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The Year I Almost Never Had

“One year ago today I was wandering in open fields, unaware of how my life would nearly be cut short and then change forever. One year ago today the temperature was mild and I was making my way around familiar territory when suddenly a snow storm moved in faster than I was prepared for. The snow fell so hard and so fast. I was just a little guy. No more than a couple months old. I did the only thing I knew to do, head to shelter. But the storm was too strong. The snow was falling too fast. It was dark and I had lost my way. I pushed until I could push no more and eventually the snow covered my curled up little body and the freezing cold temperatures began to take me. I slipped slowly into unconsciousness. My body immovable. My eyes jet black. My fur frozen stiff. This was the end. It came so suddenly, so unexpectedly, so cold. The sun came up the next morning but I did not feel its warmth, nor could I gaze into its hope giving light. My eyes were frozen wide open, face down in the snow, and I was no longer breathing.

What happened next is mostly a blur, but like an out-of-body experience I recall two warm hands sheathed in wool gloves scooping me up and turning me over. My body fell limp. I could not hold up my own head, I could not see a thing, and I had stopped breathing some time ago. A crowd gathered around as I was put next to a fireplace and rubbed repeatedly. Still, I had been frozen for much of the night and the mere hope of a Thanksgiving Day miracle was simply not enough to breathe life into my lifeless frame.

But that did not stop the family who stumbled on my snow covered body. They continued working with me, turning, rubbing, warming until I felt something. I felt the slightest breath of air enter my lungs and my mouth opened just enough to signal the man holding me to keep going! Do not give up, there is life still in me! He did not give up. He did not throw in the towel. He kept going strong for more than an hour before I finally opened my eyes and beheld the loving human who had given his all so that I could have a second chance at life.

Thanksgiving will always be special to me. More than a holiday. More than a feast. It will be the day I was reborn, given another life, and shown love and kindness like I had never seen before. A love and kindness that is much needed and much desired in the world. On Thanksgiving I will forever be thankful for those who took me in, who gave me shelter, who gave me warmth, who gave me of their food and of their hearts.

Thank you to all who have supported me along my journey and join me as I live a full, healthy, happy, and blessed life! This is only the beginning and I have so much more life to live.

Today I am thankful. Happy Holidays from your furry friend Laz, the formerly Frozen Kitten.”

By Lazarus The Frozen Kitten

Every inch of you (F)

Park Jimin x reader 

“I could have every single inch of your body pressed right against mine, and I’d still say pull me closer” 

K.F.

Originally posted by if-imthedevil

  The mornings were always tough, waking up at a decided time is never easy, no matter how much you try to convince yourself. By today was different. Today the woman who hated mornings so desperately begged for the time to stay instead of pass.

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sourwolfstories top 10

Happy Ending Sterek Fics (by request)

1. Permanent Fixture by linksofmemories

Derek is Scott’s older brother. Stiles is Scott’s best friend. Derek is falling in love with Stiles. This is a bit of a problem.

2. Mating Habits of the Domesticated North American Werewolf by lielabell

Derek doesn’t do pining. He doesn’t. So when it becomes clear that Stiles is much more interested in having Derek as a new best friend than a boyfriend, he puts on his big boy pants and makes it fucking work. He becomes the best goddamn friend a spastic teenager could ever hope to have.

3. I Just Wanna Be With You Every Day by Brego_Mellon_Nin

When his best friend’s son barrels into the kitchen only dressed in a pair of skintight jeans, lean but defined torso on display, Derek knows he’s truly and utterly fucked. Not only is the kid barely eighteen, but he also happens to be the Sheriff’s only son.

Derek makes a vow to himself that he will not seek Stiles out and he’ll get this thing under control.

4. Worlds Apart by siny

Derek Hale, Heir Prince of Betonia and Italy, meets Stiles Stilinski, college boy.

5. UST (An Unfortunate Series of Tropes) by ureshiiichigo

Stiles and Derek sitting in a tree, M-A-R-R-I-E-D.

Wait, what?

Or: Stiles thought he and Derek were finally getting to be bros, and then Deaton had to go and ruin everything with his stupid spell.

