complex argument

I think the most iconic thing about Wonder Woman is that she never has to prove herself as a woman, only as a warrior. Like this is a movie set during a point in time where (most, if not all) women couldn’t even vote and yet whenever she’s fighting there are no comments on her gender. She doesn’t have to seduce men and they don’t underestimate her-they just see her as something to shoot at. The fact that she’s a better fighter than Chris Pine doesn’t emasculate him like it would in any other movie, it’s a logical fact. Wonder Woman (2017) worked because it wasn’t trying so goddamn hard to convince you that a girl was worthy of fighting with the guys-it took that as fact and worked from there. And as a result, Diana got to experience such a complex and moving character evolution-optimism, doubt, a crisis of morality, and the development of a new, evolved worldview-that is incredibly rare if not unheard of in any movie with a female protagonist, let alone one in an action movie. Wonder Woman is this iconic feminist figure but the movie wasn’t selling store brand pseudo empowering “girl power,” it was a hero’s journey, a film about loss and doubt and growth whose hero just happened to be female, and as a result it was one of the most complex, resonant arguments for female personhood that I’ve ever seen on screen.

I just got a job as a writing tutor, and it inspired me to start a series of writing masterposts! From teaching college composition for two years at grad school and from working as a consultant at my university’s Writing Center, I’ve come to learn a few things about writing I’d like to share. Some of these tips may sound basic, and some may be fresh to you. Some may meet you exactly where you are. Regardless, these are some of the foundational aspects of good college writing.

I. Content & Style: Avoid Fluffy Language

Perhaps this is a symptom of trying to meet page minimums, but some students tend to inflate sentences with unnecessary adjectives. Similarly, they may puff up an essay with a useless statement, like, “Depression affects people in various ways.” What follows a sentence like this is usually a cataloging of the various/numerous/diverse ways in which depression affects people. Kill the middleman: that useless sentence. Be assured that most readers are astute enough to infer that depression affects people in many ways when you list said ways.

Language that sounds like that of a motivational speaker is maddening to most college instructors. “If you are true to yourself, you will be happy in life.” “Friends and family are the most important way to get the emotional support you need.” These are platitudes and overly generalize. Broad claims make for unoriginal writing; be specific and back up your claims with a logical argument, providing evidence for your opinion. Broad generalizations like, “Since the dawn of time, people have loved art” are just padding and detract from more interesting ideas you may have. 

II. Description: Be Concrete and Concise

An easy way to avoid vague fluff is to use concrete images and concise language. First, if you can say something in five words instead of ten, that’s great! Go with the five. Second, concrete details provide a more refined image in the reader’s mind (car vs. Ford Taurus, for example) without the use of adjectives and adverbs. And try to avoid adverbs when you can. Show how a person is running “quickly” instead of telling the reader the person is running quickly. Is there sweat? Is this person bumping into others? Are the legs pumping like pistons? Specificity makes for much more interesting writing.

III. Organization: Make a Backwards Outline!

The best thing about outlines is that you ultimately do not have to follow them. Many people use the drafting process to think and come up with their best idea in the middle of the paper. But often the papers that are turned in are first drafts, so that great idea—around which you ought to have centered your paper—remains in the middle, not standing front and center and lacking enough space to develop further. If you’ve allowed yourself enough time to make a second/final draft, post-organize your paper. Map out the flow of your ideas and ask yourself if this is the best order and arrangement possible. Yes, revision is more work, but it is worth it. It is so, so, obvious to professors when a paper has not been properly organized.

IV. Grammar: Comma Splices

The most common grammatical error students make is the comma splice. A comma splice is the attachment of two sentences with only a comma. For example: “Harvey and Tim built a raft, they took it out on the river later.” ARGH. “Harvey and Tim built a raft” is a complete sentence, as is “they took it out on the river later.” How do you fix a comma splice? Well, there are three ways:

  • Use two separate sentences: “Harvey and Tim built a raft. They took it out on the river later.”
  • Add a conjunction after the comma: “Harvey and Tim built a raft, and they took it out on the river later.”
  • Use a semicolon: “Harvey and Tim built a raft; they took it out on the river later.

Standard/Edited (American) English grammar is the grammar of (American) academia and will be for a while. Also, simply, spelling and grammar mistakes only work to undermine your writing. If you have brilliant ideas, you shouldn’t obfuscate them with lousy grammar.

V. Language: Build Your Vocabulary

What does “obfuscate” mean? Well, when you encounter unfamiliar words, look them up and commit their meaning to memory. Practice using them, when appropriate. Of course don’t bloat your language so that your prose reads like a thesaurus. Your writing should sound intelligent/formal (with the help of new words), yet not awkward and stiff with the clumsy handling of “big” words.

VI. Scoring: Read What You Wrote Out Loud

This is pretty basic. Listening to your own writing will help you determine if it sounds stiff and/or unnatural or just awkward as hell. You can read your writing aloud to yourself, but it is best to hear another person read it. I refer to this section as “scoring” because writing has a musical aspect, too. Your use of language should be pleasing, made so by choosing the right word for the right moment, by opting for combinations of words that sound harmonious, and so that your delivery of ideas is arranged to have the most powerful impact. Choose a tone suited to your subject, and know thy audience. What will sound good to you may not sound so good for your intended audience. Adjust the score accordingly.

VII. Research: Do More of It Than You Think You Need To

Often you will be assigned a minimum number of sources for a research paper. Let’s say five, for example. Go for eight or nine. Of course you should avoid using redundant sources (a book on Samuel Beckett’s stage directions and journal article about Samuel Beckett’s stage directions). Find as many perspectives as possible; it’ll only make your arguments stronger. Plus the more academic writing you read, the more naturally it’ll come when you have to do your own.

VIII. Go Weird or Go Home

Another reason more using sources than required can help: finding unique perspectives/approaches to a subject. You may encounter some ideas that counter popular assumptions (peer pressure has some positive impacts; depression can sometimes benefit cognitive function; anti-drug education actually increases drug use). Another interesting tack to take is to go with a subject that often makes people uncomfortable, such as child sexuality, masochism, and alternatives to capitalism.

Strange, uncommon arguments are more interesting than broader overly researched topics, such as nature vs. nurture. A paper on the deliberate use of plot holes, in Mary Shelley’s Frankenstein, and their effect on narrator reliability would be far more interesting than the representation of capitalism in Animal Farm by George Orwell. The more complex and difficult the argument you choose the more critical thinking/writing skills you demonstrate. Weirdness is rewarded in academia, by getting your professor’s attention, by getting published in critical journals, etc. In this case, the axiom of “Be unique, and stand out in the crowd” stands true.

I hope this was helpful! Message me or send me an ask if you have any questions.

surviving (and maybe even thriving) in the sherlock fandom after s4

…OR, maybe even kind of sort of learning how to enjoy oneself again while being a johnlocker.

This is a post for people who are on the fence / still turned off by s4 / still struggling with how to frame it for themselves. 

In light of the upcoming fic writers’ retreat, in anticipation of (I hope) having a conversation or two about this very topic, and in partial response to comments that my good fandom friends have dropped recently about their struggles with feeling like they don’t want to engage with the show or the fandom after s4, I’ve been thinking about how to continue on as a johnlocker, and why I feel more motivated than ever to find a way to have a relationship with the show (albeit a substantially altered one than before), and what fandom engagement means to me. 

It probably doesn’t look like it, because I’ve participated full throttle in all kinds of conversations about the show since s4, but I do get why s4 was entirely offputting for a lot of people. While I strongly suspect that mofftiss are doing something interesting and unusual with s4, that whatever-it-is came at a heavy price: a series that looks like a hot fucking mess and actively does things that one should never do (i.e., constantly throwing into question the reality status of the story one is telling) if one wants to avoid frustrating the shit out of one’s audience. 

