the body narratives

I’ve seen repeated accusations that trans people who post selfies are arrogant or narcissistic. Do you know why we do it? Every day, we go out and are told our gender isn’t valid; there is something wrong with our bodies. Every day we see ourselves represented on TV by cisgender people who will never know what it’s like to be trans. Every day we have to deal with comments online about how we are bathroom predators or sexually confused. When we are able to represent ourselves in ways that we want to, that actually allow us to articulate our own identities to the public, only then can we finally be affirmed. Selfies give us space to show how we want to be seen against the continuous misrepresentation. With selfies, we are finally allowed some autonomy over our bodies, narratives, and lives. I’m going to go ahead and take all the selfies I want to. You should too.

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. 

Look, I’m all for body positivity, but I’m sick and tired of the “all bodies are good bodies uwu” narrative excluding disabled bodies. If you’re gonna talk about thin privilege, white privilege, colorism, racism, homophobia, transphobia, and xenophobia, etc. through the lense of body positivity, than that’s great! That’s amazing! But it’s time to start talking about disabled body positivity and bringing discussions of ableism to the table.

Include us in the discussions. Include us in the cutesy illustrations. Include us in the activism. Include us in your tumblr blogs and Instagram accounts. Teach disabled people that they have the same right to love their bodies.

Stop erasing disabled people from the body positive narrative. 

10

suis-je amoureux? - oui, puisque j'attends

a while ago i got some random unsolicited terf snark and it led me down the rabbit hole of “detransitioned lesbian” terfs and like, it just felt so sad to me cause there’s like.. a lot of common ground! like reading people talkin about like feeling that they “had to be” men because something masculine in them made them predatory un-women, feeling pressure to transition away from womanhood cause womanhood is inherently devalued, and then feeling the need to reconcile with womanhood because trying to live as men hurt them, and like realizing the butchness and being gender non-conforming can be beautiful by interacting with people and loving them, that is the fucking transest shit ever and is so similar to the way so many awesome trans women talk about trans womanhood. but like the divergence happens where they assume that they were “really” women (“females”) all along and were just temporarily estranged from that (with the opposite applying, that trans women are “really” men and dont belong in women’s or lesbian’s spaces or discussions). like it’s the same bullshit hippie ideology, the natural is good, the artifical is bad. and like it would be cool if people coming from that perspective had the conceptual tools to articulate feelings that i think are so similar to what a lot of trans lesbians go through by actually talking about like their relation to patriarchy and gender as an institution rather than just talking about being “biological females” it would make a ton of sense and be mutually benificial, but i guess that is just socially discouraged because terfs are pretty active in like trying to recuperate those voices and experiences, and being trans is always presented as like a monolithic cult based around medical transitioning and like “i was born in the wrong body” narratives? it’s depressing.

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

anonymous asked:

Doesn't dysphoria mean you don't like your body?

No. Dysphoria is when a part of your body (or more) doesn’t fit with your perception of yourself, and you feel uncomfortable with it or disconnected from it. 

I have a lot of dysphoria regarding my chest. I am extremely uncomfortable with people seeing my breasts (even in clothing) while I’m in public, and I wear a chest binder because of it. This doesn’t impact how I view the rest of my body very much, or my ability to love my body. For me, wanting to change things about my body (like top surgery or starting T) doesn’t mean I hate it how it is now, it just means I love myself enough to give myself what I’ll need for long term happiness. You don’t have to hate where you are to want to move forward. 

This of course doesn’t apply to all trans people, because everyone if different, but I personally don’t think that loving your body or disliking your body are things that are any more or less prolific in the trans community than among cis people. I think trans people hating their bodies is largely a narrative created so that cis people can comfortably think there’s something “wrong” with us, and to get trans people to doubt themselves if they don’t hate themselves. 

Trans people loving the bodies they have, regardless of where they are on their journey and where they plan to go, is revolutionary and powerful

The human body was at the heart of Rodin’s sculptural practice. Rather than depicting static, lifeless forms and stale narratives, the artist vigorously modeled his work to look and feel like the body. His figures’ turbulent surfaces, along with their contorted poses and allusive gestures, can convey emotional, carnal, and psychological experiences in all their felt complexity. With Rodin: The Body in Bronze, we are able to experience the emotive, subjective quality that makes his sculpture human.

Posted by Shea Spiller
Auguste Rodin (French, 1840–1917). Cast by Fonderie de Coubertin, Saint‐Rémy‐les‐Chevreuses, France. Pierre de Wiessant, Monumental Nude (Pierre de Wiessant, numonumental), 1886, cast 1983. Bronze, 781⁄4 x 443⁄4 x 361⁄2 in. (198.8 x 113.7 x 92.7 cm). Brooklyn Museum; Gift of the B. Gerald Cantor Collection

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.
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.

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.

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.

So I’ve been thinking about Buffy this morning (thanks, tumblr) and once again I’m stuck on the fact that the Watchers Council did absolutely nothing to take care of the Slayers. Buffy was okay until she wasn’t because she had a home and a Mom and a support system.

But then there was Faith. A minor. And Giles–who had already shown a deep capacity for caring–left her completely on her own. She had to find shelter (a dingy motel room) and food (remember how she inhaled everything on the table when Buffy invited her to dinner?), and yet she was expected to do everything the Watchers told her to do.

The Watchers had deep pockets. When Buffy told them they needed to pay Giles retroactively, they didn’t flinch. I’m not necessarily saying they should have given the Slayers huge paychecks (that’s another topic, I think) but they left Faith without the basic necessities and still wanted her to daily risk her life. I’m pretty sure they could have afforded a room for her, and some food. They trained her body but didn’t protect or strengthen her body. Think how the narrative would have changed if Faith had trusted the people she was working for.

Update 2.0

Good morning, friends. I am still on break; writing still isn’t coming easily to me. However, I have been using my time to edit and re-tag all my old fics. Fuck me, there were a lot of typos and an almost infinite amount of unnecessary commas. I still need to edit from #176 onwards.

The good part about this is you can now filter through fics by tags! You may have noticed since #176 I was using them, but now all fics have been categorised. Hopefully, this gives you something to do while I am away. See the links below.

As always, thank you for all the messages of support. I’ll see you soon. xo Rhi


Van McPan - Van as a pansexual (includes Asks relating to) - link

Dad Van - includes Van with other people’s kids too - link

Fluff - most of my fics are fluffy, but these are the fluffiest - link

Angst - fics mostly sad or about fights, etc. - link

Hero Van - Van saves the day in some way - link

Cute Meet - fics about Reader and Van meeting all cute and shit - link

Sad/Sick Van - moody, brooding, sulky, salty Van - link

Mary and Bernie - fics with the McCanns as primary characters - link

Mini Fic - fics much shorter than the average - link

Mental Health - themes of mental illness, health, and recovery - link

Songfic - fics based on Catfish lyrics - link

Songfic NonCatfish - fics based on lyrics not by Catfish - link

Platonic - non-romance narratives - link

Body Pos - fics about specific body types, traits, and abilities - link

Boy Reader - only a few, but ya know - link

Teenage Van - fluffy, messy, beautiful high school drop out Van - link.

Remember that you can always find these links on the info page! Happy reading!