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lastoneout · 1 month

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Like I know we all love making ADHD seem cool but like, don't forget it's actually a disability? My ADHD is bad enough I've nearly been evicted for forgetting to mail the rent check to the property manager, I've forgotten to pay the utility bills and had my water or power get turned off or had to pay fines bcs I missed a credit card payment. Once I was supposed to cat sit for a friend and I lost the house key she gave me but didn't realize until she was already out of town, and she had to call the apartment office to get someone to give me the spare so her cats would have food for the week. When I'm unmedicated I can't even get myself to shower half the time, forget eating or cleaning. Before I started living with my fiance I'd just like, not eat for days because I didn't have anyone to remind me to eat or go buy me food. I've forgotten to turn the stove off so many times and ruined kettles and tbh been DAMN fucking lucky the house didn't burn down. I've done stupid, impulsive shit that's nearly gotten me KILLED. I can't remember to close the shower curtain reliably even through my fiance points out every single time I forget, and he's almost out of soap rn bcs for the last MONTH neither of us have been able to remember to order more once we get out of the shower.

I've had such bad memory my entire life that to this day someone suggesting I forgot something because I simply didn't care enough is a legitimate trigger that, in the worst cases, makes me have a breakdown.

I get that for some of you this is just something that makes studying hard or you forget to take a pee break when you're playing Minecraft or whatever, that's still a valid struggle and you do deserve help and understanding, but like, ADHD is a disability. It's disabling. It's not impossible to improve and learn coping skills, meds help a lot, there are great accommodations out there(LIKE CLEANING SERVICES), but not every case of ADHD is the same, and a lot of them are pretty ugly ngl, and just because you managed to do something doesn't mean someone else is gonna be able to manage it too, or that they're being lazy for struggling. And that obviously doesn't mean ADHD people have a free pass to never work on themselves and make everyone cater to their every need or whatever, but we do deserve some understanding when we explain that our disability is actually disabling in ways that aren't palatable to you. So like, idk, maybe don't immediately recoil in horror when you find out that someone with ADHD can't keep their house clean. And for fucks sake don't ridicule them for it.

#people when the disability is disabling *surprised pikachu face*

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labs · 20 days

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Communities closed beta is here

Hello again! We’re back with an update on Communities, a big idea we had last year that we’ve been working on steadily since then. We’re abnormally jazzed to announce that we’re beginning a “closed beta” phase of this new feature, which means many of you will get to play with it soon!

We want to build this whole thing together, with as much input from all of you as possible. We’ve read and re-read the feedback from our previous post, and we’ve been surveying and interviewing people about this idea for a few months now. But it’s time to open this up even more for hands-on testing.

We’ve already begun reaching out to most of you who interacted with our previous post, as promised, with a survey asking whether you’d be interested in helping (check your email!). Over the next couple of weeks, we’ll be using the results of that survey to narrow down who we’d like to help test Communities in these initial batches.

The process is looking a bit like this:

If you received a Communities survey email to your registered Tumblr email address, fill it out! If you’re interested in helping us in this beta test period, that’s your way of potentially getting early access. If you did not receive an email with the Communities survey, don’t fret! Communities will be rolling out to more people as we expand our testing.

We’ll go through the results and choose a diverse range of community ideas to gather a wide array of feedback.

Selected testers will receive a second survey with more detailed questions about their proposed community. Very practical stuff, like the name, title, and description, whether it should be public or private, the About page contents, its own community guidelines, and more.

We will create the new Tumblr community on your behalf using the information supplied. We’re building the tools that will let people create and edit communities themselves, so eventually you’ll be able to change them without needing our help. But for now, we’re creating and editing them for you, as needed.

After we’ve created the community, you’ll be made its first admin. Everything from here on out is up to you – Tumblr staff won’t be in your community (unless you invite us, of course). You’ll be able to invite anyone on Tumblr to your community. However, your community will have a population cap to start, limiting how many people can be in it and invited, as a way of keeping this beta test somewhat contained and manageable for us. We’ll be able to raise that population cap for communities that are growing and if we want to test further in that direction.

And throughout, we’ll be asking for feedback, both in some special communities for everyone in the closed beta, and via more surveys and the Support tickets we receive.

This closed beta version of Communities is far from finished, and that’s part of the reason we want to start opening it up to more of you for feedback. There are a lot of rough edges and known issues, but we think it’s far enough along that it’s usable enough for testing. We need feedback in order to feel like we’re building the right thing.

