#Writers Must Have a Website

[jolenes-book-journey]

What Activities Will Help You Gain More Readers

What Activities Will Help You Gain More Readers? Why do we have to do this Digital Marketing Stuff? Yes, I believe that our readers should magically find us, purchase our books and then give us glowing reviews. Sadly, that is not going to happen. Regardless of your level of experience as a writer, connecting with readers is the ultimate goal. In today’s competitive literary world, it is crucial…

[professorspork]

idk how to word this properly but wrt the fanfic thing you reblogged earlier. Why do fanfic writers have such different expectations than any other content hosting platform?

Like lets take youtube as a point of comparison, Engagement like comments and likes largely exists to boost the works place in algorithm, thats why youtubers put in calls to action and other engament bait. Few with decent reach even read the comments and the audience shouldnt try to develop any weird parasocial relationship with the youtuber. Fanfic authors ask for likes (kudos, because the websites gotta use nonstandard language for some reason) and comments despite them not having any impact on an algorithm, and seem to want the audience to try and develop a relationship with the author based on tumblr posts like that one.

Why the radical difference in behaviour away from the norm? And honestly with all the (usually) metaphorical blood spilled online about parasociality why are authors really surprised that the audience tries to keep their distance as is best practice with any other content producer?

okay I am going to answer this as kindly and as calmly as I can and try to assume that you are asking this in good faith. because my friend, the fact that you feel the need to ask is, to me, The Problem.

[this is, for the record, in response to this post]

fanfiction writers are not *posting content.* (I also have reservations about engaging with the term "content producer" or "content creator" but let's put that aside for now, I'll circle back to it.) you say "they seem to want the audience to try and develop a relationship with the author" as though it is strange, off-putting, and incomprehensible to you, when in fact that is the point of writing fanfiction. it is a way of participating in fandom. it is a way of building community and exchanging ideas and becoming closer with people.

if authors wanted to solely ~generate content~ that would get them attention (?? to what end, the dynamic you have described seems to equate algorithmic supremacy as winning for winning's sake, as though all anyone wants to do is BUILD an audience without ENGAGING with them, which I cannot fathom but let's pretend for a moment that is, in fact, true) then like. if that were the case why on earth would they choose a medium in which they categorically cannot succeed and profit, because it isn't their IP?

you are equating two things that are not at all the same thing. to the degree that parasocial relationships are to be avoided, and "that person is not trying to be your friend they are trying to entertain you, please respect their boundaries" is a real dynamic -- which it is!! -- like. you have to understand that the reason that is true for the people of whom it is true is because it is their JOB. they are storytellers by profession, and they are either through direct payment, or sponsorship, or advertising, or through some other means, profiting off of your attention. i don't say this to be dismissive, many wonderful artists and actors and comedians and any number of a thousand things that i enjoy very much go this route but they do so as a *career choice.* and so when you violate the public/private boundary with them, you are presuming to know a Person rather than their Worksona. the people who work at Dropout or who stream their actual play tabletop games or who broadcast on TikTok or YouTube are inviting me to feel like i know them to the degree to which that helps them succeed in their medium and at their craft, but there MUST be a mutual understanding that that's a feeling, not a fact.

however.

a fanfiction writer is not an influencer, not a professional, and is not looking to garner "success." there is no share of audience we are trying to gain for gain's sake, because we are not competition with one another, because there is nothing to win other than the pleasure of each other's company. we are doing this for no other reason than the love of the game; because we have things we want desperately to say about these worlds, these characters, these dynamics, and because we *want more than anything to know we are not alone in our thoughts and feelings.* fanfiction is a bid for interaction, engagement, attention, and consideration. it is not meant to be consumed and then moved on from because we are NOT paid for our work, nor do we want to be. the reward we seek is "attention," but attention as in CONVERSATION, not attention as in clicks. we are not IN this for profit, or for number-go-up. there is no such thing: legally there cannot be. we are in this because we want to be seen and known.

