It’s been a while since I sent my last message to this mailing list. My apologies – my new job as a property manager took up more time than expected, and I tinkered too much with my computer so was unable to easily draft something new to write.

Yesterday I worked out those kinks and updated my personal website for the first time since late-January. (There’s still a lot to update, but it’s progress.) In this letter I’m going to just talk about the site for a bit – how it’s laid out, and how it’s made.

I received a lot of feedback about my homepage as soon as I started sharing it. In case it changes, at the moment it is a brief paragraph introducing myself, followed by a list of pages and subdirectories (and subpages), followed by an index.

It’s funny how an index, like what books have, looks so out of place on a website’s index page. Of course, part of why my index looks exceptionally silly is that it also includes all the indexed terms and entries from my fantasy canon, so has entries about the fictional region of the Farsteppes listed right next to entries about the real company Facebook. But, consequence of the site being made for myself, first.

This index page, and all the documents, are generated by Org-mode’s publishing features, from my org directory that looks something like this:

~/org/
     |src/
     .   |index.org
     .   |theindex.org
     .   |theindex.inc
     .   |sitemap.org
     .   |...
     .   |dear-parlour-i-updated-my-website.org
     |templates/
     .         |setupfile0.org
     .         |setupfile-base.org
     .         |setupfile-css-simple.org
     |pub/
         |index.html
         |theindex.html
         |sitemap.html
         |...
         |dear-parlour-i-updated-my-website.html

1 Introduction

This document is a manual of how I style my writing: construct it in a way that I think accurately and precisely communicates my ideas.

1.1 Draft

This document is a draft: it is incomplete in one or more ways.

1.2 Editorial and License Information

This document was written by emsenn and is released as software under the terms included in the “License” supplement. Please direct comments to their public inbox or, if necessary, email.

1.3 Literate Programming

This document is implemented using the literate programming paradigm. The “software” being presented is included as sections of code, within a longer piece of prose which explains the code’s purpose and usage. For a more complete explanation of my implementation of the paradigm, see “Literate Programming” in my Style Manual.

2 The Written Voice

This section contains a general description of the voice I try to use. By voice, I mean the mix of content and style that gives my writing its personality. I wrote every rule in this manual with the primary objective of clarifying my voice.

My tone might change depending on what I’m writing, but my voice should stay consistent.

2.1 Write Respectfully

An important part of my tone is writing respectively: making positive assumptions about the writing’s subject and audience.

To treat the reader with respect:

  • I don’t tell them how to feel.

To treat the subject with respect I:

  • I acknowledge people have qualities, but are not those qualities. (For details, see [Describing a Person](#describing-a-person)).

3 The Rules of Writing

The “rules” of writing are those relatively immutable standards which guide the construction of a clause or sentence. I call them rules because that’s what everyone else seems to call them. Personally, I don’t think they should be viewed that strictly.

3.1 Triage

3.2 Rules of Grammar

3.3 Rules of Punctuation

3.3.1 Rules of Spelling and the Treatment of Specific Words

  1. Spelling
    1. UK or US?
  2. Noun Style Guide
    1. Pronouns
      1. Gender

        I hate that there needs to be this section but there does.

    2. Proper Noun Style Guide
      1. Specific Proper Noun Style Guide

        This section contains how to write specific proper nouns. It is simply a list of proper nouns that Gill and Sennhauser has found itself writing several times, so wanted to establish a precise styling for.

        Noun Notes
        Gill and Sennhauser no ampersand
        Org-mode not “Mode”
        emsenn not captialised
    3. Collective Noun Style Guide
      singular noun formal collective noun(s) comedic collective noun(s)
      congressperson members of congress a swamp
      yak cabinet, herd tangle, gridlock
      lawyer huddle, group tangle
  3. Verb Style Guide
    1. Verb Specifications
      1. “To,” not “in order to,” or “as a way to,”
      2. “Also,” not “in addition”
      3. remove, not extract, eliminate, take away

        I mean, unless those are what make more sense.