The very first public community is called “Communities Feedback” for this reason! We want everyone helping us test out communities to tell us about it, so people in this closed beta will be in there by default. We want to use that space to be more public and real-time about new pieces we’re building, bugs we’re fixing, things we know are broken, and answers to common questions. There is an additional, private community for community admins, to help shape how administrating and moderating these spaces will work. And if you don’t want to use those spaces, you can always use the “Feedback” category in our Support form.

Stay tuned for more, and keep an eye on that Communities Feedback space if you’d like to see how things are changing over time.

#communities #tumblr labs

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fairy-angel222 · 6 days

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𝐂𝐎𝐔𝐏𝐋𝐄𝐒 𝐖𝐇𝐎 𝐌𝐀𝐊𝐄 𝐏✶𝐑𝐍 𝐓𝐎𝐆𝐄𝐓𝐇𝐄𝐑, 𝐒𝐓𝐀𝐘 𝐓𝐎𝐆𝐄𝐓𝐇𝐄𝐑

GETO SUGURU X FEM! READER

✶⋆.˚cw: smut, choking, pussy and face slapping, praise, degradation, recording, breeding, dumbfication, i love you’s

✶⋆.˚a/n: first one shot in a line set up for this whole concept ;) requested by anon.

Geto was a kinky man when he wanted to be. Loving the idea of recording each time he fucked you. Balls slapping noisily onto your wet clit as his hand curled in your hair. Lifting your face up into the camera with a degrading coo.

It was a fit of pure boredom that brought him to take it one step further. Convincing you that you two should share the videos. Make everyone see just how good he was destroying you in bed.

When you had agreed, you had never expected the millions of notifications you received within the first week. The comments on how hot you two were as a couple. How hot Geto looked fucking into you. How hot you looked getting fucked by Geto.

You even received some suggestions on videos your new “fans” wanted to see. Hundreds of thousands of people willing to watch, to get off to, anything that you two decided to post.

It was scary and amusing, but Geto was all for it. His chest swelled with pride knowing that so many men now wanted you but couldn’t have you. Knowing that he was the only one who could fuck you so damn good.

You never expected to find yourself agreeing, your lip between your teeth as you read through the comments. Some of the bold suggestions making your thighs clench at the thought of your boyfriend doing these things to you.

The account quickly rose to the top as the weeks went by. And you never got tired of the many positions Geto would flip you into, fucking into you meanly while praising you so degradingly. Showing the world how fast you turned to putty in his hold.

You attracted many different audiences. Your favorite were those girls who swooned not at him, but at you two on a whole. The way he held you, the way he checked up on you when he was done being rough. The aftercare. They thought your relationship was perfect, and would never fail to let you know.

It wasn’t long until people began demanding more of you two in a non porn setting, your other social medias blowing up with those who just couldn’t get enough of your lives. How much cuter Geto was with you out of bed. The many dates he took you on, the gifts he bought you. Everything.

It became something that your fans loved to see. Your relationship on a whole. Their little comments like ‘so cute!’ , ‘i love them so much’ , ‘you guys need to get married’ , ‘my favorite couple ever’ never failed to make your heart swell.

They respected your privacy of course. But would take anything that was put out for their consumption. Porn or otherwise.

—

“𝐒𝐖𝐄𝐄𝐓 𝐆𝐈𝐑𝐋 𝐆𝐄𝐓𝐒 𝐃𝐔𝐌𝐁𝐄𝐃 𝐃𝐎𝐖𝐍 𝐎𝐍 𝐇𝐄𝐑 𝐁𝐎𝐘𝐅𝐑𝐈𝐄𝐍𝐃’𝐒 𝐂𝐎𝐂𝐊”

Was what the title of your latest video read, your fans quick to click on the thumbnail the second it got posted. Many already positioning themselves on their beds. Others plugging in their headphones around coworkers or friends. They knew from a mere four seconds in that they already loved what they saw.

Your hands and knees were trembling as your back arched. Fat tears flowing down your cheeks as you begged your boyfriend to touch you. “Please Sugu— please touch me. Wanna feel your cock so bad.” You moaned, wiggling your ass towards him with a needy mewl.

“Does my greedy girl want me to fuck her dumb? Is that what you want pretty?”

“Mhm, need you.”

He was more than happy to comply, not taking long until he was fucking into you roughly from behind. Your body jerking forward each time his hips hammered against your ass.

“S-suguu. Feels so good,” You mewled, Geto’s hand snaking around your throat to pull you up against his chest, forcing you to make eye contact with the blinking red light in front of you.

His breath fanned your ear, lips ghosting over your skin as he groaned deeply. “If only you could see what they see baby. See yourself moan like a slut in heat while that pretty lil’ pussy sucks me in.”