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Jasper´s life sucks

>fighting from the day you were born
>your sisters are defective and disgusting by society´s standards
>but you´re perfect so let’s take you away from them to fight in the big fights
>rose quartz kills his diamond
>she wants to kill her, but in all of the war she never even gets to see her in person.
>the war makes her hate her own planet
>war ends and she didn´t avenge her mommy
>spends the next thousands of years doing jack shit
>a peridot forces her to go back to the home she hates
>well at least I can finally kill rose quartz and avenge my mommy
>turns out she shapeshifted into a fat human and doesn´t even wanna fight you
>you beat her and take her minions prisoners without resistance
>the fusion escapes and kicks your ass and breaks your ship, stranding you on earth
>ok but if i fuse with lapis i will kill them
>lol, nope. she traps you in a fusion of hell
>months suffering under the sea
>but then you finally start to enjoy it. finally something good for once
>nevermind the crystal gems just defused you
>you fall to the water and get left behind while the blue bitch gets to live life in a barn
>after a week of being underwater you finally catch up to her and you propose to her
>rose cock blocks you and the blue bitch punches you so hard you end up in the other side of the world

>starts planning an attack, collecting those gem monsters
>who knows what they are and who cares, im collecting them
>bring those ugly fuckers to your home and imprison them like rose imprisoned you
>show up to her house to impress rose, showing her army
>kicks the shit out of that ugly ass amethyst who deserves to die
>but rose can’t let me have anything good so she takes her gem away from me before i can shatter the ugly purple fuck
>fusion beats me once again
>ok but next time rose.next time….
>rose, the purple fuck and the peridot who brought you here show up to try to beat you
>whatever i can take them down
>except they fuse and fucking kick the shit out of you again
>at this point you´re suicidal so you decide to fuse with a corrupted gem monster so you can at least take them down with you
>Lol nope
>rose quartz offers you the deal she gave to lesser people
>you tell her to fuck off because she killed your mommy
>except she doesnt even know who pink diamond is
>the last moments of sanity you have is a sunken realization that the fat kid you´ve been searching is indeed just a fat kid and not rose quartz, and everything you have done for months is pointless

>months later your family ends up liking the purple fuck more than you

And if we go by what the trial implies:
>the killer you´ve been searching your entire life was framed and you´ve been serving your mother´s killers

The problem I have with the argument that “Tamlin didn’t know the note Feyre sent was really written by her, especially since he didn’t know she could write and read now. He had every reason to think it was suspect” is that it so closely mirrors the type of rhetoric that people use to forgive abusers and reshape narratives of abuse in real life?

I mean it’s pretty simple:

Feyre = domestic abuse victim

Velaris = safe house

Inner Circle (and specifically rhys and mor)= people who help her escape abuse and get to the safe house

I mean, how many times, in real life, do we see domestic abusers angry and upset that their victims have escaped them? How often do those abusers go after their victims? I mean, that’s why the locations of safe houses are secret! That’s why there are entire networks of people devoted to keeping those houses safe and secret (the wards on velaris!!!!) Because abusers will try to prevent victims from leaving. And the reasons they give? “No one loves you like I love you” “I’m whats best for you” “I won’t do it again” “You can’t leave me because if you leave me I’ll do x, and x” 

I mean, abusers, don’t exactly listen to what their victims say.  They don’t listen to what the victim wants. They just…abuse and abuse and don’t really care about the victim’s opinion or wishes.

Fairly often, abusive husbands are angry when their wives and children escape and go to safe houses. They literally….will hunt women down. 

So Tamlin’s reaction to Feyre leaving is…fairly in line with how abusers react in real life. He doesn’t listen to what she wants. It’s fairly clear that Feyre was unhappy…I mean her depression and eating disorder are obvious. She vomits from nightmares every night.  It’s clear that she wasn’t being hurt by Rhysand all those times she went to the Night Court for a week and came back unharmed. She told Tamlin she was okay. She told him she was uninjured. So…Tamlin ignoring Feyre’s note is just another instance of him, an abuser, ignoring his partner’s wishes. It’s not a mistake on his part, nor is it an example of him trying to protect her. 

