the body narratives

Do you ever think about how fat nonbinary people who were AFAB are consistantly shoved into a feminine box / forced into feminine roles and beauty standards by…. literally everyone??

Like?? We can’t be seen as andro / masculine because we dont fit into the ‘Classic Nonbinary Aesthetic’ (thin / heavily andro because of that thinness). A lot of the time we HAVE to wear Feminine clothing bc the accesible clothing industries dont make those NB styles in our size (and yeah no, Im not buying a $100 pair of custom pants online, bc not everyone has money to dole out on Wardrobe. The fact that id have to pay more than $20 is a huge issue too).

Society in general doesnt see People with large hips and thighs, big butts, and big chests as anything but Fat Women– and society includes other LGBTQIA people. Us having fat-female characteristics is nearly inescapable and that ideal and inital 'Theyre too fat to be andro / masculine’ thought pattern COMPLETELY needs to change.

Like…The fact that I am fat does not make me a lesser Nonbinary person. My hips, my thighs, my chest, my smaller waist do not make me a lesser Nonbinary person– and they definitely dont make me a woman. What I wear to accomodate my body does not make me less Nonbinary. Change that fucking narrative.

a post on some shit i’ve seen

“I have a male character, but they’re very feminine so I think they might be a trans woman.”

This is not how being trans works. Being gender non-conforming =/= trans. Here is a list of reasons why this is sexist and transphobic.

  • It implies that men and women must behave a certain way and that anyone who does not adhere to these gender roles must be a different gender.
  • It implies that gender non-conforming trans people do not exist.
  • It negates sex dyshoria.
  • It enforces gender roles.
  • It enforces stereotypes and misconceptions trans people have been fighting against for a long time.

Your male character can be feminine without being trans. They are still a man.

“It’s offensive to describe trans people as being ‘born in the wrong body’.”

No, it’s not.

This is a narrative that many trans people use because it is an easy and succinct way to describe sex dysphoria. Dysphoria is more complicated than this, but this narrative is not offensive.

Stop silencing dysphoric people. Your character can describe themselves like this if they so choose to.

“I have a male character, but I picture him as having little body hair and wide hips, so I think I might make him a trans man–”

This is offensive. If you make a character trans because they posses physical characteristics that are seen as “undesirable” or “not typical” on people of their sex, then you are sexist and transphobic. 

Cis men can have wide hips and little body hair. Trans men can have narrow hips and a strong jaw. Cis women can have lots of body hair and a deep voice. Trans women can be short and curvy.

“My character is androgynous and it’s difficult to tell their gender so I’m making them non binary.”

Okay…

  • By claiming that non binary people are always androgynous appearing, you are creating a new set of gender roles and expectations while simultaneously doing everything in the first thing I talked about.
  • “Non binary” and “gender non-conforming” are not synonyms, but this doesn’t mean non binary people can’t be/aren’t gender non-conforming.

“Cis people are boring so my characters are all trans.”

This is the wrong mindset when talking about representation for trans people and when writing trans characters. When you equate “cis” to “boring” and “trans” to “cool” and “interesting,”, you are fetishizing and dehumanizing trans people. 

We are not trendy accessories that will make your story better simply by being there.

BTW, boring trans people exist. Because, you know, we’re people and not this year’s most popular Christmas gift.

“Reveal that your character is trans by showing their scars/body.”

Allies and transphobes alike have a fascination with the bodies of trans people. It has gotten to the point where “allies” spread private information about the medical lives of trans people to the general public. This has turned into a “how to spot a trans person” game.

Your characters do not need to be half-naked to show that they are trans.

“Dysphoria is self-loathing and can end up bringing too much angst to your story.”

Dysphoria is not self-loathing. This is a huge misconception. Dysphoria is a disconnect between someone’s brain and their physical sex.

When people experience sex dysphoria, their sex characteristics feel foreign. It is not simply “hating your body.” That narrative should not be used in fiction. Ever. It is false. Body positive feminists (both lib and rad) use it to vilify sex dysphoric people.