You let out a loud hiccuped moan, Geto’s cock slamming meanly into your g spot before fucking deep inside you. The small outline of his tip barely visible to the device’s lens. “See how much of a mess you are f’me.”

He felt so good. And your head was spinning as he fucked into you with no mercy. Your shaky whimpers echoing throughout the room as Geto molded your pussy around his cock.

“Nngh— sugu ‘m so full. Love your cock s’ muchh.” Your words were slurred as his other hand reached around to rub small circles on your clit. Your sopping pussy leaking lewdly onto the sheets below as he continued to roll his hips up into you.

“Tell them who’s fucking you so good baby.” He grunted, hand on your throat landing two soft slaps onto each of your teary cheeks before settling right back into place on your neck. The light sting pulling a string of whiney moans past your drool filled lips as you pressed further into him.

“You are. You are Sugu. You’re f-fucking me so good ‘nd i love it— haah. Wan’ you to fuck me like this forever.” You babbled, words muffled by an incoherent cry as your hands gripped his muscular arm. Using him for support when your head grew fuzzy, blanking out everything but the feeling of him inside you.

Geto smirked, “That’s my girl.”

You yelped when you were shoved into the mattress. Your back arched deeply with your torso flat on the sheets. Geto’s hand on the back of your neck forcing you to stay cheek down as he switched up his pace.

The new position allowed him to hit so much deeper. Your needy cries going straight to his cock as you drooled messily. Eyes rolling back with a loud moan every time he gave you a harsh thrust forward, sensitive nipples rubbing on the bed till you were clenching down repeatedly. Loud squelches filling the air as your pussy coated his cock in its slick.

“Sugu, ‘m gonna cum.” A trembling cry. “‘M so close.” You could feel your stomach tightening, breathing getting heavier as you gripped the sheets tightly.

“Yeah? Gonna make a fucking mess for me. Show them how good i fucked you today?” He cooed, watching as you nodded dumbly before letting out a choked moan. “Mhm.”

Geto groaned, palm landing onto your clit so he could watch you jerk with a whimper. Your body quivering when he pulled back you up, arms hooking under your legs to lift you off the bed. Body being moved up and down as he used you as his personal fleshlight. Bouncing you on and off his cock till you were crying uncontrollably, his harsh kisses to your sweet spot shooting to every sensitive nerve in your pussy.

“Suguruu. I- nngh, you’re— ahh.” You didn’t know what you were trying to say, your body being manhandled however he liked for your tight pussy to stroke his length. Your toes curling as your head fell back onto his shoulder.

“Shhh baby, it’s okay. Just take it yeah? Doing so fucking well.” Your legs remained dangling over his arms as he used you to both your delights, feeling yourself ready to let go with another shrieked cry. “F-fuckk. ‘M gonna— oh god.”

“You know they love to see that pretty face when you cum baby, look up at the camera f’me.”

You did as you told, head spinning as you attempted to keep it up right. Focusing on the delicious stretch of your walls to accommodate your boyfriend’s girth.

“Go on baby. Let go. ‘M right there behind you.”

Your mouth hung open in what your fans liked to call an adorable scream as your legs shook. Glossy eyes making content with the camera as you squirted messily. The force of the clear liquid making Geto grunt when it threatened to push his cock out of you.

“There you go.. fuck— that’s my good girl. ‘M gonna fill you up so good now. Gonna stuff that tight pussy to the brim with my cum.” He husked, movements getting sloppy as his abs tensed. Lips parted in deep breaths as his eyes rolled back, something that your audience loved to see.

His cock twitching within your warmth with a string of cracked groans when he buried himself deep. Allowing himself to pump you full of the creamy liquid, painting your insides in sticky white.

He pulled out slowly, still holding you up so the camera could pick up the way your little gaped hole fluttered around nothing. His cum running down your puffy folds in thick spurts. “Look at that baby, sopping pussy’s making a big mess.”

Geto set you down with a smile before kissing you sweetly, taking you into his arms and rocking you back and forth in a hug while placing tiny pecks all over your face. “You did so fucking amazing. That was hot.” Leaning into your ear so that his next words wouldn’t be picked up. “If they don’t jerk off to this i promise you i will.”

You could only hum with flushed cheeks , falling into his chest with a small giggle. “I can’t feel my legs.”

Your boyfriend chuckled, “Ya hear that? She can’t feel her legs.” He grinned at the camera making you both laugh, his attention turning back to you with another passionate kiss. “Don’t worry, i’m gonna get you all mice and cleaned up okay? Gonna take real good care of you.”

“M’kay, love you Sugu.”

