the crime with several karate kicks, to whom he says "Hey lady, you want a job?" Meanwhile at the police robot lab, a scientist slaves away while complaining about the impossible new R.O.T.O.R. deadline as the comic relief security bot whines, sighs, and says "One of these days I'm gonna quit this job!" (Later on he actually does) Once R.O.T.O.R. has escaped we meet the Linda Hamilton of this movie (Margaret Trigg), who is having a vicious fight in the car with her fiance because she wants to get a job; the fiance wants to forgo the "barbaric ritual" of the wedding and just be automatically married to a woman who will not embarrass him by getting a job. Finally he concedes, "Elope with me tonight and I'll help you get a job after the honeymoon," but it's too late for all that because he's speeding and about to get killed by R.O.T.O.R.

For extra job-related realism there is workplace harassment in the form of a guy who tries to fuck his colleague by describing ancient execution methods and who calls her a white supremacist for turning him down (he says he's Native American, she says he's not, I don't know the right answer because this is the actor's only credit--and actually he's uncredited for the role, though he is acknowledged for composing the movie's primitive synth soundtrack which I kind of enjoy). It's also worth mentioning that the comedy droid is a real robot with a job, according to iMDB (sadly there is not a wealth of info on this movie):

"Willard the Robot is played by APD2, a robot purchased in 1986 by the police department of the Town of Addison, a northern suburb of Dallas, for $17,750 (approximately $41,000 in 2018 dollars). APD2/Willard performed public relations duties and was tapped to lead the Christmas parade in Addison that year. His contributions to actual law enforcement and his subsequent whereabouts are unknown. "As quoted from 'theoldrobots' website; 'Officer Willi from 1985 - This 21st Century Robotics robot was operated by remote control, showed videos about public safety, and was used in teaching important safety topics such as stranger awareness, traffic safety, and much more..'"

Coldyron is actually a very good prototype of the modern tech mogul who has way too much time on his hands and whose existence is mainly composed of heroic fantasies about himself, whether he is molding the future face of law enforcement, or dicking around on his enormous ranch where he lamely practices his lasso technique on tree stumps before blowing them up with dynamite. At the office he demands "hydrogenated wheat germ and dessicated liver" which boosts his handball game, and I thought, jesus christ I think I've worked for this guy. Coldyron is *I think* the hero of this movie but I'm never sure how much you're really supposed to like him; when his girlfriend sends him out for charcoal so he can cook her reward steaks, he goes to a mini mart and just starts looking for trouble, harassing minorities and flashing his gun. It's like, this is the reason there are loitering laws, but naturally they don't apply when you're a rich cop.

Someone please make these stickers!

The best way to understand R.O.T.O.R. is through the knowledge that director and co-writer Cullen Blaine worked on a variety of popular cartoon shows during what they call "the dark age of animation". First of all, there are scenes in this movie whose aesthetic, humor, and internal logic only begin to make sense if you imagine them taking place in an episode of Teenage Mutant Ninja Turtles--and actually much if not all of the dialog was dubbed by a whole other cast due to problems with getting the stars back for ADR, creating a whole other layer of literal cartoonishness. But the period in which Cullen Blaine created R.O.T.O.R. and designed many children's shows was dominated by what's called "limited animation" which I almost don't even have to describe. It's all in the name, the goal was to do things as cheaply as possible while turning out dozens of episodes per season. Part of the problem was, as with all things, Ronald Reagan, whose deregulation activities defanged measures to make sure children's programming was not just a steady stream of hard sell marketing. Under Reagan, the requirement for some portion of programs to be educational became so easy to meet and manipulate that animation studios were compelled to crank out zillions of Trojan horse toy ads with glib moral declarations tacked on. (I think I understand this correctly, I'm sure @bogleech has better material on the subject) Animators are a historically abused lot with a sad history of failed strikes, and I'm just extrapolating here, but I bet it's reasonable to guess that R.O.T.O.R. reflects the filmmaker's experiences in the grueling cartoon mines. The brutal sacrifice of quality to speed, the hostile work environments, and the endless, redundant calls and meetings, all smack of a script by someone who has had a very bad job.

"We've all got plenty of time to figure out what this means to each one of us," Coldyron sagely concludes at the end of his misadventure. Obviously I am still working on what it means to me, since this is the fourth or fifth time I've seen this movie and (at least?) the second time I'm writing about it. I will say that while the film I have just described sounds intolerably boring--I mean, a whole movie about rat race drudgery with the fewest and least convincing action sequences ever--but believe me, it is not boring. R.O.T.O.R. is constantly surprising and fascinating, with weirdly vivid imagery and pages and pages of the strangest dialog you will hear anywhere. Just watch the movie and let it shock you. You'll have plenty of time to figure out what it means to you later.

[saintsenara]

Spill the Stan is a death eater tea

thank you very much for the ask, anon!

i've been committed to believing ever since half-blood prince came out that stan shunpike is a genuine death eater - and not as crack, but as an example of how the series' politics flattening into a straightforward good-versus-evil narrative as the books reach their conclusion is at the detriment of what war, radicalisation, and resistance actually looks like.

stan's arrest in half-blood prince is unquestioningly presented in the text as nothing more than government corruption. there is never any suggestion that his charges are legitimate - arthur weasley tells us that he was imprisoned to let scrimgeour save face; harry then says this to scrimegour's face, and scrimgeour doesn't refute it.

but - more interestingly - nor is there any suggestion that stan's charges - illegitimate or not - might be plausible.

stan is arrested - to quote hermione - after he's "overheard talking about the death eaters' secret plans in a pub". all three members of the trio immediately decide that anything he's claimed to have said can be totally dismissed as just someone who is demonstrably grandiose and attention-seeking chatting shit.

and sure, stan clearly does love a nonsensical boast. i'm certainly not saying that i think that him - for example - claiming to be voldemort's right-hand man [and therefore in charge of some intricate, high-level, thrilling, and dangerous mission] would be anything close to the truth.

but i think it's really striking that none of the trio ever considers that stan might not only have been overheard talking about the death eaters' plans in a way which implied insider knowledge of voldemort's actions, but in a way which expressed ideological support for them.

that is to say, the trio don't learn of his arrest and assume that he's one of voldemort's ordinary foot soldiers making himself look more important than he is by pretending that he's a marked death eater in the dark lord's inner circle... they assume that any pro-voldemort sentiment he may have expressed isn't something he genuinely believes.

[which is then built upon in deathly hallows, when stan's appearance among voldemort's forces during the seven potters chase is dismissed by harry - without any real pushback - as being the result of him being under the imperius curse.]

the doylist text undoubtedly intends harry's interpretation of things to be understood as correct. throughout the series, harry is shown to be someone with incredibly good intuition when it comes to working out people's motivations and loyalties. his immediate dislike of characters such as draco malfoy, gilderoy lockhart, and dolores umbridge is entirely justified. his immediate trust in characters such as sirius is the same.

his only misjudgments relate to characters who are crucial to the narrative outside of his personal feelings towards them - harry's wrong to trust the teenage tom riddle in chamber of secrets, he’s wrong to trust the fake “moody” in goblet of fire, he’s wrong to trust “bathilda bagshot” in deathly hallows, and he is, of course, wrong about both snape and dumbledore.

since stan isn't important to the narrative outside of harry's own views, then, the reader is clearly intended to think that harry's assessment is right - which [given that arthur and harry's conversation about stan's illegitimate imprisonment comes the day before scrimgeour arrives at the burrow, tells him umbridge still works for the ministry, and tries to get him to be a poster-boy for the government] primes the reader to regard scrimgeour as an antagonist, his ministry as corrupt, and the state as fundamentally useless to the anti-voldemort cause.

