#I moved it to a new thread because I use the beta editor now

[kurogane-redfox]

"I ain't even sure when I first started drawin' personally. I know it was after I joined Fairy Tail but other than that I ain't got a fuckin' clue,"

Gajeel had been in Phantom Lord for quite a number of years prior to it being disbanded and all that. Back then anything that was an outlet for emotions other than negative ones were frowned upon or outright banned by the Master. Jose had seemed to like making his wizards suffer, but most especially those who were ranked S-Class, such as the Element Four, and the Dragon Slayer himself. Most of the shit the Iron Dragon went through weren't known to anyone else, not even Panther Lily who knew most things about his Dragon Slayer partner.

"Ya could always take a small class for drawin' if ya want to draw, I mean. Obviously it ain't required or anythin' nonsense like that."

He happened to like being able to draw and sketch even though he felt that his art was severely lacking in both quality and appearance. He was likely wrong though, if Levy's comments were anything to go by.

@booklovingfairylevy

[consanguinitatum]

David Tennant's Early Work: the short film 'Bite'

My normal David Tennant thread heads in a new direction: to one of his rare first performances on film as opposed to TV and theatre: the short film Bite. I've got personal history with this short, so it's dear to my heart.

Bite is one of DT's long-lost gems. Most of his fans know it exists, but few have seen it. It was produced by Su Bainbridge and written by Andrea Gibb, who DT fans may recognize as the author of the brilliant DT audio Sunburst Finish. Paddy Cunneen, who also wrote the music for The Pillowman, was its musical composer. Directed by Brian Ross and with a running time of 6:58, Bite was produced on 16mm film and screened at the Edinburgh Film Festival in 1997. It was broadcast in Nov 1997 as part of an STV arts program called Don’t Look Down.

But what is Bite about? "Bite is a film about Alistair Galbraith, a passive postman who tires of being a spectator in his own life and decides to take control. When Alistair’s wife, Alison, commits adultery on their wedding day and shortly afterwards he is savaged by a ferocious dog, Alistair hits rock bottom, unable to cope with even the most undemanding of life’s tasks. From the depths of despair, he is galvanized into action and in true anti-hero style sets out to take revenge on those who have wronged him. Through taking this action, he is re-born."

David played Alastair Galbraith and his wife, Alison, was played by Sharon Small, who recently reunited with David onstage in the play, Good.

At this juncture everyone usually asks, "Can I see it?" Yep! You can reserve a viewing time if you're close to the Moving Image Archive in Glasgow, as a copy is held for private and research viewing only. And I'm pretty sure it's available, either directly or indirectly, because of me!

But before I get into that (it's the personal aspect I talked about earlier) here’s a bit of Bite you can see. The film's editor, Gary Scott, has a :44 extract of the film online right here!

ALSO - SPOILER ALERT - If you're interested in a blow-by-blow spoilery summation of 'Bite' because you can't visit Glasgow to see the short, here's a detailed plot summation.

And now: how I wheedled it so Bite became available to view.

When I discovered back in 2014 that a copy of Bite was archived at the Scottish Screen Archive (now the Moving Image Archive) but not available - while his earlier short film SPACES was? - it made me wonder why, so I made inquiries at the archive to see why. It turned out SPACES had a viewable copy, but the copy of Bite in the archive was still on 16mm.

Now, this would've stopped any ordinary human being.

I am not an ordinary human being.

I was not a professional archivist then but I am now. The decision to become one this late in my life is partially due to my love of knowledge, organization and research, but also to my experiences since becoming - basically - an archivist and researcher with regards to DT's body of work. These things combined makes me rather dogged when there’s something I wish to attain.

I learned Bite was on 16mm and they couldn't make a viewing copy. Why? Because it was in copyright. And even funnier? They didn't know who held the rights! But I thought it should be available, so - even though I'm in the US and everyone else was in the UK - I decided to try and make that happen.

Archive personnel suggested I ask Creative Scotland about the rights, who suggested I ask the film’s production company. I was told it was rumored they had a VHS/beta copy of the film. I contacted each and every one of them to find out if this was true.

After months of back-and-forth emailing with the production company and soldiering on even through staffing rotations and I had to retell my entire story of the hunt again and again, I was still in a state of limbo. Finally the production company said they for sure did not have a copy of it but they could begin to negotiate with the National Library of Scotland for one. A few months later they learned they'd be able to procure a copy, but it would cost them X amount for a post-production company to digitize the 16mm, etc., etc.

Progress, right? Frankly, it felt like a scene in a comedy, as each thread in this chain of people needed to make their own copy in this format by this company for this archive or that person or...you get the gist. And no one could tell me if it would actually get done. So I kept reaching out. To make a ridiculously long story short, one full YEAR afterwards, the archive finally managed to obtain a copy that was viewable for others to view onsite!

That was a reward in and of itself. An obscure piece of David's body of work had been pulled from its original 16mm - where it might have languished forever - and preserved on a format available to us today. But I got a few tangible rewards, too. One, an email from the production company's owner that made me laugh harder than I'd laughed for a while: "Feck my old tin boots! I’ve just looked at who we cast in that film!"

Yes, sir. You DID cast David Tennant! Indeed you did!

And two, my very own copy of Bite (which, of course, I had to sign my life away for!) I got permission to release some screen shots, but that was it. And while it felt like an acknowledgement, I'm really just pleased we rescued it.

I took my copy to a convention DT was attending, and when I laid it down, he immediately looked up at me. "How - and where - did you get THAT?"

I laughed. "Persistence?"

He laughed and shook his head. "I hadn't thought of that one in a while. I remember that dog."

"You were a great postman."

And he was.

Lastly, I thought I should post some new screenshots. Sorry they're not great quality, but neither is my copy.

[rpschtuff]

It's been about two weeks since my big post explaining the legacy/beta editor stuff, and the response to that has been overwhelmingly positive -- frankly more positive than I expected. But I have seen some responses in the tags from people wondering how to manage cutting their old threads now that they've made the switch to beta, so I thought I'd make a new post touching on that. (If you have no idea what I'm talking about, I highly recommend reading the post I linked above first.)

If you still have the option to toggle between the legacy and beta editors, for the moment there is no reason you cannot switch as needed. This is what I've personally been doing, and I haven't had any problems so far. For my partners still using Editable Reblogs, I switch back to the legacy editor and cut their posts using Editable Reblogs. And for my partners using the beta editor, I switch to the beta editor and cut their posts using Trim Reblogs. The formatting between the two methods doesn't match, which may bother you if you're big on aesthetics, but overall it's very workable.

This is probably the best option for those who are still able to toggle between the two editors. It lets you cut everyone's posts easily, it's mindful of those who are stuck on the beta editor, and it lets you transition to the new system gradually without losing any functionality because of what other people are doing. The important thing is to prioritize using the beta editor when you can. You should only switch back to legacy when you need to use Editable Reblogs for a thread -- otherwise, try to stick to beta. Remember, many people are stuck on beta, and can only cut their posts properly if you accommodate them.

Converting pre-existing threads to the new method is where things get trickier, and where there's not really a clean solution. I'm talking about ongoing threads that you and your partner have previously been cutting with Editable Reblogs, but now both of you want to switch to Trim Reblogs.

Basically, you're going to run into an issue no matter how you do it, due to the two systems being incompatible. Assuming that you want every post to include only your current reply and the immediately previous reply from your partner, the only way to do that 100% cleanly is to finish out your current threads using Editable Reblogs, and make the switch to Trim Reblogs for any new threads.

Otherwise, you're just going to have to accept that for a single post, someone's reply isn't going to be cut correctly. You'll either have to keep one of your older replies at the top, like this:

Or trim your partner's immediately previous reply to keep only your own, like this:

It's up to you to decide which of these bothers you less. It's annoying, but it should only have to be done once per thread. Once someone has done this, you and your partner can move on with the thread using Trim Reblogs as intended.

You may also have to move your thread to a new post due to the issue of Trim Reblogs being funky with posts originally made with the legacy editor. This could also bring you to the same issue depending on how you choose to format that first post.

If you move your thread to a new post while keeping your partner's previous reply, something like this:

You will force your partner to be stuck in the same situation I just described above, deciding if they want to have a single post uncut or a single post that loses the previous reply.

However, if you move it to a new post without your partner's previously reply, something like this:

Then you will, of course, not have the previous reply on your blog. Again, there's not a clean way to switch an ongoing thread to the new system without one post being cut weirdly. You just have to choose which one bothers you less.

That was very confusing to write up, but I hope it makes sense and/or helps someone figure out how they want to handle the transition to the new system.

EDITED TO ADD: I'm told you can get around the issue of the original post being made in the legacy editor by opening that original post with the Tumblr app and editing it in some way -- this will essentially force it to be in the new post format that beta recognizes. However, I haven't tested this myself.

[dhampiravidi]

Owls!OT4

continued from here (moved to a new thread to use Beta editor):

When Rye leans into the kiss that Jayn presses to her head, Jayn already knows what her friend, her college sweetheart, is going to do. She's smiling on the inside, and that makes her feel sick--guilty, because it's the little bit of Owl that she hasn't scraped off. It's the part of her that goes into a bloodthirsty rage when she's confronting someone who's hurt innocent people, especially children. It's the part of her that used to seduce tall men with dark hair and green eyes, or curvy women with red hair, telling them whatever they wanted to hear so they wouldn't mind too much when she came on their fingers screaming someone else's name. It's the part of her that she fears she was born with, evidenced by when she looks back and sees all the times she got in trouble with her mom. She feels horrible because she knows she told Rye exactly what she needed to, in order to get the girl to say yes.

Janice Wayne was an Owl. But Jayn Katherine Loren isn't.

"I think Rye should be with me a couple of hours before. Just me." She holds her hand up in Tim's direction, stopping him before he can bark some snippy retort or start planning her '"accidental" death. "If it's like this again, where it's all four of us together, Dick will know we're planning something." They'd all been trained to be paranoid enough. "He knows that Rye and I have a past, and it'll seem like we're just catching up, which we are. We'll talk...and then I'm going to train her. The way Selina trained me." Selina, bless her, actually wasn't a creep of any kind, so she hadn't touched Jayn so much as let her watch while the Pussycat (it was the name of her establishment, but you were supposed to call her Mistress) showed her some seduction techniques. "It'll keep Dick satisfied...until we come in." She also planned on giving Rye a nice bath, maybe with some candles, to help her wind down, but Tim didn't need to know that. He'd die of jealousy.

Tim feels like a goddamn raccoon trying to hiss and fend off the asshole humans who are dumb enough to ask for their trash back. Why is Jason seriously trying to fight for Jayn's affection when she's obviously got her own agenda?, he's wondering. Tim was pretty fucking sure that she hadn't bothered trying to contact her lost love since she first left. Jason should've given up on her and buried his face in the cunt of Ultraman's niece Kara, like he seemed so eager to do the few times that they happened to be in the same room together. She might've (accidentally) killed him, depending on how she liked it, but at least he wouldn't be pining and looking pathetic now. And of course, Tim's glaring daggers at Jayn every second he isn't focused on trying to murder Dick. Why did she conveniently arrive the night he privately announced his engagement to Rye? Maybe Jayn's whole presence is just a test from their father...but he can't attack her yet. As much as he hates to admit it, Jayn is part of Rye's chance to survive her time alone with Dick.

So when Jayn gives Rye a chaste kiss, Tim is initially livid. If Rye hadn't come back to him a second after Jayn kissed her head, he would have found a reason to put the brunette in a chokehold. But Rye manages to calm him with her yes. He wraps his arm (possessively) around her waist, whispering how she's gonna be perfect, and he'll never see it coming. When Jayn begins to deliver the specifics of her plan, he clenches his jaw (something his dentist had warned him against doing any more than he already had). "It's up to you," he tells Rye, and he means it. Because once Dick (and Bruce, since he won't stand for his oldest's assassination) was dead, Rye would be Tim's forever. He'd seen how she looked at him when the Court of Owls introduced them, compared to how she looked at him now. He had already won her over. She'd get her engagement ring after she slept with Dick, since it would be a distraction (or knowing the Talon, a weapon). The wedding was just a formality--one of many luxuries that Rye would be able to enjoy as his new wife.

@ashortgothamite

[seraphguided]

Rules

This blog is my experiment to test various Owari no Seraph/Seraph of the End muses. If successful, the muse may move to my main blog @museguided. If I end up comfortable with maintaining this blog on top of my other one, I may move my OnS muses here. Of course, if the muse doesn't end up clicking with me, my partners will be informed and they'll be on the chopping block.