It’s an example of an abusive man thinking that he knows better than the woman he is abusing. 

Tamlin sends Lucien to HUNT FEYRE DOWN. He literally hunts her…to try and forcibly bring her back to the Spring Court. And yes, Feyre pretends to be all evil so that Lucien won’t know about Velaris but…Tamlin still doesn’t give up hunting her. He allies with Hybern in order to get her back. It’s sick and fucked up.

So I really…do not care that Tamlin might have had reason to think the note wasn’t from Feyre. Because at the end of the day, it’s just more of him being an abusive prick. And the logic of “but he didn’t know if she was okay!” mirrors how people in real life try to frame abuse. We constantly see this narrative in literature (fifty shades!) and real life that the abuser was just trying to do what was best for this victim and “didn’t mean” to hurt her. Okay well…ultimately it does not matter that Tamlin “didn’t know the note was actually from her.” 

Would Tamlin have listened to it even if he had known, unequivocally, that it was from Feyre and represented her wishes?

Nope. Because…he doesn’t listen to her wants and needs even when she’s speaking directly to him. He didn’t allow her any freedom in the Spring Court even though it was killing her. Literally, she was wasting away. He didn’t care then, so why can we assume that he would have listened to the note had he known it was from her? We can’t. So you can’t really make the argument that “Tamlin didn’t know it was from her” because either way…his actions would have been the same.

He’s interesting in controlling and “protecting” Feyre, aka abusing her, he isn’t interested in listening to what she wants. 

The argument that Tamlin didn’t know the note was from her implies that had he known, he would have acted differently. And that’s a false argument given what we know of his direct interactions with Feyre in acomaf (abusive! ignores her wants and needs). And…not only is it a false argument…it’s the type of argument that in real life…would be really detrimental to abusive victims.

Bitter Friendship

This is for the anon who requested for Anti. I sorta changed it a bit; instead of them forming a friendship, I’ve written the reader and Sean have been friends for a long time. 
Sorry if that’s an issue, it made it a little easier to write :)

Anon request:

“I have no clue if this fits Anti in your view, but if the reader had recently moved to Ireland and comes across him, thinking he’s Sean, and they befriend each other (him kind of fancying her) but someone who is against Anti kidnaps her and really tortures her (physically and mentally) and Anti finally finds them and goes BALLISTIC and saves her, revealing that he isn’t Sean and the reader doesn’t care but lets him comfort and confess his feelings to her? Sorry it’s weird… Thank you so much!!”

Warnings: swearing, mentions of torture, angst, fluff, a little blood, violence, knives. 

Hope you enjoy!

Originally posted by dork-iplier

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todoloquetecaemal-deactivated20  asked:

i'm thinking on working on a fanfiction. it's focused on the harry potter world, and even though i want to make the characters seem noticeable different and grown as people, i still want to have it make sense and stay true to the story, since it happens right after the books end. any advice? thank you, love!

Thanks for your question, darling!  This is a really interesting topic to discuss, since so many fanfic writers try their hand at the aged-up AU without really thinking about what that entails.  No one really talks about it, so of course, we all go at it blindly.  But I have a few thoughts that might help :)


Writing Aged-Up Characters

I’d like to note first that this post applies best to characters aged up from 1-15 years older than their current age.  Once you start aging characters from 20 to 50 years old, the process becomes much more complicated – especially considering the life experiences in that time frame, like marriage/divorce, children, career changes, retirement, health changes, etc.  This is also a process that mainly involves list-making, so if you like lists, then you’re gonna love this (+ any of my ideas tbh I’m such a list whore).  Anyway

Step 1: List the Character’s Traits

You were warned.  The first step to aging a character properly is to take inventory of who they are now – their negative and positive traits alike.  How extensive you choose to be is really up to you.  You can list all their major traits, their preferences and fears, down to their quirks and sense of humor.  Or you can just stick to their major traits (which is what I’ll be doing for the example list).  From experience, though, I recommend you be as in-depth as possible.

