let’s settle this shit but do NOT reblog if you’re gonna be modest about it like a little BITCH. anyway privilege check tell me which ones apply to you: hot, funny, can dance, can do math, can spell, can drive, can cook

Hello, today is my birthday, and I would like to share a comic I made in the last year with you. It's called Broomistega and Thrinaxodon.

This comic was originally printed with yellow, fluorescent pink, light teal, and violet risograph inks. Physical copies are available in my shop.

Pete Buttigieg is just a faggot.

It's very important to me that younger queers understand this: to the people who you're trying to be more respectable for when you say things like neopronouns set the trans movement back or you're why the cishets don't accept us or including [aces/bi people with the 'wrong kind' of partners/non-binary people/kinksters/non-passing trans ppl/furries/polyam people] just hurts us, can't you wait until we get all our rights before we talk about some of yours? -- to those people? Pete Buttigieg is just a fag.

On Sunday at Pride Northwest, some kids -- late teens, early 20s -- asked what our button I survived Reagan for this? meant. All of the queer adults at the tables making up our ad hoc counter looked at each other and sighed a little. Emet and another adult started to explain the way that the Reagan Administration handled -- or didn't handle -- the beginning of the AIDS crisis. How many people died. How much we were ignored. The Ashes Action. The Time Magazine article which explicitly blamed bisexual men for passing the pandemic to the cishet community, playing on all the worst stereotypical bullshit. The way that even when the CDC started paying attention, they were so focused on gay men that they ignored AIDS in the lesbian community, leading to the "women don't get AIDS, they just die from it" poster. And so on.

I finished counting out change and passed the last Bear Pride raised fist pin over to a bear a little older than me, then turned my head and interjected, "they didn't care until it started infecting more than just the fags." I turned my head back and handed him his change. He laughed bitterly and said, "remember when they called it 'gay cancer?'"

That what I need you to understand. The people for whom you are folding yourself into smaller and smaller boxes will never see you as anything but a freak. A queer. A dyke. A tranny. A fag.

Never.

These are people who will stand by and let you wither away and die alone, gasping for breath in a cinderblock room, and not even claim your ashes, and they will say you deserve it, because of your lifestyle. If they speak of you at all it will be by the wrong name, with the pictures you hate the most. They will curse at your lover, throw him out of the home you shared, and steal the gift you gave last Christmas to throw it in the trash just so he can't have it and they'll say Jesus loves you! while they do it. They'll feel good and righteous and blessed and holy and pure for doing it.

And for them, you spit in the eye of your sister. For them, you disavow your sibling. For their sake, you trim away bits of your heart and lace yourself up tight. Never too loud. Never too queer. Never inconvenient or embarrassing, never asking for too much.

Pete Buttigieg is what happens when your Boomer dad turns out gay. Middle America. Parents still married. Suburban-sprouted. Valedictorian. Harvard-educated. Rhodes Scholarship. Military service. More power to him: I hope he and Chasten are very happy together. Genuinely, I do.

You couldn't create a more respectable gay if you grew one in a lab run by concerned voter focus groups.

But Pete Buttigieg? Is just a fag.

That's the part you don't seem to get: when they abandoned us, they abandoned all of us. Rock Hudson was a beloved movie star and even personally friendly with that horrid pair of ambitious jackals. Nancy Reagan refused to help him get into the only place in the world that could treat him at the time, and he died.

It was 1985, 4 years after the CDC first released papers on what would eventually become known as HIV/AIDS and 7 years after the first known death from an infection from HIV-2. Reagan hadn't even said the word AIDS by the time Hudson died.

Pete Buttigieg is just a fag, and so am I. Unless I'm a dyke, which seems to depend on who's yelling what from which window and what day it is.

Yes, there will be people who genuinely love and accept you. Those people are worth all the frustration of the rest, thankfully, and they're the ones who love you in a pup mask or a leather harness and a neon jock like the ones sold by the men up the row from us last weekend. They're the ones who laugh out loud when you tell them you hid the word "dyke" in your company name, the ones who love you in all your messiness and uncertainty and the way you don't fit into neat boxes all scrubbed up and clean.

Most cishets, though... well, they don't actively mean you specifically any harm, at least not when they have to look at you. Not when you're right there in front of them. Maybe they'll be okay with you, personally, especially if you're the kind of gay who makes a good rhetorical device, and as long as you remain a good rhetorical device.

They need people to know that they don't have a problem with the gays, after all, and there you are, being all convenient. You make a nice token, and as long as you do, well. You're useful.

But they call you by your deadname when you're not around, and they put the wrong pronouns in your medical record even though they met you years after you came out, and they won't put themselves out to save you. Not one little bit.