      4. use

        Normally, you should use “use” in your sentences, unless you’re speaking of something that is being used in an unusual way, then you can say utilize. But you should probably still say use.

      5. method or methodology

        Usually method, unless it’s not.

  4. Contraction Style Guide

    For my personal tone, I should:

    • Use common contractions:
      • it’s
      • you’re
      • that’s
      • don’t

    In all writing, I should:

    • Never mix contractions and their full form in the same piece. This is bad: If you don’t secure the hatch, you cannot proceed with decompression.
    • Never form contractions from a noun and verb. This is bad: the client’s almost here.

    Use common contractions, such as it’s, you’re, that’s, and don’t, to create a friendly, informal tone.

    Don’t mix contractions and their spelled-out equivalents in UI text. For example, don’t use can’t and cannot in the same UI.

    Never form a contraction from a noun and a verb, such as emsenn’s developing a lot of new cloud services.

    Avoid ambiguous contractions, such as there’d, it’ll, and they’ll.

  5. Adverb Style Guide
    1. Forbidden Adverbs

      Obviously not forbidden, but, avoid them.

      Adverb Suggested alternative
      clearly Drop it. If the sentence feels barren without it, maybe it’s not that clear and you should rephrase.
      completely Whatever it did, it did it. You only need to specify if it was incomplete.
      exceedingly
      excellent
      extremely
      fairly
      few
      huge
      interestingly Leave it to your reader to decide if they’re interested
      largely
      literally
      many
      mostly
      quite
      relatively
      remarkably
      several
      signficantly
      substantially
      surprisingly
      tiny
      various
      vast
      very

      Avoid vague adverbs:

      • clearly
      • completely
      • exceedingly
      • excellent
      • extremely
      • fairly
      • few
      • huge
      • interestingly
      • largely
      • literally
      • many
      • mostly
      • quite
      • relatively
      • remarkably
      • several
      • significantly
      • substantially
      • surprisingly
      • tiny
      • various
      • vast
      • very
  6. Adjective Style Guide
    1. Order of Adjectives
      1. List of the Order of Adjectives

        Adjectives should occur be written in the following order:

        1. Quantity: many, seventeen, a few
        2. Opinion: interesting, good, gorgeous
        3. Size: big, narrow, tall
        4. Quality: broken, uncut, smooth
        5. Shape: square, rotund, triangular
        6. Age: 12-year-old, young, elderly
        7. Color: cerulean, green, pink
        8. Origin: English, Roman, Argentinian
        9. Material: Wood, aluminium, concrete
        10. Type: U-shaped, professional, engineer’s
        11. Purpose: cleaning, camping, baking
      2. Superseding Rules to the Order of Adjectives
        • If you’ve got something that might be a reduplicative (hocus-pocus, mama), it might be worth changing the order to give the noun phrase a better meter. The chief example of this is the big bad wolf.
        • Modifiers to an adjective should directly precede them in the phrase. This is most important for inserting a negation – that is, making sure to write, “there were several not calm individuals gathered at the gates.” /(Note “not calm” would more properly be “excited,” or a more appropriate positive adjective, but “not calm” is more suited for the piece. This demonstrates that even when you violate some rules to achieve the proper voice and tone, you don’t suddenly throw out the others.)
      3. Examples from Literature
        • “It was cold, bleak, biting weather,” in A Christmas Carol by Charles Dickens
        • “He’s an extraordinary looking man,” in The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson
        • “And each separate dying ember wrought its ghost upon the floor,” in The Raven by Edgar Allan Poe
      4. Examples from Our Portfolio

        Coming soon – just as soon as we have a portfolio!

