every time I see more of the ‘ao3 is evil’ crap circulating I think, ‘well, tumblr is evil too and I don’t see you stop using it’
You know, the more I think about this, the more I think the real complaint isn’t that AO3 hosts “evil” content, it’s that it doesn’t allow harassment/dogpiling of “evil” creators as easily as Tumblr. Abuse won’t remove or even re-tag a work except in a handful of very specific cases, but they will suspend or ban users for harassment, including filing repeated unfounded Abuse reports. Authors also have at least some ability to screen/block comments on works, and there’s no direct messaging system outside of commenting on works through which to pursue harassment. You can follow a creator but you can’t block them (much less encourage others to do the same).
Tumblr, by contrast, generally ignores any abuse report that doesn’t involve the DMCA, and aggressive anons can and have driven bloggers off the site entirely. The fact that the same tactics are used by social justice bloggers and neo-Nazis (for instance) doesn’t matter – they’re the affordances of the site, by accident or design, and an entire fannish generation have gotten very used to performing their fannish (and moral) identity in this fashion.
(I thinks it’s relevant that AO3 was designed by fandom’s LJ generation and in some respect mirrors the affordances of LJ circa 2010. Tumblr is a very different site and that, moreso than age differences, seems to be at the root of this – though of course age intersect with site experience in a non-trivial way.)
ding ding ding ding.
Ao3 requires you to police your own consumption of content. Ao3 won’t let you destroy someone’s online presence simply because you don’t like it. Ao3 won’t let you impose your own morality on other without cause.
If you have issues with this, and the fact that Ao3 requires you to have responsibility and agency, then you seriously need to sit down and have a damned good long hard look at yourself.
The question I usually fail to see being answered when people bitch about the content on AO3 is – so who gets to decide?
You? Me? A committee of my friends? Of yours? Of those who have the most kudos? Of those who have no interest in fandom, but want to protect other people from dangerous content, whatever it may be? Who gets that power, and how long will they have it?
Who are you comfortable with giving the power of regulating all the content? What happens in grey areas? What happens when something you like isn’t liked by the Decider? Is there an appeal? Who gets to make the arguments for and against something?
The world is complex and there are no easy answers.
The impossibility of creating a censorship board that curates based on content is a great reason why those things don’t exist, and shouldn’t.
Certain people are screaming that AO3 is bad because it’s not a “safe space.” The real problem they have, though, is that AO3 was created to be a safe space – for writers. And it does a pretty good job of that. It was designed to be a place where writers are safe from arbitrary content rule changes, random and unwarned deletions, and abuse-report abuse (which is common on ff.net). The Four Big Warnings + CNTW system is beautiful in its fairness and simplicity.
Antis can’t take control of it. And because control-freakdom is at the heart of their “movement,” this drives them into frenzies. Good. It motivated me to dig a little deeper into my pocket to donate on the last drive. For all the pleasure AO3 has given me over the years, that’s money well spent.
The real problem they have, though, is that AO3 was created to be a safe space – for writers.
Preach it loud and hard!
I’m a member of the LJ generation, and when I first came to Tumblr (grudgingly and out of desperation, I might add, since it tragically seems to be the only place to really connect with other fandom peeps) I was horrified at how people here had established this sort of fucked up bully culture, where nobody is responsible for monitoring their own consumption, and rather they expect everyone else to custom tailor content to the whims and desires of the Shrieking Banshee Masses. And woe be to the person who doesn’t bend and break! “I’m going to bully you while accusing you and your Big Mean Poopie Content of being the actual bully, so I can hopefully distract you and others from realizing I’m being a royal intrusive asshat who failed Astronomy 101 b/c I clearly believe the world revolves around me.”
The irony here is that this in itself is an abuse tactic – victim blaming with a side of gaslighting. Pot, meet kettle.
And it’s the exact same mentality that drives right-wing lunatics to kick up a fuss about the existence of icky cootie gay people in media because we need to “protect family values”, or who take to screeching at Starbucks because their particular religious symbolism isn’t portrayed on the winter holiday cups and OMG WAR ON CHRISTMAS, STARBUCKS STOP OPPRESSING ME BY NOT CATERING TO MY PERSONAL TASTE.
The mentality is one and the same – “Cater to ME ME ME or FACE MY DIVINE WRATH even if it means taking away other people’s freedom!” while hiding behind a flimsy-ass shield of faux righteous anger.
And when these bozos find an environment or situation where they’re unable or not allowed to bully people into silence and submission, they stomp their feet and pitch a tantrum and claim that they’re the ones being oppressed. Identical shit, different pile, and it’s the exact same infantile, schoolyard rubbish no matter which side it’s coming from.
This was a really interesting read. The last poster in particular but all of it.
Okay, so I find the history behind this discussion really interesting, because there are two things that stand out to me. One is the thought AO3′s culture is equivalent to LJ circa 2010. This is almost true, except you actually have to go back further. Ao3 and Dreamwidth are both specifically trying to recreate the fan culture of Livejournal from 1999-2007, and I can say that with some authority because A) I was there (olllld) and B) both were founded in 2008/09 as a direct response to the shit happening on LiveJournal and Fanlib.
The other thing is the idea that anon-harassment culture started with Tumblr. Because, kiddos, did it ever not. Tumblr is very much Fanfiction.net circa 1998-forward. (That’s right, FF.N was basically always awful.) But how we got from there to here is actually really interesting And tangly. And long.
Up to the late 1990s, fan communities were often small and decentralized because there was a huge fear that fans would be targeted by content creators if they drew too much attention. Since several authors (Anne Rice, Mercedes Lackey, Anne McCaffery) actually DID issue cease&desists to fan creators, it’s kind of understandable where the fear came from. It’s also why you still see fanfic floating around with disclaimers, something young!tumblr loves to mock.
Harry Potter changed *everything*. Like, I really can’t emphasize how much. Fanfiction was always there, being shared on email lists or privately hosted or literally mailed cross country. But Harry Potter hit BIG in 1997. It had a massive crossover appeal that hadn’t been seen since probably the original Star Trek, and the baby Internet was all. over. it. If you weren’t there, imagine Twilight. But bigger. And J.K. Rowling stood out from other creators by condoning fanfiction in her very early interviews. Not to mention there was a lot of down time between books and, as you might know, the fans do not do well unpoliced.
This led to, I’m not kidding, an explosion of sites like FF.N. I don’t think a lot of younger users get how revolutionary AO3 is: not just because it created a safe space, but because of how much it’s done to centralize fanfiction on the internet. We used to get our fix through webrings and e-serves, so in the late 90s/early 00s we thought nothing of having dozens of scattered fanfic sites.
At the same time, the Digital Millennium Copywrite Act was coming down. The legality of fanworks was getting more and more complex. And no one knew how to handle these questions, because they had literally never come up before. When it was just authors going after individual fans, things usually went quick and brutal. Fans had neither the money nor the legal teams to stand up to creators, even if (as we were slowly beginning to realize) we had a strong case to create and share fanworks. So, if you got hit with a takedown notice, you took your fic down and laid low, hoping to avoid any further interest.
But now the legal burden was shifting from individuals to well-funded corporations. Fanfic.net and LJ didn’t want to shut down their fan-contributors, who were creating a huge stream of free content and bringing in advertising revenue. At the same time, they didn’t want to get shut down by a lawsuit if Lucasfilm found Han/Chewie smut and decided to go after the real money. The next 10 years were basically all of us – authors, fan creators, website executives – stumbling through brand new legal territory and figuring it out by trial and error. FF.N erred on the side of caution by becoming more and more restrictive. They shut down the entire Anne McCaffrey and Anne Rice sections, and eventually banned “pornographic” fanfiction from the site in an attempt to cover their legal rears. (It backfired, unsurprisingly, because say what you will about fandom: we like our smut. Also, FF.N had other issues that we won’t get into here will discuss shortly.) A bunch of other sites folded or waned in popularity as fandom wars divided the fan population. Authors scattered to the winds, and a lot of them ended up on LJ.
LJ started out very user friendly. We’re talking an open source code, an almost entirely volunteer staff. Even after it was sold to 6Apart in 2005, LJ was pretty permissive. A lot of that had to do with the aforementioned DMCA, which protected ISPs and hosting corporations. Like I mentioned above, a lot of the migration from FF.N to LJ (as a place for fanfiction SPECIFICALLY) came when FF.N started banning explicit fanworks. Why? Because FF.N targeted these fanworks based entirely on user reports. “Tell us if you find porn,” FF.N said, “And we’ll take care of it.”
