Elated Lad

I don't know who needs to hear this, but when you start nitpicking the metaphor, neurotypical people interpret it as you disagreeing with the point that they're making. If someone says "there's no more reason to do that to a child than there'd be reason to do that to a horse", and you go "actually, in extremely rare singular case circumstances, it's okay to do that to a horse", they assume that you also mean that there are extremely rare singular case circumstances where you think it' be ok to do that to a child.

They interpret you nitpicking the way they worded what they say as you disagreeing with what they're saying.

I was sad, but a drag queen lent me her violin for a while, and I started playing it. I got quite good at it despite the fact that I didn’t really know exactly what I was doing, until I played it a little too hard and it broke. I cried, until she later came up to me and comforted me, saying something like, “All that matters is that you played,” and then I woke up.

Every day I learn something baffling about Massachusetts

Got reminded again of my old coworker who was a massive misogynist but also trans inclusive. Told me he believed trans women are indeed women because "only women would be stupid enough to want to be women"

I wonder what he's doing now

Similar like my attention span

Only in Istanbul 🐈

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.