“I love you more sweetheart.”

—

It was no surprise the amount of love you got for the video. It was hard to believe that your account could grow anymore than it already had. The comments seemed to be hooked on how Geto could go from fucking you relentlessly to being the sweetest boyfriend telling you that he loves you.

That amongst thousands of men making it known that they came to the sight of you squirting, that one made Geto a little angry. And the thousands of women begging your boyfriend to be next, like that would ever happen.

You refrained the urge to respond to all the demands for more with the fact that you had loads of others coming up. Some with your boyfriend alone and others with.. guests. But they would have to have the patience to see for themselves.

#jujutsu kaisen smut #jjk smut #jujutsu kaisen #jjk x reader #jujutsu kaisen x reader #jjk x reader smut #geto x reader smut #geto suguru x reader smut #geto suguru smut #geto suguru x reader #geto smut #geto x reader #geto suguru

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lordpuzzle28 · 10 months

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Just went through a block-fest of a bunch of terf/"radical feminist" blogs like I do sometimes. and like. man.

their whole ideology is so fucking miserable. like, I knew we knew this already - if you perceive the world as entirely out to get you except for a particular group of conforming, morality policing internet weirdos, then yeah you're gonna feel pretty shitty about the world and your place in it. but even with that, there are multiple reblogs of ongoing discourse and piss-fights over the smallest aspects of life and of their beliefs. some terfs are "homophobic" and this is "bad," but their entire belief is based on demonizing a certain sect of queerness so I guess you only care about "your" queerness? how can you claim to be for all women when you're also infested with homophobes? more than that, how can you be upset at that when you've advertised yourselves as incredibly -phobic in general?

and then there was one terf was being ridiculed for saying she would still like men around because she's attracted to them, and got bodied by like 3 different people. and idk man I feel like if you can't have a sexuality in the antiqueer, fascist, self-policing cult group maybe you shouldn't be surprised by that. you've been trying to deny other people their own personal freedoms for however long now did you not think it would happen to you too?

Just like. imagine dedicating your entire beliefs, your mind, your energy, your personal relationships just for a feeling of being 'right', or even less than that, just the feeling of being 'part of' a certain super cool, totally-going-to-liberate-you internet gang, only to be even more thoroughly policed by the warring factions within it. "Are you "radical" enough?" what the fuck does that mean?

And yeah, if this is most or all of your social circle I'm not surprised so many terfs have a high suicide rate. what a miserable existence - having to prove yourself, over and over again, that you have the right opinions, the right credibility, the right politics and the right acidic hatred (which must be exhausting to keep up) - simply to maintain membership to the lamest fascist sect in the world.

anyway feeling pity for terfs and their miserable lives over now. lol. get out my blog and come back when you've learned to not give a shit about other people. that's all it takes dude

#anyway. needed to get this out #its just fucking miserable you know??#so many terfs kills themselves and for WHAT other terfs??#like trust me i dont feel pity when a terf dies #it means a trans friend is safer #but like. jesus h christ check the mortality rate before signing up to this belief package guys maybe its not worth it #anyway #terf #terf tw #radblr tw #do i tag this all the terf tags so that they see this and get pissed 👀#i wont. we'll see if i get 100 hate anons lol #also incase my meaning gets mangled - fuck terfs. your ideology is fucked and also miserable for you personally.#and trans people deserve the world

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fishofthewoods · 6 days

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I see a lot of people clowning on the people of Pelican Town for not repairing the community center themselves or clowning on Lewis for embezzling and. like. Those criticisms aren't entirely unfair. But I think instead of coming at it from a perspective of "why can't the townspeople do this" we should be asking "why and how can the farmer do this?"

Like. Think about it. The farmer arrives in Stardew Valley on the first day of spring. By the first day they're obviously different. By day five the spirits of the forest who haven't been seen by the townsfolk in years or generations are speaking to them. By the second week they've developed a rapport with the wizard that lives outside town.

In the spring they go foraging and find more than even Linus, who's spent so many years learning the ways of the valley. Maybe he knows, when he sees them walking back home. Maybe he looks at them and understands that they're different, chosen somehow.

In the summer they fish in the lakes and the ocean for hours on end, catching fish that even Willy's only ever heard of, fish that he thought were the stuff of legend. They pull up giants from the deep and mutated monstrosities from the sewers.

In the fall, their crops grow incredibly immense; pumpkins twice as tall as a person, big enough that someone could live inside. The farmer cuts it down with an axe without even batting an eye. Does Lewis wonder, when he checks the collection bin that night and finds it full to the brim with pumpkin flesh? What does he think? Does he even leave the money? Does he have the funds to pay the farmer millions of dollars for the massive amounts of wine they sell? Or is it someone--something--else entirely?