Backup real quick. LJ, in many ways, set the standard for online privacy in a way that was far ahead of its time. Friendslocked journals were the norm rather than the exception and many, many communities disallowed anonymous commenting. (I’m not saying LJ wasn’t toxic as fuck, by the way. It is 2017 and let’s all have a moment of acknowledgement for how terrible LJ culture actually could be.) But LJ, on the whole, was much, much better at self-policing than FF.N. On FF.N, all of your stuff was out in the open. It was just there. Anyone could read it, anyone could report it.
And these two sites coexisted. All BNFs had a private journal and a public FF.N page. So if I hated someone and I wanted to harass them off the internet, on LJ, I’d have to make multiple sock puppets and concoct elaborate multi-journal ruses to do it on LJ (haha, who would do THAT?). What am I to do? Simple: Head off to FF.N and anonymously flame them there!
FF.N became synonymous with anonymous hate long before the anti-smut censorship came down. But once those rules were in place, the system was rife for abuse by the Purity Police or grudgewankers. Waaaaaaaaaaaaaay before it was cool to dm “kill urself” to someone on tumblr, it was happening on FF.N. All you, the early internet user, had to do was post a report link for your rival’s FF.N account on your LJ. Hate a pairing? A kink? Why not post a scathing rant, link included, to this captive audience of ALL YOUR FRIENDS.
Yeah, this system had no room for abuse.
So. FF.N opened the door and fandom came rushing through like the raging assholes we are. Certain Fandoms Alluded To Previously got so deeply divided that they split and formed their own fanfiction archives that occasionally rained hate on each other. Everyone else slowly withdrew to LJ, where locked communities offered some level of protection. Then, irony of ironies, fandom as a whole got targeted by the purity wankers. And of course, of course, it came back to Harry Potter.
It’s 2007. Things have quieted down since 2001, when certain unnamed people’s fics were targeted for plagiarism and deleted from FF.N even though, just to be clear, they actually were plagiarized and, while there was an element of mob persecution, the actual fact remains that the work in question was legitimately in violation of FF.N’s TOS.
Ahem. It’s 2007. And everyone’s fairly chill. Creators are far more comfortable with fanfiction and fan creators are confident in posting their work so long as they aren’t profiting directly from it. Hosting sites, meanwhile, are profiting from fanworks, but they’ve got the legal shield of the DMCA to hide behind, so they’re feeling A-OKAY. And then Warriors for Innocence appears. WfI existed before strikethrough, and they existed after, but they made their mark on fandom when they reported upwards of 500 journals, most of them fan journals and communities, to LJ. The theory runs as follows: 6A, the company who’d bought LJ 2 years prior, realizes that the DMCA didn’t protect them if the fan works in question are “indecent”. Compounding this, 6A is already trying to clean up the famdomier aspects of LJ. Either they’re looking for a sale, or sites like ONTD are bringing in massive amounts of hits. WfI brings 6A a perfect hit list, and 6A goes to work.
So one morning we all wake up and find that hundreds of journals, including the pornish_pixies community and several BNF’s personal journals, have been deleted. Literally gone: a lot of the media stored on these communities has been purged forever. Hope you had backups. Also gone: large swaths of the Pretty Gothic Lolita community, Lolita book discussion groups, and rape survivor communities.
In a quest to rid LJ of “pedophilia,” 6A wiped out a large swath of ethically questionable fanfic, and woke a beast. Again: We like our porn. 6A took a step back and restored some of the deleted journals, but the damage had been done. AO3 was already being discussed as a response to Fanlib, a hosting site that wanted to charge for access to fanfiction. (Yes, if you’ve been following along, that was a terrible idea. But that’s a post for another day.) But as AO3 began to change and grow, creators specifically wrote provisions into the TOS that guaranteed a strikethrough-esque event could never happen on the site. A specific kink or pairing would never be considered a violation of the TOS. The onus was on the reader, not the author, to protect themselves with the information given. Basically, AO3 took the early fandom nugget “Don’t like, don’t read” and made it policy. When peole say AO3 grew out of Livejournal, they’re specifically referencing this. One event that proved ALL OF OUR LONGSEATED FEARS WERE TRUUUUUUUUUE.
Rising from the ashes of LJ, you also had Dreamwidth. I’m actually kind of surprised DW wasn’t mentioned in the OP, since it grew out of the same ideology as AO3. Run by fans, for fans, because LJ (which at this point had been sold to SUP Media) had no idea what it was doing. Also like AO3, DW went to extreme lengths to make a safe fan culture inherent to the structure the site. Stay within the law, and DW and AO3 will back you up.
It’s worth noting that Tumblr actually predates Strikethrough. But Tumblr, unlike DW and AO3, wasn’t designed for fans. It didn’t carry the legacy of Strikethrough with it the way AO3 and DW did. So I guess– I have no evidence, but I’m surmising – that’s how it fell into the role of Natural Successor to Fanfic.net and Livejournal. It’s kind of inevitable, actually, that since neither LJ nor Tumblr was made for fans, they ended up falling into the same black hole of fandom collision. Kinkshaming people off the internet for literally as long as there’s been an internet. And then, on the other hand, you’ve got DW and AO3, who’ve watched fandom rip itself apart AT LEAST 3 times and are determined not to let it happen again. DW and AO3: We haven’t cared about the filthy shit you’re into since 2008.
That’s it, folks. Fandom mom wrote almost 2k words on early fandom and now she needs a nap.
AO3 was created to be a safe space – for writers
Kids read your fandom history research goddamit. Here are just a few, and these are not hard to find. We’re the internet generation – use a search field and read multi-source history checks, okay?
(almost all of these are linked from my personal reblogs, because i know i won’t change my username meaning the links will always work)
We made AO3 TO PROTECT WRITERS WHO WERE BEING SUED,AND HARASSED,AND ATTACKED.,you don’t wanna read something? check the tags and move on,that’s YOUR RESPONSIBILITY TO YOURSELF,not our responsibility as the writers, as the fanartists,as the vidders,as the content creators of all kinds,ARTISTS MAKE ART,YOU DON’T LIKE THAT PARTICULAR ART? MOVE ALONG. THERE’S PLENTY MORE WHERE THAT CAME FROM.,and for FUCK’S SAKE read the GOD DAMNED TAGS,we the writers TAG OUR SHIT TO HELP YOU KEEP YOURSELF SAFE.
So, I was reading this, and taking notes, and *boom* “Hey, that’s my article!” Thanks!
Why I will fight for AO3 and DW:
“Rising from the ashes of LJ, you also had Dreamwidth. I’m actually kind of surprised DW wasn’t mentioned in the OP, since it grew out of the same ideology as AO3. Run by fans, for fans, because LJ (which at this point had been sold to SUP Media) had no idea what it was doing. Also like AO3, DW went to extreme lengths to make a safe fan culture inherent to the structure the site. Stay within the law, and DW and AO3 will back you up.
It’s worth noting that Tumblr actually predates Strikethrough. But Tumblr, unlike DW and AO3, wasn’t designed for fans. It didn’t carry the legacy of Strikethrough with it the way AO3 and DW did. So I guess– I have no evidence, but I’m surmising – that’s how it fell into the role of Natural Successor to Fanfic.net and Livejournal. It’s kind of inevitable, actually, that since neither LJ nor Tumblr was made for fans, they ended up falling into the same black hole of fandom collision. Kinkshaming people off the internet for literally as long as there’s been an internet. And then, on the other hand, you’ve got DW and AO3, who’ve watched fandom rip itself apart AT LEAST 3 times and are determined not to let it happen again. DW and AO3: We haven’t cared about the filthy shit you’re into since 2008.” @rapacityinblue
All of this. So much. Don’t get me wrong, I love the aspect of tumblr that allows fans to be critical of source content and fan content alike. I think we should talk about the issues with things like incest ships and ships with large age gaps, and why white male villains often end up with massive fanbases while Black heroes end up with much smaller ones, or even with haters. And tons of other issues besides. I think the critical side of fandom is important and endlessly interesting. We should discuss and discourse and argue and meta the hell out of things.
But. The side of tumblr that bullies, doxxes, and harasses anyone who doesn’t fall in line with a person or group’s parameters of acceptable content is disgusting to me. And the calls for some kind of oversight or regulation beyond stuff that’s already illegal are concerning, because as others have said…no one calling for it seems to be able to articulate who decides this shit, and where lines are drawn. It’s one thing to talk in terms of what you personally will accept, condone, or do. It’s another thing all together to talk about setting overarching policies that large groups of people are held to.