like. please understand. i am now married to someone i met because of mutual comments on fanfiction. our close friend and roommate, with whom i have cohabitated for over a decade now, is someone I met because of mutual comments on fanfiction and livejournal posts. that is my household. beyond my household, the vast majority of my closest personal friends are people with whom I built relationships in this way.

you ask why fanfiction writers want THIS and not "the norm," but the idea of everything being built to cater to an algorithm to continue to build clout, as though the only method of reaching people is Distant Overlord Creator and Passive Receptive Audience being "the norm" is EXTREMELY NEW. this is not how it has always been!! please think of the writers of zines in a pre-internet fandom, using paper and glue and xerox to try and meet like-minded people in a world that was designed for you to only ever meet people in person, by happenstance, in your own hometown. imagine the writers of the early internet, building webrings from scratch to CREATE a community to find each other, despite distance. imagine livejournal groups, forums, and -- yes, indeed, of course -- comment threads IN STORIES -- as places where people go to *converse.* in the past, we had an entire Type Of Guy that everyone knew about, the BNF ("Big Name Fan") whose existence had to be described via meme because it was SO DIFFERENT THAN THE NORM. treating fellow fans like celebrities or people too cool for the regular kids to know was an OUTLIER, and one commonly understood to lead to toxicity.

in the past, I have likened writing fanfiction to echolocation. i am not screaming because I like hearing the sound of my own voice, though i can and do find my voice beautiful. i am screaming so that the vibrations can bounce back to me and show me the world. the purpose is in the feedback. otherwise it is just noise.

does this make any sense? can you see, when i describe it that way, why an ask like yours makes me feel despair, because it makes us all sound so horribly separate from one another?

perhaps I will try another metaphor:

a professional chef who runs a restaurant will not have her feelings hurt if you never fight your way into the kitchen to personally tell her how much you enjoyed the meal. that would, indeed, violate a boundary. professional kitchens are a place of work, and you have already showed her you enjoyed the meal by paying for it, or by perhaps spreading your enjoyment by word of mouth to your friends so they, too, can have good meals. you show your appreciation by continuing to come back. if a bunch of people sitting around randomly happen to have a conversation about how much they love the food, it wouldn't hurt that chef's feelings to not be included in the conversation. however: EVEN IN THIS INSTANCE, it is ADVISABLE AND APPROPRIATE to leave a good review! you might post about how much you like this restaurant on Yelp, and it would probably make the chef feel great to see those positive comments. but the chef doesn't NEED them, because the chef is, again, *also being paid to cook.* that's why she started the restaurant, to be paid to cook!

i am not being paid to cook.

i am at home in my own kitchen, making things for a community potluck where i hope everyone will bring something we can all enjoy together. some people at the potluck are better bakers, some better cooks; some can't cook at all but are great at logistics and make sure there's enough napkins for everyone; some people come just to enjoy the food, because that's what the party is for. and if I, as this enthusiast chef who made something from my heart for this reason alone, learned after the fact that a bunch of people got together in the parking lot to rave about my dish but no one of them had ever bothered to tell me while I sat alone at my table all night, occasionally seeing people come by to pick up a plate but never saying anything to me -- of course that would bother me, because I am not otherwise profiting off the labor I put in. this is not a bid to be paid, because if someone WERE to say "hey, great cake!! here's five bucks for a slice" i would say no, friend, that is not the point and give them the money back. i'm not trying to Get Mine. I am in it to see the look on your face. I'm in it so you can tell me what about it moved you, so that I can say back what moved me to make it in the first place. so we can TALK about it.

because what happened in the first place is this: one time I had a cake whose sweetness, richness, flavor, intensity, and composition moved me so much that I *taught myself to bake.* so I could see how much vanilla and sugar was too much, so I could learn how to make things rise instead of fall flat, so I could even better appreciate the original cake by seeing for myself the effort and talent and inspiration that goes into making one even half as good.

learning to do so is a satisfying accomplishment in and of itself, yes.

but I also did it because at the end of the day we should EAT the cake. and it's a lonely thing, to eat alone when a meal was always designed and intended to be shared.

so, to answer your last question: i'm not surprised, i'm just sad. because somehow two things that were never meant to be seen as the same have been labeled "content," and thus identical. and it diminishes both the things that ARE intended to be paid for AND the things that are not, because it removes any sense of intimacy or meaning from the work.

i hope you know i'm not mad at you for asking. but i'm frustrated we've come to live in a world where the question needs to be asked, because the answers are no longer intuitively obvious because we're so siloed.