[and - of course - it also makes the reader think of sirius, similarly falsely imprisoned by a ministry which was more concerned with looking effective than it was with justice.]

however...

throughout the series, the positive character trait which is harry's good intuition has a flip-side which is less so - that the judgements he reaches on people are self-serving. harry tends to regard people as good [and right] if they're nice to him personally and bad [and wrong] if they're cruel to him - and to be very, very unwilling to deviate from this black-and-white assessment of people unless he's forced into nuance by something he's unable to ignore.

the most obvious example of this in canon is the fact that harry is totally unwilling to criticise sirius' treatment of kreacher - because sirius is kind to him and harry loves him, and kreacher is unkind to him and harry loathes him - until the revelations about kreacher's involvement in retrieving the locket [and a series of stone-cold banger quotes from hermione] compel him to acknowledge that sirius could be a good man and simultaneously deserving of criticism for the absolute contempt he showed towards his slave.

[and harry will continue on this journey of learning to see people in shades of grey throughout deathly hallows - the conclusion of which depends on him being able to acknowledge both dumbledore and snape as flawed, contradictory people, neither wholly good nor wholly bad.]

harry's conviction that stan's arrest is illegitimate is rooted in this tendency towards making definitive, self-interested judgements without considering factors other than his own personal feelings on the matter. harry thinks that stan is ridiculous and irritating, and he also clearly thinks that he isn't very clever or sophisticated and that his lies are so over-the-top that they can always be spotted - and that this [plus the fact that stan is perfectly kind to him on the occasions they meet in canon] therefore means that he's fundamentally harmless, and anyone assuming that he would be capable of something dark is misguided at best.

but stan is also a young, working-class man [something the text communicates via how it writes him speaking with an accent], who's stuck in what is undoubtedly a low-paying, dead-end job, and who presumably lacks any connections who might help him advance beyond the limits his class-status sets for him.

[not least because - given how the text presents him as speaking and behaving - there's no way he went to hogwarts...]

for someone whose operation seems to have so much to do with the upper echelons of wizarding society - and whose posher supporters clearly believe, at least until deathly hallows, that his ultimate goal is pureblood oligarchy - it's really striking in canon that voldemort's support among the non-elite of wizarding britain seems to be considerable. the snatchers who capture the trio - for example - are all written with regional accents and/or speaking non-standard dialects of british english, which is the series' standard way of communicating to the reader that they're supposed to be understood as working class.

[and that their class-status is supposed to be understood as indicating that they lack a certain amount of sophistication and intelligence... how kind of you, joanne...]

the most plausible explanation - based on what we see in the text - for why and how snape was radicalised into becoming a death eater is to assume that voldemort offered him a way to transcend the limitations placed upon him by his blood-status, class-background, and financial situation in a society which is obsessed with blood, lineage, and correct adherence to elite social convention. and, connected to this, there are hints in canon - especially in deathly hallows - that voldemort and his regime are happy to be understood as populist.

[the "mudbloods steal magic" line put about by the muggleborn registration commission is clearly accompanied by "mudbloods steal your jobs and resources", for example - since "runcorn" - really harry in disguise - is congratulated for ousting the muggleborn dirk cresswell from his post so that a non-muggleborn man who thinks he deserves the position can feel "confident" that he'll get the job...]

due to the doylist text's massively unradical worldview, the thing the good guys are defending from voldemort is the status quo. the order of the phoenix's aim is not only to preserve the state and its institutions broadly unchanged, but to preserve the social structures of the wizarding world broadly unchanged as well [blood-supremacy is out post-voldemort, but the class-system clearly isn't] - and the text thinks that all will be well after the war not because the system is going to be radically torn down and made anew, but because the people in charge of it are good.

[the watsonian explanation for this is that the good guys are - with the exception of mundungus "working-class-and-therefore-feckless" fletcher - all from middle-class-or-above class-backgrounds and all beneficiaries of an elite education and the social cachet this confers, and that a certain lack of understanding of how the state is experienced by people who don't have this status often follows on from this.]

but i think it's interesting - and, tbh, important - to interrogate this more than canon does, and to recognise that there is a lot about the status quo the order is seeking to defend which places someone like stan not just on an uneven playing field, but buried underneath the pitch, with only his over-active imagination for company and no way of getting out.

and one way of doing this is to imagine that the death eaters - like many terrorist groups throughout history - recognise [while the order do not] that stan is someone stuck, greedily dreaming of power and success the status quo can't offer him, and decide to come along with a spade and dig him up...

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[ironunderstands]

I’m back, I just recently finished the 2.3 storyline and let me tell you, I fell in love with Jade’s character. She may not have been in the spotlight but she definitely is a highlight.

A like how self aware she is with saying that both her and oti are greedy merchants who want to be in control of the deal. She also seems to atleast have some fondness for Topaz and Aventurine calling them by either their real name (Jelena) or child, she seems to act as a big sister towards the two, which is reasonable enough since she is a senior and those two are probably one of the new members of the stonehearts. But lets be real Jade is like a double edge sword, she is sweet to those two but she is also patronizing in a way, seeing them as little kids and intentionally belittling them to some degree.

I like how while Topaz is totally a Jade fangirl she is aware that Jade is dangerous and should be handled carefully warning her team not to mess around with and warns Trailblazer about a certain stoneheart (probably Jade’s) and how she can see their deepest desires and to be careful. I did like that Jade saw Topaz actions in Jarilo as strategic with currying favor from the Astral Express which was totally not the case, its Topaz empathy towards Bronya, it shows that Jade sees everything as a give and take situation and has a “jaded” mindset. I do wonder what Jade wanted to help Topaz in going back to her previous position.

Now for the bonjade exchange, at first I thought it would be like a scam where Jade would trick her customers into signing contracts that would only benefit her but it seems it a bit more complex than that. She seems to take the phrase “equivalent exchange” to the extreme with her giving the customers what they want if they’re willing to pay the price. Since if you look at the example, sure Jade benefited from the wealth of the pepeshi but what about the other two? She doesn’t benefit from destroying the gambler’s relationship but she does the deal anyway and gives the gambler goodluck anyway, she doesn’t benefit from the intelleron’s memories so why did she make the deal? Simple she said it herself she wants to see the greed in people, their longing for something more despite the fact that they already got what they wanted. She’s built on the philosophy that people aren’t content with their lives and will seek for more, sure she grants your wish but then what? You want more which brings you back to her. You can’t say she’s completely evil, you know what you’re getting yourself into, she makes it clear that you are pawing something of value.