I didn't want to be here again. The year I graduated from high school was the worst year of the AIDS crisis. The world into which I became an adult was a world in which an advisor and friend to Reagan, William F. Buckley, openly advocated for forcibly tattooing the HIV status of HIV+ gay men on their buttocks (and IV drug users on their forearms), and in which my father not only told me that when I was 14 or so, but when was told me that he'd advocated for that tattoo being "over their assholes."

(Buckley wrote that in '86, but he doubled down on it in 2005.

Fucker.)

But yeah. I didn't want to be here again. I wanted my daughter to inherit a better world. I wanted Obergefell and Lawrence v. Texas and Hope & Change to really mean something. I work for it, today and all days. I haven't given up.

I need you to know that, too. This isn't a white flag. I'm not surrendering. This isn't over. To misquote Henry Rollins, this is what Marsha and Sylvia and Stormé and Leslie and Brenda and Auntie Sugar trained us for. This is punk rock time.

But I need you to understand that if Pete Buttigieg is just a fag, if that human embodiment of a Wonder Bread, mayo and Oscar Meyer bologna sandwich is not respectable enough for them -- and he's not -- then the rest of us have absolutely no hope of measuring up. Not even if we trim away every colorful, beautiful piece of our community, not even if the Sisters Of Perpetual Indulgence vanish into the ether, not even if we sacrifice the five elements of vogue on the altar of white supremacist cishet middle-class conformity: we can't trim ourselves down to something they'll accept.

The only other option is radical acceptance of our queer selves. The only other option is solidarity. The only other option is for fats and femme queens and drags and kinksters and queers and zine writers and sex workers and furries and addicts and kids and the ones who can look us in the eye and see all of us to say we're here, we're queer, get used to it just the way we did 30 years ago. It's revolutionary, complete and total acceptance of our entire community, not just the ones the cishets can pretend to be comfortable with as long as we don't challenge them too much, or it's conceding the shoreline inch by inch to the rising waters of fascism until we've got nowhere left to stand and some of us start drowning.

That's it. Either it's all of us or it's none of us, because if we leave the answer up to the Reagans of the world and all the people who enabled him in the name of lower taxes and Democrats who wring their hands, weeping oh I don't agree with it but we'll lose the election if we fight it right now, the answer is none of us.

The brunch gays can come, too, I guess.

Wait... what?

a portion of the essay is read at 57:30 :)

No, he hadn't! I would have said yes, and that I'd love to talk with him about the topic, but your tags are how I found out it. I've been listening to A Little Bit Fruity for a while, so this was a delightful surprise.

If you're here from A Little Bit Fruity/Matt Bernstein, hi! I'm a disabled Jewish non-binary butch. I yell about a lot of things, but most of them are queer, Jewish, about tabletop games, or some combination thereof.

I run NerdyKeppie with my partners & a small staff of awesome queer people. We just celebrated our 7th anniversary in February & our brand-new Pride collection just launched on April 15th. You can find us at https://www.ithaspockets.gay or

More of my writing:

And if you just want to fling a few dollars my way, you can use the tip function on Tumblr or

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 ts 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.

FJSJFJAJFJAHFOSJHDJAJDHAHDJAJDHA

Make them straight adjacent for the homies

[Image ID / screenshot from an interview with Alexander Siddig:

SIDDIG: I subconsciously keep that door open with just about every character that I play, and I always keep it as ambiguous as possible. One of my first roles was in A Dangerous Man: Lawrence After Arabia with Ralph Fiennes and I played Feisal and again, not in the script, but that was charged with homoerotica and implied homosexuality. I’d just come fresh off that project. And I’ve done it numerous times since, characters that are written straight I just make sure are not quite straight. That’s just one of my things, probably because I’m not quite straight myself and that’s probably perfect.

/ END ID]

this whole interview!!!????!!!!! every day sid gives gifts

albatrosses will wipe the floor with any species of bird you choose to compare them to. they’re the Most, or at least Extremely, by almost every metric

wingspan. lifespan. intricacy of mating dances. devotion to monogamy. investment in offspring. ability to circumnavigate the globe. literary symbolism that is flexible but not to the point of meaninglessness. eyeliner quality. I could go on

muppetness of said offspring

[Image description: A tweet by Wylfcen that reads: "A door blows open in your mind when you learn about the suffix -le, it explains so much. People used to add it to verbs to mean 'more than once' or continuously - so originally, to ramble is to 'roam' on, to jostle is to joust repeatedly, and to sparkle is to emit lots of sparks."