[ellipsus-writes]

Ellipsus Digest: March 18

Each week (or so), we'll highlight the relevant (and sometimes rage-inducing) news adjacent to writing and freedom of expression.

This week: AI continues its hostile takeover of creative labor, Spain takes a stand against digital sludge, and the usual suspects in the U.S. are hard at work memory-holing reality in ways both dystopian and deeply unserious.

ChatGPT firm reveals AI model that is “good at creative writing” (The Guardian)

... Those quotes are working hard.

OpenAI (ChatGPT) announced a new AI model trained to emulate creative writing—at least, according to founder Sam Altman: “This is the first time i have been really struck by something written by AI.” But with growing concerns over unethically scraped training data and the continued dilution of human voices, writers are asking… why? 

Spoiler: the result is yet another model that mimics the aesthetics of creativity while replacing the act of creation with something that exists primarily to generate profit for OpenAI and its (many) partners—at the expense of authors whose work has been chewed up, swallowed, and regurgitated into Silicon Valley slop.

Spain to impose massive fines for not labeling AI-generated content (Reuters)

But while big tech continues to accelerate AI’s encroachment on creative industries, Spain (in stark contrast to the U.S.) has drawn a line: In an attempt to curb misinformation and protect human labor, all AI-generated content must be labeled, or companies will face massive fines. As the internet is flooded with AI-written text and AI-generated art, the bill could be the first of many attempts to curb the unchecked spread of slop.

Besos, España 💋

These words are disappearing in the new Trump administration (NYT)

Project 2025 is moving right along—alongside dismantling policies and purging government employees, the stage is set for a systemic erasure of language (and reality). Reports show that officials plan to wipe government websites of references to LGBTQ+, BIPOC, women, and other communities—words like minority, gender, Black, racism, victim, sexuality, climate crisis, discrimination, and women have been flagged, alongside resources for marginalized groups and DEI initiatives, for removal.

It’s a concentrated effort at creating an infrastructure where discrimination becomes easier… because the words to fight it no longer officially exist. (Federally funded educational institutions, research grants, and historical archives will continue to be affected—a broader, more insidious continuation of book bans, but at the level of national record-keeping, reflective of reality.) Doubleplusungood, indeed.

Pete Hegseth’s banned images of “Enola Gay” plane in DEI crackdown (The Daily Beast)

Fox News pundit-turned-Secretary of Defense-slash-perpetual-drunk-uncle Pete Hegseth has a new target: banning educational materials featuring the Enola Gay, the plane that dropped the atomic bomb on Hiroshima. His reasoning: that its inclusion in DEI programs constitutes "woke revisionism." If a nuke isn’t safe from censorship, what is?

The data hoarders resisting Trump’s purge (The New Yorker)

Things are a little shit, sure. But even in the ungoodest of times, there are people unwilling to go down without a fight.

Archivists, librarians, and internet people are bracing for the widespread censorship of government records and content. With the Trump admin aiming to erase documentation of progressive policies and minority protections, a decentralized network is working to preserve at-risk information in a galvanized push against erasure, refusing to let silence win.

Let us know if you find something other writers should know about, (or join our Discord and share it there!) Until next week, - The Ellipsus Team xo

[personnage-neutre]

"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'âge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

(L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

[lizardsfromspace]

The factchecking this cycle has been so profoundly incompetent that it's finally getting some real backlash, but the extent of it really should be clear. So much of factchecking is not based in reality, but in a kind of contorted moon logic that can find true claims to be false and false ones to be true based on wildly inconsistent reasoning.