Because of the uncertainty with the future of this blog and my portrayals, I'm not keen on following every single person within the fandom. I will personally follow a select few I know I'm comfortable writing with. If you happen to like what I do and wish to write with me here too, you're free to follow—I'll write with anyone willing to reach out.

Activity will be sporadic. My main blog holds priority. Besides that, I'm interested in a few other hobbies and I do get quite busy irl. I try my best not to let threads get more than a few weeks old but there will be things outside of my control. I appreciate your patience with me.

I use the beta editor and xkit rewritten to cut posts. If you prefer to use anything else, please tell me so I can get on board and save our formatting.

Depending on what my rp partner is using, I may switch from present-tense to past-tense and adjust my style to help the writing flow. I use the small text option on all of my posts, but I don't mind how my partners prefer to style their own.

I will never condemn a topic to write as long as it's handled maturely. I can handle most nsfw/controversial ideas, but if it's not your cup of tea, I'll be happy to tag it for you. While writing a scene that threatens to pivot toward something dark or explicit, I prefer that we have a chat about it first. If I decline to write something for any reason, I'm expecting you to respect that.

That's all that needs to be said for now. If I can think of anything else, it will be edited in with a new post notifying the dash about the change.

[vishaila]

hehe. >:3c hiiiiiii IM HERE. i literally only have pending replies for bestie lowskey so you should give me starters to reply to <3333 i might post some opens too in the coming days. ERRR also i hate small text now and will be using regular font size + i am moving to beta editor for new threads because i've warmed up to it + xkit rewritten. if any of this is a problem for you, unfollow button is right there i won't be mad i promise <3 MWAH to u all. write me starters :)

[fullmtal]

UPDATE / PSA. ( hi! )

Okay, so I've had a long break because well, a lot of personal things have been going in in real life affecting my family, myself, and my mental health. I've taken a long break and been a little overwhelmed on my dash but I'm back now and I'm going to ease in slow. Sorry for the radio silence, but hope you all are hanging in!

Also important info, since we all don't really have much choice now, I have switched to Beta Editor and it's on my pinned post.

All replies that were done in legacy will be moved to separate post UNLESS you ask me to drop them or I feel I can't continue them btw please let me know if you want to drop or keep an ask or thread okay? and / or need to clean out some of my stuff by dropping them. Asks I'm still going to get to no matter how late, I find asks and small starters are easier to get to and I haven't forgotten my starters I owe if you all are still interested! It's just been...a hell of a year and I know that a lot of you probably may feel like I do on that. I'm really sorry if you've been struggling or have had issues crop up this year, and I genuinely hope it gets better for you.

I've been kind of scarce on discord save like...two - three people but I'm definitely open to chatting I just am really bad at reaching out right now but please, feel free to poke me I'm not unavailable I promise. I'm just kinda slow, as well, haha, you can see. Lately feels like I've been hit by a truck since we had a major family loss mid-year, and after that things continued to snowball right up until this month as well. I'm hoping for a great new year for all of us and what's important here on my dash is -- Edward is going absolutely nowhere even if I'm easing my way in and keeping mind of my mental health, Edward is always, and always will be my constant. I have no braincells because of him even in hard times!

To all my mains, mutuals, people I see but haven't talked to, writing partners, I really hope you're alright and things get better for you if they're tough. I really needed a break as my mental health was like a thin cord with all that's been and is going on. I think it's going to get better, but I'm now back and easing slowly into my blog once more.

Thanks for being so patient, feel free to hmu on discord if you have me, and also just take care of yourselves okay? Your health is most important.

Lots of love, Lily. PS. Beta really isn't that bad I can't believe I, a goob, am now capable of doing colored font drink something warm or do something nice for yourself today!

[duckprintspress]

Giving Quality, Motivating Feedback

A guest post by @shealynn88!

The new writer in your writing group just sent out their latest story and it’s...not exciting. You know it needs work, but you’re not sure why, or where they should focus.

This is the blog post for you!

Before we get started, it’s important to note that this post isn’t aimed at people doing paid editing work. In the professional world, there are developmental editors, line editors, and copy editors, who all have a different focus. That is not what we’re covering here. Today, we want to help you informally give quality, detailed, encouraging feedback to your fellow writers.

The Unwritten Rules

Everyone seems to have a different understanding of what it means to beta, edit, or give feedback on a piece, so it’s best to be on the same page with your writer before you get started.

Think about what type of work you’re willing and able to do, how much time you have, and how much emotional labor you’re willing to take on. Then talk to your writer about their expectations.

Responsibilities as an editor/beta may include:

Know what the author’s expectation is and don’t overstep. Different people in different stages of writing are looking for, and will need, different types of support. It’s important to know what pieces of the story they want feedback on. If they tell you they don’t want feedback on dialogue, don’t give them feedback on dialogue. Since many terms are ambiguous or misunderstood, it may help you to use the list of story components in the next section to come to an agreement with your writer on what you’ll review.

Don’t offer expertise you don’t have. If your friend needs advice on their horse book and you know nothing about horses, be clear that your read through will not include any horse fact checking. Don’t offer grammar advice if you’re not good at grammar. It doesn’t mean you shouldn’t give feedback on things you do notice, but don’t misrepresent yourself, and understand your own limits.

Give positive and constructive feedback. It is important for a writer to know when something is working well. Don’t skimp on specific positive feedback — this is how you keep writers motivated. On the other hand, giving constructive feedback indicates where there are issues. Be specific on what you’re seeing and why it’s an issue. It can be hard for someone to improve if they don’t understand what’s wrong.

Be clear about your timing and availability, and provide updates if either changes. Typically, you’ll be doing this for free, as you’re able to fit it in your schedule. But it can be nerve wracking to hand your writing over for feedback and then hear nothing. For everyone’s sanity, keep the writer up to date on your expected timeline and let them know if you’re delayed for some reason. If you cannot complete the project for them, let them know. This could be for any reason — needing to withdraw, whatever the cause, is valid! It could be because working with the writer is tough, you don’t enjoy the story, life got tough, you got tired, etc. All of that is fine; just let them know that you won’t be able to continue working on the project.

Be honest if there are story aspects you can’t be objective about. Nearly all of your feedback is going to be personal opinion. There are some story elements that will evoke strong personal feelings. They can be tropes, styles, specific characterizations, or squicks. In these cases, ask the writer to get another opinion on that particular aspect, or, if you really want to continue, find similar published content to review and see if you can get a better sense of how other writers have handled it.

Don’t get personal. Your feedback should talk about the characters, the narrator, the plotline, the sentence structure, or other aspects of the story. Avoid making ‘you’ statements or judgements, suggested or explicit, in your feedback. Unless you’re looking at grammar or spelling, most of the feedback you’ll have will be your opinion. Don’t present it as fact.

Your expectations of the writer/friend/group member you are working with may include:

Being gracious in accepting feedback. A writer may provide explanations for an issue you noticed or seek to discuss your suggestions. However, if they constantly argue with you, that may be an indicator to step back.

Being responsible for emotional reactions to getting feedback. While getting feedback can be hard on the ego and self esteem, that is something the writer needs to work on themselves. While you can provide reassurance and do emotional labor if you’re comfortable, it is also very reasonable to step back if the writer isn’t ready to do that work.

Making the final choice regarding changes to the work. The writer should have a degree of confidence in accepting or rejecting your feedback based on their own sense of the story. While they may consult you on this, the onus is on them to make changes that preserve the core of the story they want to tell.

Some people aren’t ready for feedback, even though they’re seeking it. You’re not signing up to be a psychologist, a best friend, or an emotional support editor. You can let people know in advance that these are your expectations, or you can just keep them in mind for your own mental health. As stated above, you can always step back from a project, and if writers aren’t able to follow these few guidelines, it might be a good time to do that. (It’s also worth making sure that, as a writer, you’re able to give these things to your beta/editor.)

Specificity is Key

One of the hardest things in editing is pinning down the ‘whys’ of unexciting work, so let’s split the writing into several components and talk about evaluations you can make for each one.

You can also give this list to your writer ahead of time as a checklist, to see which things they want your feedback on.

Generally, your goal is going to be to help people improve incrementally. Each story they write should be better than the previous one, so you don’t need to go through every component for every story you edit. Generally, I wouldn’t suggest more than 3 editing rounds on any single story that isn’t intended for publication. Think of the ‘many pots’ theory — people who are honing their craft will improve more quickly by writing a lot of stories instead of incessantly polishing one.

With this in mind, try addressing issues in the order below, from general to precise. It doesn’t make sense to critique grammar and sentence structure if the plot isn’t solid, and it can be very hard on a writer to get feedback on all these components at once. If a piece is an early or rough draft, try evaluating no more than four components at a time, and give specific feedback on what does and doesn’t work, and why.

High Level Components

Character arc/motivation:

Does each character have a unique voice, or do they all sound the same?

In dialogue, are character voices preserved? Do they make vocabulary and sentence-structure choices that fit with how they’re being portrayed?

Does each character have specific motivations and focuses that are theirs alone?

Does each character move through the plot naturally, or do they seem to be shoehorned/railroaded into situations or decisions for the sake of the plot? Be specific about which character actions work and which don’t. Tell the writer what you see as their motivation/arc and why—and point out specific lines that indicate that motivation to you.

Does each character's motivation seem to come naturally from your knowledge of them?

Are you invested (either positively or negatively) in the characters? If not, why not? Is it that they have nothing in common with you? Do you not understand where they’re coming from? Are they too perfect or too unsympathetic?

Theme:

It’s a good idea to summarize the story and its moral from your point of view and provide that insight to the writer. This can help them understand if the points they were trying to make come through. The theme should tie in closely with the character arcs. If not, provide detailed feedback on where it does and doesn’t tie in.

Plot Structure:

For most issues with plot structure, you can narrow them down to pacing, characterization, logical progression, or unsatisfying resolution. Be specific about the issues you see and, when things are working well, point that out, too.

Is there conflict that interests you? Does it feel real?

Is there a climax? Do you feel drawn into it?

Do the plot points feel like logical steps within the story?

Is the resolution tied to the characters and their growth? Typically this will feel more real and relevant and satisfying than something you could never have seen coming.

Is the end satisfying? If not, is it because you felt the end sooner and the story kept going? Is it because too many threads were left unresolved? Is it just a matter of that last sentence or two being lackluster?

Point Of View:

Is the point of view clear and consistent?

Is the writing style and structure consistent with that point of view? For example, if a writer is working in first person or close third person, the style of the writing should reflect the way the character thinks. This extends to grammar, sentence structure, general vocabulary and profanity outside of the dialogue.

If there is head hopping (where the point of view changes from chapter to chapter or section to section), is it clear in the first few sentences whose point of view you’re now in? Chapter headers can be helpful, but it should be clear using structural, emotional, and stylistic changes that you’re with a new character now.

Are all five senses engaged? Does the character in question interact with their environment in realistic, consistent ways that reflect how people actually interact with the world?

Sometimes the point of view can feel odd if it’s too consistent. Humans don’t typically think logically and linearly all the time, so being in someone’s head may sometimes be contradictory or illogical. If it’s too straightforward, it might not ‘feel’ real.

Be specific about the areas that don’t work and break them down based on the questions above.

Pacing:

Does the story jump around, leaving you confused about what took place when?

Do some scenes move quickly where others drag, and does that make sense within the story?

If pacing isn’t working, often it’s about the level of detail or the sentence structure. Provide detailed feedback about what you care about in a given scene to help a writer focus in.

Setting:

Is the setting clear and specific? Writing with specific place details is typically more rooted, interesting, and unique. If you find the setting vague and/or uninteresting and/or irrelevant, you might suggest replacing vague references — ‘favorite band’, ‘coffee shop on the corner’, ‘the office building’ — with specific names to ground the setting and make it feel more real.

It might also be a lack of specific detail in a scene that provides context beyond the characters themselves. Provide specific suggestions of what you feel like you’re missing. Is it in a specific scene, or throughout the story? Are there scenes that work well within the story, where others feel less grounded? Why?

Low Level Components

Flow/Sentence Structure:

Sentence length and paragraph length should vary. The flow should feel natural.

When finding yourself ‘sticking’ on certain sentences, provide specific feedback on why they aren’t working. Examples are rhythm, vocabulary, subject matter (maybe something is off topic), ‘action’ vs ‘explanation’, passive vs. active voice.

Style/Vocabulary:

Writing style should be consistent with the story — flowery prose works well for mythic or historical pieces and stories that use that type of language are typically slower moving. Quick action and short sentences are a better fit for murder mysteries, suspense, or modern, lighter fiction.