Do not ignore dysphoria. A lot of people don’t know what it actually is and confuse it for internalized misogyny. Dysphoria needs to be a part of fiction featuring trans characters so that we can work to end the misconceptions about it.

Also, do not “cure” your character’s dypshoria with love or romance or sex or self-acceptance. That’s not how it works.

The Seven Domains of PTSD Symptoms

1.) Attachment: problems with relationship boundaries, lack of trust, social isolation, difficulty perceiving and responding to other’s emotional states, and lack of empathy.

2.) Biology: sensory-motor dysfunction, sensory-integration difficulties, somatization, and increased medical problems.

3.) Affect or emotional regulation: poor affect regulation, difficulty identifying and expressing emotions and internal states, and difficulties communicating needs, wants, and wishes.

4.) Dissociation: amnesia, depersonalization, discrete states of consciousness with discrete memories, affect and functioning, and impaired memory for state-based events.

5.) Behavioural control: problems with impulse control, aggression, pathological self-soothing, and sleep problems.

6.) Cognition: difficulty regulating attention, problems with a variety of “executive functions” such as planning, judgement, initiation, use of materials and self- monitoring, difficulty processing new information, difficulty focusing and completing tasks, poor object constancy, problems with “cause-effect” thinking, and language developmental problems such as a gap between receptive and expressive communication abilities.

7.) Self-concept: fragmented and disconnected autobiographical narrative, disturbed body image, low self-esteem, excessive shame, and negative internal working models of self.

anonymous asked:

Hey this is regarding ur one post about writers bein told what to write if what they write is not their story to tell and i just want to say that i disagree with that. Im not a boy trying to survive an apocalypse but there is no law that says only those kinds of people can write that story. Currently im writing a sci fi about a trans boy and theres a scene where he explains dysphoria to another character. Most trans ppl have told me to go ahead. The point is anyone can write anything.

I suppose I’ve wanted to make a post compiling all of how I feel about that post for a while, and what better time to do it than now, when I need to be studying for finals I have tomorrow. So this will be that post. 

Yeah I don’t disagree with any of the concepts you’ve said. The post doesn’t say “only write what you’ve experienced” because I too believe that is bullshit and that writing is about exploring creativity and building complex characters through empathy and perspective. In my opinion, go ahead and write your trans character. Since dysphoria is a central part of what it means to be trans for many trans people, of course he might experience dysphoria and it’s definitely going to be a part of his character.

However, the problem comes when people who haven’t experienced oppression try to write it. Even with all the research in the world, they still won’t understand perfectly what minorities go through. Therefore, they are bound to get something wrong and even cause harm on those minorities who’s voices are being outspoken. And here I’m not talking about “this character is trans and that is a part of their character and thus affects the situation,” I’m talking about entire stories and narratives where the central plot revolves around the character’s oppression. I, a white person, wouldn’t write a story (such as, say, Song of Solomon) about what it’s like to be black and explore one’s identity as a black person. In the same way, I wouldn’t expect a straight person to write a story about what it’s like to be gay and explore one’s identity and oppression as a gay person. Oftentimes there will be a major misinterpretation which can lead to harmful stereotypes and negative impacts on a community. 

For example, many cis people trying to write about what it’s like to be trans will use the whole “born in the wrong body” narrative. The concept of this narrative affects trans people who try to actually explain what it’s like to be trans, and to most that is not what it’s like. Now, I’m not denying that there are some trans people who identify that way, but the majority of us do not. If you have a story about being trans and a trans character who identifies that way, unless it is addressed in the plot, could negatively affect real trans people by spreading that concept. I myself have been negatively affected by oversimplified ideas on what it’s like to be trans such as that one. 

One argument I’ve gotten constantly after I wrote that post is “but you can empathize with the character” and I agree with that critique of my post. In fact, I disagree with the wording that states that someone who is not a minority should NEVER write stories about such issues. In fact, I actually would encourage writing stories to help yourself understand what a family member or a friend is going through. The problem is when people begin to share these stories as if they are a final truth, and publish them as to make money off of minority’s struggles. When you publish a book or put something online, you should think of the negative consequences that could result. Now, most people don’t think before they post online, and I suppose that this concept I have thrown out there is something I wish people to think about before writing stories they wish to send out to the world. 