What’s worse, the series was promoted with a promise of FINALLY answering the question of who Sherlock loves, without delivering on that promise in a way that was in any way definitive (John? Molly? Irene? Chips?) or satisfying (JOHN???). We got a scene that was really close to the kind of thing we’ve always wanted to see, at the end of The Lying Detective, an episode that also brought us an interaction between John and Sherlock that was so awful, it singlehandedly ruined the show for a lot of people. 

Even though I love the shit out of talking about the puzzle of s4, I love it because I love how smart everyone in the fandom is, and how much I’ve learned about Doyle, and the many many intertexts the show engages with. I love how stunningly great people here are with teasing complex arguments out of this hot mess. 

I don’t love that we got this weird thing to figure out instead of actual story. I don’t love that for some reason a major plot point was John and Sherlock detonating their relationship even more profoundly than they had before. I still think that the more skillful thing to do would have been to make a puzzle for viewers to figure out, but make it actually enjoyable to watch. (Personally, I did enjoy TLD, but I’m a sucker for Nick Hurran’s direction, I thought Ben and Martin performed incredibly, and I have a high tolerance for creepy shit and violence, so.)

SO: WHAT TO DO?

I’ve been thinking about a few of the strategies I’ve put in place / fallen back on for approaching all of this. I don’t know if any of this is helpful but here it is, for what it’s worth.

Acknowledge that the showrunners are human people and human people make good choices and bad choices and questionable choices

Before s4 aired, I wrote about the fact that mofftiss had set up a highwire act with extraordinarily high stakes, as of the end of s3. This meant they could pull off an astounding feat of storytelling, or they could fall. Instead they sort of burned down the circus tent and re-encoded all the elephants…not what any of us were expecting. I mean, surprises in storytelling can be great, but this was like hey everyone, suddenly the show is going to be performed in Esperanto instead of English, have fun with that.

Questionable at best.

To sum up: good choices resulted in the following:

Ben and Martin in s1 and 2 creating this beautiful dynamic together, eyesex and all the subtext and a tragic love story with mistakes and denial and pining and hope. s3, which bumped up the subtext to the point of ridiculousness. And TAB, which doubled down on that subtext EVEN HARDER. The purple shirt of sex and the swishy coat of alone protects me and a stalwart and broken John who is finally strong enough to partner his Sherlock and enough sexual and romantic tension to drown the population of the earth planet and a Mary Morstan who is actually Moran and there’s always two of us and hey did I mention romance yet?

We got all that, and then we got–this s4 thing.

Let me tell you about writers (speaking as one). They shit the bed all the time. They make weird choices. They have strange ideas. They fail to stick the landing. When that happens, it’s their tragedy. It doesn’t have to be yours. 

Maybe this story isn’t done yet. I don’t think it is. I’m willing and able to reserve judgement, but this post is for those of you who aren’t, or can’t. 

You can still like the parts of the show that you liked before. You weren’t wrong for liking what worked for you before. You would not be wrong now, for still liking those bits. All the shitty choices the showrunners could make, did make, and might still make, do not make you wrong for liking the bits you liked.

You can still like the parts of the show that you liked before. 

Need permission for that? Here it is: BECAUSE MAY SHEPARD SAYS SO. I’ll make you a certificate if you want. 

Need more specific help? Here’s another idea:

Get selfish. Get really, really selfish.

Remember that you are here for you. You came here, probably, because thinking about John and Sherlock together is something you enjoyed. Back immediately after s4 aired, and I was still stuck firmly in the wtf zone, I had to have a talk with myself about this. 

I asked myself what I liked about the show. Why John and Sherlock, together, were so crunchy and beautiful to me. It came down to one thing: the fact that I read the show as a love story. 

I’m here for my own entertainment. This is my happy place. This is where I come when my regular writing is stuck or I want to try to hack out a new part of my skill set. I get a lot out of thinking about John and Sherlock, as characters.

I still read the show as a love story, and I will continue to do so.

That means, in light of s4, doing a lot more reading in to the little moments than I used to have to. It means cherry picking a lot harder. It means ignoring vast swaths of what we actually saw onscreen. (The fact that this is the current state of meta too helps a whole heck of a lot.) 

Playing the what if game a lot harder than I have previously has become the rule of the day. 

What if John and Sherlock are in love? They are. For me, they are, and they always will be. Will they be in canon? Get yourself to a place where this question doesn’t matter, where your personal happiness doesn’t hang on this. We’re several months on after s4. It’s time to give your head a shake and remember that John and Sherlock love each other and will always find their way back to each other, because we say so. 

If you don’t believe this, try because May Shepard says so. I’ll say it until you believe it, too: John and Sherlock are in love. The show is a love story.

I will read the show as a love story, regardless of whether it wants me to. Hey show, get ready for some sweet sweet interpretation. I hope you’re in the mood.

Still not convinced? Try this thought experiment:

Put Some Distance Between You and S4

So a few nights back I was chatting with @laughing-at-the-darkness​ (who is the best, go follow her immediately), and I jokingly said that what we need in this fandom is a reset, like the kind of perspective you can only get ten years after a television show has finished airing. 

Try this on for size:

The year is 2027. You’re looking for some good content to watch. You remember hearing, dimly, about the fact that, a while back, BBC made a Sherlock Holmes adaptation with some pretty famous actors. 

You read about it a bit first. Ah yes: the adaptation that everyone was raving about, but that did a weird thing in its fourth series. Bearing this in mind, you decide to watch. 

You’re charmed by series 1-3, and the one-off Victorian special. You decide to watch s4, bearing in mind what you know about it, that it seemed to go off the rails relative to everything that had come before. You watch, prepared to laugh along at Mary’s bullet tango and the way she just won’t seem to go away and Sherlock has a sister who is also an X-Man? What???? 

You watch it. You shrug. You carry on thinking that s1-3 and TAB are great, like you were prepared to do. 

We know what we know now: that s4 is a difficult part of canon, a stumbling block for a lot of us. If you can accept that, then you can move forward, liking the parts you like, and leaving the parts you don’t.

Moving On

I still personally have some questions about how to deal with s4 as a fic writer. There are so many potential interpretations–how does one go about sorting through the detritus? A lot of people don’t want to / can’t bring themselves to rewatch, so how much can I assume they do and don’t remember about the episodes? But these are mostly logistical issues, and solvable with some rational decision making. (I did start a fic a while back based on TST, but I wasn’t ready to finish it, and I don’t think people wanted that type of fix it in that particular moment.) s4 changed the stakes for a lot of people, so writing fic now is all about writing to a different emotional register, I think. I’m personally having fun with that, while sorting through the implications for the wips I started before s4 aired. I’m hoping we can talk about some of these issues, as writers, and as fans, but that’s a post for another day.

In any case, I’m here, John and Sherlock are in love, and I hope this is helpful in some way. I don’t want anyone to lose the thing that used to give them enjoyment, nor (on a more selfish note) do I want to see people still leaving the fandom if they don’t have to. 

Types of types (type stereotypes)

because I answered a few asks and this seemed pretty popular, here’s some:

ENFP:

  • The chill, friendly ENFP
  • The Unchill, unfriendly ENFP: Like the chill, friendly ENFP, but not chill or friendly….so bacically, not the chill, friendly ENFP….
  • The Deep ENFP
  • The Fake Deep ENFP: Like the deep ENFP, but not deep….still great tho
  • The Shark ENFP: Like the other ENFPs, but actually a shark.

INFP:

  • The Adorable, Caring INFP
  • The Punk INFP: Like the adorable, Caring INFP, but angry at the world.
  • The Sad Bowl of Gummy Worms INFP: Like the punk INFP, but a sad bowl of gummy worms.
  • The “I have so many dreams” INFP
  • The Shark INFP: An INFP Shark.