To give an example, I’ll create the character Kara Roberts:

Kara Roberts

• Daydreamer
• Patient
• Loves big dogs
• Bad relationship with family
• Strong physique
• Intelligent
• Loving
• Has a crush on her English professor
• Believes in “do unto others”


Step 2: Separate “Developed” and “Undeveloped” Traits

So now that you’ve got your list, the next steps are to help you decide which traits to keep, which to change, and which to remove completely.  The first step to organizing your traits is deciding which are developed, and which are not.  Which traits have potential to naturally improve/escalate, while others are at their complete state?  In Kara’s example:

Developed:

• Daydreamer
• Patient
• Loving 
• Loves big dogs
• Intelligent
• Strong physique
• Believes in “do unto others”

Undeveloped:

• Bad relationship with family
• Has a crush on her English professor

The process may not have been clear, so let me explain.  Traits like patience, loving dogs, intelligence, and morals don’t have anywhere to go from their current point – all you can become is more patient, more intelligent, or more entrenched in your beliefs.  Unless an external incident takes place, they don’t naturally change.

But a crush on a professor can escalate without external change – it can become an obsession, or an obstacle to education.  Or it could just fade with time.  A bad relationship with family can become worse with time apart, or better as time heals wounds.  Unless something situationally changes, these are the only two traits that are mutable with time.

So once you’ve identified undeveloped traits, decide how time develops them.  Leave the developed traits alone for now (we’ll deal with them later) and just consider how their current situations resolve over however many years your character ages.  Put that aside for later.


Step 3: Separate “Innate” and “Acquired” Traits

So we have a new list, minus the two underdeveloped traits, but it’s not our final list.  Next, we separate the character’s traits into those which are innate – those which our characters are born with – and those which are acquired.  In our example:

Innate:

• Daydreamer
• Patient
• Loving
• Intelligent

Acquired:

• Strong physique
• Loves big dogs
• Believes in “do unto others”

This is simple enough to distinguish.  Kara wasn’t born with a strong body – she was born a tiny, squishy baby.  She wasn’t born loving animals, but she learned to love them due to her experiences.  She also wasn’t born with the ideology of treating others how she’d like to be treated, because babies don’t do that.  These are all consequences of how she was raised.

So what do we do with this second list?  Reduce some of the acquired traits according to the character’s experiences.  Kara can keep on loving animals; in fact, she could work at an animal shelter and wind up loving them more.  But if she’s sitting all day in an animal shelter, her strong physique may start to go with time – or if she gets pregnant, or if she starts stress-eating – or even if she becomes an Olympic athlete, her physique would change.  And her “do unto others” belief can easily fade if life starts to hit her hard.  In fact, it’s more likely that her innocence/idealism would take a hit, as she leaves college and enters the competitive job-hunting world.


Step 4: Separate “Rational” and “Irrational” Traits

Now we’ve got an even narrower list, but we’re still not done.  Now you’re going to take the list of developed, innate traits and split it one more time: into rational and irrational traits.  Rational traits include matters of the mind, while irrational traits are based on decisions, feelings, or matters of the heart.  This finalizes the list:

Rational

• Daydreamer
• Intelligent

Irrational

• Patient
• Loving 

Kara daydreams because that’s how her brain wanders.  She’s intelligent because it’s something she was born to have.  But patience is a matter of the heart – you’re born with a certain amount of patience, but you choose to continue being patient.  You can be born a loving child, but you choose to act in that love.  Patience and love are matters of the heart – they’re not just how the brain works.

So you have a third list, and these are the traits you don’t have to just develop or reduce.  Irrational traits are subject to change.  Kara may have been patient and loving in college, but in fifteen years, she doesn’t have to be that way anymore.  Life can change her – normal experiences can change her.  Some of these changes don’t even require an explanation, because life… just does that sometimes.