    2. Adjective Specifications
      1. Apologise Adjective Specification
        Adjective Meaning
        formal An apology given with the relevant authority of the apologizer.
        sincere An apology issued from the individual person who is the apologizer.
        courteous An apology issued as a social habit.
    3. Describing a Person
      1. Describing a part of their identity.
        Identity Phrasing
        Member of a racially marginalized ethnicity person of color
  7. Special Words Style Guide
    1. Reduplicatives

      Reduplicatives are words like mamamish-mash, or bang-bang

3.3.2 Rules of Writing Titles, Names, and Proper Terms

3.3.3 Rules of Writing Numbers and Mathematics

3.3.4 Rules of Abbreviations and Jargon

3.3.5 Rules of Quotations and Dialog

  • When using quotes “improperly”:
    • When using a specific term literally or as a strong metaphor, use “double-quotes”.
    • When using a specific term as a loose analogy, use ‘single-quotes’.

3.3.6 Rules of Phrases and Sentence Construction

  1. Phrasing Style Guide
    1. Avoidable Cliches
      • not rocket science
      • isn’t rocket science
      • outside the box

3.3.7 Rules of Colors and Sensory Descriptions

  • Use the web standard names
  • If sensation is important, treat it like clues in a mystery: provide 3.

3.4 Rules for Words

3.4.1 Centuries

centuries a period of time of 200 or more years
Centuries a period of time spanning multiple Centuries

bad: “silver compounds have been used in film for Centuries.” good: “the use of silver compounds in film has spanned Centuries”

The implication here is the 18th Century is a proper noun, going against more contemporary conventions, but, I agree with the reasoning that brought me to it, so I’m going to adhere to it.

(Credit to @boisdevache@guineapig.party for inspiring this rule.

3.5 Structuring Text

3.5.1 Structuring a Sentence

3.5.2 Structuring a List

3.5.3 Structuring a Paragraph

3.5.4 Structuring a Piece

  1. Sections, chapters, parts? How to use what?

3.5.5 Guidelines for Determining Structure

This section contains guidelines for determining how you should structure a piece of writing, for example a short list of software dependencies the reader will need to install.

3.6 Tone

Tone is that variable element of writing which conveys the piece’s attitude and intention. Word choice, sentence and paragraph structure, layout, and other attributes all factor into defining a pieces tone.

I find it most helpful to define a piece’s tone with adjectives, such as formalcolloquial, or emotional. When creating a piece, I record these as properties, sorted from highest to lowest importance. That is, when two tone adjectives have contradicting rules, the one written first is the one whose rules are followed.

3.6.1 Adjectives

  1. Authentic
  2. Colloquial
  3. Emotional
  4. Formal
  5. Natural
  6. Sophisticated

3.7 Writing for Content Type

3.7.1 Fiction Writing

  1. Mysteries
    • Always give a clue to a reader three ways, and always give the reader three clues.

3.7.2 Marketing Writing

  1. High-End Hotel Description Writing

    The standard tone is sophisticated, natural, and authentic.

  2. Online Landing Page For Service
    1. Structure
      • Headline
      • Proposition
      • Exchanged utility
      • Explanation of Fulfillment
      • Social Proof
      • Closing Argument
      • CTA
  3. Sales Letter

3.7.3 Technical Writing

  1. Guide for Writing Instructions
  2. Guide for Writing Training Procedures
    • Procedures should be written to the trainee: you’re encouraged to use second-person voicing to give direct instructions.
  3. Literate Programming

3.8 Rules of Publishing

3.8.1 Formatting

  1. PDF
  2. HTML
  3. Formatting by Content Type

3.8.2 Licensing ::

3.9 Writing Training and Exercises

3.9.1 About this Section

This section (is in early development and) contains instructions on training staff in how to write.

3.9.2 Writing Flow Training

This training (is in early development and) will teach you how to write a piece, from assignment to submission.

  1. Prerequisites

    This training assumes you have completed the following trainings

  2. Instructions

    This section (is in early development and) contains the individual lessons for this training.

    1. Writing Flow, Lesson One: The Assignment

      This lesson (is in early development and) will teach you about assignments, the unit of work for the writing necessary to accomplish an objective. Some examples of assignments are:

      • a bundle of pieces for a client.
      • a single piece written as a bid for client.
      • a series of emails for an internal marketing campaign.
      1. Assignment Properties

        Assignment properties are standardized pieces of information about an assignment. Assignment properties include things like the piece’s length requirements and its tone. Assignment properties are located in three places, and are inherited on-top of each other in this order:

        • First, the assignment should have whatever properties are in the Assignment Template.
        • Second, the assignment should have whatever properties are recommended by the appropriate style guide.
        • Finally, the assignment may include its own properties.