Style should be consistent within the story — it may vary slightly to show how quickly action is happening, but you shouldn’t feel like you’re reading two different stories.

SPAG (Spelling and Grammar):

Consider spelling and grammar in the context of the point of view, style and location of the story (eg, England vs. America vs. Australia).

If a point of view typically uses incorrect grammar, a SPAG check will include making sure that it doesn’t suddenly fall into perfect grammar for a while. In this case, consistency is going to be important to the story feeling authentic.

Word Count Requirements:

If the story has been written for a project, bang, anthology, zine, or other format that involves a required word count minimum or maximum, and the story is significantly over or under the aimed-for word count (30% or more/less), it may not make sense to go through larger edits until the sizing is closer to requirements. But, as a general rule, I’d say word count is one of the last things to worry about.

*

The best thing we can do for another writer is to keep them writing. Every single person will improve if they keep going. Encouragement is the most important feedback of all.

I hope this has helped you think about how you provide feedback. Let us know if you have other tips or tricks! This works best as a collaborative process where we all can support one another!

[serabellymrph]

EDIT 1/14/2022: I realized this PSA isn’t as descriptive or helpful as I would have liked so I put together a very short guide for a few of the xkit modules here! It covers installation, a few modules that are useful as a roleplayer to configure, & more detail on how editable reblogs actually work.

okay so here’s a psa because xkit rewritten is way less buggier than “new xkit” and i’m trying to transition to using it.

MUTUALS, LISTEN UP, XKIT REWRITTEN IS BOUTTA ROCK YOUR WORLD.

so you know how xkit editable reblogs get rid of avatars when you use the editable reblogs? yeah, guess what -- xkit rewritten's 'trim posts' does not do that. it preserves them, and preserves the new reblog format instead of using blockquotes/indents to determine it. there is no backspacing the old stuff out. it just cuts it down to what you need with the click of a button. ONE BUTTON, GUYS. ONE. BUTTON.

Now -- here's the biggest downside. YOU NEED TO USE THE NEW BETA EDITOR IN THE BROWSER. You reblog, you save to drafts, and bang. It's there! Now, I know you're all wary about this, because if you edit and work on a draft, old xkit does dumb shit and posts your drafts and *angry @ tumblr noises*. XKIT REWRITTEN DOES NOT DO THAT. It will preserve the formatting and not obnoxiously post your post if you go in and out of the draft.

The only downside is, if you're writing with someone using the old xkit, then it basically just copies your old post into their post, and you can't actually 'cut' anything, because your old reblog no longer exists, so guys -- transitioning to this is going to be key. Wanna know why? The legacy editor won't be staying. "beta" means it's probably going to be coming out soon, and you need to take the moment and transition NOW in order for it to work.

BUT WAIT -- IT'S GIVING ME A LEGACY POST CANNOT BE CUT ERROR!

Take a sec and take another deep breath. I've sent a bug request in to the xKit Rewritten creator, so hopefully, that will get looked at, HOWEVER, in my sleuthing, I have discovered a workaround. Open your original post -- the first post of that thread, the original reblog, etc--in the NEW EDITOR. If you can't switch to the new editor, OPEN IT ON A MOBILE DEVICE. make the tiniest change -- change a format or italics or something, and save the post. YOU WILL NOW BE ABLE TO USE THE NEW TRIMMED REBLOGS FEATURE.

The above also cleans up the notes so old posts aren't repeating. I'm probably going to be transitioning myself to not using the old xkit, so if yall can't transition with me, you can deal with my uncut posts. I'm v much about moving ahead before things are obsolete, and frankly the old reblogs look horrible IMO.

IF YOU NEED HELP SETTING UP XKIT REWRITTEN, FINDING IT, SEEING HOW IT WORKS, REACH OUT TO ME. I'M CURRENTLY RUNNING BOTH, BUT REWRITTEN IS OH SO MUCH BETTER.

they're working on transitioning a lot of the other features over, but this one is designed to work with the new tumblr formatting and the new tumblr code, so i heavily recommend transitioning to it before the old xkit becomes obsolete and you're scrambling.

[iamrealbuilder]

Shawn Swift interview, part 2

You can find Part 1 of the interview here:

https://iamrealbuilder.tumblr.com/post/635493519657730048/shawn-swift-interview-part-1

Interview part 2, November 2020:

Corentin : You've previously stated that you stopped working with Sunstorm before Caribbean Life. Do you know why you're credited for it?

Shawn Swift : I left Sunstorm shortly after work on Life's a Beach began. So I'd probably provided them with some ideas, though I can't recall any I might have been responsible for. I'd also begun work on a map which if I recall correctly, was to feature some kind of caribbean jail or fort. I don't know if that ever made it into the final game as I never played it, but I didn't get very far on that map. I think I'd only made one cell at that point.

C: I'm wondering if perhaps some small constructions of yours were used within Caribbean maps. For instance I believe that this truck of yours from Final Destination was re-used by Robert Travis in DC (or was it the contrary?)  [editor note: Final Destination is a map from Xtreme, another DN3D add-on by Sunstorm]

S: Robert and I collaborated on the submarine base if I remember correctly. He focused on the interior of the sub, while I built parts of the base, and he finished it up. So yeah, I probably started with with that truck, re-using it and the spritework from my previous map. […] aside from my re-use of that truck, I don’t know of any re-purposing of old maps which took place.

C: So you can confirm that most if not all of the maps in Xtreme were made before DC? Making of Xtreme a compilation of older maps, for the most part (if not the entirety of it?)

S: My memory is a bit muddled here. It's possible I made the truck for DC and then ported it to Xtreme, or vice versa. I know DC was the first game we worked on, with Robert and I working out of our apartments, before Sunstorm had offices. However, I also recall that we finished DC in the new Sunstorm office, because that's where I created the ending, and Robert combined the two floors of the submarine into one. But I also recall working on levels for Duke Extreme at home.

So here's what I think happened... When I first started working at Sunstorm, I was hired as a texture and sprite artist for DC. I did all of the new sprites and textures for DC, and I made the new weapons for Extreme. But at some point, I switched from being an artist to a level designer, and I began work on Extreme from home. But Robert was still working on DC from home. I believe I made all of the maps I made for Extreme in a few days out of my apartment, then we moved into the new offices, and there I think I must have worked on the submarine base, so I probably took the subway from Xtreme and used that as a starting point for the DC map, or I simply recreated my work on the truck.

Then we released DC, and Xtreme I believe was released later, with many of the maps being created by contract workers we never met. And while they worked on those, and Charlie? worked from home on the scripting, and Robert and I began work on Cryptic Passage.

C: Speaking of Xtreme, the (excellent) DM map Library has no sig and its author is unknown. Do you know who made it? You may be able to confirm whether or not it's yours at least?

S: It's not mine, and I don't know who made it. I don't know the names of any of the contractors they used for Xtreme. I think there were five people outside the company he was hiring to make those levels? Not sure.

C: The one thing that doesn't look like you in the Brown Water control room however is the pillar in the middle, which is VERY reminiscent of the RT's pillars from another Xtreme map, Dirge.

S: Yeah, Robert added some stuff to the start of Brown Water I believe. Oh, and another bit of trivia for you... I don't know if this is still in the beta map or not, but in the Pentagon, there's a hallway that ends where it's collapsed, and I believe you can see through a hole there to the rest of the hallway beyond. At one point I had hidden my signature in there, but Tony made me remove it for some reason. Robert was much more clever about hiding his signatures in his levels. I believe in the White House there was one secret room hidden in the bottom of an elevator shaft?

C: Was there plans to make the Pentagon more fleshed out than it indeed up being?

S: Nothing was really planned, per se. We were given almost complete freedom to build whatever we wanted, aside from the general theme of this is the pentagon level, and Duke will get there via the sewers. Now, did I personally plan to build out more of the Pentagon? Absolutely. But I ran out of time, and I didn't have any idea what the pentagon actually looked like inside, so I assumed it was just long halls with offices to either side, and that wouldn't make for a very good level, so I didn't build out more than that single office and a bathroom. I couldn't tell you what possessed me to have the exit be at the bottom of a fountain in the middle. If I'm not mistaken though the sub base comes after that level right? Maybe I figured all drains lead to the ocean... :D

C: Thanks again to take the time to answer and for the explanations on the development of DC and Xtreme and other things. I'm not sure that anyone knows you made the new weapons for Xtreme either, there are very little known credits for it.

S: Yep, I made those, They were probably some of the last art I made for Sunstorm. After that they hired on another artist and I went full time level design.

The PSD said it was last modified Monday, ‎September ‎29, ‎1997, but that's not the original file. 

[Editor note: this bat never made it into the add-on. Shawn wasn’t able to remember what the plan was for it]

External links:

Duke4 blog megathread:

https://forums.duke4.net/topic/11471-blog-interviews-of-build-engine-video-games-developers/

Duke4 forum thread, discussion on whether or not Shawn’s cell made it to the final version of Caribbean Life. I decided not to include further info on this subject not to confuse people further.

https://forums.duke4.net/topic/9418-duke-caribbean-multiplayer-levels/

Thanks again to Shawn Swift for answering my questions and sharing these files!

[writinglionqueen]

Strange Magic | Part 3

Summary: Tonight’s a Halloween party and all the witches and ghouls are invited! A coven of witches want to meet you and they’re delighted. While your lycanthrope hunts his prey, his little witch had to stay. But, under the light of the blood red moon, the devil may come too soon. Upon the night of the blood red moon, the darkness can’t end too soon. So my little witch, sit back and rest your feet because I have to ask;  Do you want a trick or a treat?

(Read part 1 here) (Read part 2 here)

Pairing: Drew McIntyre x Reader (mentioned)     

Word Count: 3,119

Warnings: No Drew, unfortunately. But I give you more to the world of witchcraft and give you Zelina as a witch, as well as a few more witches to meet.  

Special Thanks: To my editor and favorite, go to beta; @superrezzy00! Thanks again my little fellow witch for being my second eye on this. 

The darkness for Halloween night couldn’t come soon enough for you. The night brought about various ghouls, witches and the likes to your little magic shop. 

If the werewolves would’ve come, there would practically be no room. 

It felt jampacked, even for you. Granted, there was space to move about, but the chatter of everyone filled every other space that wasn’t taken by a body. It made you happy and a smile spread across your face at the possibility of being known for your grand Halloween party. 

You had so many other...creatures here, it was surreal. Some were spirits using a host body while some were softer demon-like creatures who took the shape of humans. Some cryptids had also occupied the space as well as the witches from other covens, but they liked to stick to themselves and amongst the other witches. Their familiars were left at home but all seem to enjoy the party with a drink in their hand. 

You made a note to figure out their classification and which covens they had come from. Meeting other witches was highly exciting for you because they always stick to their covens. Not so much out of fear that they would be hurt or even killed, but because of the stigma and the loss of power that comes with lonesomeness. That’s why you were the rarity. 

Being alone meant giving up some power...but not necessarily for you. 

See, you figured out your power and how deep the magic dwells within you long before you left your previous coven. You chose being the only witch in Meadow Creek. You chose it all those years ago; a few centuries give or take. You’ve seen other covens grow and wane...you’ve seen witches burned at the stake or even praised. 

But....as far as you or many other witches were concerned...you were the most powerful. 

So, seeing the witches here made you smile. Each was different in their own way. Either by their actual appearance or, also, by the type of magic they performed, or their power that you could feel that lies within them. 

One had dark, straightened hair. She was petite and kind but her eyes...they held a purple glow. They didn’t outshine her smile, though, that gleamed in all the candles scattered about. No. Her smile was quite kind as well, and soothing. You think she went by the name of Zelina...or something close to it.  

But you could feel that her power was fairly new. But she had control over it. Which was why she was here today, 

If she couldn’t control it....that would’ve been a problem. 

You could sense an empathetic kind of magic within her...but the tattoo of the moon phases going across her forearm told you she was more of a cosmic witch. She probably relied heavily on the moon above all else. 

Everyone does when they first start out though; the Moon Goddess is highly praised for aiding in spells and magic. It’s one of the first kinds of magic any witch learns. The python tattoo slithering about her other arm almost threw you off. You thought she was a green witch but her power felt more closely resembling the moon’s energy. Perhaps the snake was her own familiar, lying in the etchings on her arm until she called upon it. Very clever. 