And, of course, naturally there’s the people who are saying “STUPID SJW LOGIC, FREEDOM OF SPEECH, CLEARLY THIS POST IS CENSORSHIP!!!” First of all, I am what many people would define as a “social justice warrior” due to my beliefs of basic human decency and complex social justice views. To that point I say, whatever, because I know those people exist and think that their “logic” will always be superior because they don’t consider emotion (but that is a different discussion). Freedom of speech is a very good law in America that allows people to express all ideas, regardless of what other people think of them. Freedom of speech, however, is not an excuse to say whatever you want because it’s legal. It’s legal to hang a Nazi flag on your door, but that doesn’t make it any less terrible. As for the people arguing this is censorship, they are wrong and clearly don’t know what censorship means. I am simply expressing and arguing my opinion on this matter. If they wish to disagree, then so be it, they do not have to listen to my opinion is they disagree with what I am saying. I am not pointing a gun at your head forcing you not to write anything, nor am I making it illegal to write what you want. I am expressing my opinion, and if you choose to ignore it, then do so. This is less of an issue than other things I have seen debated on here, such as whether or not to excuse LITERAL PEDOPHILIA, which I would argue against much more than something like this matter, which can harm people, but not in a massive way. 

TLDR: In my opinion, people who have not experienced oppression writing about it and spreading their ideas and information can be harmful, and has been harmful to me, which is why I made this post. If you wish to disagree with me, go ahead, because I am simply stating my opinion and arguing for it; I am not censoring you or forcing you to write/not write anything. 

the amount of body horror in Howl’s Moving Castle is really staggering

and it’s kind of like Oz body horror, where the narrative is very casual about it so you don’t really notice how weird it is unless you really think about it

but EVERYBODY in that novel is losing bits of themselves, or gaining bits of other people, or having their physical bodies changed by someone else, or purposely changing their physical bodies

bodies in HMC are not static or permanent, they are ever-malleable and ever-changing, and that’s kinda awesome

5/5 Stars.

I devoured this book in a frenzied state of awe, feeling grateful each moment to be experiencing something so beautiful. I’ve never read anything like it.

The entire story takes place in one night. Abraham Lincoln’s young son, Willie, has died, and grief-stricken Lincoln returns to the crypt several times to hold his boy’s body.

The narrative is entirely unique: a combination of brief excerpts from historical texts (mostly real, I believe?) about Lincoln and a cacophony of voices from the ghosts in the cemetery where Willie has been laid to rest. It takes some getting used to at first, but it’s brilliant.

The ghosts—and now Willie—are stuck in purgatory, and Willie’s arrival will change everything for them as they seek to help him transition to what comes next.

It’s a dazzling and deeply moving work of speculative fiction that delicately confronts the most profound topics: death, grief, love, sorrow, loss of a child. It’s tender, humane, funny and wildly inventive, written in prose that flows like poetry. I ached for the characters and felt such deep compassion for them, as Saunders clearly did, too.

I can’t think of a more beautiful and affecting meditation on love, life and death. Reading this was a gift and I’ll be surprised if there’s a better book this year.

Writing Tips #6: Punctuating Dialogue (Advanced Skills)

Hello, everyone, and welcome back to another installment of Writing Tips. Today, we’ll be discussing advanced dialogue punctuation (for more basic skills, please refer to episode 5). Let’s get started.

1. Combining narrative beats with dialogue tags. In the previous post, we discussed how to properly punctuate dialogue tags (he said, she said, they asked, etc.) and narrative beats (body language, non-vocal responses, etc.) Of course, there are times when you want to use both techniques at once. In this case, you want to punctuate the dialogue like so:

g.) “I can’t believe you did that,” she whispered, staring at him in horror.

h.) He turned to her and said, “We’re going to need more explosives.”

i.) “Well,” she said, eyeing him appreciatively, “that went better than I expected.”