        Here’s an example of what an assignment’s properties might look like:

        :PROPERTIES:
        :minimum-length: 700
        :recommended-length: 900
        :max-length: 1000
        :tone: sophisticated terse
        :END:
        

3.9.3 Assignment Research Training

This section (is in early development and) will teach you how to conduct research for a writing assignment.

3.9.4 High-End Hotel Description Writing Training

This training (is in early development and) will teach you how to write descriptions for high-end hotels.

  1. Prerequisites

    This training assumes you have completed the following trainings: -Writing Flow Training

  2. Instructions
    1. High-End Hotel Description Writing, Lesson One: Interpretting the Assignment

      This lesson (is in early development and) will teach you how to interpret an assignment.

      Assignments are kept in the Writing Assignments lesson’s assignment is specifically. You may notice the assignment is brief: most assignments will include relatively few guidelines, and will rely on your training and descretion as a writer.

    2. High-End Hotel Description Writing, Lesson Two: Tone and Style

      The tone for this piece should be sophisticated while remaining natural and authentic(Remember to check the section for guidance on these terms.)

      The reader should be addressed in second-person plural, to connect them to the hotel and “travel” through the article. While it’s appropriate to emphasize the luxury of a 5-star hotel, do not over-sell a 3-star hotel.

      The following should be applied over your assignment specification:

      :PROPERTIES:
      :tone: sophisticated natural authentic :perspective: third
      :address: second-person plural
      :END:
      
    3. High-End Hotel Description Writing, Lesson Three: Structure

      Expert opinion (15 words exactly), in the form of a quote, given in the hotel brief. E.g. Tom Gill, London: “A contemporary hotel which provides tranquillity right in the heart of London’s historical city centre.”

      We love (80 words) in a list form

      This highlights why the expert has chosen this offer, explaining what they loved about the hotel and the destination. There should be 4 or 5 ‘We Love’ points which are communicated in the hotel brief.

      Don’t hesitate to add personal touches to the points, e.g. complimentary breakfasts: give examples of what you can eat, where you can eat it.

    4. High-End Hotel Description Writing, Advanced Lesson: Tom’s Musings

      Think of some USPs (unique selling points) that help the hotel stand out. Maybe it’s close to the beach or has a spa facility, the most important thing is drawing in the reader immediately. Don’t forget to mention the location of the establishment, the number of stars, the surrounding areas and the style/architecture of the place.

      Example: “In Saintes-Maries-de-la-Mer, where the Mediterranean Sea and the Rhône Delta meet, one can experience traditional atmosphere and spectacular surroundings. The 5-star hotel, Les Arnelles, is a charming building defined by a harmonious relationship with the great outdoors, both inside and out. Its balance of contemporary and natural aesthetics firmly roots the hotel as the standout place to stay.”

    5. High-End Hotel Description Writing, Advanced Lesson: Room Descriptions

      For each room, write a title with the name of the room included and the size in brackets. Don’t hesitate to reiterate the type of person who could benefit from this room (family, couple). Describe the benefits of the room: the decoration, the surrounding area, etc.

      Mention facilities (complimentary or optional), size, view, style, who can stay (no. of adults/children, babies allowed or not).

      Example: Beach Front Villas (95 m²): “Situated directly on the beach, these villas are ideal for a trip with the whole family; up to two adults and two children can comfortably stay here. You also have direct access to the beach and swimming pool; putting paradise outside your hotel door.”

3.9.5 Writing Training

  1. Creative Writing Training
    1. Writing Prompts
      1. Writing Prompt: Force a Villian on a Vacation

        You have the opportunity to take someone you dislike – fictional or real – and send then anyplace you choose – real, on earth. You have now intercepted a post card from this person sent back to their associates. What does it say?