Step 5: Finalize Your Character’s New Traits

So you have three kinds of traits which you can develop, reduce, or change – but you shouldn’t do this to too many traits, or the character can become unrecognizable.  If we took all our options and made Kara a selfish, unhealthy, impatient person who’s in great standing with her family and stalks her English professor… she just wouldn’t be Kara anymore.  But instead:

Maintained Traits

• Daydreamer
• Loves big dogs
• Strong physique
• Intelligent
• Loving
• Bad relationship with family

Changed Traits

• Patient
• Has a crush on her English professor
• Believes in “do unto others”

So Kara’s still got her charm; she’s strong, smart, and loving… and she’s gotten over her English professor.  But her relationship with her family is still bad, and as time progresses, this wears on her patience.  As her patience diminishes, she stops waiting for things to work out in her favor – so she starts to cut in front of people, abandoning the “do unto others” ideology.

She would probably behave the same with friends, although she’d be less patient during arguments – and she wouldn’t put their needs above her own.  In a business environment, she’d probably be more successful on the career ladder – but in customer service, her impatience would prove a fatal flaw.

So she’s changed, but not completely.  We can see linearly how she’s changed and why, so we believe what we see.  And that’s what makes the whole list process worth it!  You can see exactly what to change and why, without messing with anything else.


Anyway, that’s my method of aging characters.  I hope this helps you to age up the Harry Potter characters – I personally love seeing different takes on mature HP characters, so I’ll be looking out for your fic if you ever choose to publish it!

If you have any more questions, my inbox is always open :)  Good luck!


If you need advice on general writing or fanfiction, you should maybe ask me!

In 1966, Michelangelo Antonioni transplanted his existentialist ennui to the streets of swinging London for this international sensation, the Italian filmmaker’s first English-language feature. A countercultural masterpiece about the act of seeing and the art of image making, Blow-Up takes the form of a psychological mystery, starring David Hemmings as a fashion photographer who unknowingly captures a death on film after following two lovers in a park. Antonioni’s meticulous aesthetic control and intoxicating color palette breathe life into every frame, and the jazzy sounds of Herbie Hancock, a beautifully evasive performance by Vanessa Redgrave, and a cameo by the Yardbirds make the film a transporting time capsule from a bygone era. Blow-Up is a seductive immersion into creative passion, and a brilliant film by one of cinema’s greatest artists.

Arriving this month!

Villain is intent on extinguishing all human life on Earth. Our heroes confront her in her lair, only to find out she’s a negative utilitarian and is just trying to minimise suffering. After an emotive scene where they convince her that life has value and her framing is wrong, she repents and decides to use her considerable resources for good.

In season 2, our heroes discover some mysterious entity sabotaging condom factories and spreading faulty birth control. It’s our villain again, convinced that life has inherent value, abstaining from creating life is equivalent to murder and she is doing everything she can to maximise number of people. Our heroes have to face her again, trying to explain that just life by itself is not enough and the happiness of that life is also important. They convince her of this, and also of not backsliding into her previous ways, and everything seems alright.

In season 3, people are going missing and eventually discovered in strange pods, blissed out on some drug cocktail and with wires stuck to their heads. Our heroes quickly deduce the villain is trying to maximise happiness, in her own way. Realising the predictable flaws of their straightforward approach, they know there’s no way around it: they need an actual complete theory of ethics!

anonymous asked:

Do you have any advice for someone who wants to get into the animation game but has no formal training in it?

I’m a lil confused because to me the answer is pretty simple , its the same as learning any other skill…you just look it up and practice

I mean it seems overly simplistic but thats pretty much the long and short of it..if you want to get into animation you have to learn it , whether its learning from yourself or going to school. You just look up animation and dive in .

Look up the 12 principles of animation , look up the animators survival kit and maybe invest in a copy. Grab some paper and a pencil and do a bouncing ball. There are lot sof tutorials out there on how to animate, and a lot of artists sharing their knowlodge. Just absorb and do , there is no shortcut to a skill. 

If you’re talking about getting into the INDUSTRY without formal training..the answer is 100% the same .  Your work will speak for itself , and if its good enough you’ll get a job without formal training. 

animation isint gifted to anyone, theres really no advice that you cant apply to any other skillset or discipline. Carpentry, cooking , i could go on. Heck , me and my father have completely different jobs yet we go about our work in the same way….knowing where we fall short and learning how to overcome it. 

if you want to animate , just animate. look up books , save ref , draw , do life drawing, watch cartoons , frame by frame animation , study , ask why and how , get involved in animation forums online , so many things.  if you’re waiting for someone to tell you secrets you’re going to be waiting a longgg time haha. 