I want to especially agree with the parallels between FFN anon culture and Tumblr anon culture. Eerily similar response, though for different reasons (FFN anons tend to skew right and Tumblr anons left).
every time I see more of the ‘ao3 is evil’ crap circulating I think, ‘well, tumblr is evil too and I don’t see you stop using it’
You know, the more I think about this, the more I think the real complaint isn’t that AO3 hosts “evil” content, it’s that it doesn’t allow harassment/dogpiling of “evil” creators as easily as Tumblr. Abuse won’t remove or even re-tag a work except in a handful of very specific cases, but they will suspend or ban users for harassment, including filing repeated unfounded Abuse reports. Authors also have at least some ability to screen/block comments on works, and there’s no direct messaging system outside of commenting on works through which to pursue harassment. You can follow a creator but you can’t block them (much less encourage others to do the same).
Tumblr, by contrast, generally ignores any abuse report that doesn’t involve the DMCA, and aggressive anons can and have driven bloggers off the site entirely. The fact that the same tactics are used by social justice bloggers and neo-Nazis (for instance) doesn’t matter – they’re the affordances of the site, by accident or design, and an entire fannish generation have gotten very used to performing their fannish (and moral) identity in this fashion.
(I thinks it’s relevant that AO3 was designed by fandom’s LJ generation and in some respect mirrors the affordances of LJ circa 2010. Tumblr is a very different site and that, moreso than age differences, seems to be at the root of this – though of course age intersect with site experience in a non-trivial way.)
ding ding ding ding.
Ao3 requires you to police your own consumption of content. Ao3 won’t let you destroy someone’s online presence simply because you don’t like it. Ao3 won’t let you impose your own morality on other without cause.
If you have issues with this, and the fact that Ao3 requires you to have responsibility and agency, then you seriously need to sit down and have a damned good long hard look at yourself.
The question I usually fail to see being answered when people bitch about the content on AO3 is – so who gets to decide?
You? Me? A committee of my friends? Of yours? Of those who have the most kudos? Of those who have no interest in fandom, but want to protect other people from dangerous content, whatever it may be? Who gets that power, and how long will they have it?
Who are you comfortable with giving the power of regulating all the content? What happens in grey areas? What happens when something you like isn’t liked by the Decider? Is there an appeal? Who gets to make the arguments for and against something?
The world is complex and there are no easy answers.
The impossibility of creating a censorship board that curates based on content is a great reason why those things don’t exist, and shouldn’t.
Certain people are screaming that AO3 is bad because it’s not a “safe space.” The real problem they have, though, is that AO3 was created to be a safe space – for writers. And it does a pretty good job of that. It was designed to be a place where writers are safe from arbitrary content rule changes, random and unwarned deletions, and abuse-report abuse (which is common on ff.net). The Four Big Warnings + CNTW system is beautiful in its fairness and simplicity.
Antis can’t take control of it. And because control-freakdom is at the heart of their “movement,” this drives them into frenzies. Good. It motivated me to dig a little deeper into my pocket to donate on the last drive. For all the pleasure AO3 has given me over the years, that’s money well spent.
The real problem they have, though, is that AO3 was created to be a safe space – for writers.
Preach it loud and hard!
I’m a member of the LJ generation, and when I first came to Tumblr (grudgingly and out of desperation, I might add, since it tragically seems to be the only place to really connect with other fandom peeps) I was horrified at how people here had established this sort of fucked up bully culture, where nobody is responsible for monitoring their own consumption, and rather they expect everyone else to custom tailor content to the whims and desires of the Shrieking Banshee Masses. And woe be to the person who doesn’t bend and break! “I’m going to bully you while accusing you and your Big Mean Poopie Content of being the actual bully, so I can hopefully distract you and others from realizing I’m being a royal intrusive asshat who failed Astronomy 101 b/c I clearly believe the world revolves around me.”
The irony here is that this in itself is an abuse tactic – victim blaming with a side of gaslighting. Pot, meet kettle.
And it’s the exact same mentality that drives right-wing lunatics to kick up a fuss about the existence of icky cootie gay people in media because we need to “protect family values”, or who take to screeching at Starbucks because their particular religious symbolism isn’t portrayed on the winter holiday cups and OMG WAR ON CHRISTMAS, STARBUCKS STOP OPPRESSING ME BY NOT CATERING TO MY PERSONAL TASTE.
The mentality is one and the same – “Cater to ME ME ME or FACE MY DIVINE WRATH even if it means taking away other people’s freedom!” while hiding behind a flimsy-ass shield of faux righteous anger.
And when these bozos find an environment or situation where they’re unable or not allowed to bully people into silence and submission, they stomp their feet and pitch a tantrum and claim that they’re the ones being oppressed. Identical shit, different pile, and it’s the exact same infantile, schoolyard rubbish no matter which side it’s coming from.
This was a really interesting read. The last poster in particular but all of it.
Okay, so I find the history behind this discussion really interesting, because there are two things that stand out to me. One is the thought AO3′s culture is equivalent to LJ circa 2010. This is almost true, except you actually have to go back further. Ao3 and Dreamwidth are both specifically trying to recreate the fan culture of Livejournal from 1999-2007, and I can say that with some authority because A) I was there (olllld) and B) both were founded in 2008/09 as a direct response to the shit happening on LiveJournal and Fanlib.
The other thing is the idea that anon-harassment culture started with Tumblr. Because, kiddos, did it ever not. Tumblr is very much Fanfiction.net circa 1998-forward. (That’s right, FF.N was basically always awful.) But how we got from there to here is actually really interesting And tangly. And long.
Up to the late 1990s, fan communities were often small and decentralized because there was a huge fear that fans would be targeted by content creators if they drew too much attention. Since several authors (Anne Rice, Mercedes Lackey, Anne McCaffery) actually DID issue cease&desists to fan creators, it’s kind of understandable where the fear came from. It’s also why you still see fanfic floating around with disclaimers, something young!tumblr loves to mock.
Harry Potter changed *everything*. Like, I really can’t emphasize how much. Fanfiction was always there, being shared on email lists or privately hosted or literally mailed cross country. But Harry Potter hit BIG in 1997. It had a massive crossover appeal that hadn’t been seen since probably the original Star Trek, and the baby Internet was all. over. it. If you weren’t there, imagine Twilight. But bigger. And J.K. Rowling stood out from other creators by condoning fanfiction in her very early interviews. Not to mention there was a lot of down time between books and, as you might know, the fans do not do well unpoliced.
This led to, I’m not kidding, an explosion of sites like FF.N. I don’t think a lot of younger users get how revolutionary AO3 is: not just because it created a safe space, but because of how much it’s done to centralize fanfiction on the internet. We used to get our fix through webrings and e-serves, so in the late 90s/early 00s we thought nothing of having dozens of scattered fanfic sites.
At the same time, the Digital Millennium Copywrite Act was coming down. The legality of fanworks was getting more and more complex. And no one knew how to handle these questions, because they had literally never come up before. When it was just authors going after individual fans, things usually went quick and brutal. Fans had neither the money nor the legal teams to stand up to creators, even if (as we were slowly beginning to realize) we had a strong case to create and share fanworks. So, if you got hit with a takedown notice, you took your fic down and laid low, hoping to avoid any further interest.
But now the legal burden was shifting from individuals to well-funded corporations. Fanfic.net and LJ didn’t want to shut down their fan-contributors, who were creating a huge stream of free content and bringing in advertising revenue. At the same time, they didn’t want to get shut down by a lawsuit if Lucasfilm found Han/Chewie smut and decided to go after the real money. The next 10 years were basically all of us – authors, fan creators, website executives – stumbling through brand new legal territory and figuring it out by trial and error. FF.N erred on the side of caution by becoming more and more restrictive. They shut down the entire Anne McCaffrey and Anne Rice sections, and eventually banned “pornographic” fanfiction from the site in an attempt to cover their legal rears. (It backfired, unsurprisingly, because say what you will about fandom: we like our smut. Also, FF.N had other issues that we won’t get into here will discuss shortly.) A bunch of other sites folded or waned in popularity as fandom wars divided the fan population. Authors scattered to the winds, and a lot of them ended up on LJ.
LJ started out very user friendly. We’re talking an open source code, an almost entirely volunteer staff. Even after it was sold to 6Apart in 2005, LJ was pretty permissive. A lot of that had to do with the aforementioned DMCA, which protected ISPs and hosting corporations. Like I mentioned above, a lot of the migration from FF.N to LJ (as a place for fanfiction SPECIFICALLY) came when FF.N started banning explicit fanworks. Why? Because FF.N targeted these fanworks based entirely on user reports. “Tell us if you find porn,” FF.N said, “And we’ll take care of it.”