      2. Writing Prompt: You’re a Disgruntled Baby

        Continue this sentence: “I know I’m only 20 months old, but I don’t think it’s right that my parents…”

      3. Writing Prompt: You’ve Won!

        Continue this sentence: “When I received the letter, I almost threw it away. It looked like a scam. When I opened it, it definitely looked like a scam. No one just gives this sort of thing away. But here I am, watching the delivery crew drop off a brand new…”

      4. Writing Prompt: Give Them a Condiment
        • [ ] Think of three fictional characters and write them down:
        • In that order, describe each – in a complimentary manner – by comparing them to the following condiment:
          • Ketchup
          • Mayonnaise
          • Peanut Sauce
  2. Training exercises
    1. Word Substitution and Sentence Reconstruction Training Exercises
      1. Word Substitution and Sentence Reconstruction Exercise: Write Around Character Replacements
        • [ ] Go to Wikipedia and find a random article.
        • [ ] Write 150 words about the topic. Choose your own writing type and tone.
        • [ ] In your piece, use the table below to replace characters. For each row in the column, go to whatever character position is suggested, and replace it with the suggested character. Rewrite the text to make sense around the character, replacing words or sentences as needed, while keeping the document truthful to the Wikipedia article on which it is based – and keeping the characters in the right position!
        POSITION CHARACTER
        12 e
        88 p
        156 i
        287 o
      2. Word Substitution and Sentence Reconstruction Exercise: Konami Code

        Like “Write Around Character Replacements”, but with the Konami Code.

    2. Comparative Writing Training Exercises
      1. Comparative Writing Exercise: Neither Slinky nor Scarf

        Describe a snake by writing the ways in which it is unlike a slinky and scarf, but you may not directly mention the snake, slinkies, or scarves.

I’ve created this mailing list as a place for me to strike up conversations with “the Internet,” on whatever topic seems of interest. It’s an alternative to carrying discussions through my microblog.

A current problem I’ve been perceiving with my microblog is that despite the Fediverse’s platforms’ potential for a curated experience, the overall culture of the Fediverse around me seems to swing toward a more… average… online culture. Put another way, as the Fediverse grows its membership from those who come from legacy social media, I see them bringing their culture and it spreading to those parts of the Fediverse older than those “immigrants.”

My hope is that by using e-mail for the same sorts of discussions, I can increase the distance in culture between conversations around me, and, as I said, the average online culture.

There’s a concept I was taught as a child, that I cannot find any information on in searching online today. Basically, the sharing of opinions should escalate from private discussions with family, to more open discussions with friends and associates, and finally presenting the ideas publicly. First the bedroom, then the family room, then the parlour, then the tavern, then town hall. (I also personally relate the idea to the four boxes of liberty, as a way of splitting up the “soap box”)

There were a few reasons for this, as I was taught. The main reason was that it kept you from looking like a fool: trivial flaws in your thinking could be pointed out by a loving spouse or compassionate friend, before you went sharing them with folk at the deli.

Another reason was so that when you said your ideas to someone who would brusquely disagree – more likely the more public the conversation – you would be more experienced in thinking-through and discussing the ideas, so better able to defend the notions, or see that it’s not worth the debate at all.

I’ve been thinking about how to apply a similar thought to communicating online – I’ve already taken some steps toward that, in working with Org-mode and Emacs I’ve made it easier to privately share drafts and then share them more publicly as I choose, before eventually publishing them on my blog.

This list is one of those steps – somewhere between “sharing with acquaintances,” and “sharing publicly .” Yes the list is public, but my hope is the oddity of a mailing list – and the more bespoke culture I hope we cultivate – will make it clear this is a conversation among friends, though we’ll hear what guests have to say.

I would ask that if you’ve made it this far in reading this, you take a moment to consider replying to let me know what you think of this notion. I haven’t laid it out before – was there any part of the above explanation that was exceptionally unclear or disagreeable? I’d like to present these ideas more wildly but – as I’ve just explained – I want to suss them out with friends and like-minded strangers first.