Another witch had ebony skin that glowed. Gold etched tattoos littered her skin, all looking like they were held together by a thin thread of gold. Gold beads were woven in her dreadlocks that she had up for the occasion. Her wrists, neck, and ankles were covered in golden bangles that jingled quietly with every step. Her ears held golden cuffs and golden bangles that shined brightly in the light. It was like she was etched in gold and elegance as she walked with her head high, her golden eyes looking like fire burning bright in the candles. She intrigued you.

Her power felt strong and much older than that of Zelina, but it also felt...various. You had heard that she went by many names. It was a curiosity but not unheard of. She may be an eclectic witch for all you knew. Most eclectics held various names for the various religions and cultures they partook in. Perhaps, her various names were  a way for her to stay close to each niche culture without having to pick and choose. Eclectics were very elegant in their approach to magic, drawing their inspiration from the people and places they’ve seen. All were very smart and adaptable to changes. 

You wanted to know more about her practices and her herself. 

The third witch looked like your typical goth witch. She was pale. Her hair was the color of a raven’s feather and straightened and neat. She made sure to wear dark lipstick and dark velvet clothes. Her tattoos were very typical of her appearance. Very typical and made you think that she was probably a moon witch as well...or the run of the mill, traditional witch. She also seemed young in her magic. Probably naïve as well.  

But they were all very new to you. It was interesting to see them and you wanted to talk with them, get to know their own histories with magic and their practices. 

You moved towards them with excitement strumming through your body. And when you stood before them, smiling at them, you felt the excitement down to your toes. 

“Thank you all for being here,” you greeted with a smile. “Your messages and gifts were generous...and your familiars were a curiosity. I enjoyed them a lot.” The three smiled at you. 

“Thanks for having us,” Zelina replied with a nice smile. “My familiar enjoyed your décor when he came by.” You looked to the snake tattoo. 

“May I ask if you bind him to yourself with a spell?” you asked her. She gave a knowing smirk at that. 

“I’m glad you noticed,” she said. “Aleister has been by my side for a while. It makes both of us feel....safe for him to be bound like this. He helped me with the spell.” You nodded. 

“It’s quite interesting. I’ve never seen a familiar be bonded to a tattoo like that. It’s extraordinary.” The other two nodded. Zelina smiled. 

“Thanks, that means a lot coming from a witch like yourself,” she replied. You looked to the golden witch. 

“Your tattoos intrigued me the most,” you told her. “Did...did you etch those on yourself?” She smiled, showing off a dazzling white smile. 

“Yes, I have a tattoo for every region I’ve traveled,” she answered with a voice as smooth as silk. “I still have room for more.”

“They’re beautiful,” you admired before turning to the last witch that watched you with a small smile. 

She held an air that seemed...haughty...even for a newer witch such as herself. Her air had you wary, though. For some reason, it felt dark around her. Like, dark magic was woven into her being somehow even if it wasn’t obvious. Being this close, you could feel dark energy...but....you couldn't see it about her like you typically did whenever dark magic was present in someone. 

Dark magic was forbidden so it couldn't have been possible for her to possess it. But...you could see red flashes when you looked into her eyes. Images of a....of a demon, when she took you in. But the flashes stopped the moment she gave you a smile, showing her teeth. Completely gone. 

You shook the images out of your head. Perhaps you were seeing things with the blood moon about. 

“Your tattoos are interesting as well,” you complimented. “I take it you’re some kind of traditional witch...or even a cosmic witch?” She smirked. 

“I dabble in both,” she said. You gave her a short nod. It wasn’t much of an answer. You needed a newer subject. 

“It’s great to meet new witches,” you said to the three. “I...haven’t been in a coven since...what feels like forever ago.” The other two smiled at you, while the third...she gave off an “I-don’t-care” vibe. 

“It’s been a year since I’ve been a part of mine,” Zelina said. “Hearing about your success prompted me to try and take up being in solidarity for a while. It's been nice, but I still visit my coven every now and again. Having Aleister helps.” You smiled at her knowingly. 

“It’s hard, you loose a little bit of your power when you’re on your own until you learn to gain it back,” you said to her. “I guess being close to your familiar helps. I’m glad to hear it.” She took a sip of the homemade drink you whipped up this morning. 

“Oh, tell me about it,” the ebony witch replied. “The first couple of years away from mine and I almost gave up. I didn’t have a familiar either at that point. But my sisters were very supportive and told me to just travel. That’s when I found my own power. That and visiting with other, international covens was such a blessing. You tend to find the same...practices, down to the same spells worldwide, which...makes me feel that we are all connected as one. I’ve grown friendships with so many of them at this point.” You listened with excitement at that. 

“Wow, I should travel at some point,” you commented. “Learn from other covens.” She gave you a smile of her own.  

“If you need any lodgings just shoot me a message,” she said with a wink. “I’ll be happy to connect you with some of the covens that I’ve visited around the world.” You let out a laugh. 

“I’ll be glad to take you up on that offer in the future,” you said to her. “I’d have to take it up with my-” You stopped. A pet name for Drew was on your tongue. You were about to refer to him but... 

you didn’t know what to even call Drew. 

He, obviously, was your lover, in a sense of the word. You felt strong emotions for him; ones that made your heart flutter when you see him, ones that made you smile to know he was in your shop, ones that made you feel afraid for his safety when he was gone. The two of you woke up in each other’s arms most nights now. He meant more to you than anything. You’ve...never felt this way about anyone before.

“I’ll have to take it up with my partner,” you said, quietly. 

“I’m sorry to hear that he couldn’t be here,” the golden witch sighed. She took a sip of her dark wine. 

“Yeah, I very much wanted to meet your werewolf lover I’ve heard a lot about,” Zelina said to you in disappointment. You froze at that, trying hard not to frown. Her purple eyes were inquisitively watching your reaction. 

“I was disappointed to learn that tonight we were going to miss him due to the full moon,” the girl with the pale skin agreed. She pulled her dark hair out of her face, tucking the straightened strands behind her ear. 

“Yes, well, it was for everyone’s safety....it was better to have him be away for his shift than be here,” you said quietly, sipping your hard cider. 

“Why not block the shift?” the golden witch asked. You looked to her. Her golden eyes reflected the light of the many candles in the shop. Inquisition glinted in her eyes as she played with a loose lock. You noticed that the tattoos on her forearm glinted just a little more fiercely this close up. . 

The three witches surrounding you had their attention on you though, you needed to return it. 

“Is it hard?” purple eyes asked. You shook her head as you looked to her. 

“I make shift blockers for a lot of the werewolves in town, but those are typically used when their emotions make them shift...nothing can stop a full moon shift,” you explained to them. “Especially a blood moon shift.” The three in front of you nodded. “It would’ve been too risky for everyone here.” A lolled silenced followed for a moment. 

“I’ve heard a rumor,” the pale skinned girl said, changing the subject. The other two looked to her as did you. “Word has it since it’s a blood moon...I’ve heard that Bálor is afoot.” You froze. The girl smiles at you sweetly, as if she knew. 

“He’s not,” you said slowly, a deep warning to your voice. “The magic that binds him is the most powerful magic of all. Not even he can break through it.” The nose ring girl raises a dark brow at you. She was obviously amused by your words. 

“It’s a blood moon though. You know he’s at his most powerful tonight.” You glared at her. 

“He won’t escape,” you hissed. “I’m the one who imprisoned him.” The other two girls looked weary, their colored eyes looked between the two of you. 

There was just something about her that seemed off. How could see find it amusing at the very thought of the Demon King escaping?

“If he does though,” she teased. “I can’t help but think of how amazing it would be if he took one of us...or at least me. Make me his.” She tried to wink to the other two witches but you were seething. “I’d do whatever he asked, just to be his.” You felt your stomach churn in disgust. 

The other witch’s thoughts and fantasies had happened before. But the witch that was taken, her soul was bargained for just the idea of his love when he had none to give. He never had any love to give. But her submission transformed her into a hideous hag that was at his mercy...until her final days. Her magic was just too powerful and it consumed her. The Demon King didn’t even flinch at the lost of his witch...he was after something else...someone else. 

You shivered. 

“Forgive me, I have to play hostess with other people,” you murmured. “Enjoy the rest of the party.” You moved around the small coven, hearing them whisper amongst themselves as you passed them by. Zelina and the golden witch murmuring their disappointment at seeing you scurry away. You couldn’t stand to be next to the other witch, though. 

Her words of how the Demon King could escape whirled in your mind. 

You went over to the snacks, looking them over to see if you needed to replenish any of them. You just needed something to do to take your mind off of the possible thought of the Demon King’s escape. You couldn’t help but feel as though someone’s eyes were on you, however. Turning, you found the pale witch looking to you again. She smiled, eyes flashing red once more before turning to leave your shop. You watched her leave, feeling her dark energy leave with her. It made you shiver.

The rest of the night went along without another hitch. You were able to enjoy the company of the other two witches just fine when you returned to them, just so you can learn about themselves and even see a bit of their talents. Zelina even allowed Aleister to roam about the party in a human form. He would bring back plates of food for the two of them to split and just, enjoy each other’s embrace. 

You got an idea just how close Zelina and her familiar were. It wasn’t until you saw the familiar again that you noticed the ring on his finger that mirrored that of the little witch. The two looked happy, content. You longed for that with Drew. 

The eclectic witch, whom was becoming your favorite, had shown her talents and her journeys by drawing in golden string in the air. It had fascinated you and took up most of your attention, even away from the other guests. That was, until the witching hours were up and sunrise was set in due time. 

You said goodbye to your guests, promising the two other witches to meet again for some tea or something. 

You turned back to your shop. The ghouls and goblins and witches didn’t leave much of a mess...but you still had to put your shop back in order. 

A quick wave of your hand and murmur under your breath had the entire room looking like brand new. Another quick spell had the shop items back in their places, ready for tomorrow when you reopened again. 

Drew would’ve been, teasingly, displeased at your inability to try and clean like a normal person...but he also knew how much you love your spells and wouldn’t have teased you long about it. 

You smiled of the last memory of that instance...you cleaned his kitchen for him on a day he sat aside for deep cleaning. You finished your tasks early and Drew huffed in playfulness at your lack of real elbow grease with the cleaning. His teasing reprimand only lasting until you cooked him steaks and morel mushrooms. He “forgave” you but you couldn’t help but giggle and “promise” to use your hands next time. 

You couldn’t wait for your werewolf’s return home. It would still be a day or two until he was well enough to come back...but, to you, it would feel like an eternity. 

You flipped the lights off to the shop, smiling to yourself as everything was clean, orderly for tomorrow. You climbed the narrow stairs leading up to the living spaces you designed just in case you needed to stay later at the shop. You moved over to the bay window, the bright red moon was still shining bright. It brought a warm, red glow that had you trying to relax.  

The open window allowed the curtains to shift and sway. It wafted in the cool breeze of autumn, the scent of the colored leaves seeping in. 

You could hear the trees outside, rustling in the wind. 

As your mind drifted to Drew....about where he could be, what he was doing and if he was hunting or not, you heard a howl within the wind. It made you smile. Your wolf was alright. You knew his howl. 

But, a voice makes your smile fall the moment it reaches your ears. 

“My little witch, I have returned for you,” a voice calls from the shadows, making you freeze. Fear crept into every fiber of your being. It made you shiver at the absolute darkness that seemed to have manifested in your living space. It was him. 

It was Bálor.

You turned to find the iridescent, blue eyes and the bright evil smile of the Demon King himself. 

“Did you miss me little one?”

Happy Halloween to you all!! ~A very witchy queen 

Tag: @adriennegabriella @alwaysbenhardysgirl @amariemoore @andie01 @annoyingasian @artemisapalla316 @aspiringhorrorfilmmaker @balorstrowmanblackmurphy @biforbecky2belts @blackmoonrising @burning-coco @calicina @calwitch @claymoreme @darlingambrose @dcnmarvelgamergeek @demonqueen29 @desstehhnee @drewmcintyreinarefereeoutfit @finnsauroraborealis @fireyegale @fivefootxo @flawlessglamazon @haharollins @hardcoresweet45 @homeorbust @i-have-saracasm @itsicantbelievethis666 @kalliravenne @king-drew-mcintyre @lilred91 @littledeadrottinghood @littlesuperstar @lolorockstar101boom @madamaholmes @madebypointlesswerewolves @meishaabae @meremaidqueen @moxleysbaby @moxley-unhinged @mox-made-me-do-it @moxtiel @neversatisfiedgirl @new-zealand-chic @nicolewoo @nothinginlifebutgreif @number1120 @ofbeornandbjorn @psychic-angus @queenofthearchitect @reigns420 @rollinsreginssupreme @rollynch-roman-empire @sassymox @sassyspacedust @savemeroman @scuzmunkie @shieldgirl18 @slytherinyourrpants @snowtroopergirl @softmoxymuffin @superrezzy00 @svnflowrs @taryn-dibiase @thatpanpal @the-beastslayers-queen @thehoundsofjustice @thewrestlingwarehouse @theworldofotps @trashofambrolleigns  @twistedbeautifully @undeadspazzattack @unprettypeony @voidstrugh @wrestlersownmyheart @writing-reigns @writtingrose @xbreezymeadowsx @xladyxfatex @xprincessofthefallenangels @yaint-me @youcantreignonmyparade​ 

[rpschtuff]

Hi Jeanette! There may be an workaround with the switchover from legacy to the new editor for Trim Reblogs that should still work (I haven't tested it as I've been using the new editor for months now) that you could test.