One more thing to add is how she says that the stellaron hunters ans the ipc are similar which makes me wonder, are the ten stonehearts closed to each other or are they simply using one another? Because from what I see Aventurine and Topaz while initially disliking each other, do care for the other and Jade seems to somewhat care for them and is willing to go with their plan, it seems these three are the “ip3” with Ratio being aventurine boyfriend who tags along for the ride.

I actually really appreciate your perspective on Jade, sorry for taking a while to respond to this.

What I like about her is that despite how manipulative she can be, she doesn’t really hide the darker aspects of her, nor the lighter ones either. The true danger lies in whether the parts of herself she’s showing you are real or not, the sweet philanthropist, the knowledgeable senior (in the sense of position) or the cruel businesswoman?

Jade is all of these, and how she uses people to her advantage is by making it unclear which side of herself she’s presenting to who and when.

Topaz knows how bad of a person Jade can be, but what allows Jade to have Topaz’s trust in her is by making Topaz feel as if she is an exception, as if Jade will never show her crueler side to her.

And that’s what makes their relationship so interesting to me, as Topaz truly could be Jade’s exception, or she could simply be just another investment, one which Jade is at the very least appearing to be fond of.

Only time will tell and personally I can’t wait for it to play out.

As for what constitutes as the IP3, it will always be Topaz, Aventurine and Ratio for me, as they were there first and their gameplay synergies much better with one another (also I am an Aventiopaz lover through and through)

Ultimately it’s up to a matter of taste, but personally I can’t wait to see more of Jade.

[legally-allowed-to-slime]

there’s something about the life series and laughing.

when etho’s fighting and he’s losing, he laughs. the slow, easy chuckle of a man who knows he’s already dead, with the reassurance that only the moments that precede inevitable death can bring. there’s nothing to lose but your life, and you’ve already lost that.

when gem’s fighting and she’s winning, she laughs. the cheerfully sinister giggle of a warrior whose moves grow sharper and victory grows surer. there’s something about being so confident that you laugh, that terrifies the opponent and rightfully does.

when grian’s fighting, he laughs. whether he’s winning or not, it doesn’t really matter to his slightly crazed, mischievous titters. to him, in the end, it’s all the same anyway. someone’s going to die, and it would be great if it wasn’t him, but incredibly funny if it was.

they fight, and they laugh, because their feelings are only pure when the soul is balancing on the brink between life and death.

[henryhas2moms]

unfortunately i don’t think i have ever felt so passionately defensive about a character as i am about regina. sometimes i’ll read something that is so wrong and incorrect, sometimes even from someone who likes regina, and i will turn into this thing

[arabriddler]

important ! In recent years especially this year I’ve noticed a lot that the internet language picked up so many Islamic phrases and, from a muslim perspective, it makes the internet a little more welcoming. the thing is, a lot of the time with Islamic phrases you have to be careful about when and where to say them they hold their own weight and demand their own respect so here is a list explaining each phrase and some notes about it.

In sha allah

It means “ If God wills “. It’s mostly a response that can mean yes or no. If someone asks you to do something you can say in sha allah as in “ I heard you and I’ll try to do itc but I can’t claim that It will happen “ . Muslims say it because we’re unaware of what future holds it’s actually blasphemous to claim to know the future, so saying so means “ If it’s the will of god it will happen if not it won’t “ and you’d also say it about future events.

Ma sha allah

It means “ this is what god intended “ and it’s a compliment. Saying so is like saying WOW! But it’s also kind of a prayer of protection? If I see someone with pretty hair I should say “ Ma sha allah your hair is very pretty “ the ma sha allah protects the person from the evil eye. By saying that I’m also saying I’m not jealous I’m genuinely enamored and I don’t wish any harm to go to it.

Astagfurullah

it means “ to god I repent “ or “ from god I seek forgiveness” it’s usually used when you make a mistake but people also use it when they see something bad or when they want to avoid saying something bad. Like once my card refused to work and I’d say that so I won’t say any curse words and to calm down my anger

wallah/wallahi

okay this one is important. This one shouldn’t be used so lightly. It means “ by god’s name “ and it’s basically swearing in Allah’s name. You are only supposed to say it if you genuinely mean what you’re saying. It’s such a heavy word that I only say it very rarely and if you say it and don’t follow up on what you said you have to fast for three days as repentance.

ya allah

ya is an addressing word? Like talking to someone or calling them? Like saying O’ ( someone ) so ya allah means O’ god

Al hamdullilah // hamdullilah

it means ‘ praise/thanks to god ‘ said when something good happens or when you feel relieved about something— for example, my shirt is stained badly and I’m worried it won’t clean well. I clean it and the stain is gone so I say “ al hamdullilah “ kind of like phew!. Sometimes people say it as an answer when they’re asked how they are it can either mean things are good or bad but we preserve .

One more note is that with the name of Allah you should also be careful it’s not supposed to be written on papers that’ll get stepped on or lightly used in art because it also has its own weight it’s regarded heavily. Like even in home decorations it should be elevated and not overshadowed. If I have to throw away a paper I have to sit down and color over the name of Allah or burn the papers so it won’t get thrown in trash.

another note is that those phrases aren’t Muslim exclusive. Some Arab non-Muslims use them as well. This is only my explanation from a Muslim perspective.

Another another note is this is what I can remember at the moment but if you have additions or enquiries let me know

[regret-breathing]

i think. that if you have ever loved a ghibli film, or ever created something and had it come out wrong, or been so lost in your head that you miss the opportunity in front of you, that you should do yourself the kindness of seeing The Boy and The Heron in theaters before it goes.

it’s one that will stick with me for quite some time.

[autismserenity]

know someone who enjoys horror stories? share this one! it's true!

hahahahahahahahahaha aarrggghhhhhhhhhh 3,000,000 deaths due to COVID-19 last year. Globally. Three million. Case rates higher than 90% of the rest of the pandemic. The reason people are still worried about COVID is because it has a way of quietly fucking up your body. And the risk is cumulative.

I'm going to say that again: the risk is cumulative.

It's not just that a lot of people get bad long-term effects from it. One in seven or so? Enough that it's kind of the Russian Roulette of diseases. It's also that the more times you get it, the higher that risk becomes. Like if each time you survived Russian Roulette, the empty chamber was removed from the gun entirely. The worst part is that, psychologically, we have the absolute opposite reaction. If we survive something with no ill effects, we assume it's pretty safe. It is really, really hard to override that sense of, "Ok, well, I got it and now I probably have a lot of immunity and also it wasn't that bad." It is not a respiratory disease. Airborne, yes. Respiratory disease, no: not a cold, not a flu, not RSV.

Like measles (or maybe chickenpox?), it starts with respiratory symptoms. And then it moves to other parts of your body. It seems to target the lungs, the digestive system, the heart, and the brain the most.

It also hits the immune system really hard - a lot of people are suddenly more susceptible to completely unrelated viruses. People get brain fog, migraines, forget things they used to know.

(I really, really hate that it can cross the blood-brain barrier. NOTHING SHOULD EVER CROSS THE BLOOD-BRAIN BARRIER IT IS THERE FOR A REASON.) Anecdotal examples of this shit are horrifying. I've seen people talk about coworkers who've had COVID five or more times, and now their work... just often doesn't make sense? They send emails that say things like, "Sorry, I didn't mean Los Angeles, I meant Los Angeles."

