cis people aren’t allowed to edit my papers anymore


Well if you’re trying to convey a topic not everybody is well-versed on and get people on your side, yeah, maybe citing evidence, providing examples, and helping people understand instead of throwing out a heated statement with little backing and ending on that would maybe possibly make your work a tiny bit more credible. Just sayin’. It’s your paper in the sense that you’re the author, but you’re not the one reading it and trying to get something from it.

oh for chrissakes u fuckstick

1. this is not the first time i mentioned privilege in the paper. or cisgender. this paper was written on my personal experiences with being trans, and the difficulties i’ve faced because of it, and the difficulties that cisgender people with otherwise comparable lives have not faced.

2. the terms privilege and cisgender had both been thoroughly elaborated on in this paper.

3. this paper was written for a women’s studies class, on gender analysis, in which both privilege and cisgender privilege in particular had been explained, elaborated upon, and discussed by the professor.

4. the comment was not by the professor, it was by a cis classmate during a peer review.

5. the words cisgender and privilege are both in scare quotes (in case you can’t google that or don’t know what it means or want to deny their existence, scare quotes is when you put a word or phrase in quotation marks to make it seem less real — the textual version of sarcastically making air quotes with your fingers)

6. another edit, by the same editor, involved asking me what my birth name was. i’m sure you don’t need to be told that that’s transphobic.

7. i spoke to the professor about this edit, and he agreed with me that the comment (and the way it was phrased) was out of line.

bonus: if your reaction to seeing gross transphobic things is “well it’s probably the trans person’s fault”, then you’re gross and transphobic and i hope you don’t know any trans people IRL for their sake

They just wanted you to elaborate. IS THAT SO FUCKING HARD? Good heavens what has the wonderful world of writing come to. 

learn to read, you ignorant shitstain

1. this is not the first time i mentioned privilege in the paper. or cisgender. this paper was written on my personal experiences with being trans, and the difficulties i’ve faced because of it, and the difficulties that cisgender people with otherwise comparable lives have not faced.

2. the terms privilege and cisgender had both been thoroughly elaborated on in this paper.

shut the fuck up and get your fucking ass off my goddamn blog

Side Note To Fan Fic Authors



Here’s the thing.

I read a lot of scripts.  A lot.  From professionals to aspiring writers to complete newbies.  Features and pilots.  Specs and treatments.

And 8 times out of 10 the fan fic that I’ve read over the last, oh, 15 years is leagues better than this stuff.  It’s more inspired.  It’s more compelling.  It’s genre bending and creative and heartfelt.  It’s well-paced and intense and funny and sexy and meaningful.  It’s smart and thoughtful and good.  It’s novel-quality.  Better than, sometimes.

Rare is the script I don’t want to put down, but how often have we stayed up until 3am to get to the last chapter of a 100k fic? And it’s not even a fan fic author’s day job.  This is what they do on the side.  In their spare time.  For free.

So my point is, fan fic authors, you’re good.  You’re good writers and great storytellers.  I know it doesn’t always feel like it, especially if you’re one of the authors who’s not a BNF and doesn’t get the notes/hits that a few do.  And  because some people still view fic as “not real writing.” You guys know the shit that gets made into movies.  You’re better than that.  So be better than that.  If writing is what you think want to do, then just know you’re already doing it.   You’ve already started.

And you’re more talented than you might think.


(via intrajanelle)


You know, the thing that exasperates me about people not considering a work of fanfiction to be artistically credible because it’s derivative is the fact that pretty much everything we fucking produce is derivative in some way. 

Do you even realize how much of what we accept as “classic” literature is essentially folkloric fanfic, religious fanfic, mythological fanfic? Shit, every book you’ve read or show you’ve ever watched involving a multitude of different mythological or folkloric creatures existing within the same universe (see: Supernatural for a prime example) is crossover fanfiction.

And the derivative works we’ve produced in the past have, in many cases, had a massive impact on modern interpretations of the source material- in some cases, they’ve even supplanted the source material.

Read More


As a professor, may I ask you what you think about fanfiction?

I think fanfiction is literature and literature, for the most part, is fanfiction, and that anyone that dismisses it simply on the grounds that it’s derivative knows fuck-all about literature and needs to get the hell off my lawn.