So what matters to Trim Reblogs is the root post of the thread, i.e. the initial post of that thread. So let's say a thread is 20 replies--you want to go back to the starter for that thread. Let's assume, for ease, that Partner A was the one who started it, Partner B replied to it. This would then be Partner A's first post that we are looking for.

Previously, Trim Reblogs just didn't work on legacy posts at all until a recent update to it. A way that I found to go around this was by finding the first post of the thread and editing it using the MOBILE APP EDITOR. Not the browser, the Tumblr mobile app for Android/iOs (in my case, it was iOS). By editing it and changing something small--bolding or italicizing a word was my go-to, you could even just bold or italicize a period or something--it sort of "forced" it back to the NPF style post, and then it would be recognized by Trim Reblogs as the new post format (NPF).

It's something I would test & see if it works to possibly get around some of the issues that happen when you're trying to convert old legacy threads to the new editor & Trim Reblogs just continually glitches out (it happens sometimes).

Also, something to note: unlike with the old xKit, you do not have to have your draft written before you save the post in drafts. You can save it as a draft with nothing in it, cut it, and then work on your post with no issues. It won't randomly post your drafts like the old Editable Reblogs did. (Posting drafts is why I got rid of Editable Reblogs myself, because it was just a no-go for me given how often I switch between drafts).

Thank you so much for your guide! I'm glad to see people switching over to the new editor finally, as it's been... a struggle to deal with not being able to cut posts for months now when I got annoyed with Editable Reblogs.

Thanks for the info! That trick of editing the starter post to switch it to NPF is really helpful for people who don't want to go through all the trouble of moving a thread to a brand new post -- I'll edit my couple of posts to include that. I did edit last night to add that you don't need to have your reply written before using Trim Reblogs anymore. I know that was the case before, but now it seems you can trim at any point, like you said.

About the randomly posting drafts issue -- if that is the same problem I've experienced, you can get around that by switching the save to drafts button to anything else, then back. I wasn't aware of this being an issue with legacy/editable reblogs, though it wouldn't surprise me, and I'm not sure if you'll still have the problem on beta. But I've just made it a habit to switch the button before saving to drafts if I know something isn't ready to post yet.

[emmaswanchoosesyou]

CSBB: Part of the Narrative (8/17)

Emma Swan just wants to write the follow-up to her bestselling debut novel, that’s all. But when she gets off to a rough start with her new editor, Killian Jones, she knows it’s not going according to plan. Then, an unexpected figure from Emma’s past reappears and life begins to mirror the crime thriller she’s penning. Suspicion and secrets abound–but love might too. A writer/editor AU with a thriller twist.

Rated E. Story warnings: sexual content, kidnapping, some gore, violence, and minor character death–not to mention salty language! On Ao3 here.

Chapter warnings: Profanity, discussions of past relationships and canon pregnancy-related issues, and some snogging.

I hope you all know that your comments and likes and kudos and reblogs have been cherished and squealed over. Thank you to all the wonderful peeps at @captainswanbigbang for all you’ve done to make this possible, and all the support you’ve given. Sophie @shady-swan-jones made the delightful banner and another photoset that I adore. Kayla @bleebug did some incredible art for the first and sixth chapters, which you can check out here and here. And all the love and thanks to Kris @sambethe for beta-ing this and making it a ton better.

[Ch. 1] [2] [3] [4] [5] [6] [7]

Chapter 8

Emma comes clean to Killian about her past, and they bond during their second date.

Killian

Killian stared through the small window at the front of his oven, hoping the conversion to Fahrenheit hadn’t utterly destroyed his mother’s recipe for Lancashire hotpot. He stepped back and glanced out the window above the sink. Even through the dark, the grey of the clouds promised snow, and it was already colder than he’d like. So this would be perfect, provided it cooked properly.

In the meantime, this cooking adventure was distracting him from his nerves about the night’s plans with Emma. He knew they needed to talk--they truly did--but just the thought of seeing her filled his stomach with butterflies, in the best way. In a manly way, as he’d told Robin.

Aye, manly butterflies.

It had only been a few days since he had seen her, but he missed her. They had texted over the last few days, which had been pleasant--excellent, in fact--but it wasn’t the same as being in the same room as her, holding her in his arms or seeing the light in her eyes while she talked about the things she was passionate about.

He was just so…excited to see her again, to have dinner with her, to talk, to… snuggle. Or, perhaps more than snuggle. Either way, it would be good.

Obviously, they had a fairly heavy conversation ahead of them, but he was optimistic. In the days since their date, he hadn't heard from August. Nothing. Not a word. And, frankly, Killian was relieved. He was in no rush to hear from his current boss and former conspirator. He had actually emailed him the other day with an update from the next chapter Emma was working on. It was the exact sort of thing he should be talking to August about. The exact thing a publisher needed to hear in the earlier stages of developing a novel, and not what he had asked Killian to do.

And what a chapter it was! The story was starting to unfold, and Killian was hooked. They had finally met the protagonists, a social worker and the child she was trying to help get out of the foster care system.

He couldn't help but see the parallels to Emma's own life, and to Henry. And he was thrilled. Not only was Emma clearly drawing from her own experiences, but she was painting them vividly. It left Killian feeling he knew her a little better for it and knew it would draw others into the story.

A knock at the door interrupted Killian's musings, and he gave a sigh of relief. Not that he wasn't enjoying contemplating Emma and her story, but maybe the butterflies could actually settle down now that she was here.

"Just a minute," he called out, pulling the dish out of the oven. He straightened his vest over his shirt, ran a hand through his hair, and went to the door.

He opened it to find Emma's beautiful face, her small, crooked smile betraying how glad she was to see him too. She was carrying a bottle of wine and shifting her weight as she stood up on the tips of her toes, her nervous energy soothing him and putting him at ease even as his heart skipped a beat. At least he wasn't alone in this.

"Good evening, Swan. You look delightful," he said, brushing a quick kiss across her cheek and taking the wine from her.

Emma blushed, but eyed him hungrily. "You look good too." Then, her eyes drifted away from him as she sniffed at the air. "Okay, that smells fantastic."

He held the door open and motioned for her to come through. "Well, then come in and let's get us fed."

He watched her as she moved past him, her cream-colored sweater and figure-hugging pants making her look delectable. The style made her seem soft, approachable, while also unaccountably badass when coupled with her knee-high boots, and he couldn't wait to continue what they had started on Friday.

Killian shook his head and idly thumbed at his mouth, hoping he hadn't been drooling. He let his prosthetic hand drop to the small of her back, guiding her into his flat. "Would you like the tour, or would you like to eat first?"

She turned and offered him a smile. "Tell me what that delicious smell is, and then I want a tour. I know your tour of my place was interrupted, but I'm curious."

He smirked at her as she peered over his shoulder back into the kitchen. "Then all in good time, love. Our dinner will be a Lancashire hotpot. My mother's recipe."

Emma softened. "That's great--what's in it?" Stepping back and turning to stand beside him, she kept her eyes on him.

"Traditionally, it's made with lamb and local vegetables, but I used beef, as lamb… well, it takes a fair hand to cook, and I’ve only got the one. I also didn't imagine slaving in the kitchen for hours would fall under the terms of 'casual' we agreed upon for tonight."

"Well, regardless, I can't wait to try it. Now show me your lair," she said, grinning at him.

He raised an eyebrow and set the wine down on the counter. "Lair? Do you see me as the sort that would have lair?"

She waved his question aside airily. "Lair, berth, dwelling...whatever."

"For starters, my 'lair' has this kitchen, and a cozy living room," Killian said, gesturing to the room in question.

Emma smiled, eyeing his well-worn and well-loved chair, the one he had brought across the ocean in spite of--no, because of--its odd appearance.

"At some point I'll tell you about my chair, that is if you tell me about yours," she said, turning away from the chair to face him.

"Deal."

"Shall we continue?" she asked, starting down the short hallway.

"Aye, we shall. As you can see, this is the hallway, and the bathroom. And through here is my bedroom."

She followed him into the room in question, running her eyes over the grey and navy striped coverlet, the sea chest in the corner, and the anchor and ship painting on the wall, the room’s feel neat and organized. Emma looked around almost wistfully. "It's very… nautical. And grown-up."

"What were you expecting? A single bed with posters from popular films?"  His gentle tone belied the biting words a little.

"No, I just… well, my place stays fairly orderly too, but that's because I don't keep much there. And I totally drop my clothes on the floor."

Killian laughed. "Normally that might be the case here, but there's this lovely writer who promised to come over for dinner, so I may have put things in order."

She smirked at him. "Hmm, feeling hopeful, were you?"

"Always," he said seriously, meeting her eyes.

She didn't look away.

&&&

After they finished their meal, Killian poured them each another glass of the wine Emma had brought.

She smiled up at him and took a slow sip. "That was delicious. Your mom's recipe totally holds up."

"Doesn't it? I'm glad it worked out over here, even with the adjustments to American ovens and measuring systems," he said happily.

"Maybe sometime you'll show me how to make it?"

He paused, seeing the hopeful look on her face. His heart beat faster, the idea of working side-by-side with Emma in his small kitchen--in either of their kitchens, really--the very opposite of vexing. "Certainly, if that's something you wish to do."

"I...I really do," she said, reaching across the table and taking his prosthetic in her hand. He patted her hand with his and let her continue. "I...so, yeah, I really enjoy spending time with you. I also realized that I want to get to know my son, and it seems like a lot all at once."

"I would hope you wouldn't consider me a burden, love," he said, trying to keep his features schooled, not wanting to place any sort of expectations on her even as he felt a twinge of disappointment.

She looked surprised for a moment, then rushed to reassure him. "No--Killian, not at all. But I think there are things you should know before we make any decisions." Her brow was furrowed in concern.

“I’d be happy to listen to whatever you want to tell me.”

“I know you were upset that I hadn’t told you. I could tell the other night, and I--just, well--I don’t owe you my story just because you told me yours,” Emma said, her voice low and intense.

Ouch. He knew her words were harsh, but also fair. He considered his own before nodding, acknowledging his silent display of frustration from the other night. He lifted his hands at her in supplication. “You’re right. You don’t owe me anything, but know that I would like to get to know you, and your story. So when you are ready to share, know that I’m all ears.”

She smiled at him, accepting his unspoken apology. “I was sixteen. I’d been in the foster care system my entire life, and I’d just run away from my last home. The Dixons...well, Mr. Dixon was interested in me in ways he shouldn’t have been, and Mrs. Dixon didn’t believe me. So I ran.”

“Christ, Emma, that’s awful,” he said, reaching for her hand again.

She didn’t pull away, instead she threaded her fingers through his and took a deep breath before continuing. “I went to Portland. The one in Oregon, that is. It seemed as far away as I could get. And, well, I was a sixteen-year-old with no skills, so I stole. Usually just small stuff, but I won’t lie, I was stealing more and bigger things as time went on.”

Killian rubbed his thumb over her wrist and nodded at her, encouraging her to go on.

“So I saw a car. A yellow VW Bug...”

“The one you have now? You still have a car that you stole?!” His voice was incredulous but tinged with amusement, and his eyebrows skyrocketed up toward his hairline.

“I’ll get to that, Jones, but yes,” she said, the exasperation in her tone lightened by the smile she gave him. “Anyway, the car was old enough that I knew it wouldn’t have anything too fancy to deal with in terms of alarms or locking mechanisms. So I got in and got the car going.”

“Next time I need to hotwire a car, I know who to turn to,” he teased.

Emma smacked his hand in mock reproof. “Nope, you’d pick something new and shiny. It’d be awful, and we’d so get caught.”

“I’ll have you know that I was a very good thief as a twelve-year-old,” he said, smirking at her.