Each of the above examples handles this technique in a slightly different way, but you’ll notice that the punctuation is consistent with that of dialogue tags, rather than narrative beats. In this structure, it can be helpful to think of the dialogue tag acts as the main course, while the narrative beat is more of a side dish (which is not to say that your side dish is any less nutritious or delicious than your main course, but much like the main course at a fancy restaurant, the dialogue tag gets priority.)

And because I am sneaky, I have nested another set of dialogue lessons into these three examples. Example G is the vanilla version of combining narrative beats with dialogue tags. It’s the format you’re most likely to see, and the most easily constructed.

But look at Example H. Rather than coming after the dialogue, as you’ve seen in previous examples, the dialogue tag (and narrative beat) come before the dialogue. The punctuation is very similar (a comma to conjoin each segment of the sentence), but you’ll notice that the first word of the dialogue is capitalized. Dialogue like this is basically a complete sentence nested within a larger sentence, and is punctuated independently (except when followed by a dialogue tag, in which case the period at the end of the dialogue becomes a comma, as we’ve discussed.)

Example I is even more complicated, with the dialogue split into two separate pieces by the tag/beat combo. In cases like this, you want to insert the tag/beat where there’s a natural pause in the dialogue (usually at a comma). But because you are continuing the dialogue after the tag/beat, you end the tag/beat with another comma (as we saw in Example H), then continue the dialogue as if there had not been any interruption (by which I mean, do not capitalize the first word of the second segment of dialogue). Here are a few more examples of how to do this correctly:

j.) “I hate to break it to you, mate,” he said, setting his hat on the bar, “but it might be time to admit defeat.”

k.) “You know,” she said, “it probably would have been faster to walk.”

l.) “I don’t normally say this,” the man grumbled, peering down at her, “but that was some damned fine shooting.”

Note, however, that if you split the dialogue at the end of a sentence, you end the following tag/beat with a period, not a comma, then punctuate the next snippet of dialogue as normal. Examples:

m.) “That wasn’t quite what I had in mind,” she said, pulling her shoes on. “I was trying to suggest we look for answers ourselves.”

n.) “If you don’t clean your room right now, you can forget about going to the park,” his mother said, hands on her hips. “Honestly, the things I put up with around here …”

o.) “We could always kill him,” she suggested, frowning when her girlfriend looked at her in horror. “What? Why are you looking at me like that?”

2. What to do when the dialogue goes on for multiple paragraphs without a break. This is a fairly rare occurrence, since most of the time, it’s pretty easy to sprinkle in a response from another character to break up a monologue, but you may find occasion to use it, so here’s an explanation: When a single character is speaking for more than one paragraph at a time, without any sort of narrative beat or interruption, you punctuate it like this:

“See, Leah was a fine young woman. Had a mouth on her, sure, and she could shoot a man dead in the eye from a hundred paces, but she had her chips in a row, if you take my meaning.

“Cindy, now, she was a different beast. Mean as a rattlesnake, and just as quick. Why, I’d rather go into a gunfight unarmed than cross her. And that’s not even takin’ into account that dog of hers. Meanest sumbitch I ever did see.”

Notice that there is no ending quotation mark after the first paragraph. This indicates that the dialogue is not yet finished. Note also that there is an opening quotation mark at the beginning of the second paragraph, which acts as confirmation that the dialogue is indeed still going on. And then, at  the end of the second paragraph, when the dialogue actually is over, there’s a closing quotation mark. As I said, it’s rare for dialogue to go on for more than one paragraph without some sort of interruption, but it does happen, so it’s best to be prepared for it.

3. Quotes within quotes. Another situation you might run into is having a character quote something another character has said (or mentioning something, such as a poem, song, or short story which would ordinarily be in quotes). Fortunately, this one is pretty easy: you follow the same rules you would with any regular piece of dialogue, except that instead of putting it in double-quotation marks, you put it in single quotation marks (note: with British English, the reverse is true). Here are some examples:

p.) “And then she said, ‘Well, I just don’t know what you’re talking about.‘ As if she really didn’t know! Can you believe that?”

q.) He leaned back in his chair, expression thoughtful. “Yeah,” he said in his gravelly voice. “I remember the first time I met her. Up on stage, singing an operatic version of ‘Second Chance.’ Damned beautiful, she was.”

r.) “You’ll find ‘The Raven’ on page two-hundred sixty-four of your textbook,” the teacher said.