Most of the history of Western literature (and probably much of non-Western literature, but I can’t speak to that) is adapted or appropriated from something else.  Homer wrote historyfic and Virgil wrote Homerfic and Dante wrote Virgilfic (where he makes himself a character and writes himself hanging out with Homer and Virgil and they’re like “OMG Dante you’re so cool.”  He was the original Gary Stu).  Milton wrote Bible fanfic, and everyone and their mom spent the Middle Ages writing King Arthur fanfic.  In the sixteenth century you and another dude could translate the same Petrarchan sonnet and somehow have it count as two separate poems, and no one gave a fuck.  Shakespeare doesn’t have a single original plot—although much of it would be more rightly termed RPF—and then John Fletcher and Mary Cowden Clarke and Gloria Naylor and Jane Smiley and Stephen Sondheim wrote Shakespeare fanfic.  Guys like Pope and Dryden took old narratives and rewrote them to make fun of people they didn’t like, because the eighteenth century was basically high school.  And Spenser!  Don’t even get me started on Spenser.

Here’s what fanfic authors/fans need to remember when anyone gives them shit: the idea that originality is somehow a good thing, an innately preferable thing, is a completely modern notion.  Until about three hundred years ago, a good writer, by and large, was someone who could take a tried-and-true story and make it even more awesome.  (If you want to sound fancy, the technical term is imitatio.)  People were like, why would I wanna read something about some dude I’ve never heard of?  There’s a new Sir Gawain story out, man!  (As to when and how that changed, I tend to blame Daniel Defoe, or the Modernists, or reality television, depending on my mood.)

I also find fanfic fascinating because it takes all the barriers that keep people from professional authorship—barriers that have weakened over the centuries but are nevertheless still very real—and blows right past them. Producing literature, much less circulating it, was something that was well nigh impossible for the vast majority of people for most of human history.  First you had to live in a culture where people thought it was acceptable for you to even want to be literate in the first place.  And then you had to find someone who could teach you how to read and write (the two didn’t necessarily go together).  And you needed sufficient leisure time to learn.  And be able to afford books, or at least be friends with someone rich enough to own books who would lend them to you.  Good writers are usually well-read and professional writing is a full-time job, so you needed a lot of books, and a lot of leisure time both for reading and writing.  And then you had to be in a high enough social position that someone would take you seriously and want to read your work—to have access to circulation/publication in addition to education and leisure time.  A very tiny percentage of the population fit those parameters (in England, which is the only place I can speak of with some authority, that meant from 500-1000 A.D.: monks; 1000-1500: aristocratic men and the very occasional aristocratic woman; 1500-1800: aristocratic men, some middle-class men, a few aristocratic women; 1800-on, some middle-class women as well). 

What’s amazing is how many people who didn’t fit those parameters kept writing in spite of the constant message they got from society that no one cared about what they had to say, writing letters and diaries and stories and poems that often weren’t discovered until hundreds of years later.  Humans have an urge to express themselves, to tell stories, and fanfic lets them.  If you’ve got access to a computer and an hour or two to while away of an evening, you can create something that people will see and respond to instantly, with a built-in community of people who care about what you have to say.

I do write the occasional fic; I wish I had the time and mental energy to write more.  I’ll admit I don’t read a lot of fic these days because most of it is not—and I know how snobbish this sounds—particularly well-written.  That doesn’t mean it’s “not good”—there are a lot of reasons people read fic and not all of them have to do with wanting to read finely crafted prose.  That’s why fic is awesome—it creates a place for all kinds of storytelling.  But for me personally, now that my job entails reading about 1500 pages of undergraduate writing per year, when I have time to read for enjoyment I want it to be by someone who really knows what they’re doing.  There’s tons of high-quality fic, of course, but I no longer have the time and patience to go searching for it that I had ten years ago. 

But whether I’m reading it or not, I love that fanfiction exists.  Because without people doing what fanfiction writers do, literature wouldn’t exist.  (And then I’d be out of a job and, frankly, I don’t know how to do anything else.)


I do not see Neil Gaiman getting chased around and called a plagiarist like I was this summer when I wrote three words which also appear in the Hunger Games! (And before that, as it turns out, in The Emperor’s New Groove. Llamas, sue the Hunger Games!)

I am very tired of seeing women insulted for things every dude in the world is allowed to do. It is not literary critique. It is violent misogyny.


