Ok If Any Aroallo People See This, Can You Like... Explain What Being Aroallo Is Like To Me Or Something?

y'all. i'm, like, re-reading some of my older writing from a few months ago, to procrastinate on my new writing, and, like...

i'm actually good at this. somehow. don't fuckin ask me how, i got no clue, but like...

I'M ACTUALLY GOOD AT WRITING

I DIDN'T JUST GASLIGHT MYSELF INTO THINKING THAT I WAS

this is the dream folks i have no writing published anywhere and i'm writing this post to procrastinate writing a sex scene cause im a wuss and i'm really fuckin tired but like

this is the dream. i'm good at this. for real.

so to all you writers out there:

you. are. good. at. writing.

you didn't just gaslight yourself into thinking you were, you aren't just delusional, YOU ARE GOOD AT WRITING!

keep your chins up y'all if i'm good at this so are you

being a hobbyist writer means oscillating between 'i don’t care if no one reads my work, it’s just for me' and 'i need my debut novel to outsell tolkien and rowling combined.'

The fact that The Hobbit is such a lighthearted family-friendly book, especially when compared to LOTR, actually breaks my heart when you consider that it is Bilbo’s writing. That journey was anything but a fun trip for him. He went through real dangers and horrifying moments. He saw violence for the first time. At the end of it, he lost his love. And he went home traumatized, heartbroken, and forever changed.

Yet when he wrote the story down, he emphasized the more successful and fun parts, and glossed over the depth of his pain and grief when the losses happened (even leaving Fíli and Kíli’s deaths to a throwaway line.)

Because what else could he have done? Nobody else could possibly understand his pain. Bilbo wasn’t like Frodo. He didn’t have a Sam who he shared the experience with and could talk to about it every day afterward, to help him work through writing down the details of the darker parts of the story. And his other friends lived far away and could only visit occasionally.

And the hobbit children were all full of wonder about Elves and dwarves and trolls, so he put the focus on that.

I feel like that was his way of dealing with his trauma.

Happy Birthday jesus 🥳

it's my birthday, bitches, love meeeeeee

Lmao I can attest to the American one (being American myself has its perks) and yeah there's a reason we say it so much

bastard sounds great in an irish accent. if an irish person calls you a 'daft bastard' it just feels right

the welsh have the monopoly on things ending in hell. fuckin hell and bloody hell hit different in a welsh accent. its like music to my ears

the scots have piss and shite for sure. "its pishin it doon out there" "this is a load of shite" absolute poetry

if i may speak for the english i think we do penis related words very well. dickhead, knobhead, bellend, etc.

and for all the shit we give them, you gotta admit that no one can deliver a 'goddamn' quite like an american. theres a certain weight to it that you just cant achieve in other accents. when an american says goddamn you know shit just got real

In the past fifty years, fantasy’s greatest sin might be its creation of a bland, invariant, faux-Medieval European backdrop. The problem isn’t that every fantasy novel is set in the same place: pick a given book, and it probably deviates somehow. The problem is that the texture of this place gets everywhere.

What’s texture, specifically? Exactly what Elliot says: material culture. Social space. The textiles people use, the jobs they perform, the crops they harvest, the seasons they expect, even the way they construct their names. Fantasy writing doesn’t usually care much about these details, because it doesn’t usually care much about the little people – laborers, full-time mothers, sharecroppers, so on. (The last two books of Earthsea represent LeGuin’s remarkable attack on this tendency in her own writing.) So the fantasy writer defaults – fills in the tough details with the easiest available solution, and moves back to the world-saving, vengeance-seeking, intrigue-knotting narrative. Availability heuristics kick in, and we get another world of feudal serfs hunting deer and eating grains, of Western name constructions and Western social assumptions. (Husband and wife is not the universal historical norm for family structure, for instance.)

Defaulting is the root of a great many evils. Defaulting happens when we don’t think too much about something we write – a character description, a gender dynamic, a textile on display, the weave of the rug. Absent much thought, automaticity, the brain’s subsconscious autopilot, invokes the easiest available prototype – in the case of a gender dynamic, dad will read the paper, and mom will cut the protagonist’s hair. Or, in the case of worldbuilding, we default to the bland fantasy backdrop we know, and thereby reinforce it. It’s not done out of malice, but it’s still done.

The only way to fight this is by thinking about the little stuff. So: I was quite wrong. You do need to worldbuild pretty hard. Worldbuild against the grain, and worldbuild to challenge. Think about the little stuff. You don’t need to position every rain shadow and align every tectonic plate before you start your short story. But you do need to build a base of historical information that disrupts and overturns your implicit assumptions about how societies ‘ordinarily’ work, what they ‘ordinarily’ eat, who they ‘ordinarily’ sleep with. Remember that your slice of life experience is deeply atypical and selective, filtered through a particular culture with particular norms. If you stick to your easy automatic tendencies, you’ll produce sexist, racist writing – because our culture still has sexist, racist tendencies, tendencies we internalize, tendencies we can now even measure and quantify in a laboratory. And you’ll produce narrow writing, writing that generalizes a particular historical moment, its flavors and tongues, to a fantasy world that should be much broader and more varied. Don’t assume that the world you see around you, its structures and systems, is inevitable.

We... need worldbuilding by Seth Dickinson

I just watched The Fast and the Furious for the first time. And. Could Brian O'Conner be any mORE FUCKING BISEXUAL.

THE WAY HE TALKS TO DOM? THE WAY HE PRACTICALLY FLIRTS WITH VINCE IN THAT BEER SCENE AT THE HOUSE? THE WAY HE FUCKING LOOKS AT DOM ALL. THE. TIME!?!?

Like yes, this man had chemistry and was obviously interested in Mia, but like.... Dom. Every scene with Brian and Dom was like the most sexually charged shit in the show.

Just. The way he stares at that man is just. Insane.

Anyways yeah thought I should share that with you people. Hope I'm not the only one that thinks like this lmao cause I swear to god the chemistry is THERE.

Got called a weirdo irl for the way I write my fics sooo

I am the “writes in document tabs” if anyone’s wondering

if you told vin diesel fast and the furious you were gay he'd be like "Some people like driving stick…some people like driving automatic…what matters is you cross the finish line.." and then he'd rev up a dodge challenger and drive through a building and kill 16 people