Or they insist they've never heard of some project that they were actually in charge of a year or two before.

Or their work is just kind of falling apart, and they don't seem to be aware of it.

People talk about how they don't want to get the person in trouble, so their team just works around it. Or they describe neighbors and relatives who had COVID repeatedly, were nearly hospitalized, talked about how incredibly sick they felt at the time... and now swear they've only had it once and it wasn't bad, they barely even noticed it.

(As someone who lived with severe dissociation for most of my life, this is a genuinely terrifying idea to me. I've already spent my whole life being like, "but what if I told them that already? but what if I did do that? what if that did happen to me and I just don't remember?") One of its known effects in the brain is to increase impulsivity and risk-taking, which is real fucking convenient honestly. What a fantastic fucking mutation. So happy for it on that one. Yes, please make it seem less important to wear a mask and get vaccinated. I'm not screaming internally at all now.

I saw a tweet from someone last year whose family hadn't had COVID yet, who were still masking in public, including school.

She said that her son was no kind of an athlete. Solidly bottom middle of the pack in gym.

And suddenly, this year, he was absolutely blowing past all the other kids who had to run the mile. He wasn't running any faster. His times weren't fantastic or anything. It's just that the rest of the kids were worse than him now. For some reason. I think about that a lot. (Like my incredibly active six-year-old getting a cold, and suddenly developing post-viral asthma that looked like pneumonia.

He went back to school the day before yesterday, after being home for a month and using preventative inhalers for almost week.

He told me that it was GREAT - except that he couldn't run as much at recess, because he immediately got really tired. Like how I went outside with him to do some yard work and felt like my body couldn't figure out how to increase breathing and heart rate.

I wasn't physically out of breath, but I felt like I was out of breath. That COVID feeling people describe, of "I'm not getting enough air." Except that I didn't have that problem when I had COVID.) Some people don't observe any long (or medium) term side effects after they have it.

But researchers have found viral reservoirs of COVID-19 in everyone they've studied who had it.

It just seems to hang out, dormant, for... well, longer than we've had an opportunity to observe it, so far.

(I definitely watched that literal horror movie. I think that's an entire genre. The alien dormant under ice in the Arctic.)

(oh hey I don't like that either!!!!!!!!!) All of which is to explain why we should still care about avoiding it, and how it manages to still cause excess deaths. Measuring excess deaths has been a standard tool in public health for a long time.

We know how many people usually die from all different causes, every year. So we can tell if, for example, deaths from heart disease have gone way up in the past three years, and look for reasons. Those are excess deaths: deaths that, four years ago, would not have happened. During the pandemic, excess death rates have been a really important tool. For all sorts of reasons. Like, sometimes people die from COVID without ever getting tested, and the official cause is listed as something else because nobody knows they had COVID. But also, people are dying from cardiovascular illness much younger now.

People are having strokes and heart attacks younger, and more often, than they did before the pandemic started. COVID causes a lot of problems. And some of those problems kill people. And some of them make it easier for other things to kill us. Lung damage from COVID leading to lungs collapsing, or to pneumonia, or to a pulmonary embolism, for example. The Economist built a machine-learning model with a 95% confidence interval that gauges excess death statistics around the world, to tell them what the true toll of the ongoing COVID pandemic has been so far.

Total excess deaths globally in 2023: Three million.

3,000,000.

Official COVID-19 deaths globally so far: Seven million. 7,000,000. Total excess deaths during COVID so far: Thirty-five point two million. 35,200,000.

Five times as many.

That's bad. I don't like that at all. I'm glad last year was less than a tenth of that. I'm not particularly confident about that continuing, though, because last year we started a period of really high COVID transmission. Case rates higher than 90% of the rest of the pandemic. Here's their data, and charts you can play with, and links to detailed information on how they did all of this:

Here's a non-paywalled link to it:

https://archive.vn/2024.01.26-012536/https://www.economist.com/graphic-detail/coronavirus-excess-deaths-estimates

Oh: here's a link to where you can buy comfy, effective N95 masks in all sizes:

Those ones are about a buck each after shipping - about $30 for a box of 30. They also have sample packs for a dollar, so you can try a couple of different sizes and styles.

You can wear an N95 mask for about 40 total hours before the effectiveness really drops, so that's like a dollar for a week of wear.

They're also family-owned and have cat-shaped masks and I really love them. These ones are cuter and in a much wider range of colors, prints, and styles, but they're also more expensive; they range from $1.80 to $3 for a mask. ($18-$30 for a box of ten.)

[lexalovesbooks]

Honestly I don’t even know why band kids want to be lumped in with all the other sports bc 90% of the people in high school who are involved with sports just. suck lmao

[ithebookhoarder]

Truth or Dare (Anthony Bridgerton x Wife!Reader)

Summary: Married only a few months, you are very much one of the Bridgerton brood - something that often drives your poor husband mad, especially when you happen to be every bit as chaotic and unruly as his siblings... Also known as, you, Benedict and Eloise take a game of ‘truth or dare’ a bit too far. 

A/N: What can I say? It’s well and truly fluff-tober over here on my blog 😅

Warnings: Alcohol, mild smut, swearing, Anthony losing his mind, typical Bridgerton sibling shenanigans 

Masterlist

There weren’t many nights Anthony spent away from your side.

They were few and far between, but that didn’t lessen how irksome you found them when the odd occasion called for him to leave you over night. You didn’t know what it was exactly, but you never truly slept well without your husband there to hold you.

Of course, it had to be one of those nights that you truly found yourself in a spot of mischief. Though, in fairness, it had all started rather innocently.

Un-beknowst to you at the time, it was Benedict that had been first outside on the garden swing, sipping from a stolen bottle of whiskey he’d pilfered from the kitchens. He’d been sat there perhaps ten minutes by himself, staring at the stars and lamenting about some problem or other.

Then Eloise had come along.

As was her habit - you later discovered - she had been swift to follow her brother’s example, sneaking out of the house in her nightgown for a reprieve in the night air… and a cigarette or two. Apparently her second-eldest brother was something of a soft touch when it came to her, not that you could blame him for it. You doted on Eloise too.

Then, finally, completing the eclectic cast of characters, there had been you.

Now, in your defence, you hadn’t intended on going out into the garden that night, but had found no other alternative suitable given the blasted summer heat. It was worse tonight that it had been all week, and without Anthony in bed beside you, you saw little point in enduring with the effort of trying to get any rest.

So, you’d decided to make your way quietly through the house and sit outside a while, and pray for a breeze. You hadn’t, however, expected to find both Bridgerton siblings already sat there, having had a similar idea.

“My, what do we have here? Another night owl?”

It was Benedict who spoke first, smiling warmly at the sight of you appearing out of the darkness. He was quick to rise, offering you his swing as a perch to rest upon, beside Eloise.

You were about to protest that it wasn’t necessary and that you could find somewhere else to sit, but a warning glare from Eloise was enough to silence you.

She was all too eager to pat the seat next to her in invitation, looking remarkably pleased to have another addition to their little party.