ENFJ:

  • The heroic ENFJ
  • The manipulative ENFJ: Like the heroic ENFJ, but not….not at all.
  • The Friend ENFJ: like the heroic ENFJ, but instead of fighting evil, they just try to set you up with everyone
  • The Mom ENFJ: Like the Friend ENFJ, but really overbearing
  • The Shark ENFJ: Like an ENFJ, but a shark.

INFJ:

  • The Wise, Friendly INFJ
  • The Deep, Dark Mysterious INFJ: Like the Wise, Friendly INFJ but darker…and more mysterious
  • The Spooky INFJ: Like the Deep, Dark Mysterious INFJ, but can disappear at any time….watch out
  • The Awkward INFJ
  • The Shark INFJ: An INFJ that’s also a Shark

ENTP:

  • The Easygoing, Adventurous ENTP
  • The Bullshit their Way through Life ENTP
  • The Argumentative Little Brat ENTP: Like the bullshit their way through life ENTP, that likes to bother people
  • The Superiority Complex ENTP: Like the Argumentative Little Brat, but much, much worse.
  • The Shark ENTP: An ENTP that’s a shark

INTP:

  • The Adorable, genius INTP
  • The “aLIENS ARE rEAL” INTP: Like the Adorable, genius INTP, but gets behind some pretty interesting theories.
  • The “Oh shit I forgot” INTP
  • The “OH SHIT I FORGOT” INTP: Like the Oh shit I forgot INTP, but this time it was something really important.
  • The Shark INTP: Seems like an INTP, but is actually a shark.

ENTJ:

  • The Cool, Confident ENTJ
  • The Super Loud and Intimidating ENTJ
  • The “Probably running for political office” ENTJ: Like the super loud and intimidating ENTJ, but probably running for political office
  • The Extremely Organized and somewhat scary ENTJ: a hybrid of all three
  • The Shark ENTJ: A shark that’s an ENTJ.

INTJ:

  • The Chill, Slightly Intimidating INTJ
  • The Hot INTJ: Like the Chill, Slightly Intimidating INTJ but hot af.
  • The “I hate you all” INTJ: An INTJ that hates u all
  • The EVIL INTJ: Basically any villain ever written (sigh)
  • The Shark INTJ: Like an INTJ, but a shark

ESFP:

  • The Life-of-the-Party ESFP
  • The NOT Life-of-the-Party ESFP: they don’t actually like partying….
  • The Overly Dramatic ESFP
  • The “We’re friends right?” ESFP: like the Life-of-the-party ESFP, but they just wanna be friends with everyone….and they’re not 100% sure…
  • The Shark ESFP: All of the above. But a shark.

ISFP:

  • The Free-spirited, Emotional ISFP
  • The “I’m always crying” ISFP: Like the Free-spirited, emotional ISFP, but is always crying.
  • The Terrible Flirt ISFP
  • The “I liked that before it was cool” ISFP
  • The Shark ISFP: The ISFP that’s a shark

ESTP:

  • The Asshole ESTP
  • The “I’M GONNA FIGHT THAT” ESTP
  • The “I’LL DO ANYTHING ON A DARE” ESTP: Like the “I’m Gonna Fight that” ESTP except their recklessness is not restricted to fighting things.
  • The Nice, Fun-loving ESTP who may push your limits but really isn’t an Asshole ESTP.
  • The Shark ESTP: Like a normal ESTP, but a shark.

ISTP:

  • The chill af, can solve any problem ISTP
  • The “I don’t give a fuck, I’m gonna go skateboard” ISTP: Like the Chill af, can solve any problem ISTP, but preoccupied with their skateboard
  • The “yea, I’ll fix that, but I don’t want to” ISTP
  • The Uncle that built your deck ISTP
  • The Shark ISTP: An ISTP that’s obviously a shark

ESFJ:

  • The BFF, Always there for you ESFJ
  • The “Let me make you food” ESFJ: Like the BFF, Always there for you ESFJ, but willing to prepare food for you.
  • The “Ewww Becky” ESFJ: That one character from any kid’s show about high school that was a terrible stereotype and extremely unlikeable.
  • The Best at Hugs ESFJ
  • The Shark ESFJ: All of the Above, but also a shark.

ISFJ:

  • The Caring, Humble ISFJ
  • The “I have a Diary” ISFJ: The ISFJ who writes everything in a diary.
  • The “It’s okay” ISFJ: Like, the Caring Humble ISFJ, but too humble.
  • The Quiet Friend ISFJ: That one quiet friend you have…yeah…
  • The Shark ISFJ: They’re an ISFJ, but also a shark.

ESTJ:

  • The hardworking, loyal ESTJ
  • The “I’m always right” ESTJ
  • The “corrects your grammar in an argument” ESTJ: Like the “I’m always Right” ESTJ but gets on my nerves to the point where….nevermind.
  • The Competitive, but not overbearing ESTJ who will probably get far in life: Like the Hardworking, Loyal ESTJ…but even more awesome.
  • The Shark ESTJ: An ESTJ that’s a shark.

ISTJ:

  • The Reliable, Logical ISTJ
  • The Dad ISTJ: Probably your dad right now….
  • Elsa
  • The Deserves a Break ISTJ
  • The Shark ISTJ: The ISTJ that’s probably a shark.

1. Maybe they should stop writing fan fiction. Arguably, Moffat should have stopped after the debacle of Jekyll back in 2007, but it was low budget and people can learn from their mistakes. He went on to make something of a mess in Dr. Who. Now S4 of Sherlock was a bit of a mess. He’s going through the classics, because they know these will sell. That impacts us as an audience, and it impacts the public that funds BBC programs.

2. Dracula is already part of the homoerotic literature tradition. I just posted a series of scholarly articles about it, but this is the best non-fiction book on the topic of vampirism and media of which I am aware. I took a course from this man in university, and it’s amazing. The Vampire Lectures by Laurence Rickels.

“Bela Lugosi may – as the eighties gothic rock band Bauhaus sang – be dead, but the vampire lives on. A nightmarish figure dwelling somewhere between genuine terror and high camp, a morbid repository for the psychic projections of diverse cultures, an endlessly recyclable mass-media icon, the vampire is an enduring object of fascination, fear, ridicule, and reverence. In The Vampire Lectures, Laurence A. Rickels sifts through the rich mythology of vampirism, from medieval folklore to Marilyn Manson, to explore the profound and unconscious appeal of the undead.Based on the course Rickels has taught at the University of California, Santa Barbara, for several years (a course that is itself a cult phenomenon on campus), The Vampire Lectures reflects Rickels’s unique lecture style and provides a lively history of vampirism in legend, literature, and film. Rickels unearths a trove that includes eyewitness accounts of vampire attacks; burial rituals and sexual taboos devised to keep vampirism at bay; Hungarian countess Elisabeth Bathory’s use of girls’ blood in her sadistic beauty regimen; Bram Stoker’s Dracula, with its turn-of-the-century media technologies; F. W. Murnau’s haunting Nosferatu; and crude, though intense, straight-to-video horror films such as Subspecies. He makes intuitive, often unexpected connections among these sometimes wildly disparate sources.More than simply a compilation of vampire lore, however, The Vampire Lectures makes an original and intellectually rigorous contribution to literary and psychoanalytic theory, identifying the subconscious meanings, complex symbolism, and philosophical arguments – particularly those of Marx, Freud, and Nietzsche – embeddedin vampirism and gothic literature.“

3. I’ve been collecting vampire content since I was nine, and I know some of us are glad that Carmilla isn’t being touched, but…there is enough to queerbait with in Dracula. BBC is supposedly trying to work on their representation numbers, and only funding new shows that show they will work toward that goal, but the decision on that came pre S4 of Sherlock.

