Leah's Tumblr

prismatic-bell:

valeria2067:

So, this past weekend, I took my 11-year-old daughter to SuperCon to meet her favorite actor (and favorite Doctor), Peter Capaldi.

She wore a little blue TARDIS-decorated dress and some Doctor Who pins, and she nearly cried with joy when Capaldi greeted her for the photo op. He was a consummate gentleman and such a sweet and enthusiastic person.

An hour or so after the wonderful photo op experience, she and I were sitting at a table in the food court area.

A burly, older man plopped down nearby.  He looked at my little girl’s outfit, smiled, and said, “Do you even KNOW anything about Doctor Who?”

WTF, dude?

I was too stunned for a second to even respond, so he started right in with the ‘quizzing.’

“Who are the Doctor’s biggest enemies, and what planet does he come from?” this stranger asked.

Now I had moved past shocked and right into indignant/angry/protective mode.

“I don’t want her to be quizzed on something she loves, because I don’t want her thinking she has to prove ANYthing in order to be a fan,“ I told him.

Looking at my daughter, I said “You don’t owe strangers explanations or information, ok?“  She said OK and looked relieved.

Still he pressed on, patronizing grin and all: “Oh, I just want to be sure parents are raising their kids right.” Then he turned to my daughter again and asked “Who was the first Doctor, then?”

I cut him off right there. “No. I don’t want her quizzed. At all.”

Dude blinked in disbelief, sighed, and left about a minute later.

“Thanks,” my daughter said. “He was making me feel awkward.”

I held her hand and looked into her eyes. “Some men think they can have power over you by making you prove yourself. You never have to do it. They’re just insecure and pitiful, so they want to make you feel like it, too.  It’s not only about fan stuff, and it’s not always just men, but be careful not to fall into that trap, ok?”

That crap isn’t harmless fun. It sets up a pattern of approval-seeking, self-justification, self-doubt, and fear of exclusion that is very dangerous for children (particularly girls).

Fuck that.

TL;DR:  Do NOT come at me, my little girl, or anyone in my vicinity with your condescending, gatekeeping bullshit.

The next time, I won’t make the mistake of even TRYING to be polite.

Originally posted by tum-binha

Ladies (and gentlemen who Get It, and folks who are both or neither and also Get It): don’t forget, if you see someone doing this to another fan in a public space, you most def can speak up and call them a shithead for it. Even if the quizzing isn’t a fandom you’re into.

hydrogenation-of-oils asked: Could you draw me a toad or frog? It can be really small and simple, I just wanted to request a small pick-me-up!

iguanamouth:

renee-niels:

thedrunkenminstrel:

subsilvernight:

thetygre:

tilthat:

TIL Antonio Banderas is going to fashion school so he can make men’s capes a thing again

via reddit.com

#godspeed you beautiful bastard

Some heroes make capes

He’s just doing it because he wants to go out in public in his Zorro costume.

That’s an excellent reason to do anything honestly.

latining:

prokopetz:

I have to laugh when I see folks going “well, what if the artist didn’t intend for there to be any deep symbolism?” The Death of the Author entirely aside, any artist can tell you that the fact that you didn’t intend for there to be any deep symbolism doesn’t mean you didn’t put some there anyway. I personally know multiple fanfic writers who’ve put together what they thought was just an interesting bit of fluff, then they went back and re-read their own story a month later and they were all: “oh, god dammit - this is about my relationship with my mother, isn’t it?”

I came out to have a good time and honestly I’m feeling so attacked right now.

maggie-stiefvater:

Several weeks ago, an aspiring writer asked me what my opinion was on “in-between” scenes — scenes where “nothing happened.” She noted that her favorite scenes in books were often ones where characters were only talking about their lives. How did I recommend including these while maintaining pacing?

I have three thoughts on Nothing scenes.

1. Always Be Mindful of Invisible Movement

I don’t believe in Nothing scenes. I believe in scenes that appear as Nothing scenes to the reader, but are actually full of invisible movement. I have a rule for myself — insofar as I do rules — that every scene should be doing at least two things, preferably three or more, no matter how much it appears to be about merely one.

Here are examples of things scenes can do:

• give backstory

• demonstrate character change

• create a sense of place

• satisfy logistics; i.e. move a character from place A to place B

• establish character

• explain worldbuilding

• move through action sequence

• move external plot forward

• establish dynamic between two characters through conversation or action

It can be tempting to grab just one of those and say DONE. SCENE. GOOD. But efficient storytelling, powerful storytelling, involves doing many of these at one time. A scene may appear to be merely about a character crashing his best friend’s car. But it must also be about his character journey and about his dynamic with another character, all the while pushing the external plot forward. Complexly written, but simple to read: ah yes, these scene where Ronan takes the car.