“Come. Sit,” she ordered. “We were simply discussing how tedious Lady Tremaine’s luncheon will be tomorrow and how we could possibly avoid the whole thing. Now that you’re here, you can help us plot our escape. Benedict’s only suggestion thus far has been some kind of contagious summer cold.”

“I think I actually said that I would use such an excuse, sister,” Benedict corrected with a teasing grin. “Not that we would share it.”

“Traitor.”

“Hardly. It is every man - or woman - for themselves. Right, Y/N?”

“Alas, I think your mother would be rather suspicious at all three of us suddenly being absent,” you sighed by way of explanation as both their eyes turned to you. “Besides, I only came outside because of this heat, not to join some conspiracy.”

“Hardly,” Eloise chuckled. “We simply had the same idea, but I am rather glad you came to join us. Perhaps we should form some secret kind of club - Bridgertons against boredom?”

“And do what? Constantly find excuses not to attend social events we deem too tedious or odious to be dragged along to?”

“Sounds like a marvellous idea to me.”

“It would, sister dear,” Benedict teased. “You always have a talent for causing chaos and anarchy. You’d suit the cause perfectly, even if we both know our mother would never stand for it. She somehow sees through even our best efforts.”

“In which case, it’s time I take a leaf out of your book, Benedict. After all, you always say social events become far more bearable after a good drink or two,” Eloise smirked, gesturing towards the bottle of whiskey Benedict had been steadily nursing. “Perhaps I should follow my brothers  example and learn to hold a drink, maybe then things will be more fun.”

“Oh no.” Benedict was quick to shut down that idea, holding the bottle possessively to his chest and shaking his head. “No. I am not allowing you to start drinking. Mother would have my head if she caught you, not to mention Anthony would have all ours heads on a platter in no time.”

The thought of it made you laugh. Your husband was hardly a tyrant, even if he’d been known to have a temper but he was easy enough to handle. A few soft words in his ear or a kiss on the cheek and he was putty in your hands, helplessly and completely in love with you. Just as you were in love with him.

“Don’t tell me you’re scared of Anthony, Benedict?” you giggled, causing Eloise to join you. “I assure you, he’s more a kitten than a lion and he’d probably prefer you to allow Eloise to sample alcohol here, under your supervision, than when she inevitably decides to rebel and has her first drink later on, in the middle of some public ball…”

The warning was clear and you all knew very likely true. Still, Eloise was beaming in victory as Benedict cursed to himself, muttering about Bridgerton women and the likely death he’d receive should Anthony ever find out he had allowed Eloise to sample whiskey. “Just a few sips, El. I mean it.”

“Oh hush,” she snorted, taking the bottle before he could change his mind. She was quick to throw back her head and down a rather brave mouthful, causing you to laugh even harder as she scrunched her face up in disgust. “Oh! That is revolting.”

“I told you.”

“Now you, Y/N,” Eloise grinned, turning and offering the offending item towards you. “Go on. Join us trouble makers - I won’t say a word about it if you don’t.”

“Oh, for goodness sake… Give me that then,” you sighed, earning a cheer from them both, knowing it was better to simply surrender rather than try and fight their mischievous whims. It only increased as you took an ambitious swig from the bottle, wincing at the acrid burning sensation it left in your throat.

If only Anthony could have seen you. He’d have probably had some kind of seizure - especially as you took another quick swig before handing the bottle back.

“There. Your turn again, brother dearest.”

“My my. You really are quite surprising,” Benedict sniggered, before winking up at you in admiration. “Who knew it? You can hold your drink better than Colin. He seems cursed to choke any time he drinks anything stronger than a brandy.”

“Well, it is your sex that falsely deemed us the weaker,” Eloise quipped. “It’s not our fault you were ignorant.”

“I’d like to remind you I wasn’t part of that decision and you also looked ready to choke a moment ago, El.”

“Doesn’t matter, you’re still one of the enemy,” she giggled, earning another raucous laugh from you. Oh, you loved her. If you’d ever been so blessed to have had a sister, you hoped she’d have been just like her. “Now, it is your turn again, brother.”

“Oh … joy.”

“Else we shall have to have some kind of forfeit.”

“A forfeit?” you scoffed, finding the idea absurd. “Like what?”

“How about… truth or dare?”

Benedict froze. “Oh no. Not again. Pall Mall is one thing but we swore we would never play that game in this family again-“

“But Benedict-“

“What’s truth or dare?”

Your innocent question ceased their bickering instantly. Their eyes widened as they turned to you, a knowing and nervous look passing between them. Somehow, you knew this evening was about to get wildly out of hand.

Sometime later, you’d been fully apprised of the rules of ‘truth or dare’. In fact, you’d been something of a natural at it, even if you knew the copious amounts of whiskey you’d all consumed was more than likely the responsible culprit. Else, you’d probably have known better and snuck back off inside before you could make a fool of yourself.

By the end of the night, Benedict had climbed a tree, confessed to being oddly scared of spiders, and been forced to sing the national anthem in French.

Eloise had also made an admirable effort, despite her obviously lower tolerance for drink. She still permitted Benedict to try and arrange her hair, before daring to steal a sock from Colin’s room whilst he’d slept. Then she’d loosened a leg on a dining chair. (Alas, none of you could remember which one but that somehow made it even funnier - even if it would not be come morning when you were forced to sit at the table for breakfast in some kind of roulette.)

You could only pray you didn’t choose said seat.

You could also only pray neither of your conspirators shared your contributions with your husband. You weren’t exactly sure how Anthony would feel at the fact you gone for a midnight paddle in the pond, nor that you’d mixed up the papers on his desk, all before finishing the night with a final dare that involved stealing several cakes from the kitchens… you still swore Mrs Reynolds would notice, come morning, that there were no longer twelve perfect cakes.

That, and Benedict had somehow knocked flour all over the counter, causing you all to erupt in drunken laughter as you’d bolted back outside.  

Needless to say, you all looked a sorry sight as you lay in the grass together, staring at the approaching dawn. Had you not been so tired, or drunk, you may have suggested retiring back to your rooms before the house awoke shortly.

“Now that… was fun.”

“Fun? That was more than fun. I haven’t laughed like that in ages.”

“Told you it was a good idea.”

You hummed in agreement with your sister in law.

“I can see why you all favoured this game so much,” you sniggered, winking at Eloise as she sat in the grass beside you. “I can also see why you all agreed to stop playing it… I don’t know what Anthony would say if he saw what we’d been up to.”

“Something sensible and disapproving most likely,” Benedict sniggered. “Our brother, and your husband, can be a right prig, no offence.”

“Oh hush. At least I didn’t let my sister dress me up in her petticoat when she was five.”

Benedict’s jaw dropped.

“Who told you about that?” he demanded indignantly.

“I have my sources.”

Benedict’s eyes narrowed as he turned his head to glare at his younger sister. “Well, you can tell your source that she’s going to have to find someone else to fetch her lemonade at the Cowper’s ball tomorrow night unless she apologises. You can also tell her that I’ll accept either a verbal or a written apology as long as it’s suitably abject. And that means very, very abject,” he added darkly.

“Tell me, Benedict, was it a lacy petticoat?”