- Holy shit, Sarah Rees Brennan is on FIRE. The whole glorious indelible mic-drop of an essay is here. (via katrosenfield)

We can’t keep raising generations of kids of color on the notion that there’s only room for them to be bad guys or doomed sidekicks or another generation of white kids thinking they’re closer to God because of how they look. We can’t keep promoting hetero/cis-normative sexist and racist ideas in our literature. That is the default setting. If you aren’t consciously working against it, you are working for it. Neutrality is not an option, and the luxury of thinking it is has to go.


- Daniel José Older, “12 Fundamentals Of Writing ‘The Other’ (And The Self)” (via larmoyante)
"The trouble is that we have a bad habit, encouraged by pendants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain."


Ursula K. Le Guin, The Ones Who Walk Away from Omelas (via unwritten-heaven)

its true its true being sad and in pain is the most banal most TEDIOUS way to exist and if you think in a million years that being happy is not interesting or fun then im so sorry for you

the utter bore of evil is ignore so often becuase “tragedy makes a great story” but does it really? im so sick and tired of this mentality and the fact that i always want a happy ending is seen as childish

the real interesting stories are the ones where people are given a chance to be happy, to become great, to stop bad things from happening, to be saved. it doesnt have to be easy for them. but i reject the idea that suffering is beautiful.

(via asokkalypsenow)





This is the best explanation I could come up with for why it takes me so long to do updates sometimes when, at other times, I’m typing them up like clockwork.

also this:


tragic accuracy

Non-Benders and Oppression, Or Why the Fuck Did They Bother


So, I just got word that Bryan Konietzko stated that non-benders are, in fact, oppressed in Republic City. These are, apparently, his own words:

it’s a very large world out there, what made you think they were getting along in the first place? it was republic city, with benders as the ruling class, with the power, but they’re still the minority; it’s like china where there’s a minority in power

For the rest of his answer, you can go here.

Now, I’m thinking—as both a writer and a concerned citizen—how the FUCK Konietzko and DiMartino can verbally acknowledge this and yet:

  • Make the Equalists entirely irredeemable
  • Have the protagonist, a powerful bender with social and political influence, put all her power into “invalidating” (yes, her words, not mine) their movement without a peaceful alternative to replace them
  • Call themselves “progressive”, despite the aforementioned points

What’s even more confusing is that the sub-plot for the Equalists is over. It’s not coming back. Konietzko even said that the members are probably “meeting in a library somewhere”, but that’s it. The people who fought so hard against this power imbalance are suddenly relegated to passing commentary on Republic City’s evolution over the last six months. In the meanwhile, Korra and her crew continue to enjoy the privileges that they were born with, whether it is inherent, prodigal bending talent or socioeconomic advantages.

With all that said, why did they bother bringing focus to the Equalist plotline, anyway? What was the purpose of highlighting a social justice issue only to have the very narrative fight against it by making the protestors appear faceless or simply insane with bitterness? What was the purpose of making parallels with real life events between the oppressors and the oppressed, but have the oppressors appear more sympathetic than the oppressed? Tarrlok, a corrupt politician and a powerful water/bloodbender who actively oppressed non-benders throughout the majority of Book 1, garners more sympathy from the audience than Hiroshi Sato who lost his wife to firebenders.

At this point, it is rather clear that the protagonists (or the “good guys”) are actually the oppressors after all. To add insult to injury, the antagonists (or the “bad guys”) are actually the oppressed.



Tell me…

How are Korra, Mako, Bolin, Asami, Tenzin, Lin, or any of the characters part of such a disgusting parallel supposed to be “good”? How does the narrative make us want to like them, to feel sorry for them, to root for them? Better yet, why? How irresponsible were they when they wrote the Equalist plotline? Was it really neglect at this point when Konetzko has admitted that there is oppression against non-benders in Republic City?

I won’t get into that too much, of course. This is all food for thought. I have my own theories as to why such a thing could be written the way it was.

Just remember to consume media carefully. It doesn’t live in a vaccuum. It can have real consequences. Poisonous shit like what I discussed is being fed to children. What consequences may arise from this?




someone just asked “if the benders and nonbenders were getting along before legend of korra, what made them not get along now”

bryan says: it’s a very large world out there, what made you think they were getting along in the first place? it was republic city, with benders as the ruling class, with the power, but they’re still the minority; it’s like china where there’s a minority in power [something else about China] the melting pot situation where you have people from all over the world, all kinds of benders and nonbenders, moving to the same place made people realize that it’s not about fire vs. water or earth vs. air… but some nonbenders felt that they were doing all the hard dirty work and [missed the rest]

presented without comment

…well, then.