In the winter, the farmer delves into the mines. No one in Pelican Town has been down there in decades. No one in living memory has been to the bottom. The farmer gets there within the season. They return to the surface with stories of dwarven ruins and shadow people, stories they only tell to Vincent and Jas, whose retellings will be dismissed by the adults as flights of fancy. People walking by the entrance to the mines sometimes hear the farmer in there, speaking in a language no one can understand. Something speaks back.

The farmer speaks to the the wizard. They speak to the spirit of a bear inside a centuries-old stone. They speak to the shadow people and the dwarves, ancient enemies, and they try to mend the rift. They speak to the Junimos, ancient spirits of the forest and the river and the mountain. They taste the nectar of the stardrops and speak to the valley itself. They change Pelican Town, and they change the valley. Things are waking up.

And what does Evelyn think? She's the oldest person in the valley; she was here when the farmer's grandfather was young. (How old *is* she, anyway? She never seems to age. She doesn't remember the year she was born.) Does she see the farmer and think of their grandfather? Does she try to remember if he was like this too, strange and wild and given the gifts of the forest?

And does their grandfather haunt the valley? He haunts the farm, still there even after his death; his body died somewhere else, but his spirit could never stay away for long. Does Abigail, using her ouija board on a stormy night, almost drop the planchette when she realizes it's moving on its own? Does Shane, walking to work long before anyone else leaves their house, catch glimpses of a wispy figure floating through the town? Does the farmer know their grandfather came back to the place they both love so much?

Mr. Qi takes interest in the farmer. He's different, too; in a different way, maybe, but the principles are the same. They're both exceptional, and no matter what Qi says about it being hard work and dedication, they both know the truth: the world bends around the both of them, changing to fit their needs. Most people aren't visited by fairies or witches. Most people don't have meteorites crash in their yard. Most people couldn't chop down trees all day without a break or speak to bears and mice and frogs.

The farmer is different. The rules of the world don't work for them the way they work for everyone else. The farmer goes fishing and finds the stuff of fairy tales. The farmer goes mining and fights shadow beasts and flying snakes. The farmer looks at paths the townspeople walk every day and finds buried in the dirt relics of lost civilizations.

The farmer is a violent, irrepressible miracle, chosen by the valley and destined to return to it someday. Even if they'd never received the letter, they would've come home.

They always come home eventually.

#lich says shit #stardew valley #sorry for the stardew valley meta i'm just so obsessed with how FREAKY the farmer is. Like it's so fun #gonna write another long ass post about the farmer's bloodline specifically and. like.#why did their grandpa leave the valley?? why did their parents never go back??#stardew valley farmer #sdv

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derinwrites · 3 days

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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.

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fuckyeahisawthat · 1 month

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There are so many places in the Villeneuve Dune adaptations where he just...takes all the narrative pieces that Frank Herbert laid out and subtly rearranges them into something that tells the story better--that creates dramatic tension where you need it, communicates the themes and message of the book more clearly, or corrects something in the text that contradicts or undermines what Herbert said he was trying to say.

The fedaykin are probably my favorite example of this. I just re-read a little part of the book and got smacked in the face with how different they are.

(under the cut for book spoilers and length)

The fedaykin in the book are Paul's personal followers, sort of his personal guard. They show up after his legend has already started growing (the word doesn't appear in the book until chapter 40) and they are people who have specifically dedicated themselves to fighting for him, and right from the moment they're introduced there is a kind of implied fanaticism to their militancy that's a bit uncomfortable to read. They're the most ardent believers in Paul's messianic status and willing to die for him. (They are also, as far as you can tell from the text, all men.)

In the book, as far as I can remember (I could be forgetting some small detail but I don't think so) there is no mention of armed resistance to colonialism on Arrakis before Paul shows up. As far as we know, he created it. ETA: Okay I actually went back and checked on this and while we hear about the Fremen being "a thorn in the side" of the Harkonnens and we know that they are good fighters, we don't see anything other than possibly one bit of industrial sabotage. The book is very clear that the organized military force we see in the second half was armed and trained by Paul. This is exacerbated by the two-year time jump in the book, which means we never see how Paul goes from being a newly deposed ex-colonial overlord running for his life to someone who has his own private militia of people ready to give their lives for him.

The movie completely flips all these dynamics on their head in ways that add up to a radical change in meaning.

The fedaykin in the movie are an already-existing guerrilla resistance movement on Arrakis that formed long before Paul showed up. Literally the first thing we learn about the Fremen, less that two minutes into the first movie, is that they are fighting back against the colonization and exploitation of their home and have been for decades.