@tania-grey @yorkiepug @conan-doyles-carnations @wssh-watson @leaastf

Mon-El v Lena, Maggie and Lillian

So, TV Line has elected Mon-El from Supergirl as the Best New Character on an established drama series in 2016. I do not have anything against Mon-El and I do believe that he can become a very interesting character on the second part of Supergirl’s current season. However, the decision to elect a best new character cannot be based on the potential said character has for the future, but on what he has done so far. So, let’s take a look at Mon-El and three other new character on Supergirl, shall we?

Mon-El

  • Was found in a Kryptonian Pod and ran from the DEO as soon as he woke up.
  • Attacked a man in order to force him to send a message to Daxam
  • He got judged wrongly by Kara for being from Daxam, but didn’t really do much to change her view of him in the beginning
  • Did not want to take a job or try to learn how to be human to fit in
  • Acted like a party boy at CatCo. He gave all his work to Eve, used her credit card and fucked her in a supply room
  • He did not want to take any responsibility even for himself
  • He helped The Guardian fight the Parasite
  • He invited himself to L-Corp’s party (rude)
  • He clearly lied about who he really is and what really happened in Daxam before he got in the Pod
  • He only tried to be better after Kara talked to him constantly about this

Conclusion: he did not do anything really important and, except for the fact that he seems to be keeping a secret about whom he really is, he has no more depth of character.

Now, let’s see other three new characters on Supergirl’s second season:

Lena Luthor

  • Carries the surname Luthor which automatically makes everyone distrusts her.
  • Was unjustly accused of being behind the Venture explosion just because of the name Luthor and was proved innocent when Superman and Supergirl realized she was the target of the attack
  • Renamed her company in order to distance it from the evil image created by her brother, even though she knew that Lex had people trying to kill her for him because of this
  • She did not hesitate to kill the man who was trying to kill her and save Alex
  • Helped Supergirl with useful information that could land her in the bad side of some very powerful people by giving the address to the alien fight club.
  • She didn’t shy away from the threat of a gang using alien weaponry given to them by Cadmus and devised a way to destroy them, setting a trap for the gang and eliminating the problem almost single-handedly.
  • When presented with the possibility that her mother was the leader of Cadmus she didn’t ignore Supergirl’s words, instead she confronted her mother and, finding out that it was true, she set a trap to her mother avoiding the genocide of all aliens in National City and sending her own mother to prison.

Conclusion: Lena is a bad-ass woman with incredible talent not only for business, but also technology. She has a good heart and is trying to prove that although her surname is Luthor she does not share the hate and madness that runs in the family.

Okay, another new character.

Maggie Sawyer

  • She is a detective for NCPD who gives Alex, a DEO agent, a little lesson on not contaminating crime scenes in her very first appearance
  • She figures out the place the alien suspected of trying to kill the US President was and got there before the DEO could, even though she has none of the DEO’s technology at her disposal
  • She has a great source of information with the aliens in the alien bar and they trust her
  • She helps Alex and the DEO find and end the alien fight club
  • She is openly gay and does not give a shit about what people think of her
  • She is extremely understanding and patient with Alex when she comes out to her and tries to help the best she can
  • She does not shy away from action even when it means getting shot by an alien
  • She gets the girl, gets shot and yet, doesn’t die

Conclusion: Maggie is a self-assured, strong woman who is not afraid of danger and is constantly throwing herself in the line of fire in order to do her job well, but she also has a soft side and can be a friend and lend a hearing ear when necessary.

And last, but not least:

Lillian Luthor

  • She is a mother that is trying to make the world a better and safer place for her children, however misguided her ideas might be
  • She is the leader of an organization that escaped detection even from the DEO for a long time
  • She managed to kidnap Supergirl and actually make her temporarily powerless so she could hurt her and get her blood to access the Fortress of Solitude
  • She managed to get her hands on the Medusa virus and would have killed all aliens in National City if Lena had not interfered

Conclusion: She may be a force of evil, but she is a powerful and complex woman with strong arguments in favor of her anti-alien actions even if we cannot agree with her.

So why did Mon-El win the title of best new character? Easy, because he is the white heterosexual male who gets to kiss the girl. TV Line’s decision to elect him the best new character undermines the amazing work that has been done so far by Supergirl. This show is about strong women who are not afraid to be themselves, work hard and succeed on their own terms. And yet, TV Line seems to believe that a playboy was the best new character the show had to offer on its second season. Shame on you TV Line.

so anyways “straight people aren’t gay/queer/LGBT+ (lol)” is an excellent example of a straw man argument

“A straw man is a common form of argument and is an informal fallacy based on giving the impression of refuting an opponent’s argument, while refuting an argument that was not advanced by that opponent.” (from wikipedia)

because, really, viewed on its own, as in many posts that I’ve seen that simply say “straight people arent lgbt,” it seems obvious. the lgbt community is defined, in some ways, as completely opposed to the idea of a “straight” person (here representing a cishet, non-intersex person. yknow, Straight.)

and it seems really stupid to argue against that particular point because like. That’s where the line has been drawn. Straight people are over there, we are over here.

But the thing is, that’s very very commonly used as a refutation of “asexual people belong in the queer community,” which is a very complex argument with a lot of different points and nuances. Some people reblogging these “straight people aren’t queer” probably don’t even know that that’s where the argument started. They may just look at the post and go “yeah, obviously.”

So people make these “straight people” posts because it’s such an OBVIOUS argument that NO ONE would ever argue against, and they’re equating that directly with the argument “ace and aro people are part of the lgbt+ community.” As if both of those arguments encapsulate ALL of the same points entirely.

Because if you manage to frame it as “straight people don’t belong,” and someone tries to argue with you on that point, then you’ve forced them, in some way, to admit to viewing ace/aro people as “straight,” which is a very large part of the argument that ends up being glossed over.

“Ace/aro people belong in the LGBT+ community.” “Straight people aren’t queer.” “That has nothing to do with this. Ace and aro people aren’t straight.”

I’ve seen this with multiple different things, as well. People stating an argument in such simple terms, and boiling it down to one point, as if that’s all there is. (Saying “if you’re not a feminist, you’re a bad person,” as if there aren’t some legitimate objections to feminism. Womanism is a good example of a group made by people (black woman) that have a very legitimate objection to feminism (very white-centric).)

Doing this is not an argument. It’s stating a point you already believe in and not allowing actual discussion of it.

It’s okay to state these things sometimes, I guess. But do not act like they are a good replacement for activism.

(P.S., there are many straight people that belong in the LGBT+ community, should they choose to identify that way. Trans people can be straight, as well as intersex people, and probably more I can’t think of right now.)

anonymous asked:

#4 pretty pleaseee!!! Ps: Love your blog ❤❤❤

thank you, sweetheart!

i combined it with @flourishandblotted‘s prompt “stay with me, like this” and went with ten x rose! i hope you like it – it’s angsty at first but i promise the ‘gets better’ ending <3

that we whisper | AO3

The first scream cuts through the drowsy air, echoes down the corridor.

Air leaves Rose’s lungs. Sleepiness is electrocuted from her body, or so it seems. She drops the tea mug onto the grating, tea spilling over with a wet splash.

“Doctor!”

Keep reading

anonymous asked:

I'm so done with twitter. I've seen ppl complain about Alec not telling Magnus about the sword, then ppl whining about Magnus apparently offending Alec with the 'runs in the family' line. Like wtf have ppl smoked today?

ppl are just weak THIS IS THE GOOD DRAMA HERE. real politics! interpersonal relationships affecting the course of a war! complex choices! arguments that have nothing to do with love triangles!

tbh idk why ppl expect things to play out clean when magnus is juggling a relationship with a Shadowhunter while working to protect his people as he drags 400 years of baggage with him. meanwhile, alec is 23 years old running an institution responsible for upholding systemic racism, struggling to make some kind of change but when he isn’t tripping over himself like a fool, he’s being undermined by the clave.

anyway [matthew voice] they’ll find a sort of calm in that shared development of mess and history of mess.