She shook her head in response before taking a deep breath and continuing. “Well, I got in the car, and then I got the shock of my life when some guy popped up from the backseat.”

“Ah,” he said, the pieces coming together for him, “Henry’s father?”

“Yeah. His name was Neal, and as it turned out he had just stolen the car.” A melancholy look crossed her face, but she pushed it away. “He was older and had that irresponsible, easygoing vibe that screamed bad boy. So, naturally, my sixteen-year-old self fell for him immediately.”

He nodded, encouraging her to continue.

“We decided to team up. There were a lot of cons that were easier with the two of us, and we made our way from Portland to Arizona. We were together by then, and I was crazy about him. He said he was crazy about me. We had even started talking about going straight together, doing the right thing somewhere with a nice view of the beach. We were thinking Florida,” she said, her lips turning downward with a wry twist at her youthful naivete. “We settled on Tallahassee, not realizing it doesn’t have access to the beach.”

“What went wrong, love?”

“Neal had some watches he’d lifted a while ago stored in a locker in Phoenix. We were going to grab them, sell them and use the money to start our new life. But when we got there we found a bunch of wanted posters with Neal’s face on them. So I volunteered to go get them.” She paused and he squeezed her hand. “We were going to meet up afterward and head out of town.”

Killian winced, imagining all the ways that could have backfired. He wondered which way it had.

Emma didn’t let him stew in his curiosity for long. “I picked them up without a problem and went to meet Neal. Only he didn’t show, a cop did. Said they’d gotten an ‘anonymous tip’ someone would be making a grab and running with them.”

“Bloody hell, an ‘anonymous tip’? He--” Killian cut himself off, heat blooming in his cheeks as fury bubbled in his chest at the man who had so betrayed Emma. He was so appalled that he pulled back, disentangling their hands.

“Yeah. I think even the judge felt bad for me. My sentence wasn’t as heavy as it could have been, and they made sure I got resources so that I wouldn’t turn back to theft when I got out,” she said, fiddling with her napkin and not meeting his eyes.

He reached for her again and squeezed her hand, overwhelmed at what she had gone through.

She looked up at him, smiling sadly, a bitter twist to her mouth. “Two months into my year-long sentence I found out I was pregnant. I had just barely turned seventeen, I was in jail, and I--well, I couldn’t even fathom being a mother. Even if it meant I had to do the one thing I’d sworn I’d never do to my own child, I knew he deserved better.”

“And so did you,” he whispered, his heart breaking for her.

“Does that make me selfish? It’s just that what was best for him was also best for me, or so I thought at the time.”

“Of course not. Or rather, if it is...it’s the most understandable thing I can think of in your situation.” He lifted her hand to brush a kiss across her knuckles, then furrowed his brow. “Did Henry say something?”

“He wondered about why I had given him up. I told him the truth, and that I don’t exactly regret it. But I also told him that I do want to know him.”

Killian smiled at her. “And hopefully he wants to know you. If not, he’s missing out.”

She blushed but returned his smile. “Thanks. We talked last night on the phone, and we had a good chat on the way to Portland. I think… I think it’s going to work out.”

He desperately wanted to pull her into his embrace. “Thank you, Emma, for telling me about your past.”

She looked at him, something shy and earnest in her gaze. “Thanks for listening. I don’t generally talk about this stuff with, well, anyone.”

“I’m honored to have your trust,” he said honestly, even as the guilt of his work with August knifing through him even as he smiled. It was an honor, even if it was one he didn’t deserve, but he would endeavor to be worthy of it.

She didn’t seem to notice anything was off, and Killian let out a silent breath of relief. She didn’t ever have to know about his past behavior, especially since it was no longer an issue. Killian leaned back in his chair, shifting his hand to lift hers, thumbing at the top of her knuckles as he did. “Well, love, would you like me to pour us another glass of wine? We could do that and watch something, if you’d like,” he said.

Emma slumped her shoulders in relief, clearly relieved to have the more serious portion of their conversation over with too. “That sounds great.”

They settled onto the couch, Emma sitting comfortably beside him, his arm draped over her shoulder, as they watched Parks and Recreation. He wasn’t entirely sold on the American comedy, but Emma assured him it would change his life. He was willing to give it a shot, especially with such a glowing recommendation, and if it meant it was something they’d have an excuse to continue to do together outside of the office.

Honestly, though, he stopped paying attention to the show about the same time Emma’s hand started caressing his thigh. He tightened his hold on her, the chamomile and sunshine scent of her hair bewitching his senses.

She turned to look up at him, and he wasted no time capturing her lips with his. His tongue traced along them, begging entry that she granted. Their embrace grew more passionate as she turned to face him, her legs straddling his. She pressed against him, her fingers cupping his jaw as his hands slipped under her sweater. He lightly traced nonsensical patterns up her back with his hand and his prosthetic, letting them slide against the softness of her skin and moaning against her mouth as he did.

Killian’s moan seemed to startle Emma, and she pulled back. He was gratified, though, to see she seemed to have trouble catching her breath. As she paused but didn’t pull back further, he pressed open-mouthed kisses down her throat to her collarbone.

She arched into him again and sighed before finally pulling away. “Hey, Killian--can we--can we stop for a moment?”

He closed his eyes but nodded, acquiescing. Lowering his hands and removing them from under her top, he looked up at her above him, her long hair flowing over her shoulders. She looked like a goddess of sunshine, he thought, his brain still somewhat fogged, not receiving all the blood flow it normally would.

“Sorry, I just… well, a lot is going on right now, and I want to see where this goes. But I also want to slow down a little,” she said apologetically, her cheeks red--with either embarrassment or arousal. Possibly both.

He smiled, and pressed a chaste kiss to her nose. “You have nothing to apologize for, Emma. We can take this as slowly--or as fast--as you’d like. Whenever you like.”

“I just… well, you’re my editor.” She gave a small shrug and looked away a moment before returning to look directly down at him. “I want this to work, I really do. But if it doesn’t, we still have to work together.”

“I understand. Truly, lass,” he said, beseeching any god who might listen to please help it work out. He reached out and touched her chin, kissing her again, trying to keep it from becoming too desperate a thing.

[spnbaby-67]

Craving You 10

Summary: Jensen and Reader has some quality time in the pool. Things get a little heated after Jo pushing them in.  

Warning: This does have sexual content, fingering, female receiving, pool sex, 

A/N: HI Ya’ll, Thank you to all who are still sticking around, it really means a lot to me and i only hope your enjoying this story. After this chapter, I promise you it is going to be much better. I miss underestimated the chapter we know Jensen’s job, but depending on how my beta gets chapter 11 done, i will be glad to post it as soon as it’s back also a surprise in that one. Chapter 11 is going to be very long i had to do part one and two. If you want to be tagged please let me know. My work is to not be posted on any other sites without my permissio, Gifs are not mine thanks to the editors who do them. Also thank you to Portia at @writersaredreamers for beta’ing my chapters all other mistakes are my own. without further ado lets read. 

Chapter 10

Once we get back to Jo’s house, Jensen walked me inside. We barely got past the front door only to hear Jeff yelling at Jo by the bar about Lisa, clearly I could tell he was a bit peeved.

“I don’t care about Lisa Braeden Jo, ya’ll had no right to keep egging her on. For hell’s sake, she punched {Y/N} in the eye. Lisa is a force to not be messed with, you should know that very well.” His face was a bit red from anger.

Jo was toe to toe with Jeff after she heard us come in, “Don’t say anything to {Y/N}, Lisa has been on her ass since we were kids. She coming here tonight for the barbeque with her husband, she’ll be in my territory. She’s the one that better chill out.” She gave him the look of death Jeff knew she meant it, then walked over to {Y/N}. “How’s your eye?” She had a fresh ice pack for me that she grabbed from the freezer.

“It hurts like hell, but I’m a big girl I can handle the pain.” I smiled at her to reassure her. “I’m going to go shower and change, I’ll be back ok.” I look at her and she hugged me.

“Ok, I’ll keep Jensen entertained.” She teased and winked at me.

“Jo, he’s mine.” I gave her a stern look, I knew she was joking, but I wasn’t in the mood. I told Jensen that I needed a shower and then disappeared into my room.

I threw the ice pack down on the countertop in the bathroom, I looked at my eye. Yeah not so great, “Damn it,” I pulled out my makeup bag to see if there was a chance to save some of my face from being center of attention tonight at the party. I put everything out on the counter I need and took my shower. I was still fuming from the fight Lisa instigated, for her sake I hope she doesn’t see me any time soon.

I heard the music starting up in the backyard, which meant that people were starting to arrive. I put on a new top, which flowed down to the hem of my boy shorts, I loved this pair, they are so comfortable. The top was strapless, and hugged my chest perfectly leaving my shoulders bare. I put my sandals on, then done my makeup. My hair was half up half down and my mom’s necklace that she gave me before she died draped around my neck like it was always supposed to be there. I managed to cover up most of my black eye before I left to join Jo and Jensen. Entering the backyard, the good mood I had earlier with Jensen, just went away when I saw her. Seriously? She has to be here too? I shook my head, this is not going to be a great night.

Lisa was standing by the bar leaning her back against her husband’s chest. Really? She has to make my whole night miserable? I rolled my eyes, then I went back inside and to the kitchen to see Jo and Jeff semi talking. It was more like they were trying to keep their voices down than anything, which had me kind of worried about their engagement. I know Jeff loves Jo like there’s no tomorrow, but at the same time it has me worried about a lot of things. I jumped when I felt a warm hand on my shoulder. I knew who it was and I could not help the huge smile on my face.

I turn to face him. “Hi, how’s your eye?” he asked as he kissed the top of my head.

“It’s ok, what are they talking about?” I nodded my head backwards to indicate Jo and Jeff.

“I don’t know, but um Lisa is here.” He waited to see my reaction.

“Yeah, unfortunately I saw her already.” I sighed, “Want to go out back?”

“Sure,’ He grabbed us a couple of beers then took my hand, he led the way to the back yard.

The wind was cool, it’s that type of breeze that touched your shoulders with the right amount of coolness to it. I love nights like these, they are the best to snuggle up to someone comfortable on the back porch swing. Unfortunately, there went that idea when I saw Lisa and her husband already occupying it.

I started to walk away with Jensen to show him another place to go, but got interrupted. “{Y/N}, Jensen, come join us. My husband was just telling me about work today.”

I rolled my eyes before I turn to face her, “It’s ok Lisa, you enjoy your husband time.”

She stood up and she was already three shades to the wind, what she drinking all day? She grabbed my right elbow and turn me around so fast that my right hand met her face with a slap that was heard throughout the back porch. She stumbled and her husband grabbed her before she fell sideways down. My hand went immediately on my mouth in shock waiting to see what she was going to do.

Her husband took her by the shoulder and turn her to face him, “It’s all good, why don’t we go get you another drink hmm.” He kept her facing him to keep her mind off of me. Jensen and I disappeared after we got the hint.

We walked over to the shallow side of the pool, the water was just beautiful with the purple lights cascading across the oval shaped pool. The stars shone above us and country music played in the background. Jensen helped me sit down on the edge of the pool, then after I slipped my legs into the water. Jensen followed suit. He rolled his pants up to his knees after taking off his shoes and socks. He sat next to me so close that I could lay my head on his shoulder if I wanted too.

“Did I tell you that you look beautiful tonight?.” His voice was sweet and smooth,

I turn to look at him, our noses almost touch. “No, you didn't, thank you, and you are handsome yourself.” I kissed his lips.

He put our beer bottles behind us, took his left hand and ran his fingers thru my hair as he kisses me deeper. Without any kind of warning, we were pushed into the pool by Jo. “Seriously?” I asked as I looked at her.

“What? You two needed to have a little fun, just helped it along.” She winked at me. “You’ll thank me later!”

I rolled my eyes, as I splashed water at her. She jumped back to avoid the hit, then walked off. Thank god we were at least in the shallow end of the pool. She had walked off like she had won the game, and I look at Jensen. “I hope you didn’t have your cellphone.”

“No, my wallet and cellphone is in my truck. You have my total attention tonight.” He picked up where he left off.

I nodded over to the hot tub “Follow me,” I smiled at him and then went over the partition wall that separated the pool and hot tub. I placed my hands on the sides of it then pulled up my body to let my legs straddle it a moment, Jensen did the same. He kissed me, then we continued the plan to actually get into the hot tub.  