Attached to this tweet is a screenshot that reads:

-le

A frequentative suffix of verbs, indicating repetition or continuousness:

Crack -> crackle

Daze -> dazzle

Draw ('to drag') -> drawl

Game -> gamble

Grope -> grapple

Hand -> handle

Nest -> nestle

Nose -> nozzle

Prate ('to talk') -> prattle

Scribe ('to write') -> scribble

Sniff -> sniffle

Wrest ('to twist') -> wrestle

/End ID]

@akozuheiwa

i feel like high school/middle school sitcoms set the unrealistic expectation of being able to have lunch time outside

ok because apparently i'm wrong about this, reblog with where you live and whether you got to eat lunch outside during school or not

odin is like “when thor was born the sun shone bright upon his beautiful face. i found loki on the sidewalk outside a taco bell”

Oðinn spake:

Bright the sun shone | at the time of Þor’s birth, And bathed his count'nance fair. Loki, wolf-father, | the trickster, the liar, I found on the cold pavement While returning in glory | from a grand hunt For a 3 AM quesadilla.

@damn-fuck-i-burnt-myself-again

I need this framed on my wall it’s so beautiful. 

@theshitpostcalligrapher

ay @systlin hmu

@systlin

My husband complained that this was more Shakespeare than Eddas, and I challenged him to do better.

Solen sken, skönt gyllene

Dagen Tor föddes

På trottoaren, vid Taco Bell

Där låg Loke

—KJN

My translation:

The sun shone, sweet golden

The day of Tor’s birth

On the tarmac, by Taco Bell

There lay Loki

(For poetry reasons, Thor needs the Swedish spelling.)

@bold-sartorial-statement

ay yo show ur husband 

@bold-sartorial-statement no but hang on this should be in runes: 

(oops spot the typos)

i wanna translate this into icelandic so imma do it 

Sólin skein, björt og gullin við fæðingu Þórs á stígnum við Taco Bell Þar lá Loki

The amount of quality going into these shitposts is amazing

This is not shitposting, this is transformative work!

And in Danish because why not:

Solen skinnede, skøn og gylden

På dagen for Tors fødsel

På asfalten ved Taco Bell

Dér lå Loke

“LEV MERE (LIVE MAS)”

*Snorts*

When Thor born

He hair shine brite

A very very

Magical site

But then I see

A bab from hell

I pik up loki

From taco bell

the rosetta stone of shitposting

@incorrectnorse-quotes

Now THIS is the best post on this hellsite

this is by far my favorite safety/warning sign btw. they really went off with this one

No cuz I fucking love this sign. It’s not an actual barrier so it’s not like some sort of challenge it simply says “fuck around and you will find out”

Ohohoho I LOVE “fuck around and find out” signs, especially the really dramatic and ominous (but true) ones

(Context for the last one: it’s a WWII era sign posted around the soldiers’ washroom mirror, warning them to never discuss military plans in places where civilians could hear them and report back to the enemy, e.g. in restaurants and pubs in the country. “Loose lips sink ships”.)

I also love these two, which I would place in the category of “You already fucked around, now you’re about to find out.”

Aerated water is fucking scary. It's water that has a fuckton of gas in it, which reduces the buoyancy to the point where you will immediately start to sink if you fall in.

ive been collecting these recently and wanted to add some of my favorites

Official ominous signs

my existentialism professor once showed us this meme and then said softly “reintarnation” and started laughing for about 5 minutes straight but he was laughing so softly we thought he was crying and didn’t know what to do about it

Sometimes I remember that "I'm so fucking normal right now" is a line from disco elysium. like that's such a sentence from a tumblr post to me but no. harry du bois said that. out loud. he would do numbers on here

harry dubois does do numbers on here. i see him on my dash like several times a day

S.686 - RESTRICT Act

I recently had surgery, and at the time I came home, I had both my cat and one of my grandma's cats staying with me.

- Within hours of surgery, I wake up from a nap to my cat gently sniffing at my incisions with great alarm.

- I was not allowed to shower the first day after surgery, and the cats, seeing that The Large Cat is not observing its cleaning ritual, decided I must be gravely disabled and compensated by licking all the exposed skin on my arms, face, and legs.

- I currently have to sleep with a pillow over my abdomen because my cat insists on climbing on top of me and covering my incisions with her body while I sleep (which is very sweet but not exactly comfortable without the pillow). She also lays across me facing my bedroom door, presumably on guard for attackers who may try to harm me while I'm sleeping and injured.

That's love. 🐈‍⬛🐈❤️

cats are so very unclear on what is wrong with us but they want to help

Last time I had a really bad migraine my cat curled herself round my head and purred sympathetically, and actually stayed there through two of her normal mealtimes. It wasn't until I was able to stagger to the kitchen and grab a protein bar for myself that she gave a very small, polite miaow to the effect of "while you're up... could you get something for me too?"