Ratings for Libra in a relationship and why

Libra + Aries: 10/10 strong, passionate, loving, social, confident, back and forth of being decisive and indecisive

Libra + Taurus: 7/10 difficult, learn a lot from eachother, affectionate, impatient, materialistic, stubbornness

Libra + Gemini: 8/10 conversationalists, socials activists, versatile, independent, needs acceptance

Libra + Cancer: 3/10 uneasy, distracting, accomplishes things well together, negative, sensitive, emotional

Libra + Leo: 10/10 social, diplomatic, honest, charisma, flirty, arguments are always fixed easily, loving, extravagant

Libra + Virgo: 7/10 communicative, outgoing, perfection, easy going, needs boundaries, socially active

Libra + Libra: 8/10 hard time making decisions, strong mentally and emotionally, demanding, peace, harmony

Libra + Scorpio: 7/10 dynamic, sensual, slightly social, demanding, complex, arguments are irrational

Libra + Sagittarius: 8/10 comfortable, easy, communicative, change, adventure, exciting, focusing on the important things

Libra + Capricorn: 6/10 adventurous bit conservative, open minded, dumb arguments, cute, great quality time, interactive, annoying

Libra + Aquarius: 9/10 natural connection, social, find common ground easily, intellectual, can talk / debate forever, intimate, communication is hard

Libra + Pisces: 4/10 difficult, deattached, mutual understanding, enjoys conversing with eachother

anonymous asked:

How does one find the strength to stay out of the tags? I keep going in when I say I won't and it's hurting because I see stuff like Kara is abusing Alex? How is she abusing Alex?

I’m sorry, I’ve been legitimately laughing about this for five minutes.

Like, it’s so not abuse that I have a hard time helping you, because I can’t build up an argument more complex than “that just doesn’t make any sense at all, ignore that.”

(Kara said one (1) insulting thing to Alex, guys. Please. Do some research on abuse. Any research. At all.)

As for how to stay out of the tags, I have the benefit of all you lovely people coming to me to discuss things, so it’s a lot easier for me to avoid looking into the tags for content.

But the fact that it’s gotten so bad helps me avoid it, trusting that if there’s anything of substance there it’ll come across my dash.

Your best bet is to build up a solid group of people you follow that have a similar outlook to you. And discourse-free gifmakers are nice, too. Hit up mutuals to chat about things. I may or may not also be working on creating a network.

It’s a lot more rewarding an experience than absorbing the masses’ emotional and often negative first reactions to everything. But just knowing that it makes things worse won’t help you, you have to find something to fill your need for conversation.

an*tis treat shipping like their own lives is somehow accountable to the masses the same way as an influential tv series, like you have to fill certain representation quotas and cannot ‘support’ anything that ‘romanticises problematic behaviour’ and quite honestly it seems so exhausting??

i wonder if this is to some extent the consequence of social media in a way. because one distinguishing features that separate the older fandom generation and the younger one is the technological environment we grew up in. The mid 00s is when facebook, twitter, and the modern social media greats were founded, and if you trace back the ages. In contrast to an older crowd who communicated and entered fandom in an age where the difference between the private and public was far more distinct. Our modern day teens grew up in an age where having your private life made public is a foregone conclusion. Its not just the personal lives of celebrities that are topics for public judgement anymore, but anyone and everyone is accountable. Complex backstories, relationships and arguments are distilled into viral call-outs, and clapbacks, snapshots to frozen in time and judged on simplistic moral grounds.

I wonder if the acknowledgement that private citizens are deserving of respect and empathy in a way that is fundamentally different the government and corporate controlled is something that we are losing in this technological age, where we’re increasingly putting more and more of our personal ‘private’ lives into such easily accessible public space.

And perhaps that is something which plays into the psyches of this new wave of cyberbullies? Because to many of them, social media and the simple act of existing comes with certain responsibilities around image and ‘performance’. Instagram has a problem-culture of unattainable aesthetic perfectionism that is widely acknowledged. Tumblr in turn celebrates call-out culture against selected words and actions of corporations, media, and celebrities with its own arsenal of social justice language. To gain social points and popularity in the tumblr era of fandom, being ‘socially aware’ and ‘righteously angry about the correct things’ is almost a must.

And when it comes to tumblr it becomes even harder to distinguish what content is made with the intent of facilitating private personal discussion and what is meant to be taken as a public statement. With circles like Facebook certain levels of respect is a given - as you require a degree of personal familiarity with each other first, respect and empathy is a prerequisite. With twitter - everything is a public statement, because you really can’t have a complex personal discussion in exchanges limited to 140 words. Tumblr is at that awkward intersection between a ‘private’ blogging platform like Livejournal and a public environment like twitter, but there is no ‘mutuals only’ setting. And it seems to me that this an*ti culture has to some extent started in conjunction with a younger generation entering fandom through tumblr for the first time, groomed by a lifetime of ‘public living’, with no consciousness of the ‘private’ that was built up and facilitated by environments such as LJ and DW.

For people who understand the previous era of private intent and distinction, they can read between the lines and understand the nuances of things like, for example, kink. But for a younger generation where everything is public by default… on a website which does not allow you any power to not lead a purely ‘public’ existence… writing an untagged vent post is perhaps by itself an act inviting criticism and dissection.

Food for thought, I guess

[ : Lena “Tracer” Oxton + her S/O Headcanons : ]

○ Loves to run up behind her partner and hug them from behind, picking them up and spinning them in the air. This happens alot more than it should.

○ Likes to buy her s/o small things, either it be candy, a bracelet, or a candy bracelet.

○ If someone insults her s/o, she’ll insult them back with the most complex and well constructive argument. If she leaves the insulter speechless, she’ll cross her arms, tap her foot rapidly like bugs bunny, and say “I’m waiting.”

○ When jealous, she’ll become really huffy and clingy.

sortinghatchats does Star Wars: The Force Awakens

We sorted the original trilogy (Han, Luke, Leia, etc.) and the prequel trilogy (Padme, Anakin, Obi Wan, etc.) here. Take a look!

For those who are new to the sortinghatchats system, our basics post is here. But to sum it up: the way we play this game, your “primary” house is WHY you do things and your “secondary” house is HOW

Note: I’m sorting purely off movie canon, not the extra canonical details of the companion novel and comics, etc -Inky

Rey, who has shaped her whole life around waiting for her family to come back for her, is a Hufflepuff Primary. She is desperate for community, and patiently, determinedly waiting for it. She is also (another Hufflepuff trait) willing to fight for any person or sentient who crosses her path. She’s indiscriminate in her willingness to help others, even when she has so little to share.

The thing that carries her off Jakku is that BB-8 and Finn need her. Hufflepuffs have a tendency to need-base– to help the people who need it first, rather than doing the Slytherin thing of prioritizing their favorite and beloved people first. Even knowing her family might come back, Finn and BB-8’s needs do what even constant starvation and exhaustion never could: drive her off Jakku.

Then, the thing that keeps her from going straight back to Jakku after is a) the new family she’s found in Finn and b) the promise of a new family, destiny, and community in Luke and the Jedi Order. Offered a new community to fall in love with and a new home on the Falcon, Rey is finally able to let go of the possibility of her family’s return, which she has been clinging to desperately for so long.

While Rey’s got a blunt sort of personality (charging at Finn with BB-8, etc), I think that’s more of a sign of her passionate Hufflepuff Primary than a Gryffindor Secondary. While Rey certainly charges at things (a common Gryff Secondary indicator), the stuff that seems to really define her is her steady work ethic, cleverness, and her skills with droids, ships, and circuits– a Ravenclaw Secondary’s traits of collected knowledge, skills, and tools.