But this one really shows off some of the base assumptions of modern factchecking, and also bc it got a community note which is funny:

Let's take this one by one

The idea that quotes have any options but "he said it" or "he didn't say it". It is a binary, maybe with a third option of "it was clipped wildly out of context", but something you see constantly now is the idea that quoting someone's direct words without deceptive editing or removal of context can somehow be false

Pointlessly noting that it's from 2016, and that it's not clear if he currently believes it. What the hell does that matter to the question of if he said that in 2016? People understood that the "dig up someone's tweets from when they were 17" thing was inane, but they counter-balanced by apparently deciding that citing anything someone said more than about six months ago is Misinformation if we don't have objective evidence they would say the exact same thing now, even if there's no evidence they believe anything else. Analyzing someone's high school tweets and analyzing something the literal President said seven years ago are not equivalent

Noting that he walked it back following criticism. You see this constantly, too. Again, what does that matter to the question of if he said it? But this is just taken as a given now: if someone gets blowback and says "whoops I didn't mean it", that should be taken at face value. Effectively, Politifact is letting Donald Trump self-factcheck Donald Trump: their only evidence (and I read the article too) this is at all false is that Donald Trump said Donald Trump didn't really mean the words he said, so they must agree with the judgment of Donald Trump that Donald Trump was treated so unfairly here.

A general confusion over what factchecking is. If you're asked "did Donald Trump say this in 2016?", your sole job is to determine if he really said that in 2016. It's not to divine if he, deep in his heart, still believes it now. That's completely irrelevant.

The two guiding principles of modern factchecking are this: one, it's strongly rumored - and also, obvious to everyone literate - that the major factchecking sites have either standing orders to find equal numbers of lies on both sides, or are staffed by people who think it's their job to hold both sides equally to account (the exception is Snopes, whose writers are just terrible at their jobs). In the name of this, Donald Trump can say something on camera only for it to be judged false, while a Democratic politician can be excoriated for mildly rounding down a figure in a speech. A factchecking website once determined that saying climate change was a threat to life on this planet was a lie, because climate change won't kill all life on this planet. Politifact's lie of the year one year was a Democrat saying a Republican plan would "end Medicare as we know it", which was judged to be a lie because it wouldn't literally end Medicare completely. Figurative language needs to be scoured, comments said directly on camera need to be made fuzzy. This makes factchecking sites worthless at factchecking, because what even is this?

It's not true that Donald Trump will refuse to accept the election results, because he's merely said he won't accept, and has said if he loses, it's only because the election was fraudulent. Okay, what, do you demand that people prove he said his plans in exact words? What is the actual, functional difference between "he said he won't accept it" and "he said if he loses it's because he won and they stole it from him, and he won't commit to saying he'll accept it"? What are you talking about, who is this for? When you go to the Logic and Reason Site for Debunking & end up having to puzzle out their convoluted logic and reasoning to understand anything, the plot's been lost a bit

The other is the idea that context is exonerating. Any context at all. If they said they didn't mean it, partially false. If they walked it back, partially false. If they said it was taken out of context, partially false. If they said it a certain number of years ago, partially false. If there's a longer video, even if it shows functionally the same thing, pants on fire, five pinocchios.

Again, we have footage of Trump saying this, and the footage in the ad is unedited, and the factchecking website is declaring something that OBJECTIVELY HAPPENED WITH HARD EVIDENCE IT HAPPENED didn't really happen bc we don't know his heart, maybe he believes something different now, we simply can't know for certain. But we do know for certain. Because "false" at least used to mean "didn't happen". But factchecking sites are now on those Beyond Belief definitions of "true" and "false" I guess

But the real problem here is that they just accept anything someone being factchecked says at face value. Because, and I can't believe I'm saying this

It seems like the people paid to determine if other people are lying...have forgotten that people lie sometimes

[dalishious]

About Davrin's little blurb on the official website for Dragon Age: The Veilguard...

"Though he was raised in a Dalish clan, he craved excitement and adventure. He'd rather make history than reflect on it."

There's actually a lot to unpack about these two sentences.