Backup real quick. LJ, in many ways, set the standard for online privacy in a way that was far ahead of its time. Friendslocked journals were the norm rather than the exception and many, many communities disallowed anonymous commenting. (I’m not saying LJ wasn’t toxic as fuck, by the way. It is 2017 and let’s all have a moment of acknowledgement for how terrible LJ culture actually could be.) But LJ, on the whole, was much, much better at self-policing than FF.N. On FF.N, all of your stuff was out in the open. It was just there. Anyone could read it, anyone could report it.
And these two sites coexisted. All BNFs had a private journal and a public FF.N page. So if I hated someone and I wanted to harass them off the internet, on LJ, I’d have to make multiple sock puppets and concoct elaborate multi-journal ruses to do it on LJ (haha, who would do THAT?). What am I to do? Simple: Head off to FF.N and anonymously flame them there!
FF.N became synonymous with anonymous hate long before the anti-smut censorship came down. But once those rules were in place, the system was rife for abuse by the Purity Police or grudgewankers. Waaaaaaaaaaaaaay before it was cool to dm “kill urself” to someone on tumblr, it was happening on FF.N. All you, the early internet user, had to do was post a report link for your rival’s FF.N account on your LJ. Hate a pairing? A kink? Why not post a scathing rant, link included, to this captive audience of ALL YOUR FRIENDS.
Yeah, this system had no room for abuse.
So. FF.N opened the door and fandom came rushing through like the raging assholes we are. Certain Fandoms Alluded To Previously got so deeply divided that they split and formed their own fanfiction archives that occasionally rained hate on each other. Everyone else slowly withdrew to LJ, where locked communities offered some level of protection. Then, irony of ironies, fandom as a whole got targeted by the purity wankers. And of course, of course, it came back to Harry Potter.
It’s 2007. Things have quieted down since 2001, when certain unnamed people’s fics were targeted for plagiarism and deleted from FF.N even though, just to be clear, they actually were plagiarized and, while there was an element of mob persecution, the actual fact remains that the work in question was legitimately in violation of FF.N’s TOS.
Ahem. It’s 2007. And everyone’s fairly chill. Creators are far more comfortable with fanfiction and fan creators are confident in posting their work so long as they aren’t profiting directly from it. Hosting sites, meanwhile, are profiting from fanworks, but they’ve got the legal shield of the DMCA to hide behind, so they’re feeling A-OKAY. And then Warriors for Innocence appears. WfI existed before strikethrough, and they existed after, but they made their mark on fandom when they reported upwards of 500 journals, most of them fan journals and communities, to LJ. The theory runs as follows: 6A, the company who’d bought LJ 2 years prior, realizes that the DMCA didn’t protect them if the fan works in question are “indecent”. Compounding this, 6A is already trying to clean up the famdomier aspects of LJ. Either they’re looking for a sale, or sites like ONTD are bringing in massive amounts of hits. WfI brings 6A a perfect hit list, and 6A goes to work.
So one morning we all wake up and find that hundreds of journals, including the pornish_pixies community and several BNF’s personal journals, have been deleted. Literally gone: a lot of the media stored on these communities has been purged forever. Hope you had backups. Also gone: large swaths of the Pretty Gothic Lolita community, Lolita book discussion groups, and rape survivor communities.
In a quest to rid LJ of “pedophilia,” 6A wiped out a large swath of ethically questionable fanfic, and woke a beast. Again: We like our porn. 6A took a step back and restored some of the deleted journals, but the damage had been done. AO3 was already being discussed as a response to Fanlib, a hosting site that wanted to charge for access to fanfiction. (Yes, if you’ve been following along, that was a terrible idea. But that’s a post for another day.) But as AO3 began to change and grow, creators specifically wrote provisions into the TOS that guaranteed a strikethrough-esque event could never happen on the site. A specific kink or pairing would never be considered a violation of the TOS. The onus was on the reader, not the author, to protect themselves with the information given. Basically, AO3 took the early fandom nugget “Don’t like, don’t read” and made it policy. When peole say AO3 grew out of Livejournal, they’re specifically referencing this. One event that proved ALL OF OUR LONGSEATED FEARS WERE TRUUUUUUUUUE.
Rising from the ashes of LJ, you also had Dreamwidth. I’m actually kind of surprised DW wasn’t mentioned in the OP, since it grew out of the same ideology as AO3. Run by fans, for fans, because LJ (which at this point had been sold to SUP Media) had no idea what it was doing. Also like AO3, DW went to extreme lengths to make a safe fan culture inherent to the structure the site. Stay within the law, and DW and AO3 will back you up.
It’s worth noting that Tumblr actually predates Strikethrough. But Tumblr, unlike DW and AO3, wasn’t designed for fans. It didn’t carry the legacy of Strikethrough with it the way AO3 and DW did. So I guess– I have no evidence, but I’m surmising – that’s how it fell into the role of Natural Successor to Fanfic.net and Livejournal. It’s kind of inevitable, actually, that since neither LJ nor Tumblr was made for fans, they ended up falling into the same black hole of fandom collision. Kinkshaming people off the internet for literally as long as there’s been an internet. And then, on the other hand, you’ve got DW and AO3, who’ve watched fandom rip itself apart AT LEAST 3 times and are determined not to let it happen again. DW and AO3: We haven’t cared about the filthy shit you’re into since 2008.
That’s it, folks. Fandom mom wrote almost 2k words on early fandom and now she needs a nap.
AO3 was created to be a safe space – for writers
Kids read your fandom history research goddamit. Here are just a few, and these are not hard to find. We’re the internet generation – use a search field and read multi-source history checks, okay?
(almost all of these are linked from my personal reblogs, because i know i won’t change my username meaning the links will always work)
We made AO3 TO PROTECT WRITERS WHO WERE BEING SUED,AND HARASSED,AND ATTACKED.,you don’t wanna read something? check the tags and move on,that’s YOUR RESPONSIBILITY TO YOURSELF,not our responsibility as the writers, as the fanartists,as the vidders,as the content creators of all kinds,ARTISTS MAKE ART,YOU DON’T LIKE THAT PARTICULAR ART? MOVE ALONG. THERE’S PLENTY MORE WHERE THAT CAME FROM.,and for FUCK’S SAKE read the GOD DAMNED TAGS,we the writers TAG OUR SHIT TO HELP YOU KEEP YOURSELF SAFE.
So, I was reading this, and taking notes, and *boom* “Hey, that’s my article!” Thanks!
Why I will fight for AO3 and DW:
“Rising from the ashes of LJ, you also had Dreamwidth. I’m actually kind of surprised DW wasn’t mentioned in the OP, since it grew out of the same ideology as AO3. Run by fans, for fans, because LJ (which at this point had been sold to SUP Media) had no idea what it was doing. Also like AO3, DW went to extreme lengths to make a safe fan culture inherent to the structure the site. Stay within the law, and DW and AO3 will back you up.
It’s worth noting that Tumblr actually predates Strikethrough. But Tumblr, unlike DW and AO3, wasn’t designed for fans. It didn’t carry the legacy of Strikethrough with it the way AO3 and DW did. So I guess– I have no evidence, but I’m surmising – that’s how it fell into the role of Natural Successor to Fanfic.net and Livejournal. It’s kind of inevitable, actually, that since neither LJ nor Tumblr was made for fans, they ended up falling into the same black hole of fandom collision. Kinkshaming people off the internet for literally as long as there’s been an internet. And then, on the other hand, you’ve got DW and AO3, who’ve watched fandom rip itself apart AT LEAST 3 times and are determined not to let it happen again. DW and AO3: We haven’t cared about the filthy shit you’re into since 2008.” @rapacityinblue
All of this. So much. Don’t get me wrong, I love the aspect of tumblr that allows fans to be critical of source content and fan content alike. I think we should talk about the issues with things like incest ships and ships with large age gaps, and why white male villains often end up with massive fanbases while Black heroes end up with much smaller ones, or even with haters. And tons of other issues besides. I think the critical side of fandom is important and endlessly interesting. We should discuss and discourse and argue and meta the hell out of things.
But. The side of tumblr that bullies, doxxes, and harasses anyone who doesn’t fall in line with a person or group’s parameters of acceptable content is disgusting to me. And the calls for some kind of oversight or regulation beyond stuff that’s already illegal are concerning, because as others have said…no one calling for it seems to be able to articulate who decides this shit, and where lines are drawn. It’s one thing to talk in terms of what you personally will accept, condone, or do. It’s another thing all together to talk about setting overarching policies that large groups of people are held to.