Whoa whoa whoa, wait a second. Did he just say that non-bender oppression exists and it actually WORSE than we thought it was? Wow, what an amazing revelation that would have been when the equalists were aCTUALLY RELEVENT! And they thought it would be a good idea to just have our protagonists fight for the status quo without a, “Wow, thems common non-benders sure have it bad. We should probably do something about that.”



Ok I accidently found myself in a tag and its got me heated.

So ok.

Lok compared to atla is just horrible.
Lok by itself is a bad show.

I personally dislike bryke because I feel as if they do more harm than good in making this show.
I feel as if bryke thinks they are being “progressive” yet they make no attempt to actually push the boundaries of the staquo.
Yes korra being brown and being a girl as the main character is a BIG DEAL.
but thats where the progress ends.
She is pigeon holed in her role and takes up a caracatured personality (oh! Mako truu ruvv!!! and I will never be a spiritual person BREAK EVERYTHING).

its exausting. Yea one could say the writers don’t owe the fans anything. But it is the writers responsibility on how they influence our society via childrens programs. They hold a tremendous amount of power just on the fact that nick publishes them. ill be damned if they choose to neglect it in favor of making bullshit.

And its super frustratin because we FINALLY have a WoC to be able to look up to (for the newest gen. In mainstream media) but she is so poorly written and her actual presence pushed aside so much that it no longer her show (ie. Shows name is ‘Legend of Korra’) and her exsitence becomes almost pointless.
It is just hard to swallow the bullshit bryke keeps feeding us for “good writing”. yea ok they say they are dropping the romance (even tho odds are makorra is endgame) they are hiring new writers. I see they are taking steps to develop, but based on their noteriety I doubt they will take it further than they doing already.

So much wasted potential.
The politics, the theme of opression, revolution etc etc could have at least been explained or something and all we got was typical bullshit of sports action and romance it makes me fucking sick.

I want to cry. I really do at least the bryke-stans can do is fucking aknowlege that bryke has a major responsibility with our culture as Americans; minorities, majorities, people of color and all that jazz.

No fucking pressure or anything.


things that are on every college campus i’ve visited that you should probably include in your college au






  • bike racks
  • not enough parking spots, and really expensive parking stickers/passes
  • that one building that isn’t handicap accessible so theres no elevator and hella stairs, and you have a class on the third floor
  • the overly-inquisitive cafeteria worker, who actually wants to know about your day and your plans, a good counterbalance to the cafeteria worker who hates their fucking job so much you can hear them bitching about everything as they wipe down tables or whatever
  • keycard access to dorm buildings. seriously. if they don’t have to swipe to get into the dorms, they’re not at college.
  • unnecessary emails. so many. emails from departments you’ve never heard of for events that don’t involve you, “news” emails that you delete without opening, and all the important ones you need to read filter right into your spam folder
  • peak internet hours, when everyone is on, and it slows to a crawl
  • that one broken washer that floods and never seems to get fixed and that everyone just avoids using
  • that club that always seems to be fundraising or selling things or soliciting whatever or signing people up and they’re always at a table by the cafeteria or inside the student center and they’re always like five people at the table and they have the ugliest posterboard advertising whatever they do
  • a building that hasn’t been updated or fixed or anything since the 1960s. asbestos tiles, awkwardly sized classrooms, wtf color bathroom tiles (seriously, like mint green and salmon, wtf), if it was a thing in the 50s/60s this building has it and also slightly uneven stairs and stupidly heavy front doors