Im writing this bc I just exposed my worst image in probably 3 years. Just as a reminder to myself. 6 basic tips for cinematography. These are from one of Bradford Young’s instructors.

1. Focus: Is the subject in focus? Are there multiple subjects on multiple planes that you rack between? Which is important when?

2. Compose: Is the shot composed? What does the composition say about the subject? Is the frame for example marginalizing an outgoing character. What does that say? Is it intentional? What is just inside the frame that extends the shot to give it a life outside of the frame? Examine the frame for unwanted items: shadows, electrical plugs. 

3. Expose: Is the shot exposed? A good shot usually has varying exposure values. Is the subject exposed in an intentional, desired way? An underexposed subject is not a “wrong” exposure if the shot calls for it. What is your plan to balance a shot with a subject at T1.3 and a background at T11? 

The above are interlinked. The amount of light (exposure) you let into the lens affects the focal depth. Shallow focus can hide undesirable objects in the frame. Heavy shadows can create geographic shapes in the composition. The focus can guide the eye around a composition. 

4: Continuity: Does your shit match? Not only actions but lighting, background etc. Do you respect the 180?

5: Coverage: Shoot your subject 3 time (wide, med, close) from differing angles. The more you cover the better you can save your ass in the cut. Not necessarily hiding mistakes rather “damn I wish I had a shot of their nervous, fidgeting hands” 

6. Transitions: how do you link shots? scenes? Give your shots a transitional head handle (tilt, pan, focus rack, etc). Hold on the subject for the action. Transition out with a tail handle (possibly the opposite direction you entered the shot). 

The above are interlinked. If you got coverage that don’t match…you’re SOL. Bc you don’t know what the edit will end up, transition in&out different ways so if you exit a shot with a pan right, you can enter the next shot panning right. But if you only planned on the 2nd shot being a pan left but the shot needs to placed *there* welp!

bookscorpion  asked:

Alright, it's me with my list of topics: *people not being all that religious * women's rights *sexuality in general Thanks again :)

The thing to remember is that when I say “not that religious,” it’s relative – i.e. a person not very religious by medieval standards would still be considered quite religious today, because the church was the medium in which public and private life was framed and in which everyone took part. It’s like how pretty much most people in the West celebrate Christmas whether or not they’re religious – it is part of the civic faith of the society. However, the perception that everyone was a bunch of wild-eyed religious zealots who unquestionably accepted whatever the church said is super, SUPER wrong.

Some reading to start you off here:

Those Terrible Middle Ages!: Debunking the Myths, by Regine Pernoud (San Francisco; Ignatius Press, 2000), is the closest thing I have to a short, readable, and general history intended for a popular audience. It will give you plenty of quick facts and overall framework for, as noted, refuting some major medieval misconceptions. Everything from here on out will be more specialized/academic.

The canons of the 1215 Lateran council, summarized (Harvard.edu) and in full (Fordham.edu). Among them is canon 21: “Everyone who has attained the age of reason is bound to confess his sins at least once a year to his own parish pastor, or with his permission to another, and to receive the Eucharist at least at Easter.” You wouldn’t think you’d need to compel these supposedly super religious people to take communion AT LEAST ONCE A YEAR, AT EASTER, which is basically when the majority of America goes to church anyway. Hey, also try canon 42: “ No cleric may so extend his jurisdiction as to become detrimental to secular justice.” Now, I’m not gonna say this is a model of a tolerant and forward-looking legal code, because it gets pretty hairy at the end with its insistence on distinguishing Jews and Saracens from Christians and barring Jews from public office (as Innocent III was a hard-liner on this point). But have a read-through the summarized version, because it’s short, and because I guarantee it will say at least three things to make you go, “wow, I didn’t know they already thought like that in the Medieval Era.” (Which is, you know, when they are dumb and religious and etc.) There was also the Capitula de Judaeis of Richard I (my homeboy) made in 1194, which specifically legally protected the Jews of England and the Plantagenet lands in France, which – while made largely for economic reasons – represented a drastic change from the stringent anti-Semitism happening elsewhere in Europe.