The movie fedaykin also start out being the most skeptical of the prophecy about Paul, which is a great choice from both a political and a character standpoint. Of course they're skeptical. If you're part of a small guerrilla force repeatedly going up against a much bigger and stronger imperial army...you have to believe in your own agency. You have to believe that it is possible to win, and that this tiny little chip in the armor of a giant terrifying military machine that you are making right now will make a difference in the end. These are the people who are directly on the front lines of resisting oppression. They are doing it with their own sweat, blood and ingenuity, and they are not about to wait around for some messiah who may never come.

From a character standpoint, this is really the best possible environment you could put Paul Atreides in if you want to keep him humble. He doesn't get any automatic respect handed to him due to title or birthright or religious belief. He has to prove himself--not as any kind of savior but as a good fighter and a reliable member of a collective political project. And he does. This is an environment that really draws out his best qualities. He's a skilled fighter; he's brave (sometimes recklessly so); he's intensely loyal to and protective of people he cares about. He is not too proud to learn from others and work hard in an egalitarian environment where he gets no special treatment or extra glory. The longer he spends with the fedaykin the more his allegiance shifts from Atreides to Fremen, and the more skeptical he himself becomes about the prophecy. This sets up the conflict with Jessica, which comes to a head before she leaves for the south. And his political sincerity--that he genuinely comes to believe that these people deserve liberation from all colonial forces and his only role should be to help where he can--is what makes the tragedy work. Because in the end we know he will betray all these values and become the exact thing he said he didn't want to be.

There's another layer of meaning to all this that I don't know if the filmmakers were even aware of. ETA: rescinding my doubt cause based on some of Villeneuve's other projects I'm pretty sure he could work it out. Given the time period (1960s) and Herbert's propensity for using Arabic or Arabic-inspired words for aspects of Fremen culture, it seems very likely that the made-up word fedaykin was taken from fedayeen, a real Arabic word that was frequently used untranslated in American news media at the time, usually to refer to Palestinian armed resistance groups.

Fedayeen is usually translated into English as fighter, guerrilla, militant or something similar. The translation of fedaykin that Herbert provides in Dune is "death commando"...which is a whole bucket of yikes in my opinion, but it's not entirely absurd if we're assuming that this fake word and the real word fedayeen function in the same way. A more literal translation of fedayeen is "self-sacrificer," as in willing, intentional self-sacrifice for a political cause, up to and including sacrificing your life.

If you apply this logic to Dune, it means that Villeneuve has actually shifted the meaning of this word in-universe, from fighters who are willing to sacrifice themselves for Paul to fighters who are willing to sacrifice themselves for their people. And the fedaykin are no longer a group created for Paul but a group that Paul counts himself as part of, one member among equals. Which is just WILDLY different from what's in the book. And so much better in my opinion.

#dune #dune part two #adaptation #paul atreides #fedaykin

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reiderwriter · 2 months

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Okay but, flirty reader majority pointed at Reid, and the scene where he has to get hosed down and says "I'mma bout to get naked, I don't think you wanna see that" and reader's just like raising her hand and says "don't worry I'll stay". And after she walks out to go to the hospital and sees everyone and with an open mouth and wide eyes just goes " woah" cause big dick energy

A/N: Hi, thank you so much for your request! I've been a bit sick lately, so I haven't had a chance to write much, but this was fun and quick to write! I might do a part 2 with the actual smut in the future, so if that's something people would want let me know in the comments!!

Warnings: suggestive content, public dirty talk?

“I really want to see that.”

You heard the words but weren't sure where they'd come from for the longest time. It had been a confusing morning, with a high alert for anthrax and your coworker trapping himself inside a contaminated lab to save you from dying a presumably very painful death, you couldn't be blamed for not realizing that you'd said the words in question.

He'd meant the words sarcastically, of course, and they'd warned Morgan off immediately with a chuckle and a “You better survive this, kid,” but you'd stood rooted to the earth until he'd repeated them again.

“Y/N, they're going to strip me down. You don't want to see that.”

“I really do, though.” Your eyes unabashedly trailed down the contours of his body, soaked from the hoses currently decontaminating him. You could've sworn that he was moving in slow motion as his hand pushed back his hair and cleared his face of water.

If there weren't this many CDC agents around, you'd have likely joined him in his impromptu shower to feel your way along the lines of his clothing, checking to see what was outline and what was the thick layers of shirt and pants that unfortunately still obstructed your view.