theres more, i’m sure, but this is what i can think of

  • that one person on the dorm floor that talks to EVERYONE and has a weird idea of boundaries
  • teenagers’ utter failure to wash dishes aka the communal kitchen in the building fills up with dirty dishes in the sink
  • people who make the most amount of noise as possible at a certain time of night, yelling or banging on walls or generally being crazy
  • that one dude who has arguments with his parents/girlfriend/whatever over the phone all the time and you can hear him clearly even though he’s in his room with the door closed
  • conversely, that one person that always has their door open
  • the insane mishmash of conversations in the cafeteria: stupid conversations about dumb shit like internet memes and fandom and things you watched on cartoon network when you were 10, conversations about relationships/drama/all that stuff, and serious conversations about philosophy or business or the merits of such and such a thing discussed in class
  • terrible terrible terrible slabs of processed meat labeled as “steak” or “turkey” but which are better classified as “probably not really steak” and “possibly turkey”
  • RAs. People always seem to forget that dorms have RAs in college AUs.
  • Theme Houses — dude, Les Amis would totally all live in a theme house together
  • beds that are impossible to get into without a running jump or a stool of some sort
  • That one (non-cafeteria) food place on campus that EVERYONE goes to and it’s pretty much always loud and hot and full of people
  • That one cafeteria station that’s your fallback if everything else looks gross because at least this one is trustworthy (aka the deli station)

Also, yeah, I’m always super confused when characters from different dorm buildings just waltz into each other’s buildings. You need a keycard to get into different dorm buildings and you can only get into yours.

  • that crew in the lounge who play cards against humanity until obscene hours of the morning
  • the confused delivery person who you didn’t order but neither did no one else
  • the one person who is always forced to order the delivery and interact with the delivery people even if they’re not paying for it
  • the room of dudes who adore scarface and generally make you kind of uncomfortable
  • that professor you never realized was into punk rock
  • that professor who pays for pizza
  • at least one building on campus with an elevator you’re absolutely sure is a deathtrap but you occasionally have to take because you have to get to the seventh floor and there’s no time
  • if cars are allowed on/near the campus, drivers do not give a shit about the pedestrian right of way
  • similarly, pedestrians do not give a shit about the fact that cars are large and heavy and can kill them, because they have a class they’re already late for
  • bulletin boards are everywhere, but only suckers restrict themselves to them—well-traversed halls and stairwells will be papered with fliers, along with ragged corners left from others being ripped down and miles of scotch tape left behind over the weeks and months
  • every class has that one chair that no one wants to sit in, because it’s one careless shift away from breaking and dumping your ass on the floor
  • buses are incredibly useful, and incredibly important, and the worse the weather is the more crowded and unbearable they will be.  if it’s raining or snowing, be advised that every bus will be packed impossibly full of damp, sweaty students
  • you will inevitably end up spending all of your time in someone else’s dorm room, even if there are 15 of you
  • the cafeteria, towards the end of the week, will serve “meat”. Not pork or chicken or beef, but “meat”. 
  • if you’re like me, there will be a catering company using your dorms/campus for weddings and events and you won’t even know they exist until two years later when you start working for them
  • how do you miss three weddings a month, across multiple parts of the dorms? i don’t know.
  • drunken half-naked people doing the walk of shame at 5 am will cease to be interesting very quickly
  • friends throwing snowballs at your windows to lure you outside will not


My 5-year-old insists that Bilbo Baggins is a girl.

The first time she made this claim, I protested. Part of the fun of reading to your kids, after all, is in sharing the stories you loved as a child. And in the story I knew, Bilbo was a boy. A boy hobbit. (Whatever that entails.)

But my daughter was determined. She liked the story pretty well so far, but Bilbo was definitely a girl. So would I please start reading the book the right way? I hesitated. I imagined Tolkien spinning in his grave. I imagined mean letters from his testy estate. I imagined the story getting as lost in gender distinctions as dwarves in the Mirkwood.

Then I thought: What the hell, it’s just a pronoun. My daughter wants Bilbo to be a girl, so a girl she will be. And you know what? The switch was easy. Bilbo, it turns out, makes a terrific heroine. She’s tough, resourceful, humble, funny, and uses her wits to make off with a spectacular piece of jewelry. Perhaps most importantly, she never makes an issue of her gender—and neither does anyone else.

"Stories matter. Many stories matter. Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize. Stories can break the dignity of a people, but stories can also repair that broken dignity."

- Chimamanda Ngozi Adichie  (via shimbiryahow)



on a textual level, a female character can dress however she wants and shouldn’t be slut-shamed and hated for what she prefers to wear.

on a metatextual level, she might still have been designed with an intention to provide fanservice.

this means that criticising a design, as opposed to a character, is neither misogyny nor slut-shaming. being displeased about the way a character has been designed is not synonymous with hating her. 

have i made myself clear?