Over her years scavenging on Jakku, Rey has picked up a vast and easy knowledge of ships’ innards that she is able to apply cleverly and effectively throughout the story. She fixes the Falcon, winning her Han’s respect and affection. She uses the inside of the battle station as a jungle gym. She hacks the doors inside Han’s transport, saving Finn from the rathtars/tentacle-y monster things. Many of her victories come from previously gathered skills and knowledges, so well-learned that she can apply them to great effect.

In her final fight with Kylo what tips the battle in her favor is her memory of and application of Maz’s teachings– she closes her eyes, she listens for the Force, and it is that (not her affection and worry for Finn, not her anger over Han, not her inner goodness) that lets her succeed. And it is her existing skills with the staff that had helped her hold out that long against a trained opponent.

Now, leaving everything else behind, Rey’s off to Luke’s island of angsty solitude to shore up a new set of skills for her Ravenclaw Secondary, which was already pretty impressive to begin with. I’m gonna go out on a limb here and say this kid’s gonna grow up to be one badass Jedi.

From what we have seen so far, Finn’s a Slytherin Primary.

(There’s some argument to be made that he’s a REALLY BURNED Hufflepuff Primary who doesn’t think anyone’s a person other than Rey, and that he’ll un-burn over the course of the series… but that’s a way more complex argument. From what we have seen so far, the simplest sorting for Finn is Slytherin.)

But the things that drive Finn are this: a) his survival and eventually b) Rey’s wellbeing. The epiphany moment that drives him to leave the First Order is triggered by the death of his friend, who leaves the iconic red handprint on him. However, when he and Poe escape the station, Finn fires guiltlessly on other Stormtroopers, implying that his loyalty and grief are specific to individuals. It’s not a general sense of empathy or morality that drives him.

This trend follows when it comes to Rey’s rescue as well. Finn lies about his ability to help the Resistance in order to get himself on the ground to find Rey. Trusting his intel, General Leia sends men, women, and other sentients to risk their lives. Finn is gambling not just those fighters’ lives but also the lives of the whole threatened planet– and he’s not even gambling. While he, Han, Chewie, and Rey do manage to get the shields down and the base destroyed in the end, that was never Finn’s plan. He wanted to save Rey, and he carelessly and callously risks peoples’ lives, promising a chance at victory he provides almost as an afterthought.

This makes Finn a loyal friend, and a little bit of a loose cannon. If he follows the theme of other heroic Slytherins in this series, he’s likely to grow a much more Puff-seeming or Gryff-seeming morality system for the sake of friends like Rey and Poe. (See: Han Solo, re: Luke and Leia’s sake). While Slytherins can easily have independent moralities, Star Wars seems to really like Slytherins building moralities primarily for the sake of their loved ones. Anakin not doing that for Padme is one of the things that doomed him, thematically speaking.

As for the HOW: Finn’s a Gryffindor Secondary– he charges at things. When he wants to get out of the station, he kidnaps/frees the enemy Resistance pilot, ripping off his helmet in an alcove and blurting out his intentions. He drops himself on the battle station to find Rey with no plan at all, assuming if he just goes in and tries that something will work out– and it does. At a cost.

Finn’s also got that general Gryffindor Secondary trait of being so obviously genuine that people believe him even when they maybe shouldn’t. Poe, BB-8, Rey, Leia, and the Alliance in general trust him– they steal spaceships with him and attack space stations on his word. It’s only Han, our other Slytherin/Gryffindor (a theme in these movies– Anakin was one as well), who immediately susses Finn out as an obvious liar. (And even then, Han knows the thing Finn would like to do most is come clean).

That’s an important factor, here– that your secondary is about what you want to do and what you feel you should do, rather than perhaps what you actually do. Finn lies a lot in this movie, but he doesn’t seem to really want to, and he’s happiest and most effective when he’s blindingly, passionately honest in his intentions. I’m looking forward to see what this kid grows up into.

OK, so we barely see any of Poe. I really liked him and hope we get more, but for now this is a very… extrapolated sorting of him. 

Poe’s got a sass on him to make any Slytherin Secondary proud, but I think his jibes with Kylo Ren come from a Slytherin Secondary performance rather than that actually being a part of him. That sort of banter is something he’s learned and put on, and it’s not in the end a very useful part of his personality at all, except for winning movie-going audiences over. The skills that actually make Poe important are just that– skills, as a fighter pilot, a droid-speaker, and a resistance fighter. 

When Finn and Poe are escaping, Poe explains that he can fly anything. He gets into a First Order ship and not only knows enough about its functionality that he can fly it himself but also knows it well enough that he can talk Finn through manning the guns. This seems… a little above and beyond. 

Ravenclaw Secondaries succeed at things not just because they are prepared for what comes, but because they are prepared for things they didn’t actually expect to happen. 

They collect skills, knowledge, and tools because they love filling their pockets, metaphorically speaking (or not), not always because they are expecting utility to come out of them later. Poe loves what he does, and the skills that come in handy for him he didn’t necessarily know would be useful when he collected them. 

(I could also easily see him as a hard-working, reliable, friendly Hufflepuff Secondary, though, so… let’s see what the rest of the trilogy brings us). 

As far as primary, the WHY– my best guess is Gryffindor. He seems to believe in the cause and to believe in people in a particularly engaging, earnest way. What’s driving Poe doesn’t seem to be the communal-loyalty of a Hufflepuff, or the measured, deliberate idealism of a Ravenclaw, or the pointed selfishnesses and loyalties of a Slytherin. But there’s still a lot of Poe we haven’t seen, so I’m gonna take a rain check before I’m willing to die on the hill of Gryffindor Primary Poe.

Kylo Ren is a Ravenclaw Primary (sorry Ravenclaws). He’s not a lost Hufflepuff looking for community (though that would have been one easy way for Snoke to steal him); he’s not a certain Gryffindor or even a broken one; he’s not a Slytherin driven by ambition for his own self and his loved ones. Kylo thinks he knows what is true. He’s figured it out– with twisted, manipulative help from Snoke– and now he’s killing himself (and others) to live by those truths. 

It’s particularly apparent in his conversation with his grandpa’s melted old helmet– little Ben Solo is torn up inside about how his gut and instincts are pulling him toward the Light, when he intellectually knows that the Dark Side and power are the correct side. Where Gryffindors feel dirty if they bloodlessly weigh morals and ignore their gut screaming against it (“You can talk yourself into anything. But some things are just wrong,” some Gryffs might explain), Ravenclaws feel selfish and wrong to if they ignore their logical conclusions just because it makes them feel bad in their tummy. 

When Kylo feels himself faltering in his belief, he sees his gut impulses away from the Dark Side as a flaw, and as something he needs to fight against. It is his intellectual belief in the Dark Side that he prioritizes and chooses to devote himself to. 

Though trying to get his father to bring Ben back into the fold was a good gamble, it was never going to work. Kylo’s gut screaming at him not to do it–those mixed loyalties tearing him apart inside–was only ever going to encourage him to shove those feelings down more and look to his logical, learned system for what to do. The thing that matters most is to do right, to do true, and Kylo believes that that truth is something that lives outside himself in the Dark Side of the Force. He will sacrifice all his own loves and griefs and his own self to serve it. The tattered remains of his love for Han (and his similarly complicated hate for Han) only got in the way. That murder was a moment of ascendancy for Kylo, in a twisted way. It was a test of strength and he passed. 

Kylo’s Ravenclaw Primary is also apparent in some of his final interactions with Rey. Seeing that she is like him– powerful– he is certain she will see the truth of his ways and change to his side (“you need a teacher!”) if only he can explain it over the clash their lightsabers. Ravenclaw Primaries, especially immature ones like Kylo, often believe if other people just think long enough and well enough that they will of course come to that Ravenclaw’s own conclusions– and not just agree with them but change to live by those truths, too. 