A Nothing scene might overwhelmingly appear to be merely a conversation, but it needs to be doing heavy lifting in the places in between words. Work in place, backstory, character motivation. Let the unspoken seethe inbetween the spoken. Subtly tie the conversation to the external plot. Why is the conversation happening now? Make sure it references the steps that came before it to make it seem inevitable instead of like an element that can merely lift out and be placed elsewhere without consequence.

What you’re attempting to do is maintain invisible movement. Remind the reader of what is still lurking during this quiet moment. Or remind them that this is the stake: that this quiet moment is what the characters are fighting for. Or situate the quiet moment within a larger, external plot machination, and end the conversation by wrenching them externally according to the plot.

But don’t just let them talk. You can at first. Draft it that way. Be delighted by the quiet conversation you’ve written. But then get back to work. You ain’t done. Push things forward invisibly by having the scene do something else in the background.

2. Earn It

You’ve got to earn all frothy conversations or quiet moments in two ways. First is the rhythm of the thing. It’s like a mix tape. Don’t group all the quiet stuff together, dude! Tense action scenes seem more speedy when interspersed with quiet moments, and vice versa. Earn your quiet moment by putting us through our paces for a bit first.

Second: you’ve got to emotionally earn your quiet moments, your Nothing conversations. You may have been daydreaming of the moment your two characters finally open up and reveal their deepest truths through memes, but if you do it too soon, the scene will feel empty … and slow. Like just a Nothing scene. 

An emotional conversation should be a reveal, a satisfying culmination of something half-seen until that moment. Timed correctly, far enough along in the emotional journeys, these conversations will feel like a resting place or a reward instead of a lull. 

3. You Can’t Live on Ice Cream Cake, or You Ruin Ice Cream Cake

There’s a reason why a lot of readers think they love Nothing scenes — they mean the scenes mentioned above, quietly emotional scenes placed well within the narrative. They feel amazing! But the chemical make up of these scenes mean that they only work when used sparingly. It’s not the quietness of them that makes them incredible. It’s what had to happen to make the quietness possible. Ice cream cake is special because it’s a rarity, brought out only for special occasions. The same goes for all pleasurable excesses in novel-making: banter, kissing, action sequences, emotional porn. They all need to be used sparingly, and to be placed as a result of story, not instead of it, or you’ll find yourself with a Nothing novel, because ice cream cake for every meal makes it lose its meaning.

The thing to remember about novel writing is that the key to pacing is tension, and tension doesn’t always come from negative consequences. Positive consequences can work just as well (think of it: love stories, exploration narratives, training sequences). Make sure your Nothing scenes maintain invisible movement by continuing to promise some kind of tension, and you’re golden.

Oh yeah, and most important? Don’t beat yourself up if you can’t pull it off in a first draft of a scene. Just because you have to end up with a hard-working scene doesn’t mean you have to be able to juggle all those layers at once. Writing is revision, revision is writing, etc. etc. etc. 

As a rule, I try to make every scene serve three purposes, whatever they may be. They could be furthering the plot, laying the foundation for a character’s motivation and moving the MC and love interest closer together. They could be amping up the tension, showing how a character reacts when confronted and giving a layout of the location the finale is going to take place at so the reader is familiar later. Any three things, but always, at least three things. 

motorizedduck:

Did you guys ever hear about Prince Rupert’s Drop? The British Royal Society was really interested in these things back in the 1600s.

It’s basically a long, thin, practically snaky bit of glass that you get when you drop some molten glass into water. It solidifies into a shape like this:

The interesting and weird thing is, you can’t really break the bulb part. You can take a hammer to it but it won’t break. But the long tail is fragile and easily broken. And if you break any part of this thing, it explodes. Really, it just blows up into a million tiny little shards.

With modern high-speed cameras, they’ve managed to measure the speed of the fracture at slightly faster than one mile per second.

The reason why it breaks like this is because, when the molten glass rapidly cools, the surface hardens right up, but the inside still stays hot for a while. As the inside cools, it pulls in on itself really hard in all directions, leaving the entire drop in a constant state of high tension. When it’s entirely cooled, it only takes a tiny fracture to release that chain reaction of released tension that breaks all of it almost at once.