I want to especially agree with the parallels between FFN anon culture and Tumblr anon culture. Eerily similar response, though for different reasons (FFN anons tend to skew right and Tumblr anons left).
You cannot possess me for I belong to myself But while we both wish it, I give you that which is mine to give You cannot command me, for I am a free person But I shall serve you in those ways you require and the honeycomb will taste sweeter coming from my hand.
But there’s more of it?
I pledge to you that yours will be the name I cry aloud in the night. And the eyes into which I smile in the morning. I pledge to you the first bite from my meat, And the first drink from my cup. I pledge to you my living and dying, equally in your care, And tell no strangers our grievances. This is my wedding vow to you. This is a marriage of equals.
And then there is this part.
The Priest or Priestess says: These promises you make by the sun and the moon, by fire and water, by day and night, by land and sea. With these vows you swear, by the God and Goddess, to be full partners, each to the other. If one drops the load, the other will pick it up. If one is a discredit to the other, his own honor will be forfeit, generation upon generation, until he repairs that which was damaged and finds that which was lost. Should you fail to keep the oath you pledge today, the elements themselves will reach out and destroy you.
The elements themselves will reach out and destroy you.
I used to work for a call center and I was doing a political survey and I called this number that was randomly generated for me and the way our system worked was voice-activated so when the other person said hello you’d get connected to them, so I just launch right into my “Harvard University and NPR blah blah blah” thing and then there’s this long pause and I think the person’s hung up even though I didn’t hear a click
And then I hear “you shouldn’t be able to call this number.”
So I apologize and go into the preset spiel about because we aren’t selling anything, etc. etc. and the answer I get is
“No, I know that. What I mean is that it should be impossible for you to call this number, and I need to know how you got it.”
I explain that it’s randomly generated and I’m very sorry for bothering him, and go to hang up. And before I can click terminate, I hear:
“Ma’am, this is a matter of national security.”
I accidentally called the director of the FBI.
My job got investigated because a computer randomly spit out a number to the Pentagon.
This is my new favourite story.
When I was in college I got a job working for a company that manages major air-travel data. It was a temp gig working their out of date system while they moved over to a new one, since my knowing MS Dos apparently made me qualified.
There was no MS Dos involved. Instead, there was a proprietary type-based OS and an actually-uses-transistors refrigerator-sized computer with switches I had to trip at certain times during the night as I watched the data flow from six pm to six AM on Fridays and weekends. If things got stuck, I reset the server.
The company handled everything from low-end data (hotel and car reservations) to flight plans and tower information. I was weighed every time I came in to make sure it was me. Areas of the building had retina scanners on doors.
During training. they took us through all the procedures. Including the procedures for the red phone. There was, literally, a red phone on the shelf above my desk. “This is a holdover from the cold war.” They said. “It isn’t going to come up, but here’s the deal. In case of nuclear war or other nation-wide disaster, the phone will ring. Pick up the phone, state your name and station, and await instructions. Do whatever you are told.”
So my third night there, it’s around 2am and there’s a ringing sound.
I look up, slowly. The Red phone is ringing.
So I reach out, I pick up the phone. I give my name and station number. And I hear every station head in the building do the exact same. One after another, voices giving names and numbers. Then silence for the space of two breaths. Silence broken by…
“Uh… Is Shantavia there?”
It turns out that every toll free, 1-900 or priority number has a corresponding local number that it routs to at its actual destination. Some poor teenage girl was trying to dial a friend of hers, mixed up the numbers, and got the atomic attack alert line for a major air-travel corporation’s command center in the mid-west United States.
There’s another pause, and the guys over in the main data room are cracking up. The overnight site head is saying “I think you have the wrong number, ma’am.” and I’m standing there having faced the specter of nuclear annihilation before I was old enough to legally drink.
The red phone never rang again while I was there, so the people doing my training were only slightly wrong in their estimation of how often the doomsday phone would ring.
Every time I try to find this story, I end up having to search google with a variety of terms that I’m sure have gotten me flagged by some watchlist, so I’m reblogging it again where I swear I’ve reblogged it before.
But none of these stories even come close to the best one of them all; a wrong number is how the NORAD Santa Tracker got started.
Seriously, this is legit.
In December 1955, Sears decided to run a Santa hotline. Here’s the ad they posted.
Only problem is, they misprinted the number. And the number they printed? It went straight through to fucking NORAD. This was in the middle of the Cold War, when early warning radar was the only thing keeping nuclear annihilation at bay. NORAD was the front line.
And it wasn’t just any number at NORAD. Oh no no no.
Terri remembers her dad had two phones on his desk, including a red
one. “Only a four-star general at the Pentagon and my dad had the
number,” she says.
“This was the ‘50s, this was the Cold War,
and he would have been the first one to know if there was an attack on
the United States,” Rick says.
The red phone rang one day in
December 1955, and Shoup answered it, Pam says. “And then there was a
small voice that just asked, ‘Is this Santa Claus?’ ”
His
children remember Shoup as straight-laced and disciplined, and he was
annoyed and upset by the call and thought it was a joke — but then,
Terri says, the little voice started crying.
“And Dad realized
that it wasn’t a joke,” her sister says. “So he talked to him,
ho-ho-ho’d and asked if he had been a good boy and, ‘May I talk to your
mother?’ And the mother got on and said, ‘You haven’t seen the paper
yet? There’s a phone number to call Santa. It’s in the Sears ad.’ Dad
looked it up, and there it was, his red phone number. And they had
children calling one after another, so he put a couple of airmen on the
phones to act like Santa Claus.”
“It got to be a big joke at the command center. You
know, ‘The old man’s really flipped his lid this time. We’re answering
Santa calls,’ ” Terri says.
And then, it got better.
“The airmen had this big glass board with the United States on it and
Canada, and when airplanes would come in they would track them,” Pam
says.
“And Christmas Eve of 1955, when Dad walked in, there was
a drawing of a sleigh with eight reindeer coming over the North Pole,”
Rick says.
“Dad said, ‘What is that?’ They say, ‘Colonel, we’re
sorry. We were just making a joke. Do you want us to take that down?’
Dad looked at it for a while, and next thing you know, Dad had called
the radio station and had said, ‘This is the commander at the Combat
Alert Center, and we have an unidentified flying object. Why, it looks
like a sleigh.’ Well, the radio stations would call him like every hour
and say, ‘Where’s Santa now?’ ” Terri says.
For real.
“And later in life he got letters from all over the world, people
saying, ‘Thank you, Colonel,’ for having, you know, this sense of humor.
And in his 90s, he would carry those letters around with him in a
briefcase that had a lock on it like it was top-secret information,” she
says. “You know, he was an important guy, but this is the thing he’s
known for.”
“Yeah,” Rick [his son] says, “it’s probably the thing he was proudest of, too.”
So yeah. I think that might be the best wrong number of all time.
“The most dangerous thing you can do is believe life is a narrative.
Narratives imply that you are its protagonist. As a protagonist, it’s hard not to believe you deserve satisfying resolutions to your conflicts and a happily ever after. It implies that certain people, because they don’t interest you, aren’t important. It implies that other people exist to further your story. The thing is, you can’t treat other people like side characters. Your best friend is not a side kick. Your friends are not comedic relief or dramatic foils. Your parents do not exist to provide your tragic backstory or dispense fortune cookie wisdom. Your first love, your current love, your ex-love, your would-be love, your unrequited crush, your almost-love, your soulmate—they’re not there to fill your emptiness or give you emotional depth. But, you say, aren’t we all the protagonists of our own story? I say no. Because I’m not a side character in anyone’s story. I’m no one’s two-dimensional soulmate. I’m my parent’s child, but my life is my own. I’m just a person, with my own heart and my own fears and my own dreams. I deserve to be treated as one. And so do you. Narratives also imply an author. A guiding hand who will make sure things work out because that’s what happens in books and movie screens. Or, at least if you die, it’ll have meaning. That’s convenient, because it means you’re not responsible for the things you say and do. You’re just a puppet, bending to the strings of Fate and everything you say, every choice you make, has already been written. Fuck that. I want my mistakes to be mine. My pain to be mine. My joys, my loves, my laughter, my tears, my accomplishments, my failures—they’re all mine. They belong to me, and whoever I share them with. The universe doesn’t get to take credit for my messy heart and all its wanting. I don’t care if things are meant to be. I’m not looking for a neat, clean ending. I am greedy and I want everything I can get my hands on.”