Another minute of you ogling him went by before your eyes finally returned to anywhere near his, and you realized that your desire for the man could no longer pass for camaraderie.

“You better not die, Spencer. Not before I can enjoy the meal I'm about to sample.”

His doctors were either ignoring the conversation completely or were busy focusing on other things, and luckily, they didn't react to your words. Other than to take Spencer's temperature one more time when he flushed bright red, and stared at you slack-jawed.

“We're going to have to speed this along, Doctor Reid. Please start unbuttoning your shirt,” one of the hazmatted men said to him, but his eyes were fixed on you.

“Yes, please do, Spencer. It's for your own good. And mine.”

You expected him to blush and fawn again, but his day had been as long and confusing as your own, so you were unsurprised when he looked you directly in the eye and began unbuttoning his shirt. You watched his descent, and your breath faltered, seeing the water drip down his bare skin now.

“I'm not sure which of us is wetter right now,” you tried to joke in earnest, but you felt a sharp jolt of lust in your gut as soon as his hands reached his belt.

“Y/N, you need to leave now. Before you make this any harder for everyone here.” The innuendo in his words were clear, but you were thankful again for the considerate and/or oblivious doctors either side of him bagging up his discarded shirt and jacket.

“Only if you promise I can make your life as hard as I want to when you're in the clear.” You smiled again, hoping the full force of your lust would reach him. Spencer was always oblivious to genuine flirtation, you'd observed enough women throwing themselves on him (had discouraged a few too many with a hand on his arm and a finger playing with the abandoned curls at the back of his neck, too) to know that for sure.

You needed to make your need for him explicit.

“I mean it, Spencer. I really mean it.”

His eyes locked with yours for the last time ad you made to turn around, doing your best to convince him without becoming distractedly horny.

“I know. I'll see you at the hospital.”

“At the hospital? Risky, I like it.” You winked and turned away, leaving him calling back after you as you walked over to the car Derek had pulled around the front of the property.

“Wait, not the hospital! Those beds aren’t comfortable. Y/N! Y/N, really!”

You giggled as you sat down in the car, but you bubbled with anticipation still.

#spencer reid #criminal minds #spencer reid x reader #spencer reid fanfic #mgg #spencer reid smut #criminal minds fanfiction #criminal minds fandom #spencer reid fanfiction #spencer reid criminal minds #dr spencer reid #spencer reid x reader smut #spencer reid x y/n

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neroushalvaus · 5 months

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Okay I am going to use the Somerton situation to talk about something that is very important to me. Following the discussion I have seen former Somerton fans being disappointed in themselves and questioning how they can ever trust another video essayist again. I have also seen some people being smug because to them Somerton was obviously unreliable from the start. As a person who also saw the "red flags" in Somerton, I would like to skip the smugness and talk a bit about what the red flags were to me.

Someone else has probably posted something similar and Hbomberguy's & Todd in the Shadows's videos touched a few of these points, but they didn't focus on them or how to spot these things. I think it is a good thing: I think it would have reinforced the idea that Somerton's fans were to blame for being lied to, and these youtubers didn't want to pin any blame on the fans. Also, some of the things I'm going to talk about were not by any means proof of him being unreliable, they were common tropes I personally associate with people who are bullshitting on internet. Think of it as something like spotting terfs: If you consider following a tumblr user and find out they have at some point posted "males will always be a danger to females no matter what they say", it is very possible that they are not a terf. Maybe they were having a bad day and were just wording their post badly – But you should probably search "trans" from their blog before following them, just to be sure.

So, the tropes in James Somerton's content that I consider red flags:

Lack of sources. This one may seem obvious and Hbomb talked about this in his video, but the lack of sources in his videos was outrageous. Video essays are called essays for a reason, they are not supposed to be just a guy talking about whatever comes to his mind, they should be well researched essays. Obviously video essays should contain one's own thoughts and interpretations and those do not need citations. But James Somerton didn't come out of the womb knowing everything about LGBT history, Disney and film theory, if he actually knew something about all this stuff, he should have learnt it from somewhere. There should be sources he could point to. It is very common that even when a video essayist doesn't tell you where they got all their information, they open their video by saying stuff like "when I prepared for this video I read the book Also sprach Zarathustra by Friedrich Nietzsche and this one thrilling blog post about lesbian cruising in 1960s Sweden". From what I've seen, James does not really do this. From watching his videos you could arrive to the conclusion that James Somerton does not read any books, he just knows everything. There are situations where people don't feel the need to add sources, like when the information is considered common knowledge or when the topic relates heavily to the essayist's actual academic field or profession. This is okay and very understandable, but can sometimes be dangerous, since if the video essayist markets himself as a marketing specialist, people are more likely to take his word for stuff that has to do with marketing, even without sources. It is understandable that in many situations an essayist may think "why should I cite a source? I know this thing!", but doing your research well is partly about checking if the information you are certain of is actually true. Also, as Hbomb pointed out, if you can cite a source, your audience can go learn more about the subject. It's not about anyone doubting you know your stuff, it's about learning. That's why well-respected video essayists usually cite their sources very clearly.