With a wordless grunt of annoyance, Benedict groaned, but it was hard to hear over the laughter echoing from you and Eloise. You resembled more a pack of hyenas than two noble ladies - you probably looked just as feral after your night of mischief.

And of course, as was always your luck, that was exactly how your husband found you mere seconds later.

How Anthony had arrived without any of you hearing a carriage pulling up to the house at this time of the night - morning? You couldn’t be sure - was a mystery. Yet, there he was, hands on hips and looking thunderous as he stormed towards the three of you with all the fury of an exasperated headmaster.  

“What in God’s name are you all playing at?”

You all froze.

It was as if someone had poured a bucket of ice water over you as your eyes widened, and you all turned to stare sheepishly at him.

“Oh, darling. You’re home?”

“Don’t ‘oh darling’ me,” Anthony sighed, attempting to scold you but without much success. His attempt at seriousness was somewhat undermined by his brother’s heckling, singing ‘here comes mother’ and that ‘someone’s in trouble’. That, and with the way you were lying, he was upside down. “What are you doing up at this god forsaken hour? And why are you … is that flour? And why are you soaking wet?”

“I went for a swim.”

“A - you went for a -“

“And Benedict did my hair,” Eloise interjected suddenly, waving her arms about as she gestured to the tangle of hair upon her head. “Isn’t it marvellous?”

Anthony’s expression very much said that he did not think it was marvellous. Nor did he find any of this vaguely amusing.

In fact, by the way he took a long deep breath, you knew he was doing his best not to lose his temper and wake the entirety of the household. His brow always creased like that when he was faced with dealing with his family, but the expression only made him seem more adorable and handsome to you, rather than authoritative. However, you’d never told him so, knowing it would hardly be deemed a compliment in his eyes.

You also doubted he’d appreciate your usual response right now, which was normally to kiss said brow until it eased back into its relaxed form.

“We were just playing a game to escape the heat, darling,” you soothed. “We couldn’t sleep and all had the same idea to seek refuge outdoors… we simply got carried away passing the time.”

“What game?”

“Pardon?”

“I said, what was the game you were all playing?” Anthony suddenly quipped, the warning clear in his tone. That, and his eyes landed squarely on his two siblings, who at least had the decency to look sheepish… and afraid. “Because there is but one game I can think of that would result in a mess like this one, and I’m confused, because I know for a fact that we banned that game under this roof, and any other roof that houses the Bridgertons.”

No one moved.

No one even breathed.

It was as if you were all too scared to risk answering Anthony, even if the empty bottle of whiskey did most of the talking by itself.

“I don’t recall the name,” you blinked. “Right, Benedict?”

“Oh, uh… we… we were just- Eloise?”

Eloise froze, the guilt written all too clearly on her face for her to even try and salvage the situation - though that could also be down to the whisky she had consumed… it was honestly hard to be sure at this point.

“Well, dear brother,” she began, only to trail off as Anthony lifted his hand.

The silence was instantaneous. 

No one dared to say another word, let alone move. 

You’d never seen Eloise or Benedict so still in your entire life. Hell, you weren’t even sure they were breathing - probably out of fear Anthony would decide to inform their mother about their mischievous exploits. 

If Anthony Bridgerton was scary when vexed, then Violet Bridgerton was a nightmare brought to life in human form. After all, as the matriarch of a family of eight children, she had learned a long time ago how to keep her unruly children in line - a harrowing experience you had only had occasion to witness once or twice since your marriage into the Bridgerton family. Once had been when Colin and Gregory had broken a priceless vase when racing around the house, despite being explicitly banned from doing so. The other had been when she had caught Eloise and Benedict smoking outside on the terrace one night. 

It was easy to say where your husband had inherited it from. 

“Not. Another. Word,” your husband growled, bending down and sweeping you up into his arms in a move that made you squeal in surprise. “Right now, I am taking my wife to bed and I suggest you two do the same - after you clean up your mess. I’ll deal with the lot of you in the morning.” 

A laugh escaped you as you tried not to look like you were enjoying the sudden turn of events too much. After all, you doubted he’d be too happy once you were more sober and he discovered the true extent of your nightly activities. 

It was why you were only too happy to let him put you to bed, grumbling all the while about letting his siblings run wild. He really was most handsome when he was flushed - a fact you were reminded of as he hastily changed for bed, flashing you a tempting glimpse of his bare torso in the process. 

You could tell without asking he was tired from his journey home, as well as fighting the urge to rip his hair out over the chaos he had found upon his return. 

Thankfully, his need to be in your arms outweighed the need to scold you over letting yourself be drawn into his siblings’ schemes. All it took was you pulling him down onto the mattress, and climbing into his lap to turn him into a needy, lovestruck puddle. 

You’d equally missed having him in your arms, but you’d be lying if you said that your sudden forwardness wasn't also due to a mixture of the whiskey you’d drunk, and the residual giddiness from a night of mischief. A confidence radiated from you as you began to run your hands over his bare chest, taking care to graze the areas you knew made him groan. 

“You’re lucky I love you so much,” he teased breathlessly, visibly unable to refuse your advances. 

“Is that so?”

Anthony chuckled, nodding as he surged his lips towards yours. “Yes, so come here, my delinquent drunken wife, and let me kiss you before you and those doe-eyes of yours drive me insane. Now.”

Your laughter and surrender was immediate. “As you wish.” 

Alas, for poor Anthony, that was not the end of the ordeal. 

In fact, it was the next morning as you made your way into breakfast that you faced the final consequences of your delinquency. 

Despite wishing to remain abed for the entire day, you’d been granted no such reprieve as your maid had entered your room at the usual appointed time and proceeded to open the curtains with no regard for the fact that you had slept a mere handful of hours. Whereas you would normally greet the day with a reluctant smile, you were in no state to manage much more than a groan as you were harshly ripped from your slumber.

If you had somehow not yet come to the conclusion that last night had been a bad idea, then the sudden flare of pain in your head at the bright intrusion was all the proof you needed. That, and the sudden churning in your stomach. 

You would never let Benedict or Eloise coax you into drinking with them again. 

You had not realised, despite how the idiom went, that what went up was sure to come down again - and you had come crashing down. 

Hard.

“If you’re ready to dress, my lady, then breakfast will be served shortly,” your maid chirped, a dress already picked out for you to wear. She either couldn't detect your fragile state, or didn't seem to care as she continued speaking at a painfully loud volume. “My Lord sent me to wake you as he is finishing business in the study. He was up frightfully early, I could scarce believe it went the housemaids told me they’d already found him awake when they went to start the fires this morning. Gave young Samantha a right fright he did, scribbling away at his desk.” 

“Oh?” you croaked. 

You hadn’t even noticed the empty space in the bed bedside you until then. 

Clearly Anthony had risen early, if he’d even gone to sleep at all. Why were you not surprised? Your husband was perpetually in motion, always claiming there was something or someone that needed his urgent attention as the head of the Bridgerton clan. It was just one of the things that made you love him so much.

“Is he still there?”

“Yes, Ma’am,” the young girl continued, breezing about your room. “And that’s not the only strange incident this morning. It will tickle you rotten when I tell you the latest drama, but you see, Mrs Reynolds was ranting and raving about how she swore she had made three trays of fruit tarts last night, yet this morning, there were only two. The youngest kitchen maid, Betsy, is convinced it must be a ghost but my money is on Carter - the groom’s boy - he’s always snooping about the kitchen...” 