Elizabeth Siberry, in Criticism of crusading, 1095-1274, examines how the clerical sources dealt with the idea of crusading and whether or not it was justified. Spoiler alert: the clerics almost always thought it was, as did the noble vernacular sources, but since this is my area of specialty, I can tell you that crusading appeals were extremely elite (focused on those who had the means and methods to go) and with the exception of the First and Third Crusades, and to some degree the Second, struggled to retain popular support after an initial highly-successful emotional appeal. Whenever the major crusades were over, the popes could call for help for the Holy Land for years, but the average layman paid no attention; they just weren’t that fussed about it. The Fourth Crusade was highly criticized and suffered from almost constant desertions, as crusaders exercised their individual right to disagree with their leaders and cynically question their supposedly Christian motives. See “The Fourth Crusade and the Just-War Theory,” for a good explanation of how the average Fourth Crusader thought, the religious influences available to them, and the decisions they made.

The Albigensian Crusade in the south of France, 1209-1229, against the schismatic group the Cathars, was also heavily criticized and viewed by contemporaries as being more about a king and pope’s political power, and its bloody excesses became infamous and condemned in its own day. Also, even a remote scanning of the history of the 13th century will see new movements and challenges to the pope’s authority popping up everywhere.

As for women, I answered a bit of this in an earlier ask, but some reading to start you off:

Medieval Maidens: Young Women and Gender in England, 1270-1540, by Kim Phillips (Manchester; Manchester University Press, 2003)

Four Queens: The Provencal Sisters Who Ruled Europe, by Nancy Goldstone (New York; Penguin, 2007)

The Beguines of Medieval Paris: Gender, Patronage, and Spiritual Authority, by Tanya Stabler Miller (Philadelphia; University of Pennsylvania Press, 2014)

As above, when I say that women were not silent/submissive/raped as we like to believe, I do have to qualify, of course, that that does not mean their situation was anywhere comparable to modern feminism. There were still distinct social roles and expectations for them, there was certainly nothing like sexual liberation/freedom (at least legally speaking, though of course practice was different), and not much in the way of legal redress for the ordinary married woman (though noblewomen had more options). However, women were fully valued in the roles they were allowed to play in society, were respected as patronesses, advisors, even rulers (as regents for a husband or son, usually, but nonetheless), and in general, had far more of a rich and varied life than popular historiography and our cherished notions of Progress would like to give them. It’s of note that people only ever complain about things being “historically inaccurate” when women are given any autonomy and agency at all. They won’t complain about physical or archaelogical or linguistic disparities, sometimes by hundreds of years, but give a woman any personhood at all, and “oh no that’s not accurate.” Which is a) BS, and b) represents a desire to indulge what I call “stylized misogyny” – i.e. the idea that it’s supposedly historically or socially acceptable to discriminate against women without consequences in this environment is half the attraction for the modern MRA type. They don’t want real history, they want their idealized history where women “knew their place.”

As noted, the situation of our foremothers was absolutely very different to ours, and feminism has made many crucial advances. But the liberal idea that it then took until the 20th century to make any of these changes at all, and that medieval women were just a bunch of meek, submissive helpmeets with no minds, personality, ambition, or respect of their own is just as dangerous.

exile-wrath  asked:

:O what's your beef with trans!fic? I am curious

me: i can sound like an asshole when i talk about this, so maybe i should–
me to me: MAKE THE POST, ASSHOLE

keep in mind, this is all my opinion! you are welcome to disagree!  please don’t take this personally, i’m not calling anyone out, i just want to discuss some broad things i’ve seen in fic, and why it makes me hesitant to read, or very critical of, trans narratives.  so, trans!fic! my problems with trans!fic typically boil down to a number of things:

