Sun's Journal

These are some of my favorite pictures from this year. Mostly for photographic reasons. In this coming year, I want to work on refining my style and improving the photography bit of things.

8 Unique LGBTQ Dating Problems | psych2go 

Writing With Color – General Topics

A collection of WWC posts that deal with more general writing advice, character creation and diversity topics applicable to most marginalized people, particularly People of Color and some ethnic and religious groups.

Writing Characters of Color: The Generals

On “Overthinking” Writing Characters of Color

On White Authors “Getting it Right”

On White Writers Writing Characters of Color (I, II, III)

Researching PoC + Supporting Writers of Color 

So You Want To Save The World From Bad Representation

Writing POC with Little Experience

Writing Authentically From Your Own Experiences

Useful Non-WWC Posts

Diversity Exists in the Real World by shiraglassman

How to Write WOC and MOC if you are White by kaylapocalypse

“I feel pressured to be inclusive in my writing!” by nimblesnotebook 

On White Fear & Creating Diverse Transformative Works by saathi1013

Diversity/Representation Topics

Diversity vs. Exploiting Cultures

Diversifying a Predominately-White Cast

On “Diversity Quotas”

On Excluding Diversity Out of Fear

Different Heritage POV’s in a Story

Including Realistic Diversity Naturally

“Normalizing” Protagonists of Color

Villains of Color

White-Dominant Rural Areas and Diversity

White Privilege, Publishing, and Diversity Quotas

Writing: Making Efforts in Diversity 

Character Creation

Character Creation: Culture or Character first?

Character Design and Assigning Race and Ethnicity

Characters’ Races Added Last During Development 

Determining your Characters’ Race and/or Ethnicity

More on Assigning Race after Writing

Characters of Color & Culture

A Discussion on Culture and Erasure

“Culturing” Culturally-disengaged PoC

Characters of Color with “No Culture”

Mixed Race + Disconnect from Culture

Stereotyped vs Nuanced & Audience Perception

Tradition and Culture vs. Stereotype

Western Neutral Characters

‘Whitewashed’ Character of Color?

Fantasy & Coding

Defining Coding (& Islam-coded Fantasy)

Denoting Race in Fantasy Setting

Fantasy Races Based off of People of Color

Naming People and Places, Avoiding Explicit Coding

Racially-coding Aliens

Real Religions in a Fantasy World

Religion in Fiction & Fantasy

South Asian-Coded Fantasy Caste System

Whitewashing in a Fantasy Setting

Including Racism in Fantasy

World-building: A Fantasy World without Racism

Writing Sensitive and Controversial Topics

Do I Need Permission to Write About Marginalized People?

Writing a Genocide to which you have No Personal Connection

On Outsider-Written Stories About Issues Of Another Group

Outsider-Written Stories, Issues of other Groups, Speculative Situation

Writing about Prejudice between People of Color

Reclaiming negative, dehumanizing stereotypes outside the group

Representing yourself when “yourself” isn’t white

Racism and Micro-Aggressions 

Everyday Racism, Friendship and White Allies

Incorporating Micro-Aggressions in Writing

Racist Characters + Including Racism in Stories Not “About” Racism

The Pitfalls of Racist Character Redemption Arcs

PoC Educating White Privileged Friend (Context: Black Characters)

Idris Elba for Maxim Magazine September 2015

- Nabillah & Maria  for Andrea Conti jewelry . 17′

Self-awareness helps us begin to see that everyone has sovereignty over their own bodies, their time, attention, boundaries and desires. But practice makes this awareness transformative—asking if someone is open to physical contact, to a hug, to intimate touch, to sex, begins to create a foundation of consent, a path to grow beyond the sick system we’ve been shaped by. 

The pleasure that comes from knowing that you are offering someone something that they wholeheartedly say yes to is sacred, it acknowledges that we are each walking miracles, we each have power, and we each have the responsibility to share and grow power in ourselves and others.”

“Even if every single thing you have been told and shown has taught you that you do not have the right to give consent, to navigate the boundaries of your body, you do. The culture of access that says someone can exert power over your body for any reason other than you saying yes is a lie. 

When you want to say yes, when you choose to give consent, you are in your power. 

Your consent isn’t made of stone. You might feel a yes for attention, or a kiss, but then feel a boundary that says slow down or stop when it comes to the next steps—touching, sex, etc. You get to be in touch with that consent. 

Consent that is shored up by the real option of a strong no, by respected and well worn boundaries, and by a visceral yes that floods the entire body, is a pre-orgasmic experience. It lays a foundation for thrilling intimate connections that are clear of the shadows of manipulation and abuse.”

Installation Art by Daniel Arsham

Daniel Arsham’s work is visceral and  yet minimal. All in white it breaks through and comes through walls. Ghostly sculptures push through walls, while the person shaped holes hint at ghosts that broke through. In an interview for The Creator’s Project Daniel speaks about the nature of his exhibit The Future Was Then:

This work for me is not about progress. It is about destruction and growth and where they are able to meet in the middle.

This exhibit is current at Savannah College of Art and Design’s (SCAD) Pamela Elaine Poetter Gallery in Savannah, Georgia until July 24, 2016. See our previous post on Daniel Arsham’s work.

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Jenelle Riley: It’s interesting too because I don’t mean to make it too simplistic and say like he’s a villain, but you have played some very charming villains. I mean obviously Cottonmouth is very charming, and your character in Moonlight is so fascinating because he is a drug dealer (Mahershala: Hm.) But he is one of the most likeable and sympathetic people in the movie.