And that’s pretty much everything you need to know about punctuating dialogue. Please let me know if you have any questions or would like clarification on any of the above points. In the future, I will post lessons about how to write dialogue itself, but that’s a ways off yet. For now, I hope you found this post helpful, and thanks again for reading.

You watch as she pinches the fat on her stomach, hips, thighs–disapproval written all over her face. “If only I wasn’t so fat,” she says. “I’ve gained so much weight lately.”
And you don’t know what to say. Nothing comes out right. You tell her “you’re not fat,” and “curvy is in these days,” but that’s not what you mean to say, and she knows that you are lying. What you mean is “yes, you are fat, and yes, you are beautiful, because the two are not mutually exclusive.” What you mean is “fat” is not an insult, it is not a swear word, it is an adjective, and the fact that it can be applied to her does not mean that she is lesser. What you mean is “you are beautiful no matter what your body looks like.” But nothing comes out right.
—  Nothing ever comes out right.

anonymous asked:

What is your pet peeve?

Shit like this:

Come on, I don’t burn everything.

…But I did burn his entire front yard. And four or five cop cars. And the cops. And a bit inside his house.

I probably traumatized his parents, but fuck them, they were assholes. Cat was cute, though.

anonymous asked:

Straight people forgot that queer people building their spaces and cultures in the first place is due the domainant oppressive heteronormative cisnormative world that is built for them. Queer people built these ideas and spaces to counter straightness and gender roles. you don't get to buy into that when it suits you. Straight people enjoy the 'funny' 'glam' parts of drag but will never understand the deeper experience of what Sasha said is inserting wonderful queer bodies into narratives

sorry but this ask is literally art. thank you!!!!!!!! this is what i’ve been saying and the straight people just cannot fathom that something isn’t for them

HOME STRETCH! Our Kickstarter still has a little over one day left to go. We’re funded, but we would love to reach our stretch goal so we can pay all the hardworking folks who volunteered to help us make it possible. People like our artist, (@theoutsidervevo) sound engineer (@shapechangersinwinter) and musician (@sounddesignerjeans).

During our campaign Andrea Klassen (our Certified Journalist on the team and co-writer/producer for Station to Station) did interviews with the creative teams of all our shows. In case folks on the tumble missed it, we’re also posting it here! 

Below the cut: Station to Station writer’s room insider with Alex Yun and Andrea Klassen on inspiration, horror, and representation in genre fiction. 

When Dr Miranda Quan embarks on an 10-week research cruise in the Pacific Ocean, she expects two months of no-nonsense experiments, bad Titanic jokes and marathoning Grey’s Anatomy. Instead, her lab partner has vanished, leaving nothing but a notebook full of illogical ramblings, a voice recorder, and a half-finished maths problem she has to solve. With a storm moving in and something sinister lurking below decks, Miranda must untangle the conspiracy surrounding her or be consumed.

AK: It’s really satisfying to write women who get to be flawed heroes in all the ways male protagonists do too. With moments of bad judgement and moral conflict and selfishness and stubbornness. Also as a queer woman it’s… just nice to get write characters whose stories aren’t tied to homophobia — where someone can have a crush on another woman, but that’s not the source of conflict the way horrifying science conspiracies are.

AY: Exactly. And the reason that we do this — the point of PPN — is to create narrative space for ourselves in genre fiction, be it horror or sci-fi or fantasy, where we are allowed to take up that space and drive that narrative. We deserve to be front and centre, to have our stories not end in tragedy, to have stories that doesn’t just mimic the current way the media treats marginalised identities. It is not niche to put non-white, non-straight bodies into narratives that have been historically excluding of them.

The idea that diverse stories are less appealing is based on constructed ideas of what “the norm” looks like - it’s tied to the experience of what it means to be the “default” and what it means to be the Other.