Just about every writer out there has several go-to websites that they use when it comes to their writing. Be it for creativity, writer’s block, to put you in the mood or general writing help. These are mine and I listed them in hopes that you’ll find something that you’ll like or find something useful. I’ve also included some websites that sounded interesting, but I haven’t tried out yet.
Spelling & Grammar
Grammar Girl – Grammar Girl’s famous Quick and Dirty Tips (delivered via blog or podcast) will help you keep your creative writing error free.
The Owl – is Purdue University’s Online Writing Lab (OWL) it’s a great resource for grammar guides, style tips and other information that can help with your writing, especially academics.
Tip of My Tongue — have you ever had trouble of thinking of a specific word that you can’t remember what it is? Well, this site will help you narrow down your thoughts and find that word you’ve been looking for. It can be extremely frustrating when you have to stop writing because you get a stuck on a word, so this should help cut that down.
Free Rice – is a great way to test your vocabulary knowledge. What’s even better about this site is that with every correct answer, they donate 10 grains of rice to the United Nations World Food Program. So, please disable your adblock since they use the ads on the site to generate the money to buy the rice.
HyperGrammar – the University of Ottawa offers up a one-stop guide for proper spelling, structure, and punctuation on this site.
AutoCrit – the AutoCrit Editing Wizard can check writing for grammar errors, clichés and other no-no’s. It also provides a number of other writing resources as well.
Writer’s Digest– learn how to improve your writing, find an agent, and even get published with the help of the varied blogs on this site.
Syntaxis – it allows you to test your knowledge of grammar with a ten-question quiz. The questions change every time you take the quiz so users are sure to be challenged each time around. It definitely helps writers know if there’s something that they need to brush up on.
Word Frequency Counter – this counter allows you to count the frequency usage of each word in your text.
EditMinion – is a free robotic copy editor that helps you to refine your writing by finding common mistakes.
BBC – has a section for helping you with your skills, especially in writing, from grammar to spelling, to reading, to listening and to speaking.
Tools
Copyscape – is a free service that you can use to learn if anyone has plagiarized your work. It’s pretty useful for those that want to check for fanfiction plagiarism.
Plagium – is another a copy detection system, that provides a very similar service to Copyscape and uses Yahoo! rather than Google to perform its searches. Just keep in mind that searches for simple text up to 25,000 characters remains free of charge, but any larger requires credits to be purchase.
Write or Die – is an application for Windows, Mac and Linux which aims to eliminate writer’s block by providing consequences for procrastination.
Written? Kitten! – is just like Write or Die, but it’s a kinder version. They use positive reinforcement, so every time you reach a goal they reward you with an adorable picture of a kitten.
Fast Fingers – offers you an easy way to improve your typing skills. It’s puts you through a quick typing game that tests your typing speed and improves it at the same time. It’s also a great way for writers to warm up.
Information & Data
RefDesk – it has an enormous collection of reference materials, searchable databases and other great resources that can’t be found anywhere else. It’s great to use when you need to find something and check your facts.
Bib Me – it makes it easy to create citations, build bibliographies and acknowledge other people’s work. This is definitely something that academics will love. It’s basically a bibliography generator that automatically fills in a works cited page in MLA, APA, Chicago or Turbian formats.
Internet Public Library – this online library is full of resources that are free for anyone to use, from newspaper and magazine articles to special collections.
The Library of Congress – if you’re looking for primary documents and information, the Library of Congress is a great place to start. It has millions of items in its archives, many of which are accessible right from the website.
Social Security Administration: Popular Baby Names – is the most accurate list of popular names from 1879 to the present. If your character is from America and you need a name for them, this gives you a accurate list of names, just pick the state or decade that your character is from.
WebMD – is a handy medical database loaded with information. It’s not a substitute for a doctor, but can give you a lot of good information on diseases, symptoms, treatments, etc.
– is the National Institutes of Health’s Web site that contains information about diseases, conditions, and wellness issues in language you can understand. It also offers reliable, up-to-date health information, anytime, anywhere, for free.
You can use the site to learn about the latest treatments, look up information on a drug or supplement, find out the meanings of words, or view medical videos or illustrations. You can also get links to the latest medical research on your topic or find out about clinical trials on a disease or condition.
Its current priorities include communicable diseases, in particular HIV/AIDS, Ebola, malaria and tuberculosis; the mitigation of the effects of non-communicable diseases; sexual and reproductive health, development, and ageing; nutrition, food security and healthy eating; occupational health; substance abuse; and driving the development of reporting, publications, and networking.
Google Scholar – is an online, freely accessible search engine that lets users look for both physical and digital copies of articles. It searches a wide variety of sources, including academic publishers, universities, and preprint depositories and so on. While Google Scholar does search for print and online scholarly information, it is important to understand that the resource is not a database.
The Old Farmer’s Almanac – this classic almanac offers yearly information on astronomical events, weather conditions and forecasts, recipes, and gardening tips.
State Health Facts – Kaiser Family Foundation provides this database, full of health facts on a state-by-state basis that address everything from medicare to women’s health.
U.S. Census Bureau – you can learn more about the trends and demographics of America with information drawn from the Census Bureau’s online site.
Wikipedia – this shouldn’t be used as your sole source, but it can be a great way to get basic information and find out where to look for additional references.
Finding Data on the Internet – a great website that list links that can tell you where you can find the inflation rate, crime statistics, and other data.
Word References
RhymeZone – whether you’re writing poetry, songs, or something else entirely, you can get help rhyming words with this site.
Acronym Finder – with more than 565,000 human-edited entries, Acronym Finder is the world’s largest and most comprehensive dictionary of acronyms, abbreviations, and initials.
Symbols.com – is a unique online encyclopedia that contains everything about symbols, signs, flags and glyphs arranged by categories such as culture, country, religion, and more.
OneLook Reverse Dictionary – is a dictionary that lets you describe a concept and get back a list of words and phrases related to that concept. Your description can be a few words, a sentence, a question, or even just a single word.
The Alternative Dictionaries – is a site that you can look up slang words in all types of languages, including Egyptian Arabic, Cherokee, Cantonese, Norwegian and many, many others.
Online Etymology Dictionary – it gives you the history and derivation of any word. Etymologies are not definitions; they’re explanations of what our words meant and how they sounded 600 or 2,000 years ago.
MediLexicon– is a comprehensive dictionary of medical, pharmaceutical, biomedical, and health care abbreviations and acronyms.
Merriam Webster Online – the online version of the classic dictionary also provides a thesaurus and a medical dictionary.
Multilingual Dictionary – it translate whatever you need from 30 different languages with this easy-to-use site.
Writing Software
Open Office – why pay for Microsoft products when you can create free documents with Open Office? This open source software provides similar tools to the Microsoft Office Suite, including spreadsheets, a word processor, the ability to create multimedia presentations, and more.
LibreOffice – is a free and open source office suite. It was forked from OpenOffice.org in 2010, which was an open-sourced version of the earlier StarOffice. The LibreOffice suite comprises programs to do word processing, spreadsheets, slideshows, diagrams and drawings, maintain databases, and compose math formula.
Scrivener – is not a free program, but it’s certainly a very popular one. It’s great for organizing research, planning drafts, and writing novels, articles, short stories, and even screenplays.
OmmWriter – is for Mac OS X, a free simple text processor that gives you a distraction free environment. So you can focus only on your writing without being tempted or distracted by other programs on your computer. They are currently working on a Windows version of their software as well, so keep an eye out for that if you’re interested.
FocusWriter – is another free distraction-free writing application that keeps your writing space simple and clean without sacrificing functionality. It includes a daily goal tracker—work count and time spent writing—spell checking, real-time feedback on variables like word and page count, and tabbed document browsing. The great thing about this is that it’s available for Windows, Mac and Linux.
Q10 – is a free portable distraction-free writing tool for Windows. The interface includes nothing but a tiny bar at the bottom that displays the character, word, and page count—you can toggle the bar off for a totally distraction free workspace.
Evernote – is a free app for your smartphone and computer that stores everything you could possibly imagine losing track of, like a boarding pass, receipt, article you want to read, to do list, or even a simple typed note. The app works brilliantly, keeping everything in sync between your computer, smartphone, or tablet. It’s definitely a useful app for writers when you have ideas on the go.
Storybook – this open source software can make it easier to manage your plotlines, characters, data, and other critical information while penning a novel.
ScriptBuddy – is a full-fledged screenplay software program. It handles the proper screenplay format automatically, so you can concentrate on your story. It is easy to use and the basic version is free.
