Lil Garden

The Wizarding school North America (Ivermory) is riddled with blatant appropriation of Native American cultures, but no one gave a shit.

But no one gave a shit until she started starting transphobic rhetoric.

She literally takes Native American beliefs and... I don't know what the words are for this bullshit. Misrepresents them to capitalize on them? Appropriates them? Completely ignores the original beliefs in order to make up her own?

Although the new insights into the universe of Harry Potter were welcomed by many, the author was strongly criticised online by a number of voices from Native American communities, particularly over her writing about skinwalkers, which in Navajo legend are said to be evil witches or wizards who can take on the form of animals.

Rowling writes that the myth “has its basis in fact … A legend grew up around the Native American Animagi, that they had sacrificed close family members to gain their powers of transformation. In fact, the majority of Animagi assumed animal forms to escape persecution or to hunt for the tribe. Such derogatory rumours often originated with No-Maj medicine men, who were sometimes faking magical powers themselves, and fearful of exposure.”

Responding to a question on Twitter, Rowling said that “in my wizarding world, there were no skinwalkers”, with the legend created by those without magic “to demonise wizards”.

But yeah. The transphobia is why we're boycotting her.

(This isn't to say the transphobia is okay or to minimize trans issues. This is to point out that white people only care about issues that effect other white people.)

Look. All I'm saying is if you're going to make a post about why we don't like JK Rowling. Say "we aren't going to support JK Rowling because of her racism and transphobia."

Not to mention. How shitty of a writer must you be if you can't create b your own myths and legends? The fact that she's gotta steal from others completely exemplifies how shitty of an author she is.

Growing up with your starters

Bulbasaur: Somehow, nomming on my clothes… has become a weird habit of theirs.

Venusaur: That hasn’t changed now that they’ve grown, but they’re very gentle.

Charmander: It’s my first attempt, but I made a plushie so that he wouldn’t get lonely.

Charizard: That plushie seems to be his favorite even now.

Squirtle: Squirtle’s a bit timid and hides behind me at the smallest things.

An investigation is ongoing in the case of a 9 year old Rochester girl who was pepper sprayed during a mental health episode. Police were called on Friday afternoon after a report that the girl was threatening to harm herself and her mother. The girl resisted being put into a police car to be taken to the hospital, kicking one of the officers. She is seen screaming in bodycam footage before her head is held down against the snow-covered ground and is handcuffed. One of the three officers involved told her she was, “acting like a child,” to which she responded, “I am a child!”

“Later in the video, a female officer is seen talking to the girl, eventually saying, “This is your last chance, otherwise pepper spray’s going in your eyeballs.” About a minute later, another officer can be heard saying, “Just spray her at this point.” The female officer is seen shaking a can that appears to be pepper spray and the child continues to scream.” Officers then pepper sprayed her and left her crying in the back seat as they took her to Rochester General Hospital and soon released.

How do we reform a group of supposed public servants who seem nearly immune to consequences? This isn’t how you treat anyone experiencing a mental health emergency, and especially not a nine year old child. How will this little girl grow up in a world where the people who are supposed to protect her are violent towards her when she needs help?

Sources:

NBC News: https://www.nbcnews.com/news/amp/ncna1256313

Hand Painted Insects Mug

Oh gawd every time you think it's over it gers BETTER

People throw around the phrase “Show, don’t tell” all the time. But what does it mean? Really?

When I’m editing a client’s work, I always explain what I mean when I say “Show, don’t tell,” so I know we’re on the same page (pun intended). 

FYI: This advice is really 2nd or 3rd draft advice. Don’t tie yourself in knots trying to get this perfect on the first go. First drafts are for telling yourself the story. Revisions are for craft. 

Ruthlessly hunt down filter words (saw, heard, wondered, felt, seemed, etc.). Most filter words push the reader out of narrative immersion, especially if you’re writing in 1st person or a close 3rd person. “She [or I] heard the wind in the trees” is less compelling than “The wind rustled through the trees” or “The wind set the bare branches to clacking.” Obviously, the point of view character is the one doing the hearing; telling the reader who’s doing the hearing is redundant and creates an unnecessary distance between the character’s experience and the reader’s experience of that experience. Was/were is another thing to watch out for; sometimes, nothing but was will do, but in many instances—“There was a wind in the trees” “There were dogs barking”—“was” tells, whereas other phrasing might evoke—“The wind whispered/howled/screamed through the trees” “Dogs snarled/yipped/barked in the courtyard/outside my door/at my heels.” 

Assume your readers are smart. What does this mean? Don’t tell the reader what your characters are thinking or feeling: “Bob was sad.” How do we know? What does Bob’s sadness look like, sound like? What actions, expressions, words indicate Bob’s sadness? Does Bob’s sadness look different than Jane’s would?

It also means that you need not repeat information unless you have something new to add to it—even if it’s been several chapters since you first mentioned it. I think a lot of readers fall into this trap because writing often takes a long time. But what takes a writer days or weeks or months to write might take a reader fifteen minutes to read. So, if the writer keeps telling the reader about so-and-so’s flaming red hair or such-and-such’s distrust or Bob’s blue eyes or Jane’s job as a neurosurgeon, the reader gets annoyed. 

The last thing you want is your reader rolling their eyes and muttering, “OMG, I KNOW” at the story you’ve worked so hard to write. It certainly means you don’t need to have characters tell each other (and through them, the reader) what the story is about or what a plot point means.

Along these same lines, let the reader use their imagination. “Bob stood, turned around, walked across the room, reached up, and took the book from the shelf.” Holy stage directions, Batman! A far less wordy “Bob fetched the book from the shelf” implies all those irrelevant other details. However, if Bob has, say, been bedbound for ten years but stands up, turns around, and walks across the room to fetch the book, that’s a big deal. Those details are suddenly really important.

Write the action. Write the scene with the important information in it. Let the reader be present for the excitement, the drama, the passion, the grief. If you’re finding yourself writing a lot of after-the-fact recap or “he thought about the time he had seen Z” or “and then they had done X and so-and-so had said Y,” you’re not in the action. You’re not in the importance. Exceptions abound, of course; that’s true of all writing advice. But overuse of recapping is dull. Instead of the reader being present and experiencing the story, it’s like they’re stuck listening to someone’s imperfect retelling. Imagine getting only “Last week on…” and “Next week on…” but never getting to watch an episode. I’m editing a book right now with some egregious use of this. The author has a bad habit of setting up a scene in the narrative present—“The queen met the warrior in the garden.”—but then backtracking into a kind of flashback almost immediately. “Last night, when her lady-in-waiting had first suggested meeting the warrior, she had said, ‘Blah blah blah.’ The queen hadn’t considered meeting the warrior before, but as she dressed for bed, she decided they would meet in the garden the next day. Now, standing in the garden, she couldn’t remember why it had seemed like a good idea.”

That’s a really simplified and exaggerated example, but do you see what I’m getting at? If the queen’s conversation with the lady-in-waiting and the resulting indecision are important enough to be in the narrative, if they influence the narrative, let the reader be present for them instead of breaking the forward momentum of the story to “tell” what happened when the reader wasn’t there. Unless it’s narratively important for something to happen off-page (usually because of an unreliable narrator or to build suspense or to avoid giving away a mystery), show your readers the action. Let them experience it along with the characters. Invite them into the story instead of keeping them at a distance.

Finally, please, please don’t rely on suddenly or and then to do the heavy lifting of surprise or moving the story forward; English has so many excellent verbs. Generally speaking, writers could stand to use a larger variety of them.