The rest is below the cut!

Keep reading

here’s some positivity bc i’m tired of my own internalized transphobia

💖if ur transmasc and like makeup that’s ok and ur valid💖

💖if ur transmasc and like ~feminine clothes that’s ok and ur valid💖

💖if ur transmasc and like ~feminine colors that’s ok and ur valid💖

💖if ur trans and ur dysphoria is mostly related to being perceived as the wrong gender instead of the born in the wrong body narrative that’s ok and ur valid💖

💖if ur trans ur good and valid💖

When trans people make posts that are like “hey if you ever feel like you wanna be a boy/girl, you can be!” all of these cis people who inherently have no idea what it’s like to be trans (and occasionally transmedicalists who are just hugely misunderstanding the post) flock to it to yell about how “being trans isnt a choice you transtrenders!!!” but like……. That’s fundamentally missing the point of what those posts even mean.

For tons of trans people, you don’t figure out your identity by going “oh man I have such bad dysphoria, I must be trans!”  When you combine it with the internalized transphobia that all trans people deal with, dysphoria hardly ever manifests itself as immediately magically knowing that you’re trans, let alone even knowing you’re allowed to be trans.

For LOTS of questioning/potential trans folk, they’ll have a feeling that really is along the lines of “I wish I was a girl but I’m not” or “I wish I was a boy but I’m not” and what opens the door to them accepting their transness is… literally just accepting that it’s okay for them to be trans. For me, I had a feeling that fits the “born in the wrong body” narrative pretty closely, I basically felt like I was “meant” to be a boy and had somehow been “born wrong.” I would’ve said the same thing when I was a questioning trans kid - “I want to be a boy.” Not I am, because I didn’t know I could be.

Just learning that you’re allowed to be the gender you want to be can be the final thing needed to help a trans person figure out they’re trans. Because we aren’t told by society, by school, by the media, by our parents, or anywhere else that it’s okay for us to be transgender. We literally are not born into a world that tells us it’s okay to exist the way we are. So many trans people start off by saying, “I wish I was a different gender” because we don’t know it’s possible to say “I AM a different gender.”

This idea that you can’t WANT to be trans is so fucking harmful to questioning trans people and I want to kick every cis anti-sjw in the face who’s screencapped posts that say things like “hey if you wanna be a girl that’s okay you can be!” to make fun of it and call people fake/transtrenders. Fuck all of you for laughing at things you have absolutely no personal experience with.

anonymous asked:

How is Lars trans?

I wanna open this up by giving full disclosure that this is all fan speculation and while I will be citing various sources from SU canon, nobody associated with the show has outright stated that Lars is transgender. I (and others) just personally believe that, with the information we currently have, it is HIGHLY PROBABLE that Lars is trans (ftm… or at least AFAB). Still, just a headcanon!… but a fairly well supported one, imo.

Also note that I’m gonna be drawing from my own experiences as a trans person and the opinions of other trans folks I’ve heard chime in on this when commenting on the info we have to go by, and I’d love to hear other trans peeps’ opinions on these interpretations!

Anyhoo, now that that’s outta the way, here’s my personal reasons for believing he’s trans! (WARNING: spoilers for “The New Lars” under the cut!)

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Response: Matpat’s Gaster Theory

Video One

Video Two

Video Three

I’ll open this with something that surprises me. While I disagree on some rather key points (sans writing lab entries, gaster being split between papyrus and sans) there’s a lot of interesting stuff in his new Gaster videos. Some of which I hadn’t seen gone into much. 