First off, placing the word "though" in front of being "raised in a Dalish clan", gives such a thing a negative connotation. The word "though" is used in a way that sounds like "despite", as in, somehow wanting excitement and adventure must go against being Dalish. This correlates with sentence that follows. "He'd rather make history than reflect on it." The word "rather" is yet again used to separate Davrin from his Dalish origin. All together, this promotional description of Davrin is insisting that he is "not like other Dalish".

Now, obviously the game is not out yet, so we do not have total confirmation on what the nature of Davrin's relationship to his culture is really like. But there is absolutely something to be said about promoting the character this way, regardless of however he actually turns out in game. There is absolutely something to be said about how, as @/the-eldritch-it-gay put in their tags here, why do writers feel the need to make fantasy minorities hate or distance themselves from their culture? As a selling point?

Maybe this is completely misleading bullshit, maybe it isn't. All we have to go by, is what BioWare chose to say here, and their past track record with elves:

Zevran may talk about his mother in a font way, but he still has the line, "Too many of our kind think we deserve pity simply because we have failed to defend ourselves."

Velanna is one of the two elves we've had who is overtly proud of her culture, yet she is treated like she is unreasonable and too angry because of it.

Merrill too, is proud of being an elf, and of being Dalish. The story punishes her left and right for this, treats her like a child, and in the end she is either ostracized from her clan or they end up dead because... she cared too much?

Fenris has pretty much zero engagement with elven cultures, and spends his time ridiculing Merrill for being proud of hers.

Solas complains about the Dalish from the start, and says plainly that he does not see himself as having anything in common with elves of current time. "Oh, you mean elves" he says, when the Inquisitor asks how he feels about his people; the thought does not even occur to him.

Sera is... Sera is a character who could have been a really interesting examination of overcoming internalized racism, if she was written by someone competent with the subject. Instead, she just cringes at everything "too elfy" through the entire main game, and only has a single line in Trespasser that hints that she may have a personal struggle going on. But it's still left unresolved.

That's a lot a lot of negativity. So of course seeing a suggestion that more is to come with Davrin has people wary and tired.

Let us also consider the fact that Davrin is overtly Black as well, and what that means. Acting as if one must disregard history in order to make it, as his description so claims, is bullshit. It sounds too much like promoting gentrification/assimilation in my opinion; the idea that you cannot keep your culture if you want to be successful.

I also think that it goes even deeper, on a meta level - I think that BioWare is afraid people will not be able to like or relate to Davrin, if he is "too ethnic". I think that BioWare is taking this Black character and instead of questioning how he can best represent marginalized fans - particularly Black fans - they are questioning how to make him more relatable to white fans. And the only answer to that is to, of course, make him seem like he is an exception to marginalization through separating him from his people.

I am still holding onto hope that Davrin will overall be an interesting, well-written character. And I sure as hell will still be defending him from the people who are already hating on him or ignoring him completely because of their racialized biases. But that does not exempt BioWare, and specifically his writer, John Dombrow, from any criticism. This is not about Davrin the character, this is about BioWare the company's handling of Davrin the character. And in that regard, they're not off to a great start with this.

[ailoda]

ᯓ★ favourite writers

@luveline

@whirlybirbs

@pellucid-constellations

@aquaticmercy

@wkemeup

@intrepidacious

ᯓ★ favourite fics

Undisclosed - @pellucid-constellations

Desperate to outrun a secret that could cost you your life, you seek refuge in a small mountain town. Its deep forests and small cabins make it the perfect place to hide, but the travel website hadn’t mentioned anything about the quiet, burly lumberjack that wouldn’t leave your thoughts. No one had warned Bucky about you either.

I remember this being one of the first series I read after coming back to Tumblr. I wasn't one for Marvel AU’s at the time, as I preferred to read canon or adjacent fics, but I took a chance on this one and it completely changed everything. I absolutely loved it. It has the perfect amount of fluff and angst, and a plot to rival some of my favourite published work. The story and background are so well-placed and developed that it was too easy to fall in. I devoured this in I think two days - non-stop reading until I finished. It completely opened me up to AU’s. I come back so often as a sort of comfort read, and no matter how many times I’ve read it, I still get excited and devour it like I’ve never read it before. One of the first fics I thought of when compiling my 2024 favourites.

