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literally just saying 'he spoke with a Welsh accent'; sure, it's a bit blunt, but it gets the job done in a pinch. "He's completely drunk," he said, his southern drawl lingering on the final syllable as if to highlight the extent of the offence. Y'know, something of that ilk, but not as shit.

learning the specific vocabulary and syntax that someone with that accent might use. Sticking with the Welsh theme, because it's objectively the best accent*, there's a bunch of things that differentiate a colloquial South Walean accent, outside of our famed tendency to elongate a vowel to the point of death. The way we use prepositions (where to by is he?), the vocabulary borrowed from Welsh - saying that someone daft is twp, or something small is dwty - can easily signpost our speech as being from that specific area, without needing to type something like "'e's absolutely 'angin', man, pissed as a faaht 'e is!" Something less jarring, such as "He's absolutely hanging, he is." is just as clear. A character who says "Do you want a cuppa?" is coded or located very differently to one who says "You'll have a cup of tea, so you will."

ditto if there are specific ways that someone from a certain area might refer to a well-known concept. Regional words for mother and father, for example, or words that are class-specific; your character who calls his parents 'mater and pater' is likely inhabiting a different socioeconomic strata than your character who calls them 'mam and dad'. See if there's a colloquial way of saying 'yes' and 'no'; a lot can be signposted if your character says 'nah' rather than 'no', or 'aye' rather than 'yes'. A character saying 'couch' is inherently coded differently to one who says 'sofa'.

The reasons that writing accents phonetically is Generally Ill-Advised, In My Opinion are as follows:

quite simply, you're probably not being as clear in conveying the sounds of the accent as you think you are. Taking JK Rowling's work as the best possible example of this, her attempts at writing a Cockney accent phonetically come across like someone is chewing a mouthful of cheese curds and struggling to contain them. There's no consistency, no proper understanding of how to transcribe syllables into writing in a way that coherently conveys the accent she's trying to portray. I mean this so seriously, but what the flying fuck is: 'Well, 'e 'ad these 'ead pains and 'e was def'nitley nervous. Depressed maybe.' It's a crime, is what it is.

it's just plain hard to read. Trying to wade through sentences full of apostrophes and elision, parsing what's actually being said, gets tiresome. It asks the reader to do work that you're actively making harder for them. And that's not always a bad thing! Making readers Put Some Fucking Effort In can be very fruitful! But do you really want them to be struggling to understand every single thing that your Character B is saying for 350 pages?

which leads me onto the last point, and the most important in my mind: writing out accents like this always, always affects accents that are already in some way Othered. They're either racialised or working class, or associated with certain local regions that have negative stereotypes - think the deep South of the US, or the Welsh Valleys. They're never the 'default'. And this raises thorny questions about what the default is, what the standardised accent is, the accents that do and do not merit differentiation from the norm. You're relegating Character B to being hard to read because he's from, idk, Sunderland. You've decided that he isn't speaking 'properly', and therefore the reader needs to understand that other people think he's speaking weirdly. That, to me, is the principle issue. Because returning to JK Rowling (a sentence I hoped never to type), the only characters who speak like this in her work are working class, or they're from other countries. They're never from, you know, Surrey. Wonder why that is. And it's easy to be glib about it, but I do think it reifies class and regional boundaries in a way that's ultimately harmful.

This isn't to say that there's never a place for eye dialect in writing - Trainspotting, for example, wouldn't be what it is without it, and there's definitely a different conversation to be had when it's your own accent and you're making a deliberate point about identity by differentiating through eye dialect - but I think that the blanket assumption of 'oh shit, my character is from Ireland, I'd better type that out phonetically!' can actually be both damaging to your writing and to your character representation, and I think that instead doing the work to really understand the vocabulary, speech patterns and unique aspects of a language or dialect always makes a work feel more authentic and lived-in.

To wit, less of this shite:

There’s mony a slip, an’ I’m no losin’ sight o’ any o’ my suspectit pairsons, juist yet awhile. (Peter Wimsey, if you were wondering, and yes, that's supposed to be Scottish)

and more of this:

"Are we straight so?" "Aye, we're straight," said Jim. "Straight as a rush, so we are." (Jamie O'Neill, Irish, from At Swim, Two Boys)

The Kingdom of Hawai’i was illegally overthrown with the help of American businessmen and we have suffered under the iron grip of America.

Our land is simply seen as a vacation spot, my people are simply seen as tour guides and hula dancers. We have had our culture, our history, and our people turned into a commercialized joke by America.

The rampant tourism kills our islands with endless hotels, attractions and overcrowding. The housing and living costs are out of control because of the false “paradise” narrative. The Navy poisons our water and destroys our land. Covid has killed so many of my people due to the reckless and selfish nature of tourists. I have lost loved ones to this virus, because tourists “couldn’t stay away”.

My people have suffered. I have suffered.

We are more than your vacation. We are more than an aesthetic.

We are a sovereign nation illegally occupied by the United States of America.

Restore Hawai’i to Hawaiians. End the American Occupation.

See the links below to learn more and to read up on your Hawaiian history.

Do colleges look at your ao3 when you apply? Mine is connected to the same email I use for college board.

There's some bad stuff on there. One of which is orphaned so I can't delete.

I'm overall a top student but kinda worried.

Should I:

delete my fics?

delete my "bad/problematic" fics?

delete my account?

orphan all my fics?

delete all my "bad/problematic" bookmarks?

(Exception: If your ao3 account name is the exact same things as the part of your email before the @, people may be able to make an educated guess.)

However, I would still advise:

Make a fandom email address.

Like, I am not a college admissions person, I do not know where in the world you are, etc etc, but the simplest and most expedient solution here is to make a second, separate email address — preferably one that does not include your government name — and change your ao3 email to that one.

You can do this by going to Preferences > Change Email on ao3. Very quick and easy.

(As an aside, I run events, and when you sign up for an exchange? The mods can see your email. It's how we send your assignments through ao3. There's a looooootta y'all out here using [email protected] or [email protected] or [email protected] (!!!!) for your ao3 and omg y'all please do not. 🙈)

So from then on whenever one of us called something problematic, he would make us talk it out until we could name the “bad” thing we were hinting at. In this particular class, 7/10 it was some type of oppression, and the remainder was like, “I’m uncomfortable because this is very new/confusing/pushing boundaries that made me feel safe.”

Once we stopped calling things “problematic” and stopping at that, class got way more interesting and... we all had to say, like, “that’s racist” or “that’s misogynistic” or “ew capitalism gross” out loud, which a lot of us had never done in a classroom before. Or we had to be like, “Uhhh... I’m not sure what’s so bad?” and confront our own beliefs and that was maybe even more useful.

Next time you’re watching any news show or political coverage see how many of these you can spot:

Quick rundown of each propaganda technique:

• Glittering Generalities: Using vague, emotionally appealing words (like “freedom” or “justice”) that sound good but lack specific meaning.

• Transfer: Associating a person, idea, or product with something already respected or disliked (like using a flag, religion, or celebrity image) to carry over those feelings.

• Name-Calling: Attaching negative labels to an opponent or idea to create fear or distrust without real evidence.

• Card-Stacking: Presenting only positive information for one side and leaving out or distorting the negatives.

• Testimonial: Having a famous or respected person endorse an idea, product, or cause.

• Plain Folks: Presenting the speaker as an “ordinary” person to seem relatable and trustworthy.