Too bad for Kylo, but a) his Ravenclaw system is stupid and b) Rey’s a Hufflepuff, kids, this ain’t gonna fly. 

He seems to have inherited his parents’ (and grandfather’s) shouty, blunt Gryffindor Secondary– though both Leia and Han carry (and carried) it more effectively than Ben has yet learned to. But he has a tendency to blast through things, to shout, to leap without thinking. He shoves into people’s heads, stalks down corridors, yells, slashes. He’s a blunt force weapon, but Star Wars as a universe seems to like those okay, so he’s probably going to grow up to be decently formidable.

tl;dr
Rey: Hufflepuff Primary/Ravenclaw Secondary
Finn: Slytherin Primary/Gryffindor Secondary
Poe: Gryffindor Primary/Ravenclaw Secondary (Slytherin Secondary performance)
Ben Solo/Kylo Ren: Ravenclaw Primary/Gryffindor Secondary

anonymous asked:

Stuff like 'neji/sasuke didn't care about the slavery/UCM anymore', 'naruto couldn't tell what's love' or 'sasuke loves sakura bc they fucked' and etc make me wanna puke. They use fictional characters' choices to justify a plot, and even say those reflect their 'true' feelings? It's stupid and pathetic. Kishimoto MADE them make those choices. It's just lazy writing -he cheated his way out of complexity. Arguments should come from the development in canon and common sense, not the aftermath.

The first one is really easy to rebut, slavery and massacre need to be addressed regardless of if any character cares about them in the narrative. Slavery is wrong, massacre is wrong, they don’t become right just because some fictional character like Itachi approves it. The same for Neji and Sasuke, their feelings are irrelevant to how these events should be portrayed. Who cares about their feelings? we’re talking about some serious shit like a fucking genocide, this shit can’t be justified whatever feelings Kishimoto gave to his characters.

‘sasuke loves sakura bc they fucked’

This one is even easier. People fuck when they’re horny. We’re wired this way.

How to Write a College-Level Paper: The Basics

by caffeinatemystudies

Hey everyone! I thought I would share some of the knowledge that I  gained in college how to write high quality essays. I hope these tips help!

Pay Attention to Assignment Details -

Professors normally give fairly extensive written directions for each paper or type of paper that they assign. Pay attention! Your professor’s directions are your best guide for writing your paper - it should include everything from content, to length, to format, to citation style. Read the directions before you start your paper. Read them again. Nothing is more embarrassing than losing points on an assignment, because you ignored simple directions.

Do you have any questions regarding what is expected of you? Go ask your professor or TA! That’s why they have office hours and give you their email. I personally prefer to ask questions about assignments via email initially. It allows me to list my specific questions/concerns and not worry that I forgot to ask something important. Additionally, it leaves me with a written answer that I can refer back to.

If your professor/TA doesn’t give you a sufficient answer via email I recommend going to their office hours to discuss any further confusion. Write down the answers they give you.

Know the Length of Paper You are Writing

The length of your paper will inform whether you should discuss a topic broadly, use all of the information given to you, or seek out more information.

Knowing the length of your paper is essential to how you should approach your paper. There is nothing worse trying to work with too much or too little information. Often you will be asked to write 1-2 page response/reflection papers or 3-5 essays answering a prompt on a topic that you just read 100+ pages on. This forces you to select what information to highlight when you write - in papers this length don’t try to cover everything. Stay relevant.

However, you could end up with an opposite problem, being asked to write 20+ pages and having only read 100 pages of assigned course material. In order to present information that is all relevant to your thesis, you may need to seek out more information.

Know Your Topic -

Before you can do anything you need to know what you are going to write on.

If your professor provided you with a prompt - you are in luck! You don’t have to spend time deciding what to write on, just how you are going to write about it.

If you have been given the freedom to choose your topic - decide on a general topic, but don’t establish your thesis until you have done some research.

Research First - Read Relevant Materials

There is nothing worse than deciding exactly what you want to write about and discovering that you don’t have access to information that supports the argument that you want to make. That’s why I recommend reading on the general topic you were assigned or have decided to research before you develop your argument. You want to make sure that you have adequate information to support your argument.

Every Paper Needs a Thesis -  

Every. Paper. Needs. A. Thesis. There are no exceptions. None. It tells the reader what your paper is about.

Knowing your thesis is also a valuable tool as you move on to outlining and selecting the information to include. Everything in your paper should serve to support and explain your thesis.

Now, I am going to skew everything that you learned in high school: your thesis does not need to be just one sentence. It also does not need to the the last sentence of your first paragraph - but it can be! The length of your thesis is dependent on how complex your argument is (which should related to the length of your paper).

Make sure your reader knows what the paper is about by the time they conclude the introduction.

Make an Outline

An outline helps you break down your topic into tangible pieces. For a shorter paragraph it may mean listing the argument that will be used in each paragraph. In a longer paragraph it may mean breaking your paper down into sections.

You don’t have to write it out, especially if it is a short and simple paper, but you should know the general organization that you are going to use for your paper. This also means deciding what arguments you are going to use to support your thesis, based on the research that you have done

Crafting an Introduction

Introductions are one of the least understood sections of a paper, which often frustrates writers. Understanding the purpose of an introduction can make writing one the easiest part of every paper. A good introduction can also serve as the road map for writing the rest of your paper.

A good introduction:

  • Provides context - Begin your introduction with an anecdote related to the topic. This will provide the reader with background knowledge of your topic and catch their attention all at once.
  • Tell the Reader What the Paper is About - Your introduction should tell your readers what your paper is about (your thesis). It may also provide a simple guide to the rest of your work if it is extensive.

Write the Body of Your Paper

This is the straightforward part of every paper. Make your case. Use examples that support your thesis.

Conclude Things

Bring your paper to an end by explaining how all of the arguments you shared within your paper work together to support your thesis. Your conclusion should make it clear that it’s not just one of the arguments that you made that explains your thesis. It’s the arguments combined. Sell it!

Leave your reader with something to think about. A call to action. Leave an impression on your reader.

Set Aside Some Time and Your Pride - Revise!

With how often college students end up cramming their assignments they often leave themselves with little or no time to revise. Don’t fall into this trap. You’re preventing your paper from being in its best form and there is nothing more embarrassing than a series of typos.

  • Proofread for mistakes - start by making sure that you haven’t accidentally left any sentences hanging by going between sections. Or accidentally typed the wrong word - Word won’t catch that for you!
  • Don’t be wed to the organization of your paper - be open to altering the order of your paper once you’ve written it. You may decide that it works better in another order. Literally cutting paragraphs apart and moving them around can be a fun exercise.
  • Re-Read your final draft - especially if you have made changes it is easy to leave awkward copy and pasting mistakes. Don’t leave yourself exposed to this awkward mistake.

Never Write Another Citation

Download the freeware Zoltero. You will thank me. It is 100% free and 100% safe. My university’s library taught students how to install and use it. It’s the real deal. It comes equipped with standard citation styles, but you can download extensions for literally any style. Even obscure citations styles (International Studies Association - I’m looking at you)

It has browser plug ins that allow you to pull the citation information from any web page with the single click of a button. You can type in the ISBN of a book to generate all of its citation information. Or you can manually enter or edit citation information. Zoltero will keep a full library of any sources that you have saved and you can create folders within it to organize your sources by project.

The best part is the Microsoft Word plug-in. Other programs will generate the citation for you, but you are still left playing with formatting and copying and pasting all of your citations. Never. Again. With the plug in simply click “add in-text citation” from that add-in bar. A box will pop up. You type in the title, author, or publisher of your source, and suggestions will begin appearing on a drop down menu. Select the correct source.