Just One Kiss - @sarahwroteathing

Bucky Barnes has been chasing after you since he was ten years old, but you’re determined not to give in. How long can you hold out when all he’s asking for is just one kiss?

This writer no longer seems to have an account on Tumblr. If anyone knows whether they have an active account elsewhere or have just moved accounts, please let me know!

This was the first 40s!Bucky fic that I read and is to blame for my 40s!Bucky obsession that has lasted all these months. I was completely enthralled from the first paragraph, and it stands as my favourite 40s!Bucky fic and easy my top 3 series overall. I religiously come back when looking for a comfort read or for getting my 40s!Bucky fix. It's amazing how well the characters (both canon and not) have been interpreted and developed, and as simple as the plot feels, it just works so well. There's no need for any plot twists or big moments to push the story along; the characters and the way they all naturally feed and contribute to the overall plot are more than enough. It's written so well that, despite reading it well over 10 times, I still feel all the emotions and feel just as empty finishing it as I did when I first read it. I really wish this was a printed book that I could have on my shelf; that I can always reach for and never be deleted (pls don't ever delete it!). It’s the cutest fic that has me laughing, crying, and kicking my feet no matter how many times I read it.

Twin Flames / Two Sides of The Same Coin - @anonymityisfunwriter

Grumpy x Sunshine Series

I couldn't decide on one - they both HAD to be included. These are to blame for my falling completely in love with fan fiction after a decade away. I hadn’t had Tumblr in so many years and decided to re-download during my Masters for some escapism, and boy did this deliver. The dynamic is amazing - the way they bounce off each other is a testament to the amazing writing and character development. The way they manage to create a sunshine!reader with so much backstory without it feeling childish or forced is, again, a testament to the amazing writing and planning, and just…*chef’s kiss*. Despite taking some plot points from canon films, I really enjoyed how these scenes didn't feel boring or repetitive. Similarly, I love how the reader is able to fit in seamlessly into scenes that we had already seen and bounce off an already established dynamic between Sam and Bucky. The thought and effort that must have gone into the reader's character development, never mind the series as a whole, is so evident. I have re-read and re-read these for months and will continue to do so until the end of time.

By Any Other Name - @wkemeup

When Agent Barnes is assigned undercover within Hydra, he finds himself drawn to the woman who doesn’t seem to belong in this world of violence, the wife to the head of Hydra… you. 

I re-read this quite recently and it felt like finding an old song that you loved hidden in your playlist. I've now re-read it twice in the span of a week, it's just so good. This fic stood out to me partly because of its writing and interesting and well-thought-out plot, but also because of how well-written I feel the reader is. The reader is multi-faceted and far from one dimensional, which I've found is a barrier for me reading these types of fics. While the reader embodies typical traits associated with feminine protagonists in this genre - such as submissiveness and other conventionally 'feminine' attributes - these are not portrayed as weaknesses in the typical sense. What I mean is that they are reframed to be strategic strengths. She wields her femininity and perceived lack of power in a wholly make-dominated environment to her advantage. At the same time, her 'true' strengths compliment these qualities, creating a balanced and complex character that also has room for the development we see throughout the fic. A defining aspect of the reader's personality that I really enjoy is her self-awareness; they know when and how to act, and when to hold back, making her a compelling and empowered figure in a story and genre where that is so difficult to achieve.

From the Void, with Love - @whirlybirbs

Watch two forever-lovers fall in love again. 

This was my first Loki series, and boy was it a good one to start with. I'm not one to read Loki fics usually as I can never usually find ones that entice me, but I was so happy to have stumbled upon this! A testament to the planning and writing ability was the way the reader’s involvement in the TVA storyline was interweaved without it feeling unnatural or forced. I love how the inner-workings of the reader's mind is included, and how their thoughts and feelings are so seamlessly interwoven into scenes without it feeling clunky or taking away from what's going on. I also really enjoyed the comedic elements, particularly the thoughts and reactions the reader had to things happening and how they bounced off Loki's dialogue so well. I found myself laughing so many times. It's one of those fics where you wish you could go back and read it for the first time again.