TheSage – is a free application, which is a comprehensive English dictionary and thesaurus that provides a number of useful and in some cases unusual search tools.
Sigil – is ideal for e-book authors because it’s a free EPUB editor with a stack of essential features.
YWriter5 – is a free word processor and is designed for Windows XP, Vista and beyond. It’s a small but very comprehensive tool which helps you to plan your novel. It breaks your novel into chapters and scenes, helping you keep track of your work while leaving your mind free to create. You can set up deadlines, for instance, and the program’s Work Schedule report will let you know how much you’ll have to do, each day, to finish on time. You can even enter your characters, locations and items and freely organize them into scenes. This definitely sounds like it’ll be useful for NaNoWriMo writers.
Kingsoft Office (WPS Office) – is an office suite for Microsoft Windows, Linux, iOS and Android OS. The basic version is free to use, but a fully featured professional-grade version is also available. This software allows users to view, create and share office documents that are fully compatible with dozens of document formats, including Microsoft PowerPoint, Word and Excel. In other words, the format is similar to a Microsoft Word document (.DOC or .DOCX file) and supports formatted text, images, and advanced page formatting. Kingsoft Writer documents can be converted to Microsoft Word *.doc files in the software.
Creativity, Fun & Miscellaneous
National Novel Writing Month – is one of the most well-known writing challenges in the writing community, National Novel Writing Month pushes you to write 50,000 words in 30 days (for the whole month of November).
WritingFix – a fun site that creates writing prompts on the spot. The site currently has several options—prompts for right-brained people, for left-brained people, for kids—and is working to add prompts on classic literature, music and more.
Creative Writing Prompts – the site is exactly what it says. They have 100+ and more, of prompts that you can choose from.
My Fonts– is the world’s largest collection of fonts. You can even upload an image containing a font that you like, and this tells you what it is.
Story Starters – this website offers over one trillion randomly generated story starters for creative writers.
The Gutenberg Project – this site is perfect for those who like to read and/or have an ereader. There’s over 33,000 ebooks you can download for free.
The Imagination Prompt Generator– click through the prompts to generate different ideas in response to questions like “Is there a God?” and “If your tears could speak to you, what would they say?”
The Phrase Finder – this handy site helps you hunt down famous phrases, along with their origins. It also offers a phrase thesaurus that can help you create headlines, lyrics, and much more.
Storybird – this site allows you to write a picture book. They provided the gorgeous artwork and you create the story for it, or just read the stories that others have created.
Language Is a Virus – the automatic prompt generator on this site can provide writers with an endless number of creative writing prompts. Other resources include writing exercises and information on dozens of different authors.
Background Noise/Music
SimplyNoise – a free white noise sounds that you can use to drown out everything around you and help you focus on your writing.
Rainy Mood – from the same founders of Simply Noise, this website offers the pleasant sound of rain and thunderstorms. There’s a slide volume control, which you can increase the intensity of the noise (gentle shower to heavy storm), thunder mode (often, few, rare), oscillation button, and a sleep timer.
Coffitivity – a site that provides three background noises: Morning Murmur (a gentle hum), Lunchtime Lounge (bustling chatter), and University Undertones (campus cafe). A pause button is provided whenever you need a bladder break, and a sliding volume control to give you the freedom to find the perfect level for your needs and moods. It’s also available as an android app, iOS app, and for Mac desktop.
Rainy Cafe – it provides background chatter in coffee shops (similar to Coffitivity) AND the sound of rain (similar to Simply Rain). There’s also individual volume and on/off control for each sound category.
8tracks – is an internet radio website and everyone can listen for free, well it use to be completely free. Unlike other music oriented social network such as Pandora or Spotify, 8tracks doesn’t have commercial interruption (that’s if you get 8tracks Plus). Users create free accounts and can either browse the site and listen to other user-created mixes for as long as they like, and/or they can create their own mixes. It’s a perfect place to listen to other writer’s playlist, share yours or find music for specific characters or moods. Note: Joining is still free, however you’re now limited to 1 hour of free listening for each week (or more depending on how much people like your mixes). If you want unlimited access it’s $30 per year or $5.00 a month.
Playmoss – with 8tracks no longer having free unlimited listening and no commercial interruptions many people looked for an alternative and Playmoss is what 8tracks use to be. It has all the same basic features that 8tracks has, only with extra goodies like unlimited skips, able to see the entire tracklist before playing, start at any point in the playlist, see how many playlists contain a certain song and even collaborate playlists with other people.
lemme talk about how much i love the Winter Soldier theme again.
first: i think its basically what Buckys head sounds like. screaming, metallic sounds. that bit in the beginning – ever been somewhere dead silent and get that loud hum in your ears? it sounds like that to me. its a great way to represent how completely alone and isolated he is. the radio-static with the distorted talking, maybe its memories being completely distorted to the point he cant tell what they’re saying.
BUT this is the gorgeous part of it:
so, its been theorized that the metallic sounding scream is actually Bucky screaming as he falls from the train, but slowed down and stretched out with heavy filtering.
lemme tell you why thats got to be true. first, how beyond perfect?? its taking something thats *Bucky*, something he did while he was still himself. a very human sound, full of fear and shit. its taking that -just like Bucky- and turning it into something inhuman and metallic.
also, that even though he’s been turned into a cold, calculating killing machine, the machine is still screaming.
when you get your first look at Bucky, when he pulls the goggles off, what do you hear? the scream. you see his face a bit on the rooftop scene, but good enough as to tell its Bucky. but there we get a closeup of his eyes, and its sort of like the last time we saw him and the first since then are being tied together.
and ok, holy shit, i tried listening to it on my headphones, closed my eyes to focus…and had to open them because its just such a fucking terrifying song i got freaked xD
but think about that. you’re not suppose to know its Bucky yet. you’re suppose to be afraid of this dude, and the music seriously adds to that. but, in reality, its not the Winter Soldier thats scary, its what was done to him. the thing thats freaking you out is his terrified screams
now, ok, maybe its not that i could be wrong.
…except im not.
listen, listen! play the song. listen very carefully at the tail end of the first scream. you can hear Steve yell “Bucky!”.
and what is so bleeding brilliant is that, even though its heavily filtered too, its much less filtered than the rest. its the only thing that sounds remotely organic and human in the whole thing. basically, the one thing still human in Buckys mind is Steve.
on that note: does anyone think they know what the static/radio sounding voices are saying? i need fresh ears
anyways here the song xD (the thing im sure is Steve is about 0:25 seconds in. verrry faint gotta turn that bitch up)
Update
oh my god.
all this time, i never thought of the most obvious thing: the most distorted, unrecognizable words in Buckys mind…would be his.
@kaleenjackson figured it out. the first bit of speech around 1:20, listen a few times, and im pretty sure the words will click too “im with you till the end of the line”
of course thats in his head, if this is Bucky’s mind, and we know he recognizes it when Steve says it….what if he’s spent years trying to figure out what its saying, and then Steve says it and it clicks. The Russo’s said in the beginning of CW he doesn’t remember much, what if he doesn’t remember saying it, he realizes thats what the words he’d been trying to figure out have been.
look at his reaction with this in mind: distorted words in his head that are messed up and he cant understand what therye saying, probably getting more distorted as time went on, but always there. he knows its this on, huge important thing that he’s been trying to figure out for decades…and Steve just says it, and he’s realizing thats what the words in his head have been
this guy knows what they mean. Bucky might not remember saying them, but its this one, deep personal thing he’s been able to hold onto but never understand. if this guy knows them, he has to be telling the truth.
ily @kaleenjackson, i honestly do. this is just fantastic. i need to lay down ive worn myself out. and should go explain to my roommate why she just heard robot screaming and a bunch other terrifying shit and then ‘HOLY FUCK!!!! HO. LY. FUCK”
also on that note, i think the second bit of speech is “Sargent James Barnes”
Because there’s a human element to the Winter Soldier that gets revealed toward the end of the film, the Winter Soldier starts off unrelenting and brutal and mechanized and almost Terminator like but the difference between The Winter Soldier and Terminator is that somewhere behind the wires and all the mechanization is a character that we know and we care about and that more importantly, Cap knows about and it’s very painful to him.
So one of the things I ended up doing with the Winter Soldier was I spent literally ten days just on production with vocals because I wanted to get the sensation of a human trapped inside machinery. SoI did a lot of vocal recordings and then processed the living hell out of them to get these tortured, time-stretched human cries of someone who has been so processed that it’s become mechanized at the same time but you can still hear the human in there.