You winced. Ah. Maybe you hadn't been as stealthy last night as you’d hoped after all...

With as much enthusiasm as you could muster, you began to peel yourself from the mattress, trying to appear as if you were listening to your maid’s theories as she dressed you for the day. It then took all your resolve to make it downstairs and to the breakfast table without tripping over your own feet, or emptying the non-existent contents of your stomach. 

To your relief, only Eloise and Benedict had so far taken a seat at the breakfast table - and both looked about as miserable as you felt.  

“Good morning,” you mumbled, taking your usual chair next to the head of the table. You were quick to accept the steaming cup of coffee Benedict handed you, shooting him a thankful look. “Dare I ask how we feel?” 

“I think better than you and my dear sister here,” Benedict chirped, gesturing at a miserable looking Eloise. She had her head in her hands and was desperately trying to look at the plate of food in front of her with something other than repulsion. “Then again, I must admit I am somewhat more experienced in the art of late-night mischief than you both. I also did not have to deal with my brother before going to bed - thank you, again, for that noble sacrifice.”

“Your welcome,” you chuckled, a faint heat rising in your cheeks as you remembered the exact events after you and Anthony had gone to bed. “I just feel bad that you both got left to clean up the mess.” 

“Don’t be. I think we got it all.”

“You say that but I can’t remember anything after you started singing in French,” Eloise groaned, massaging her forehead once more. “I have the oddest feeling we may have forgotten something.”

You paused. You could only hope for your sake she was wrong. 

However, you were saved from such discussion by the arrival of the rest of the Bridgerton bunch. All conversation about your night-time escapades were quickly forgotten as Colin, Hyacinth and Gregory entered the room, bickering about something you couldn’t quite make out. They were swiftly followed by Violet and Francesca, who both looked unfairly cheerful for so early in the morning. 

You could only wish to look so fresh and composed before your first cup of whatever caffeinated beverage you could get your hands on. 

Then, finally, came your husband. Entering the room last, he turned and shot you a warm smile. Clearly, your shenanigans had been forgotten - for now - replaced instead by the memory of your other activities, much to the relief of you and your co-conspirators. 

In fact, you swore you saw Eloise exhale a breath of relief when Anthony didn't immediately launch into one of his lectures. Instead, he chose to join the rest of his family in helping himself to the awaiting breakfast spread, laid out on the sideboard for them, listening to some ongoing debate between his mother and youngest brother. 

“-but you said we could visit the park this afternoon.”

“I know, sweetheart, but I have to take Francesca and Eloise for their final fittings at the modiste. We shouldn’t be too long, and we can go after? Unless, perhaps your brothers will take you. Colin? Benedict? Anthony?”

Benedict looked physically pained at the idea of an afternoon at the park, what with his current delicate constitution and all. You honestly couldn't blame him. “Well, I uh - have a drawing class, this afternoon. Very last minute. Sorry.” 

“And I... um, have a meeting at the club?” Colin stammered hastily. “Anthony?” 

“Please, Anthony?” Gregory begged, all but pouting at his older brother as the pair made their way to the table. “I promise I’ll do all my lessons this week without complaining if you say yes. I’ll even let you have my pudding tonight.”

“As you asked so nicely, brother, I don’t see how an hour or so at the park could do any harm -” Anthony began, pulling out the chair next to you and lowering himself onto the seat in a moment that felt like it lasted forever as a horrifying sensation swept over you. 

You remembered what you’d forgotten. 

The chair.

“Anthony, wait-!”

The sudden crash was startling, as was the sight of your husband being sent flying backwards as the chair collapsed beneath him. 

No one moved. 

No one said a word. 

Benedict looked across at you and Eloise, the horror clear in his eyes as he choked the word you felt on the tip of your tongue: “Run!”

[magicalmanhattanproject]

Okay, so with Quackity Studios tweeting about adding new people and the need for tolerance and patience with people who don't speak English, let's just take a second and have a chat about what that's gonna look like.

First: you will hear things or read things on the translator that hurt or offend you.

This is inevitable. Do not immediately post about it. What you need tolerance for is hearing things that hurt or offend you and what you need patience for is figuring out of malicious intent was present or if this is a hill worth dying on right now.

As an example, we're pretty sure at this point that Korean is gonna be the next language added. The second person pronoun in Korean sounds a lot like the n-word in English. The n-word in English, if you're not aware, is like the single most offensive slur we have. It's not something that you want to hear unexpectedly. But also, if we get Koreans, they're gonna be using the word for "you" and English speakers are gonna have to be able to tolerate that.

On the other side of things, Korean has a complex system of honorifics and addressing someone without an honorific would be considered very forward and intimate at least if not very rude. None of the QSMP languages have honorifics though and only French really retains formality* so no one else is going to address them with honorifics unless they specifically explain it to people and walk them through it. That will probably be weird and uncomfortable for them and they're going to have to be able to tolerate that.

*Spanish and Portuguese do technically have formal vs informal but it's disappearing quickly in both of them.

These natural cultural clashes and pain points are going to be harder to overcome since we also know that at least some of these creators won't speak English at all so they can't just switch to English to helpfully explain things to us easily in a way we understand. We're going to have to deal.

So here's the thing: just because there can be cultural miscommunications and mistranslations, that doesn't mean that people can't also be assholes. How do you distinguish between the two?

Step One: Assume good faith. Assume that everyone in a given encounter is trying to communicate respectfully and compassionately and that a failure to do so can be overcome

Step Two: Don't get involved. Especially not in Twitch Chat. Two or more people trying to communicate through a language barrier does not get easier when they're also trying to wrangle hostile viewers.

Step Three: Are you sure you heard what you thought you heard or saw what you thought you saw? Did the translator fuck up? Is it a word that just coincidentally happens to sound like another word? If this is the case, the streamers can ask for clarification or use another tool and get it cleared up. Keep watching and see if they do.

Step Four: If they did say what you thought they said, are the streamers handling it? We had a thing a while back where Bad called some friends, including Bagi and Etoiles, uncultured because they didn't get a reference he was making and Etoiles was like "bro I'm French" and Bad apologized. That should have been the end of it, but I had to see people arguing about it for weeks. The problem was solved in 10 seconds.

Step Five: If the person is doubling down, are you sure this is something you can fix by yelling about it on Twitter or Tumblr? Would it be better to let people who actually know them talk to them behind the scenes? Pierre made a few missteps in the beginning of the server, Quackity said they had a chat, Pierre hasn't misstepped since. It's just easier to sort things out in private, one on one conversation than yelling at someone in public.

In short: it's fine to take note of behavior in case patterns start to emerge in it, but yelling on social media about how so and so is the worst person possible is not constructive.

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[3hks]

How to Get Better at Writing Without Actually Writing

Are you looking to improve your writing without needing to write? I'll admit, I am definitely that kind of person--I have the hardest time even finding something interesting to write--despite that, I have noticed that my writing has vastly improved over the past year or two when it was hardly a hobby, and here's how I did it!