After you select the first source in each document it will ask you which citation style you would like to use and offer you options such as footnotes or endnotes depending on the style.

What’s better? When you’re done simply click “insert bibliography” and watch a works cited page that is properly formatted and organized based on the style you chose appear in your document in seconds.

Add or remove citations during an edit? Simply click “update bibliography” to updated your works cited page.

You’re welcome!

Keep your eyes open for my guides that offer more specific help on how to write different types of papers! They should be posted in the next few days!

The problem with fandom wars probably is that people don’t seem to understand that all people are different. Not all fans read the books the same way. So when they read how Snape bullies his students, one thinks “ugh that’s just mean” and other begins wonder why he behaves the way he does. They find him interesting rather than repulsive.

I have always, since my childhood, been interested in dark and complex characters. I was so confused when my friend liked nice, cozy or comic relief characters the most. Like yeah, they ARE nice – but thats it?! That’s what I thought back then.

As a fan I’m an analyzer. Your (supposedly) unproblematic cinnamon rolls just make me bored. I need to have skeletons in the closet, blood and bitterness, heartbreak and horrendous crimes to dig up. I’m interested in the dark side of the human mind. I wanna understand it. And by no means am I saying that understanding is accepting it. Frankly I’m a bit worried about the simplification of Snape you often see on Tumblr. When you refuse to understand evil and its origin, you refuse to work for a better future. For example, you need to understand Nazi Germany to make sure something like it won’t happen ever again. Germans aren’t just born with evil in their blood.

Of course nice and funny characters can be complex too. But Snape is by far the most complex character of the HP books and therefore he’s the ultimate fan favourite.

Problems rise when a group of fans assumes everybody likes things the same way they do. Then they begin to demand how can anybody LIKE Snape (or any other villain or problematic character). The thing is, we don’t like characters because they’re admirable or likable but because they’re complex. More complex than your simplistic arguments.

anonymous asked:

Can we achieve some stable social progress by teaching the public and institutions to understand the nature of statistical distributions, not misrepresent complex arguments, avoid cognitive biases and tribal tendencies? Or will it always be more efficient to spread distrust and play on emotions by straw-manning - or worse, introducing cunning ideologies and strategies behind the seemingly unbiased materials?

25% of people think the sun orbits the earth, good luck teaching everyone statistics.

anonymous asked:

Hello! I am currently a Junior in high school and will be applying to colleges near the end of my second semester. Unfortunately, I cannot decide what I want to major in and whether I should attend a film school or a college. The three majors I am drawn to are film production, screenwriting, and television writing and production. I am aware I can choose to pursue a double major or a major and a minor, however I want to choose an option best for me while being financially aware. Any suggestions?

Hello Anon,

I personally think attending a college that is not just a film school is a better idea. The reason is you are surrounded by people who aren’t in film and, therefore, get to learn and surround yourself with people who learn about things outside your field of study.

Films do not exist in a bubble so it is important for films to have substance in addition to entertainment value. Like a writer, a filmmaker has to “become” many different professions. Psychology helps understand how and why people act the way they do (character development), philosophy helps you think critically and be able to dissect complex ideas and arguments. History shows you how the past influences the present and how the present distorts the past. Science helps you understand how the physical world operates (How far can the human body push itself? What are the physics of space travel? What would a post-apocalyptic world look like?)… The more comprehensive your knowledge of the world, the more insight you have into your own film.

Take the superhero genre, for example. When fans of a certain superhero go to see the movie, they can tell if the film was made by filmmakers who not only know the source material, but understand and are passionate about it. And it makes those stories more enjoyable and dynamic.

Now, I am not at all implying that those who attend film schools have limited world views or can’t create complex films. That simply isn’t true. However, you do have a lot easier access to information in other areas of study if you attend a college as opposed to a film school.

Film production, screenwriting, tv writing.

As for your major, that is a decision you have to make for yourself. I would like to note that screenwriting and TV writing are not that different and by choosing one over the other, you are not necessarily limiting yourself to just film or TV. (I am a screenwriting major hoping to pursue a career in TV writing.)

As for film production, that is also a great major to pursue. Producers are in high demand because it is a hard job with a lot of preproduction and business skills that many filmmakers don’t like/know how to do. While film producers can be creative forces, they are often in charge of more technical aspects, such as budgeting, hiring key personnel, and overseeing the overall production. (I would like to note that TV producers are different and act a lot more like film directors in terms of creative input.)

I hope this helped and forgive the lengthy response (I can ramble about psychology and history if given the chance)!

Best,

Jules

How much of a sick world we live in, where the “romance” of Rhaegar and Lyanna are seen as positive and sweet?

Well, firstly, I’ve read the books and I’ve seen the series to the point where I could stand the atrocities HBO did to the adaptation. No, I have no problem with adaptations at all and I’m aware that it is impossible to adapt the whole story of ASOIAF. Yet, it doesn’t mean that I can, easily accept the simplism, lack of continuation and senseless plots the HBO version have done. Just watch and realize how much simplistic and failed the scripts of s5 and s6 where, it wasn’t worse because of the good work on the effects and the technology part. But that is it, I wont talk about the series no more, I’ll speak about the fans.

Ok. Something I need to let clear from the start, I don’t hate Lyanna, very much of the contrary, I really adore her, I see myself on her so much and I see (as much as Ned did) Arya in her, and Arya being one of my fav characters, that speaks much. And it is precisely because of my identification with Lyanna’s archtype that I’m not able to enjoy her so called “relationship” with Rhaegar, as so many fans and digital artists does. Because to me, only a sick society would enjoy a romance between a adult married depressive man and an influential teen girl. I know, someone will appear with the not-so-complex argument of “but by westerosi society Lyanna was seen as a young woman” Yes, and the “westerosi” society was inspired,partly by our own world, where we still have young teen girls, being called woman and used by man as they wish, we have that in EVERY part of the world. So, I’m not sorry if I wont use, nor collaborate, with an argument that is used today to oppress , rape and destroy young girls lives around the world.

So, my point is, Lyanna was a teen girl, rebellious and yet sweet. Justice seeker and yet ingenuous. Lyanna was wild and yet influential. So, if a crown prince comes after you, the daughter of the most strategic vassal of his father, what do you do? Deny him? Or be impressed that he is after you at all? Also, Lyanna was unhappy with the idea of marrying Robert, a person she knew kept having bastard children around Westeros. She didn’t wanted that man to be her husband, so, to me, it is pretty clear that Rhaegar, the adult, used his position and influence to get that girl out of the situation she was in and she didn’t want to be. Starks are known for their impulse, not so wise, and I’m pretty sure that was what happened with Lyanna.

But the worse is, Rhaegar’s action lead to his mad father killing Lyanna’s family. So, Rhaegar’s inconsequent actions lead to the realm’s war, the death of half part of the kingdom, the rape and murder of his wife, Elia Martell, and many other anonymous poor women, as well as his own children. It lead to Lyanna’s early death. To Jon being rise as a bastard (because that is what he is)to his family downfall. I know, again, someone will come to tell me that Aerys is to be blamed by Rickard and Brandon’s death as well Tywin are to be blamed by Elia, Rhaenys and Aegon’s death. Ok, they were, but, if wasn’t for Rhaegar’s stupid actions, there would be no Aerys killings Starks and no Lannisters killing Martell/Targaryens.

My point is simple and direct: It is sick to ship a young teen girl with a unstable married adult man, especially when their meeting lead to so many people’s death, especially their own and their families. And I think it is a disrespect to Lyanna’s symbolism, to ship her with the man that brought her destruction.

I know, once more I’ll be persecuted by my thoughts, and I’ll receive hate messages because my opinion. But I’m ok, I don’t care. I prefer to be a healthy person, full of sense, and to respect a young girl’s symbolism, than to ship a sick couple that lead to death of innocents, especially their own.