Spider-Man: MENACE

reblog if your name isn't Ashley.

2,121,566 people are not Ashley and counting!

We’ll find you Ashley.

Quietly losing my mind over the fact that Elon Musk has straight up orchestrated a coup of our executive branch and like....I don't even know what, if any, system we have in place to fix this. Like... He's just taken control of the money and locked out the actual appointed officials. What the fuck.

Big kitty I saw at the animal sanctuary

bring back tumblr ask culture let me. bother you with questions and statements

Tweets like this sincerely embody the attitude that helped lead Trump back to the White House btw

Of course, there are legitimate criticisms of Uber and Lyft, but the above attitude very quickly devolves into, "In the past, it was so cheap to have servants show up via my cell phone to deliver a $2 cheezborger to my house or drive me places. The economy is in shambles because now these services cost more money and we must RETVRN to the glory days. My burrito taxi costs money under the current system, so an outsider like Trump will make it cheaper! He’s a businessman! I am very intelligent.”

Meanwhile, this is the actual state of the economy

People really don’t give a shit about information, just vibes

i do not ghost purposely i just have no idea what to say ever

I understand the appeal of wanting every adult hero to instinctively adopt teenage Peter Parker, but can it really beat the hilarity of acknowledging that at 15 Peter was 5'10", unusually buff, went by a moniker with Man in it, wore a creepy full face mask, and had a tightly guarded secret identity and probably a Queens accent thick enough to have come out of a jello mold, and adult heroes reasonably responded to him by going, “Wow, this grown man is an immature asshole for no reason.”

some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.

it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:

doing it wrong:

She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.

doing it right:

Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.

Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.

This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.

Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:

She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.

Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:

She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.

Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.

I want my gay rights now! - Marsha P. Johnson (NYC Pride Parade, 1973)