As soon as we were in, we sat down on the cemented bench that was built into the square hot tub. The water felt amazing almost like heaven. It was perfectly warm not hot, just warm enough to envelop our bodies like a blanket on a cold day. He was to my left side and his lips were dangerously close to mine, while his hand was back in my hair threading thru it like it was searching for a good spot to hold onto. Once he found the the back of my head, the grip he had tightened a bit as if he was saying I was his. I love the authority he was taking, it kind of turned me on.

He pulled away from our kiss and looks at me with dark green eyes. “Close your eyes,” he said.

I look at him for a moment, “What are you doing?” I raised my eyebrow in suspense.

He gave me a mischievous look, “You’ll love it trust me.” He winked at me.

I smiled, and close my eyes. I didn’t see Jensen reach over and turn the jets on, but I felt them bubble up between my legs. I bit my bottom lip to hold in a moan, I didn’t want to draw attention to us. Now I knew what he was up to and my heart just went ten beats higher. The jets underneath me felt so good which he must have noticed, because he had a wicked smile on his face.

“Now what you’re up to Ackles?”

“Hmm, how about we see where this leads,your move Smalls.”

I wrapped my arms around his shoulders and pulled myself up on his lap, the bubbles from the jets hit a sensitive spot at just the right time I couldn’t fight it any more I moaned. He noticed and his hands found the bottom hem of my shirt, his rough but gentle hands massaged my sides as he sought to reach what he longed for. Once at the seam of my bra he cups both of my breast in his warm hands. My breath gets caught in my throat as my head goes back a bit, his lips were immediately attached to my neck right under my jaw line. That gets me all the time, I love it when guys go there it’s like an automatic turn on for me.

I feel him shift to where I was now sitting on the bench and he was hovering over me, he took his right hand and slid it down my stomach, waist and eventually he cupped me between the legs and a squeeze to test my need. He’s still kissing me all the while as the fire of passion flows through my system, I’m writhing with anticipation. He then took initiative and slid his hand into my shorts, the soft touch as his hand went down across my skin made me swallow hard. His touch was utterly orgasmic. His left hand slithers down more to where finally he was at my pussy’s entrance.

My legs automatically separate more so he can take advantage of what I was allowing. His middle finger slid began to slide in and out rhythmically, he began to rub my clit in circular motions, he was kissing me this whole time which was a good thing because I’m sure I would have moaned so loud and that would not have been a good thing. Eventually, more of his finger finds my clit and began to rub in different motions. My breathing is picking up and I do all I can to control myself but that was harder than it seemed. My mind is a complete blank at this point and I’m solely into him.

I placed my left arm around his shoulders then straddled him all the while his finger was still inside me and my body growing limp by the minute.  I felt the bulge in his pants grow harder and bigger as I moved my hips on him. Thank god the lights were out on our side, because with people around I’m sure they would have gotten a show. Just as my climax was about to wash over me, we got interrupted by Lisa falling into the pool next to us. I pull away from Jensen’s mouth long enough to see her sinking to the bottom. I look at Jensen with worry, we didn’t see her husband anywhere around, Jensen cursed under his breath but kissed me before he went over the wall to the other side to pull her out.  I sat there with a blissful look on my face trying to regain focus. What the fuck just happened? I swallowed a huge lump in my throat and closed my legs, the heat between them still want me to remember his touch.

@writersaredreamers @theshygirlao3 @secretimpala67 @secretlyfurrydragon @nanie5 @laqueus-ludovicus

[ginnyzero]

10 Things I Learned Writing FanFic

(Bonus Blog Post: Also on Twitter as Thread!)

I'm going to try and do a TEN THINGS #WritingCommunity . My experience in writing is probably the "new wave" as I started in fanfic. When things get tough, I try to apply things I learned in my over a decade there to now. YMMV So, TEN THINGS I learned writing/reading fanfic!

1. Sturgeon's Law Exists y'all. Sturgeon's law states that 90% of everything is crap. I don't care where you publish this is true. Especially in fanfic circles were newbie writers are posting their precious first draft writing babies. You have to dig to find good stuff.

2. REVIEWS =/= quality. AKA being POPULAR doesn't mean that the story is good or well written! Sure, 90% of writing is crap. AND PEOPLE LIKE THAT CRAP. Because crap is subjective, especially as you're learning, growing & forming opinions. Someone out there found merit in it! YAY!

3. THERE IS ROOM FOR EVERYONE. The thing about fanfic & about indie publishing is that there is no gatekeeping. There is no arbitrary "this is what is selling" rules to adhere to. And that means everyone is allowed even if YOU don't like it personally.

3.1 that means everyone is out there trying to find their readers, their tribe, their MARKET. That's great b/c that means a lot of voices (female, LGBTA+, POC) can be heard! Indie and Fanfic let's writers take RISK and have an AUDIENCE. (Even if they are hard to find sometimes.)

4. About Reviews. Only 1 in 3 people are going to leave reviews (if you're famous) and only 1 in 10 are going to make it past the first chapter. It doesn't mean your work is bad. All it means is your work wasn't for them! That's okay! see, there is room for EVERYONE.

4.1 MOST of my reviews were very short to the lines of "write more" with maybe a PLEASE tacked on. When I was active, I tried to thank every reviewer regardless of length of review. The long reviews of "you made my day" quality were few, far between and cherished. This is normal!

5. SOMEONE IS ALWAYS GOING TO DISLIKE YOUR STORY. And sometimes, they're going to be vocal about it and leave you that bashing review. That just means your story wasn't for them. Onto the next reader that appreciates you and what you do!

5.1 as a writer, you are the star of your own narrative. Bad reviews are people trying to clip your wings. Unsolicited constructive criticism and outright bashing helps no one and only causes people to stop writing. I don't care how good your intentions are if you do this, STOP.

5.2 The thing about bad reviews that are "constructive" is that the book I've written is already published. I can't/won't change it. And the "constructive" review will not apply to the next book. And no amount of positive openings makes unsolicited advice sting less.

5.3 Your intentions are to mean well and "this will help." Well, buddy, I've had a beta reader/editor for the last ten years and I can tell you right now that I trust her a lot more than I trust you oh random stranger on the internet.

5.4, a PUBLISHED Story or book is a PRODUCT. A review for a PRODUCT in this case is for the reader and not the AUTHOR. As an author, I may not do more than scan your review for your star rating. So please, pitch your reviews to other readers.

Okay, MOVING ON.

6. BACKLOG/EXPOSURE is EVERYTHING. People can't read your stories if they don't know you exist. The people who become Big Name Fans in fanfic circles are those that are constantly putting themselves out there in the public eye by writing.

6.1 True story! The reason why 50 Shades of Grey was first so popular as "Masters of the Universe" twilight fanfic is because James posted 100 or so words each DAY as a CHAPTER so her fanfic was constantly at the top of the "updated" pile. James is in marketing.

6.2 True story 2! When I ran a pairing community on LJ (FFX-2), a "new to us" writer came in, posted a story and then complained she got no feedback elsewhere b/c she was a big name fan in DIGIMON. We didn't know who she was, we needed more exposure to her to interact more. It felt like to ME (and several others in my circle) that she wanted to be an overnight sensation in our group b/c she was so huge in the Digimon fandom. We took exception to this! Those of us who were big had put in a lot of hard work to be that way!

This leads to...

7. BEING FAMOUS IS WORK NOT FUN. By the time I left fandom, I had run up to 3 communities, worked on a review website, wrote over 50 works, all of this in my spare time while doing an INTENSIVE college schedule (Fashion) and I was BURNT OUT.

7.1, this led to a lot of things being lobbed my way. Accusations of favoritism. I got cussed out. I had people throwing hissy fits at me. I did some things I probably shouldn't have being a young 20 something.

7.2, Trying to build a network of authors to create these communities was tons and tons of emailing and invitations and soliciting and keeping my name up there on the "recently updated" on ffnet and putting in my communities in my Author's Notes. It is exhausting!

7.3, so if your goals are to be the NEXT GRR Martin, think about all the interviews and conventions and emails he's fielding on TOP of trying to write his books. There are reasons most authors don't do more than the convention circuit/have 1 social media. THEY HAVE WORK TO DO.

8. CALL OUT CULTURE IS BAD. The morality police, the grammar police, the "think of the children" police, it's all bad. It's why we can't have nice things. And guess what, in five to ten years, it's going to change ANYWAYS. It's simply a waste of time and energy that does nothing.

Calling back to 3...

9. TROPES AREN'T BAD. Tropes exist for a reason to help ease storytelling. Tropes are plot hooks and the coat hangers we build our stories upon. No matter what, you use tropes even if you're LAMP-SHADING them. People like tropes.

9.1 Tropes are nice fuzzy warm blankets that make readers feel comfortable. Maybe "Only one bed" is overdone, but for readers who LOVE "only one bed" they're going to devour every fic NO MATTER the quality. All they see is MORE STORIES FOR ME TO READ WHEE!

9.2, I'm saying here to an extent ORIGINALITY is overrated. Because given HOW MANY stories have been told and how much WRITING is being published, having that "original" idea or telling something in an "original" way is next to impossible. So, write what you WANT.

10. MY EXPERIENCE DOESN'T INVALIDATE YOUR EXPERIENCE. My experience in my writing career is simply my experience. It's not wrong. Just as yours is yours and yours isn't wrong either. It's simply what's happened to us on our writing journey.

10.1, If people are getting emotional and telling you that your experience as a writer is WRONG, then they are the ones with the problem. Not you. You can ONLY relate what you've experienced. If they haven't experienced it, then good for them.

10.2, if they keep INSISTING that your experience is wrong all b/c THEY haven't experienced it, then they lack EMPATHY and are NOT WORTH YOUR TIME. They don't DESERVE YOUR ENERGY. They are a tiny player in your life and easily shut OFF.

10.3 As LONG as you're willing to stand behind what you write on the internet, social media/books, and it doesn't HURT other people, then there is NO REASON why you can't curate your experience to mute/block the naysayers from your life. It can be abusive harassment.

10.4, NO ONE deserves to be abusively harassed and personally attacked over their experience and their writing. NO ONE. Being kind, being empathetic, listening and learning only costs you the pain of BEING WRONG. I say pain, because it actually HURTS the brain to admit that you are wrong. The ego/pride PHYSICALLY can't take the idea of being WRONG. This is why people lash out. This is why people act hurt when confronted about it. They don't like PAIN. Pain is our body's FEAR reaction. "Something hurts. Don't do that." Being wrong means giving into our pain/fear & having to change! We also don't like change. Don't let THEIR FEAR control you/your EXPERIENCE. As long as you aren't hurting anyone, that is on them. Not you.

10.5 Those who don't get you, don't deserve you! Find those that do and KEEP ON WRITING.

I also write books. So, check out my Awesome Amazon Profile for Sons of Anarchy for Urban Fantasy and Kick Ass Warrior Princess stories featuring #werewolves.

[char27martin]

5 Writing Perspectives to Be Thankful For

Every day at Writer’s Digest, I’m particularly thankful that I get to read about writing and edit some really skilled teachers and experts. The varied perspectives, voices and authorities on the craft keep me on my toes and enrich my experience as a writer and a reader. Today, I pulled five perspectives that I’m especially thankful for—five writers who have a powerful voice and great style for instruction—and some of their insightful takeaways on writing.

1. Affinities & Motivations That Explain Why Writers Create in a Particular Medium

by Susan Reynolds, from Fire Up Your Writing Brain

Why you write novels, poems, or self-help books may be another question that seems simplistic, but even if you’ve always been a memoirist or you’ve always been a journalist, it can be helpful to revisit the whys and wherefores. Did you consciously choose a medium or fall into it somewhat haphazardly? Do you feel that you have certain affinities or certain abilities you feel compelled to use or find easy to maximize and that, therefore, determine which medium you choose: dialogue (scriptwriters), action (anything from comic books to action films), characterization (novels), high drama (plays), feelings (poetry), and so on? Do you feel you’ve found your niche, or is a large part of your struggle to write (or perhaps even your resistance to write) based on perceived weaknesses that you feel you have to conquer?

Let’s discuss various mediums and the affinities or motivations that may reinforce your decision.

Nonfiction: You have the expertise and/or you like working with an expert to educate people on science, art, music, or anything, really. You possess an analytical brain that likes to burrow into topics that fascinate you, and you are adept at then explaining them to others. You have a fresh perspective on a subject that needs exploring.

Historical: You want to record events as they happened or to revive stories that have been forgotten. You’re inspired to capture the essence of people who have greatly affected the world; or you lived through something monumental (like being a soldier in a war) and have a unique contribution to offer.