ANALYZE DIFFERENT WORKS

Yes yes, everyone tells you to READ, READ, and READ, even I will agree. However, unlike what some people tell you, you don't actually have to read all those classics like Heart of Darkness or The Hobbit. Of course, those books are very beneficial, but if you find no interest in those types of books (like me), then don't read them!

If you prefer reading casual stories posted by online authors, whether it be a fanfiction or their own, original story, it still qualifies as reading! As long as you are able to find a work that you particularly enjoy, that's all you need!

When reading, the key to improving at writing is to always study the story. Take a moment to look at certain words or phrases that stick out to you. How does the author use them? What do they mean? Keep track of the characters' development and how it affects them. Additionally, note things like powerful scenes, dialogue, and more to have an idea of how you can create something just as impactful. For example, if a text made you cry, think about how and why you reacted like that. This can actually help you re-create events that hold the same effectiveness, if not more!

To add on, if you really dislike reading just that much, then you can always analyze things like shows, movies, etc. However, this will prove to be less efficient because you often don't get access to the text behind the shows. Still, it's a good way to study the plot, characters, character developments, dialogue, and relationships!

2. PROOFREADING

No, I'm not saying that you should be an editor; this actually ties back to my first tip. Remember how I said that if you don't want to read classics, then don't? Well, this is because forcing yourself to read them is completely unnecessary (unless you like them or want to write like the author, of course). As a matter of fact, reading poorly written stories can be very helpful for improvement!

When we read books or novels that have obvious grammar errors, repetitive words, and choppy sentences, we will realize these mistakes and point them out to ourselves. Being able to scout out faults means that we are able to learn from them and grow! Noticing these things will also help prevent you from making the same or similar mistakes!

3. STUDY TIPS ONLINE

I used to go search up websites on Google whenever I wanted help with a certain topic. Of course, not all of the sites are reliable and/or helpful, but some point out good ideas that a couple of us just need! This can be especially useful regarding the things that we are unfamiliar with when writing. They can offer a base foundation and tips on how to start and finish!

They can also serve as a great inspiration for fresh ideas and new perspectives!

Yes, these three tips are pretty simple; however, I have found that they work very well for me! People vary from person-to-person, so it can't be guaranteed the same effect, but this is the best I got! HAPPY VALENTINES DAY! <3

Happy writing~

3hks :)

[fromgoy2joy]

Let's write about Jewish characters in dynamic ways- that make it clear "Yes this is us. Yes, we are living our lives with this happiness and ritual, and we love it. "

Like it's so easy to write about, to have casual observances of Judaism and cultural practices be in the background of stories. I'll write of the few examples I can think of in my frame of reference as a college student-

there's a mezuza in the doorway of a college kid's apartment. Whenever his friends come over, it's a reach for some of them to touch it because both he and the rabbi who installed it are 6 foot three. The others feel like a middle school boy slapping the ceiling as they try and reach for the damn thing.

Characters rush on public transport to get to a rabbi's house on shabbat. The train is due. There's a flurry of regrouping, then trying to call a missing friend to get there, and then the process of methodically hiding Magen davids and jewish objects because getting to shabbat dinner without a situation was an order from college Hillel staff.

A character is half-drunk at 2 AM at the convenience store but has to scan the list of ingredients on their chemically disgusting snack for gelatin.

Said character is prevented by her friends from only sustaining herself on 7/11 slushees "even though it's all kosher!"

There are references to the Purim incident constantly- it is never clarified what happened on Purim.

the hypothetical gang of characters are in the middle of nowhere on a grand magical adventure. The main character notices a mezuza on a door of a cabin, knocks on it, and has an in-depth conversation with the resident. Then, he waves his friends over. "Hey, guys! We have a place to stay tonight!" Because through the magic of Jewish geography, it was discovered that the grumpy old Jewish man in the woods is the grand uncle of one of his Jewish Day school teachers

A character who eats cheesy bacon bagels regularly on passover has a deep respect for jewish ritual items. He kisses the siddurim as they're handed back into a pile, he always kisses his kippah that he wears for ritual purposes of shabbats and minions. He's very careful with these objects and keeps on claiming dropping something He is observant, and he cares so much, but not in the "typical" way. Just... please show the nuance in practice.

The big "going out night" for our fearless college student isn't Friday but saturday night because of shabbat.

The stain on the rabbi's couch is not to be mentioned

A character keeps on mentioning the stain anyway.

Jewish goodbyes after any event take a minimum of two hours and that's why the gang is delayed on their journey to save the world .

I want more representation than characters in novels saying "haha I'm jewish but eat bacon and love Christmas!" in such flat ways. Please feel free to add more hypothetical ways of representation in the comments !!! About or inspired by your own life and experiences ! Let's make this post vibrant!

[quantumfeat72]

for the past few years i’ve had a personal rule that i do not sign anything i haven’t read - mostly because i genuinely think it’s a good idea, but also as a kind of social experiment - and i wanna share some observations

when i worked at an amusement park, i was one of like two or three people in a group of around twenty young adults who read the employment contract

i gave up on reading every TOS and privacy policy early on - now i only read them if it’s a website or company i’ll be giving personal information to (and even then i only skim them) - but i’ve never found anything super suspect in one

i also have an exception for when i’m made to feel like i’d be an asshole for stopping to read something. notable examples of this going into effect include the patient-intake paperwork at the ER when i went in a few months ago. (i really wish i’d just gone ahead and been the asshole in that situation, even though i have no reason to think there was anything bad in it)

i think the only time i was the only one to read something that the people who gave it to us actually wanted us to read was the waiver at a cat café, which included a lot of safety information about how to interact with the cats

one time i was approached by a guy with a petition who told me it was an anti-fracking petition (which was a real petition that was going around at the time), but the paper he handed me was a petition to instate a “citizenship requirement” for voting. i pointed this out to him and he tried to convince me that even though that’s what it said, it’s not really what my signature meant, and then named the university he graduated from as though it gave him some level of extra credibility??

i have more than once been given a HIPPA form at a doctor’s office where my signature certifies that i’ve been offered a copy of their privacy practices, when i had not, in fact, been offered a copy of their privacy practices. the last time this happened, the receptionist didn’t actually have a copy of their privacy practices, and had to get me to me sign it several days later once she got a copy from her manager

99% of people are very accommodating when you tell them “i want to read this before i sign it,” but it’s never what they’re expecting

on a related note, if someone thinks it’s important that you know what’s in something they’re giving you to sign, they won’t wait for you to read it - they’ll go through, point to each section, and tell you what it says. this is what happened when i signed my lease, and it’s actually a pretty common instance of using my asshole exception, because then i feel like i’m calling the person a liar if i stop to read it myself

the moral of the story is... like... we treat a signature like it’s the absolute most surefire way of saying “yes i understand this and agree to it,” but in practice there’s not even a pretense that a signature means you’ve READ whatever you’re signing. in fact, handing someone a piece of paper and saying “sign here” is one of the LEAST effective ways to make sure they understand and agree to something, and PEOPLE KNOW THIS, and we do it ANYWAY because what else are we gonna do? notarize it??

i don’t have a solution but like. that’s kinda fucked up, you know?