"why does writing take so long" because 60% of it is coming up with a sentence, realizing that sentence doesn't work the way you want it to, and staring at a wall
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One of my biggest nitpicks in fiction concerns the feeding of babies. Mothers dying during/shortly after childbirth or the baby being separated form the mother shortly after birth is pretty common in fiction. It is/was also common enough in real life, which is why I think a lot of writers/readers don't think too hard about this. however. Historically, the only reason the vast majority of babies survived being separated from their mother was because there was at least one other woman around to breastfeed them. Before modern formula, yes, people did use other substitutes, but they were rarely, if ever, nutritionally sufficient.
Newborns can't eat adult food. They can't really survive on animal milk. If your story takes place in a world before/without formula, a baby separated from its mother is going to either be nursed by someone else, or starve.
It doesn't have to be a huge plot point, but idk at least don't explicitly describe the situation as excluding the possibility of a wetnurse. "The father or the great grandmother or the neighbor man or the older sibling took and raised the baby completely alone in a cave for a year." Nope. That baby is dead I'm sorry. "The baby was kidnapped shortly after birth by a wizard and hidden away in a secret tower" um quick question was the wizard lactating? "The mother refused to see or touch her child after birth so the baby was left to the care of the ailing grandfather" the grandfather who made the necessary arrangements with women in the neighborhood, right? right? OR THAT GREAT OFFENDER "A newborn baby was left on the doorstep and they brought it in and took care of it no issues" What Are You Going to Feed That Baby. Hello?
Like. It's not impossible, but arrangements are going to have to be made. There are some logistics.
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bisan's live video on her 2nd acc is piercing my heart
she started off expressing (in arabic) how sick she is of the constant sharing, photographing, capturing, having to speak english and how she wants to speak in her native tongue instead.
she explained that the leaflets that were dropped again are ordering evacuation to rafah so they are forced into the sinai, and how impossible it is for over 2 million people to go to an area that's only 151 square km, so many have no choice but to stay in khan younis. they are trapped and have no international passports. rafah is the southernmost point of palestine after khan younis and she said - this part in english - "after rafah there is no more palestine. if we are forced into rafah there is no more palestine."
someone asked her if she has eaten and whether they have any food, her response was no, not at all; one loaf of bread has to be divided between everyone in her tent.
the video kept freezing because of how bad the internet service is in gaza right now so i lost bits and pieces, but at some point an older woman joined the live, a journalist outside of the country. it's unclear whether they knew each other previously, but a lot of warmth was exchanged. the woman got tears out of bisan when she told her "dont listen to people who tell you to be strong, i don't want you to be strong, i want you to be you. if you are sad i want to know, if you are happy i want to know." she explained that she tried entering rafah but the occupation refuses to let any foreign journalists in anymore.
after the woman left, bisan talked about her life before october. she said her life was beautiful and fruitful and any source of strife was solely on israeli hands; namely her inability to travel or pursue placements for her education outside of palestine. other than that she had nothing to complain about. if im able to watch the video after it ends, i will add any pieces i missed
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changes and trends in horror-genre films are linked to the anxieties of the culture in its time and place. Vampires are the manifestation of grappling with sexuality; aliens, of foreign influence. Horror from the Cold War is about apathy and annihilation; classic Japanese horror is characterised by “nature’s revenge”; psychological horror plays with anxieties that absorbed its audience, like pregnancy/abortion, mental illness, femininity. Some horror presses on the bruise of being trapped in a situation with upsetting tasks to complete, especially ones that compromise you as a person - reflecting the horrors and anxieties of capitalism etc etc etc. Cosmic horror is slightly out of fashion because our culture is more comfortable with, even wistful for, “the unknown.” Monster horror now has to be aware of itself, as a contingent of people now live in the freedom and comfort of saying “I would willingly, gladly, even preferentially fuck that monster.” But I don’t know much about films or genres: that ground has been covered by cleverer people.
I don’t actually like horror or movies. What interests me at the moment is how horror of the 2020s has an element of perception and paying attention.
Multiple movies in one year discussed monsters that killed you if you perceived them. There are monsters you can’t look at; monsters that kill you instantly if you get their attention. Monsters where you have to be silent, look down, hold still: pray that they pass over you. M Zombies have changed from a hand-waved virus that covers extras in splashy gore, to insidious spores. A disaster film is called Don’t Look Up, a horror film is called Nope. Even trashy nun horror sets up strange premises of keeping your eyes fixed on something as the devil GETS you.
No idea if this is anything. (I haven’t seen any of these things because, unfortunately, I hate them.) Someone who understands better than me could say something clever here, and I hope they do.
But the thing I’m thinking about is what this will look like to the future, as the Victorian sex vampires and Cold War anxieties look to us. I think they’ll have a little sympathy, but they probably won’t. You poor little prey animals, the kids will say, you were awfully afraid of facing up to things, weren’t you?
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The products of trying to recreate what was going on outside the frame during the kiss. (for ENTIRELY SCIENTIFIC purposes)
@actual-changeling altered my whole outlook on life with this post about Aziraphale's left hand (I'd only been looking at his right hand) and I couldn't stop thinking about it, so I painted the rest of the fucking owl (and his bf).
so normal about this
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I think one of my favorite things about writing fanfic is that you can just... keep going. Write as many different endings to the story as you want. As many different AUs. You can write the same scene a hundred times and change what happens every time.
It's the most freeing feeling, that I don't have to choose.
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