Novels: You long to capture essential knowledge about people and situations. You enjoy inspiring and entertaining others via storytelling. You want to create a work of art that is at once unique and memorable. You want to write stories that help individuals and society come to realizations about what was working, what wasn’t working, and what might be needed. You want to shine a light on travesties or to inspire others to create a better world.

Memoir: You lived through something that will offer others a way to navigate dangerous waters or that will inspire others to rise to new heights. People are wildly curious about you (for whatever reason). You want to make sense of what happened, find a silver lining in tragedy, and finally appreciate or release past events.

Comedy: When you talk, people laugh. You have a unique perspective and a razor-sharp, wickedly fast wit. Your lighthearted perspective needs expressing. You feel most alive when making people laugh. The world needs to lighten up. Humor is a healthy coping method.

Poetry/Lyricist: You enjoy mining your inner thoughts and feelings. You’re passionate about the gracefulness of language and the use of metaphor to communicate deep thoughts and resounding notes of spiritual ascendancy or decline. You’re deep and intense and have something remarkable to express.

Nature Writing: You love bringing the beauty of the world to the forefront. You want to honor the beauty around us all and to help others see with new eyes, understand with fresh knowledge, and respect all the darlings of our universe. Everything in nature is a marvel to you.

Science Writing: You want to bring new knowledge to the forefront and to defend or uproot practices that hold the potential to foster life or lead to death. You’ll do whatever it takes to promote science.

You get the idea … choosing your medium is a reflection of personality, affinities, perspective, philosophy, and opportunity—and ideally it should be something you consciously consider. Recognizing your strengths should inform your choices but not necessarily restrict them. Maybe you’ve been a successful poet but you now long to write a novel (or vice versa). Noting the affinities you already possess that would support experimentation could inspire you to new heights.

2. Commit to Your Writing

by Jennifer Probst, from Write Naked

In the beginning, books are like affairs, because excitement drives you forward. But the deeper you get into the book, the more you discover hidden problems.

The conflict wasn’t pressing enough. The spark between the hero and heroine was electric, but they can’t seem to have a meaningful conversation. The secondary characters are cardboard, without real emotion. You bump along and hit the potholes, and you’re forced to stop and examine the road. Did you go the right way? Should you have turned left at the corner instead? Will you run out of road before the planned trip is over?

This is the serious stuff you need to deal with to make a great book. By the time you near the finish line, you’ll fall back into a full love affair. The kids are grown, you’re retired, you’re rich, and you finally get time to yourself. You see the threads coming together, and you can soar to the end.

Giving up too soon is dangerous. If you chase the shiny, new idea each time, you lack staying power and you won’t be able to write a full, meaningful book because you only write the easy parts. How can you create a proper character arc without some degree of growing pains for your characters? And for yourself?

Now, I’m not saying your book sucks if there aren’t bumps or bruises. Some books are just gifts. But if you’re jumping ship each time you encounter problems, you need to look at your motivation.

New writers: Finish the book you’re working on. It’s the only way to find out that you can do it again. It’s a way to earn your Scout badge and to show you have the perseverance needed in a world that may eventually rip your heart out and do a happy dance all over it.

One of the most beautiful phrases I know besides once upon a time is the end.

Pick the story that pulses in your gut. Then do everything in your power to finish the book. Even if you realize you made a mistake. Even if you realize it’s a sucky book, it won’t sell, or you’ve suddenly lost all interest.

Finish the book. Then make your decision to revise or move on to the next one.

A story unfinished is a sad thing. It screams of potential not realized. It sobs with what could have been. Stories need closure, for readers and the writer. Since you are the only one to see this story, do what needs to be done.

Finish the damn book.

3. Learn to Fail Better

by Gabriela Pereira, from DIY MFA

Failure and rejection are not just part of being a writer; they are essential ingredients to your success. Yet knowing this doesn’t make it hurt any less when you fall short of your goals. No one likes to fail, and rejection is downright painful. This is why you need a system to cope with failure and bounce back from rejection. I call it “failing better.”

F = Face Your Fears A = Assemble Your Allies I = Initiate and Iterate L = Let It Go

The sooner you know something isn’t working, the sooner you can eliminate that option and find another that works. Fail fast and fail often so you can establish a creative process that moves you closer to success.

Face Your Fears

Resistance and fear are closely tied. After all, we often resist what frightens us, so fear can be a good indicator of where you should concentrate your actions and attention.

But fear is more than just a signal for resistance. Fear stimulates our fight-or-flight response and pushes us to take action. We might be tempted to ignore our fears, to keep a stiff upper lip and push forward despite our instincts, but remember that fear exists for a reason, and part of honoring your reality is admitting when you are afraid. Fear makes you pay attention. It makes you sit up and take note. It is not a sign of weakness but an essential component of courage. Courage is not the absence of fear; rather, it allows you to take action—a leap of faith—despite all the things that might terrify you. Without fear, you can’t have courage. This is why facing your fears is the first and most important step toward learning how to fail better.

Assemble Your Allies

On the journey from idea to finished book, the writer meets many colleagues and trusted readers. Aside from the obvious allies like an agent and editor, many other people can be involved in a writer’s success. You might find allies among your writer friends. These colleagues will read your work and give you honest feedback, flag problems, and offer suggestions to solve them. Bookish nonwriter friends can also give you feedback but from a reader’s point of view.

You don’t need to wait until the revision stage to enlist the help of your allies. They can also help you beta-test a story or brainstorm project ideas with you. This early feedback can help you course-correct before you’ve invested so much time and energy in a project that you’ve passed the point of no return.

Initiate and Iterate

Now you must cross the threshold and start writing. Don’t worry about getting it right on the first try. Embrace the probability that you will mess up, and that these imperfections are simply part of the process. This will free you to take the first leap and start on a project, even if you don’t feel ready. Some writers waste months—even years—planning and preparing to write. If you do that, you’ll never start. Remember, there will never be a perfect time to write your book, and you will never be completely ready. Stop waiting for the right time and just write. Now.

Remember that mistakes and failure are part of the iterative process, and while they are inevitable, you cannot take setbacks personally. When something goes wrong, don’t say, “I failed.” Say, “This failed,” and then try something else.

Let It Go

The best way to deal with failure is to let it go. This doesn’t mean living in denial and ignoring your mistakes. Letting go means you must first honor that failure and then set it aside where it can do no further harm. Acknowledge your mistakes and learn from them, but don’t carry that experience with you as excess baggage.

We writers are perfectionists, and we often make our failures worse by agonizing over them. We pick apart rejection letters looking for hidden clues. We relive the drama of mistakes we made both on and off the page. Just like compounding failure with guilt, when we agonize over our mistakes, we make an already-painful experience worse.

Letting go of failure allows us to recognize and accept our mistakes without wasting additional energy on them. When we obsess over our failures, we use up precious mental real estate that could be better spent on creative endeavors. The more angst and worry we carry with us, the less space we have in our brains for creativity and writing.

4. The Three Questions That Will Solve Every “Plot Problem” You’ll Ever Have

by Steven James, from Story Trumps Structure

Initially, most authors land somewhere on the continuum between outlining and organic writing. If you try to fit your story into a predetermined number of acts or a novel template, you’re more of an outliner. If you don’t care how many acts your story has as long as you let your characters struggle through the escalating tension of your story in a believable way, you’re more organic.

Both organic writing and outlining have their inherent strengths and weaknesses. (Yes, even organic writing can, in some cases, lead you astray if you don’t let all three questions listed below guide your writing.)

Outliners often have great high-concept climax ideas. Their stories might escalate exponentially and build to unforgettable endings. However, characters will sometimes act in inexplicable ways on their journey toward the climax. You’ll find gaps in logic. People will do things that don’t really make sense but that are necessary to reach the climax the writer has decided to build toward.

Organic writers are usually pretty good at crafting stories that flow well. The events are believable and make sense. However, sometimes the narratives can wander, and although the stories are believable, they might also end up being anticlimactic as they just fizzle out and don’t really go anywhere.

So outlining often results in problems with continuity and causality, while organic writers often stumble in the areas of focus and escalation.

Outliners tend to have cause-effect problems because they know where they need to go but don’t know how to get there. Organic writers tend to have directionality problems because they don’t necessarily know where they’re going, but things follow logically even if they lead into a dead end.

“What would this character naturally do in this situation?” This focuses on the story’s believability and causality—everything that happens in a novel needs to be believable even if it’s impossible, and because of the contingent nature of fiction, everything needs to follow causally from what precedes it.

“How can I make things worse?” This dials us in to the story’s escalation. Readers always want the tension to tighten. If the story doesn’t build, it’ll become boring and they’ll put it aside.

“How can I end this in a way that’s unexpected and inevitable?” Here we’re shaping the scenes, and the story as a whole, around satisfaction and surprise. So the story has to move logically, one step at a time, in a direction readers can track—but then angle away from it as they realize that this new direction is the one the story was heading in all along. However, readers don’t want that ending to come out of nowhere. It needs to be natural and inherent to the story.

The first question will improve your story’s believability. The second will keep it escalating toward an unforgettable climax. The third will help you build your story, scene by twisting, turning scene.

Organic writers are good at asking that first question; outliners are good at asking the second one. As far as the third, organic writers will tend to have believable endings and outliners will tend to have unpredictable ones.

The way you approach writing will determine which of those questions you most naturally ask and which ones you need to learn to ask in order to shape effective stories.

5. The Most Important Rule of Story

by Chuck Wendig, from Damn Fine Story

Stories matter.

That’s it. That’s the rule. It’s law, it’s holy writ. It’s undeniable.

Stories make the world go around.

Stories can get a politician elected—or bury him after he’s in office. Stories sell us products, they convince us of lies or share with us vital truths. Narrative is all around us. The entire Internet is made up of narrative after narrative—some of it nonfiction, some of it fiction (and, ahem, some of it is fiction parading around as nonfiction the same way a wolf might shimmy his ass into a set of sheep’s clothing).

We tell stories about our families and our loved ones, and we share tales of what happened at work and at school. When we have a bad day, we turn to movies, books, games, plays, and comics. And some of those movies, books, games, plays, and comics will outlive us, and may even outlast our civilization when it’s gone and replaced with the next set of people (or sentient cyborg dinosaurs). Some stories come out in their time but speak to us timelessly—The Handmaid’s Tale or Casablanca or the canon of Shakespeare. Some stories are decidedly products of their time, and we use them to understand the period from whence they came.

Stories teach us.

They persuade us.

They dissuade us.

Stories are the backbone of mythology, religion, history, sociology, literature. Culture as a whole is composed of countless threads of narrative.

This thing we do, it has meaning. But it doesn’t always feel that way. When you sit down, and you’re about to put a pen to paper to write that next book or short story or script, or whatever it will end up being, you’re going to experience that twinge called “impostor syndrome.” We all feel it. I get it even still, even after writing over a dozen books and some comics and some film and TV scripts. I get that feeling of being an impostor. I feel like I don’t belong, as if I’m secretly a stowaway on a boat that belongs to other, greater people.

And that feeling and fear of being an impostor is just the gateway: I start to worry, what’s the point? Who’s reading? Who’s listening? And somewhere in the back of my brain, I’ll hear the echo of that oft-repeated nonsense phrase—“There are no original stories, stories, stories”—and I’ll clench up even further. My fingers will pause. My mouth goes dry. I’ll feel nervous and anxious and woefully unsure of myself and the mission I’ve given myself. It happens every damn time.

And every damn time, it’s bullshit.

Storytelling is not special. I don’t mean that as an insult. I mean that storytelling is not some precious, unique thing. The role of storyteller is not a guarded, privileged soapbox. You don’t get an official podium with a sanctioned seal of approval. It’s not just for them. It’s for all of us.

Storytelling is a shared tradition. We all get to pass around the talking stick and the magic witch’s eye. It’s not just for the priests or the chosen few. Telling stories is a powerful common denominator. And listening to stories is as vital and as common as breathing. We are bound together by our stories. We share traits and tales through those narratives—and we also help to spread empathy and compassion and critical thinking through them. Stories are the ripples that carry water from my shore to yours, and yours back to mine. They are a form of echolocation, cultural and emotional and sociological. Narrative forms our shared tapestry. You at one end, me at another, and all the threads in between connecting us.

Don’t be afraid. You can’t be an imposter because storytelling isn’t for the few. It’s for the many. Stories are for everyone.

If you’re an agent looking to update your information or an author interested in contributing to the GLA blog or the next edition of the book, contact Writer’s Digest Books Managing Editor Cris Freese at cris.freese@fwmedia.com.

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