  • a majority of trans!fic is written in the same style as an origin story. this inherently suggests that this is the major, defining narrative of someone’s life, as everything is typically written with every life event influenced or framed by transition.  i think this really reduces a character to a single dimension, and suggesting that a trans person’s life is exclusively about their transition is kind of degrading.  
  • transition is often seen as this dramatic thing.  “i’m misunderstood, because i’m trans.” “no one will love me, because i’m trans.”  and i hate seeing this narrative and mindset in stories, but also self-perpetuated within the trans community.  transition can be a positive thing, and it should be celebrated.  
    •  i was linked to this lovely article that goes in depth about a lot of things, including how the transmasculine community itself can and does bolster the harmful idea that “the way things are” suggest that trans people are lucky to find anyone at all.  a majority of the trans people i know IRL are in very happy, loving relationships, a majority of them with cis people whose sexual identity assumes their partner is also cis.  
    • i think about how movies like “Boys Don’t Cry,” which are based off of true stories, are celebrated, and suddenly the public consciousness thinks, “this is a narrative that must be celebrated.”  i think this is a good example of how we have to be more critical of our media intake and challenge ourselves to find new, more unique, yet still real and true narratives to pursue and celebrate.  this isn’t an idea that we should let fester, because we’ve already begun to internalize it.  “i’m unloveable because i’m trans.” fuck that.  i might be unloveable because i’m an asshole, or because i fart too much in front of my girlfriend, or because i’m a messy drunk, but it has nothing to do with my gender identity.  
  • a lot of stories featuring trans!narratives, written by both cis and trans writers, are really poorly researched.  i feel like people rely too much on basic knowledge of the transition process, and think (for example, a transmale): okay, you cut your hair, you get on hormones, Things Change, you get surgery, ????, profit.  and that seems to be the outline of literally EVERY FIC.  but not only that, the characters all seem to be making the same decisions, having the same reactions, and experiencing the same changes as they do in every other fic.  every trans body and the way they experience transition, dysphoria, whatever! is different.  when i see a character going through transition, i want to see them making decisions on hormones, surgeries, etc. based on their character, their profession, their life, and i want those things to be EXTREMELY well researched, if you HAVE to get into it (and you don’t– you can literally write about a trans character without writing about ANY of those experiences, and yet.)  again, it feels like people rely too much on the bare elements of the transition experience and their stories in turn go through character erasure, and then the aspects of the transition become less remarkable, less believable, less emotionally poignant, less weighted.  
  • and aGAIN, you don’t have to write about any aspect of transitioning to write about trans characters!  for many people, the way that they interact with their gender identity, especially if they’ve already made steps towards transitioning, doesn’t feature predominately in their life.  
  • on the flipside of that, dysphoria changes shape.  transitioning isn’t a linear thing.  
  • an anon sent me this amazing post, which concisely describes a lot of my gripes as: 2-dimensional “xe transed nonbinarily down the stairs” issuefic, which LMAO ACCURATE
  • where are the stories where people trans people are doing things without reflecting on their Gender Angst or Body Awareness or transition, like??? there are so many potential stories out there. endless.  for the same reason i write m/m fanfiction out of lack of mainstream stories featuring gay characters and gay relationships except when it’s ABOUT being gay or coming out, do i want to see just like, a trans!office!AU.  fuck it, why not?
  • i don’t even want to get into how trans bodies are fetishized and romanticized in a way that really, really creeps me out, and makes me angry (typically just characterizing men as hypermasc women, for example).  there are a lot of assumptions made about trans bodies, especially when writing smut, and then i just have to back out of that fic, and set my computer on fire, and my whole apartment on fire, and move to another state and start a new identity.

in closing, i will always be hesitant to read trans!fic, and above are some of the more common reasons why.  i just like to ask that people question why they want to write a trans narrative, and what they are hoping to achieve through that.  at the same time, i understand there are a lot of young authors out there exploring their gender identity and getting it out through fic, which i respect! but what i’m seeing is just that very narrow experience, like it’s been sliced away from the rest of a person and laid on a slide.  it’s just a sliver of a human identity and experience that maybe adds another interesting layer, but not always, and only so much of life can be informed by that single experience.  be diverse.  celebrate happy narratives. get creative.