I’ve just begun teaching myself about website development, but I’m already beginning to form opinions:

If you’re going to release your CSS stylesheet(s) as a theme, intended for use on more than a single website, you should prioritize following industry standards and guidelines. I understand, for a single site that might get a hundred visitors, make things pretty however works.

But if you intend to distribute the theme, or use it on a site of any popularity, you need to think about how that amplifies any shortcut or oversight you’ve made.

I started thinking about this when learning to use the [Gutenberg static site generator](https://getgutenberg.io) and looking at the themes available for it. (And later, for Hugo and Jekyll.)

A lot of them are really bad in this regard. Many don’t use semantic tags like <header> and <section>

Frankly, I don’t see the excuse. It’s trivial to type id=”{{page.slug}}” or add in conditionals for ograph data. Just… do it. I’m a novice, and I am.

I’m on a rant now so just ignore me if you want, but for real, no one with their priorities straight gives a shit if your website builds in 200ms or 2 seconds. They don’t even really know what “build” means. They’ll give you the inch of agreeing to use markdown to write their pages. They’ll even learn to do weird {{ shortcodes }}. But then you have to make sure their images and descriptions show up right on Facebook shares, and they can drop in their SaaSy widgets.

This is why I’m so in love with Netlify at the moment – I haven’t been using them long enough and I’m too ignorant to know about the tech, but their marketing really does a good job of hitting the market’s pain points and resolving them. And what they’re offering isn’t much different than what a bunch of other folk offer. But it’s different enough that they just fit into the market better.

Brutstrap is a CSS theme based on David Bryant Copeland’s “Guidelines for Brutalist Web Design,” which advocates “raw content true to its construction.”

Principles

  • The website people see is the website in the HTML file. As David Byant Copeland says in his definition, brutalist websites should be “raw content, true to [their] construction.” Here, that means the content is represented as a single column, flowing left to right and top to bottom.
  • Only links, inputs and buttons should respond to interaction. A website should allow two points of interaction: a hyperlink that brings you to a destination, and form which submits information to a server. Those elements, and only those elements, should respond to being clicked, focused, or hovered-over.
  • Components should be named what they are. Classes should be named what they are, not what they’re for.
  • Design should be helpful. Styling should be to help reinforce the context that your content has.

Usage

Brutstrap‘s stylesheet is available at ./build/brutstrap/brutstrap.css, but please don’t hotlink to it. You can also view the stylesheet under the “Complete Stylesheet” section.

Implementation

NOTE: Because I use Org-mode, this CSS is written with rules compatible with its naming scheme.

Document Framing

Body
body {
  position: relative;
  background-color: ;
  color: #444;
  font-family: serif;
  margin: 0 auto;
  padding-bottom: 6rem;
  min-height: 100%;
  font-size: 1.4em;
}
Header & Title
header, h1 {
  font-family: sans-serif;
  text-align: center;
  width: 100%;
  overflow: hidden;
  font-family: sans-serif;
}
.title { font-size: 3.2rem; }
.subtitle { font-size: 2.2rem; }
Content Container
main,  {
  width: 75vw;
  max-width: 40em;
  margin: 0 auto;
  line-height: 1.6;
  margin-bottom: 8rem;
}
Footer
footer,  {
  padding: 1em 0;
  position: absolute;
  right: 0;
  bottom: 0;
  left: 0;
}

Block Design

Section
section {
  border-bottom: 0.1em solid #444;
  margin-bottom: 1em;
}
Blockquote
blockquote {
  padding: 0.5rem;
  border-left: 0.1em solid #444;
}
Table
table {
    border-collapse: collapse;
    border-spacing: 0;
    empty-cells: show;
    border: 0.1em solid #444;
}
thead { font-family: sans-serif; }
td {
  padding: 0 0.3em;
  border: 0.01em solid #444;
}