Women have more power and agency in Shakespeare’s comedies than in his tragedies, and usually there are more of them with more speaking time, so I’m pretty sure what Shakespeare’s saying is “men ruin everything” because everyone fucking dies when men are in charge but when women are in charge you get married and live happily ever after
I think you’re reading too far into things, kiddo. Take a break from your women’s studies major and get some fresh air.
Right. Well, I’m a historian, so allow me to elaborate.
One of the most important aspects of the Puritan/Protestant revolution (in the 1590’s in particular) was the foregrounding of marriage as the most appropriate way of life. It often comes as a surprise when people learn this, but Puritans took an absolutely positive view of sexuality within the context of marriage. Clergy were encouraged to lead by example and marry and have children, as opposed to Catholic clergy who prized virginity above all else.Through his comedies, Shakespeare was promoting this new way of life which had never been promoted before. The dogma, thanks to the church, had always been “durr hburr women are evil sex is bad celibacy is your ticket to salvation.” All that changed in Shakespeare’s time, and thanks to him we get a view of the world where marriage, women, and sexuality are in fact the key to salvation.
The difference between the structure of a comedy and a tragedy is that the former is cyclical, and the latter a downward curve. Comedies weren’t stupid fun about the lighter side of life. The definition of a comedy was not a funny play. They were plays that began in turmoil and ended in reconciliation and renewal. They showed the audience the path to salvation, with the comic ending of a happy marriage leaving the promise of societal regeneration intact. Meanwhile, in the tragedies, there is no such promise of regeneration or salvation. The characters destroy themselves. The world in which they live is not sustainable. It leads to a dead end, with no promise of new life.
And so, in comedies, the women are the movers and shakers. They get things done. They move the machinery of the plot along. In tragedies, though women have an important part to play, they are often morally bankrupt as compared to the women of comedies, or if they are morally sound, they are disenfranchised and ignored, and refused the chance to contribute to the society in which they live. Let’s look at some examples.
In Romeo and Juliet, the play ends in tragedy because no-one listens to Juliet. Her father and Paris both insist they know what’s right for her, and they refuse to listen to her pleas for clemency. Juliet begs them – screams, cries, manipulates, tells them outright I cannot marry, just wait a week before you make me marry Paris, just a week, please and they ignore her, and force her into increasingly desperate straits, until at last the two young lovers kill themselves. The message? This violent, hate-filled patriarchal world is unsustainable. The promise of regeneration is cut down with the deaths of these children. Compare to Othello. This is the most horrifying and intimate tragedy of all, with the climax taking place in a bedroom as a husband smothers his young wife. The tragedy here could easily have been averted if Othello had listened to Desdemona and Emilia instead of Iago. The message? This society, built on racism and misogyny and martial, masculine honour, is unsustainable, and cannot regenerate itself. The very horror of it lies in the murder of two wives.
How about Hamlet? Ophelia is a disempowered character, but if Hamlet had listened to her, and not mistreated her, and if her father hadn’t controlled every aspect of her life, then perhaps she wouldn’t have committed suicide. The final scene of carnage is prompted by Laertes and Hamlet furiously grappling over her corpse. When Ophelia dies, any chance of reconciliation dies with her. The world collapses in on itself. This society is unsustainable. King Lear – we all know that this is prompted by Cordelia’s silence, her unwillingness to bend the knee and flatter in the face of tyranny. It is Lear’s disproportionate response to this that sets off the tragedy, and we get a play that is about entropy, aging and the destruction of the social order.
There are exceptions to the rule. I’m sure a lot of you are crying out “but Lady Macbeth!” and it’s a good point. However, in terms of raw power, neither Lady Macbeth nor the witches are as powerful as they appear. The only power they possess is the ability to influence Macbeth; but ultimately it is Macbeth’s own ambition that prompts him to murder Duncan, and it is he who escalates the situation while Lady Macbeth suffers a breakdown. In this case you have women who are allowed to influence the play, but do so for the worse; they fail to be the good moral compasses needed. Goneril, Regan and Gertrude are similarly comparable; they possess a measure of power, but do not use it for good, and again society cannot renew itself.
Now we come to the comedies, where women do have the most control over the plot. The most powerful example is Rosalind in As You Like It. She pulls the strings in every avenue of the plot, and it is thanks to her control that reconciliation is achieved at the end, and all end up happily married. Much Ado About Nothing pivots around a woman’s anger over the abuse of her innocent cousin. If the men were left in charge in this play, no-one would be married at the end, and it would certainly end in tragedy. But Beatrice stands up and rails against men for their cruel conduct towards women and says that famous, spine-tingling line – oh God, that I were a man! I would eat his heart in the marketplace. And Benedick, her suitor, listens to her. He realises that his misogynistic view of the world is wrong and he takes steps to change it. He challenges his male friends for their conduct, parts company with the prince, and by doing this he wins his lady’s hand. The entire happy ending is dependent on the men realising that they must trust, love and respect women. Now it is a society that is worthy of being perpetuated. Regeneration and salvation lies in equality between the sexes and the love husbands and wives cherish for each other. The Merry Wives of Windsor – here we have men learning to trust and respect their wives, Flastaff learning his lesson for trying to seduce married women, and a daughter tricking everyone so she can marry the man she truly loves. A Midsummer Night’s Dream? The turmoil begins because three men are trying to force Hermia to marry someone she does not love, and Helena has been cruelly mistreated. At the end, happiness and harmony comes when the women are allowed to marry the men of their choosing, and it is these marriages that are blessed by the fairies.
What of the romances? In The Tempest, Prospero holds the power, but it is Miranda who is the key to salvation and a happy ending. Without his daughter, it is likely Prospero would have turned into a murderous revenger. The Winter’s Tale sees Leontes destroy himself through his own jealousy. The king becomes a vicious tyrant because he is cruel to his own wife and children, and this breach of faith in suspecting his wife of adultery almost brings ruin to his entire kingdom. Only by obeying the sensible Emilia does Leontes have a chance of achieving redemption, and the pure trust and love that exists between Perdita and Florizel redeems the mistakes of the old generation and leads to a happy ending. Cymbeline? Imogen is wronged, and it is through her love and forgiveness that redemption is achieved at the end. In all of these plays, without the influence of the women there is no happy ending.
The message is clear. Without a woman’s consent and co-operation in living together and bringing up a family, there is turmoil. Equality between the sexes and trust between husbands and wives alone will bring happiness and harmony, not only to the family unit, but to society as a whole. The Taming of the Shrew rears its ugly head as a counter-example, for here a happy ending is dependent on a woman’s absolute subservience and obedience even in the face of abuse. But this is one of Shakespeare’s early plays (and a rip-off of an older comedy called The Taming of a Shrew) and it is interesting to look at how the reception of this play changed as values evolved in this society.
As early as 1611 The Shrew was adapted by the writer John Fletcher in a play called The Woman’s Prize, or The Tamer Tamed. It is both a sequel and an imitation, and it chronicles Petruchio’s search for a second wife after his disastrous marriage with Katherine (whose taming had been temporary) ended with her death. In Fletcher’s version, the men are outfoxed by the women and Petruchio is ‘tamed’ by his new wife. It ends with a rather uplifting epilogue that claims the play aimed:
To teach both sexes due equality
And as they stand bound, to love mutually.
The Taming of the Shrew and The Tamer Tamed were staged back to back in 1633, and it was recorded that although Shakespeare’s Shrew was “liked”, Fletcher’s Tamer Tamed was “very well liked.” You heard it here folks; as early as 1633 audiences found Shakespeare’s message of total female submission uncomfortable, and they preferred John Fletcher’s interpretation and his message of equality between the sexes.
So yes. The message we can take away from Shakespeare is that a world in which women are powerless and cannot or do not contribute positively to society and family is unsustainable. Men, given the power and left to their own devices, will destroy themselves. But if men and women can work together and live in harmony, then the whole community has a chance at salvation, renewal and happiness.
In the immortal words of the bard himself: fucking annihilated.
instead of reporting the murder, i would like to help you bury thE BODY CAUSE DAAMN
“Fairy tales — the proper kind, those original Brothers Grimm and Hans Christian Andersen tales I recall from my Eastern European childhood, unsanitized by censorship and unsweetened by American retellings — affirm what children intuitively know to be true but are gradually taught to forget, then to dread: that the terrible and the terrific spring from the same source, and that what grants life its beauty and magic is not the absence of terror and tumult but the grace and elegance with which we navigate the gauntlet.”
ealdor 