I’ll open on Alphys, since I want to get that out of the way right now. The idea that the entries were written by a combination of Alphys and sans, is, I’ll be generous, built upon a misunderstanding. The missing 17th entry is presumed by them to be the entry found in room_gaster, which can be found only by hacking. In wingdings, we see displayed:

ENTRY NUMBER SEVENTEEN
DARK DARKER YET DARKER
THE DARKNESS KEEPS GROWING
THE SHADOWS CUTTING DEEPER
PHOTON READING NEGATIVE
THIS NEXT EXPERIMENT
SEEMS
VERY
INTERESTING
WHAT DO YOU TWO THINK

This lab entry is used to sort of branch off and say that not all lab entries are written by Alphys, Taken alone, this appears to be the case. However, there’s a problem here. If you dive through the strings, you will find entry number 17, formatted in the same way as all the others …

* ENTRY NUMBER 17
* monsters’ physical forms can’t handle “determination” like humans’ can.
* with too much determination, our bodies begin to break down.
* everyone’s melted together.

 This hidden Entry Number 17 fills the ‘missing link’ in the story. And when that link is filled, the theory becomes much more suspect. For instance, the idea that sans and Alphys talk differently, one in all caps, one in lowercase caps, doesn’t appear to hold up. You find entries of lowercase Alphys wrestling with whether or not to finish Mettaton’s body, or continued narrative progress from one entry to the next it’s clearly one cohesive story.

I’m willing to cut Matpat some slack on this, because while I don’t believe the entries were split, I do believe that it very likely that Alphys may have consulted with sans. The chisps in the fridge and the dog food strangeness must have an explanation, after all.

‘Fun’=Multiverse Theory

Keep reading

jfishbish  asked:

Hey! Wondering what is the difference between PTSD and CPTSD? I tried to look it up and figure out but I'm not quite understanding. Also love your blog and that you're helping people out and bringing people together!

cPTSD is a subtype of PTSD typically caused by long term/repeated trauma and often involving a relationship with a power imbalance. It tends to be related to child abuse but can be related to domestic abuse, but is also associated with cult survivors, prisoners of war, captives/hostages, etc. Anything that would cause profound helplessness and a stripping of the sense of self can cause cPTSD. It’s comorbid with disorders like BPD pretty often, and I think it’s likely to be comorbid with DID the majority of the time. If started in childhood, here are some potential symptoms that arise (pulled from the research on cPTSD’s wikipedia page, sorry)

Attachment – “problems with relationship boundaries, lack of trust, social isolation, difficulty perceiving and responding to other’s emotional states, and lack of empathy”
Biology – “sensory-motor developmental dysfunction, sensory-integration difficulties, somatization, and increased medical problems”
Affect or emotional regulation – “poor affect regulation, difficulty identifying and expressing emotions and internal states, and difficulties communicating needs, wants, and wishes”
Dissociation – “amnesia, depersonalization, discrete states of consciousness with discrete memories, affect, and functioning, and impaired memory for state-based events”
Behavioral control – “problems with impulse control, aggression, pathological self-soothing, and sleep problems”
Cognition – “difficulty regulating attention, problems with a variety of "executive functions” such as planning, judgement, initiation, use of materials, and self-monitoring, difficulty processing new information, difficulty focusing and completing tasks, poor object constancy, problems with “cause-effect” thinking, and language developmental problems such as a gap between receptive and expressive communication abilities.“
Self-concept – "fragmented and disconnected autobiographical narrative, disturbed body image, low self-esteem, excessive shame, and negative internal working models of self”.

cPTSD describes more of the long term psychological effects of abuse, whereas the PTSD diagnosis covers a wider variety of traumas and effects. People can absolutely have both the traditional PTSD diagnosis and cPTSD. cPTSD can differ in the severity of trauma causing it based on the person- some people are more susceptible to the formation of cPTSD symptoms. I hope this makes sense! Here’s another source comparing PTSD and cPTSD

unpopular opinion but i think, or at least hope, that the popularity of Butler in trans communities will go the way of the “born in the wrong body” narrative in a few years.

i think Judith Butler’s current popularity is attributable to the same things that caused many trans people to actively perpetuate the notion that we were “born in the wrong body” – we’re desperate for a language that describes our experiences and this seems to be the only one available.

but much like the conception of being “born in the wrong body” i think there are far too many truly fundamental problems with Butler’s approach that render it of very little use to us in the long run, and i think we’ll eventually realize that. What i would hope is that when we do, we don’t just latch onto someone else’s framework just because it’s the nearest thing again.