Typography

Headlines
h2, h3, h4, h5, h6 {
  font-family: sans-serif;
  margin: 0.5em;
}
Links
a {
  text-decoration: none;
  color: ;
  display: inline-block;
  position: relative;
  border-bottom: 0.1rem dotted;
  line-height: 1.2;
  transition: border 0.3s;
}
a:hover {
  color: ;
  outline-style: none;
  border-bottom: 0.1rem solid;
}
a:visited { color: ; }
a:visited:hover { color: ; }
a:focus {
  outline-style: none;
  border-bottom: 0.1rem solid;
}

State Rules

Selection Rules
::selection { background-color: #777; color: ; }
a::selection { background-color: ; }

Class Rules

Code Block Rules
pre, .src {
  padding: 0.5em;
  border: 0.1em solid #444;
  white-space: pre-wrap;
  overflow-x: scroll;
  text-overflow: clip;
}

Acknowledgements

Hey y’all, my name is emsenn, and I’ve had an account in the Fediverse for about a year now. I’ve been interested in online networking for most of my life, though, so even though I haven’t been in this network for that long, I have some thoughts I would like to share, especially for people who are just now going the Fediverse, or lookign to become a bit more a part of its culture.

(The “Fediverse” is a federation of networked communication platforms – Wikipedia has an article on the Fediverse.)

This document was written by me, emsenn, and is released for the benefit of the public under the terms included in the “License” supplement. It was made possible with financial contributions from humans like you. Please direct comments to my public inbox or, if necessary, my personal email.

Cultural Guide for Fediverse Newcomers

You Can Bring It With You; Don’t

A lot of people come to the Fediverse because they’ve become untenably frustrated with their experience on legacy social media, like Twitter or Facebook.

Moving to the Fediverse is a really great solution to that frustration! Some platforms, like Osada, are similar to Facebook. Others, like Mastodon, are like Twitter.

But be careful that you don’t bring over more than you need to from those legacy platforms! It’s easy to, because you’re from Tumblr, boost every post you like in your Mastodon feed, but maybe that sort of signalling is what led to the culture in Tumblr you didn’t like?

When using computers, it’s easy to look for ways to preserve your older habits, but when communicating with people, it’s important to drop those habits if they no longer serve your interests.

So before you post, or boost, think about the problems you remember from the platforms you came from, and give some thought to if you might be recreating the culture that led to those problems here.

There Isn’t A Single Culture

Of course, despite your best or worst efforts, you wouldn’t be able to do more than skew the culture of your part of the Fediverse: there’s no unified culture to the Fediverse, due to the distributed way in which instances network.

You’ll hear people bring this up to brush off criticism and musing about the Fediverse’s (multitude of) culture(s), and while they’re technically correct, it’s usually an irrelevant point. Sure, there isn’t a single culture to the whole Fediverse, but from every single user’s perspective, there is.

So talking about “Fediverse culture,” is always talking about the shapeless and shifting culture that the speaker is exposed to on the Fediverse, and while it’s a bit sloppy to use that shorthand, it’s not going to change.

If people are talking about Fediverse culture, and you see it, on the Fediverse, they’re talking (at least in part) about the culture you’re a part of, and you shouldn’t just brush that off.

Everything is New

Throughout this post I’ve been calling Facebook and Tumblr and such “legacy” social media, which is a ridiculous phrase because they’re also incredibly new.

Everything to do with online communication is incredibly new, and it’s important to remember that, because it means that no one is provably right. There are a lot of people with a lot of experience, whose voice is worth consideration, but we still have no real notion of how this sort of communication affects us, either individually or as a society.

So every take is a hot-take, because nothing has had time to cool off.

Focus on Your Self

The culture that will have the strongest effect on your sense of identity is the one you build inside your head, and that’s determined mostly by what you’re exposed to.

Make the culture of the Fediverse something you want to be exposed to – follow people who will bring you to that goal, boost and write posts that fulfill that goal, and disregard the rest.

Practical Tips

  • #UseCapsInYourHashtags so people who have their screen-text read to them hear it sensibly.
  • If you use emoji or weird unicode in your display name or change it too often, I don’t like you.