Lack of pictures and screenshots. This is about different kinds of sources again, many things on this list are kind of about sources. An example: When James Somerton made a video about JKR, he mentioned something about Rowling at one time saying that trans students in 30-50Feralhogs (or whatever the wizard school is called) could use magic to present as their gender. If this was any other video essayist, you'd expect a tweet to pop up, or something else confirming Rowling ever said this. Nothing pops up, obviously because Rowling didn't say this, but you can't see anything fishy in that because things rarely pop up in Somerton's videos. He doesn't show you court documents when speaking about a court case, he doesn't show you the comments apparently mad at him for implying the gay anime is gay when he is complaining about people being mad at him. There is a reason people show screenshots and tweets in video essays. When a good video essayist says JK Rowling has tweeted that all people who menstruate should be referred to as women, the video essayist shows the tweet so people know they are not making it up. If there were hoards of annoying bitc-- I mean, angry white women whining about gay sex in HuffPost articles or Somerton's youtube comments, he should have no trouble showing you those. Remember that you should not trust someone just because they show you pictures or screenshots. Pictures can be photoshopped, screenshots can be doctored. Many youtubers are aware that you listen to their videos while cleaning or while walking your dog and don't actually see the screen all the time, and some may take advantage of that by saying something like "and here she threatened to kill me" while showing a text message where someone said "die mad about it". A screenshot alone isn't much but you should demand to see the screenshot.

Passive voice. I am once again bitching about this. Somerton repeatedly says things like "it's been said that" or "it was common knowledge that" or "a legend says that" or "according to most interpretations". He doesn't say who says it, making it very hard to fact check and that seems to be his goal in some cases.

Relying heavily on anecdotes. Writing a dense, analytical video about film theory or history can be exhausting and you may want to pepper in little fun facts. However Somerton seemed to rely on these heavily; he can't just talk about how he has totally bought every lie told by The Pink Swastika, he also needs to tell a cute little anecdote about SS men forcing sexual favours out of men. He can't just tell a story about a court case, he needs to add in ridiculous stuff about the jury booing. This is what I mean by not all the things on this list being necessarily proof of someone being unreliable. Many people use anecdotes and little stories in their storytelling, it makes the videos flow better and it's hard to decide which anecdotes are valid and which are not. A source obviously makes an anecdote a bit more believable, but here are some things that instantly make me fact check an anecdote:

It's a bit too convenient, poetic or ironic. Sometimes real life is weirder than fiction but if an anecdote is "perfect" and has an amazing punchline and you could write twelve poems about it, there is a possibility it was invented by pop science books.

It assumes your political enemies are stupid. Dunking on conservatives, MRAs and transphobes is always fun and after you've seen a lot of this kind of content it's easy to believe anything about these people. You must resist the impulse to believe everything that may make your opponents look stupid.

The person telling the anecdote implies it is an example of a larger, systemic problem. You know what's worse than taking a random happenstance from human history or internet and basing an entire political theory on it? The said random happenstance being made up. You should in general be wary of people telling one story and explaining why it's an example of everything that's wrong in the world. We live in a huge world. You can always find a white woman who loves cute gays but hates the idea of Nick Heartstopper and Charlie Heartstopper getting nasty but that doesn't mean it's an indicator of a larger issue.

Simplifying complex issues. We all know that "only the boring gays survived the AIDS crisis, and that's why gays started to only care about marriage equality and military" is a horrible, insensitive thing to say, but you also have to think about it for like two seconds to realize that it can't be correct. It kind of reminds me of the "roe v wade caused the crime drop of 1990s" claim in Freakonomics. It sounds logical and simple, like a basic math calculation. Societal issues rarely are like that, though. You should never believe anyone who tells you about a huge societal shift and says it happened because of one thing and one thing only.

These were some of the things I noticed in Somerton's content that caused me to distrust him. I hope these were helpful to you and feel free to add your own "red flags" if you feel like it!

#phew. maybe that's enough salt for one day.#james somerton #hbomberguy #todd in the shadows #edit:// embarrassingly many mistakes in the original post. in my defence i have a fever and english isn't my first language. forgive me #edit2:// made the text bigger!

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