When It All Falls Apart - @bucky-bucket-barnes

The fate of the universe was in your hands. Bucky and you had been sent to retrieve the soul stone, a seemingly simple task. Unbeknownst to you, there was a hefty price to pay for such an exchange. You’re able to return to Earth, but it’s soon apparent part of you was left in Vormir.

This has to be one of my favourite fics of all time, but I also hate it. Hate it, hate it, hate it. It feeds my deepest, most love-deprived soul. I personally feel that angst is so challenging to write and write well. Part of why I feel that way is because I feel that good angst needs to convey emotions and feelings effectively because it's about expressing the character's inner world and guiding how they feel to drive and guide the plot forward. A difficult aspect of this is ensuring the reader feels and understands the character's emotions rather than letting their own feelings cloud their perception and misinterpret the character's rationale and journey - keeping the story's emotional trajectory clear and true to the characterisation you have set. This is something that this writer can do so so very well. I cried the first time reading it, and the emotions still hit me after reading it over and over again. If anyone watches K-Drama’s, this has Uncontrollably Fond vibes. Such a good read if you’re looking for that heart-ripping angst.

My Own Soul’s Warning - @aquaticmercy

You, an immortal being, fall in love with the very mortal Bucky Barnes. You would do anything for him, even if it meant you had to strike a deal with Death herself.

This is another fic that I wish I could go back and read it again for the first time. I fell in love immediately. It's the fic that cemented @aquaticmercy one of my favourite writers. Well, that and the fact that they have some of the most intriguing and well-thought-out plot ideas that I've seen. It's difficult to choose a single fic really, but I cannot not choose 'My Own Soul's Warning' - it's a difficult one to compete with for me. The writing is one of the best I’ve read and the flow and feel of the story is second to none. It seems that with every new addition to this story, it just gets better and better (which I thought was impossible). They are able to narrate feelings and emotions so beautifully that it's impossible to not feel what the reader is experiencing. One of my favourite aspects is how they are able to think of things I would never have even thought of, and how they are able to write and explain these things and communicate feelings so well. Another aspect as to why this is so beautifully written, and why @aquaticmercy is a favourite, is when a writer can - without being explicit in their writings - craft a story where the depth of emotions is palpable without needing to be spelt out, leaving readers to grasp and feel them on their own. Where the reader is feeling more than their own emotions and feelings in response to the story, but also what the writer has curated and intended them to feel. Being able to do this without explicit writing is so difficult, and part of the reason why they are one of my favourite writers in general. I've tried to explain my deep feelings for this fic in a way that hopefully makes sense, but it's difficult to write everything I love because there is just so much to say. I am in love and we are married.

[renthony]

On "Consuming Content"

Every now and then a post crosses my feed that follows the vein of, "you have to do things other than consume media or else you'll be a dumb person who doesn't know anything about how the real world works and does nothing but pointless fandom stuff."

I hate those posts for three major reasons, not counting the inherent ableism and classism of "you must have approved Smart People hobbies or else you're worthless" rhetoric:

You don't know what people do or talk about outside of what you see on their social media. Responding to fandom communities on a fandom-driven website as if all these people are one-note cardboard cutouts of people is asinine. In many cases this genre of post feels like repackaged 2012 tumblr "not like other girls" and hipster discourse. Yes, yes, you think you're better than everyone else on this website because your hobbies are less mainstream, more morally pure, and have greater intellectual merit, we get it.

What do you even mean by consuming content? As someone who purposely avoids using the phrase "consuming content" because I find the term too vague to be useful, please be more specific. Are you including every single form of media engagement and art enjoyment? Are you just talking about mainstream TV and film? What about novels? Plays and scripts? Nonfiction books and instruction manuals? Do you mean to imply that going to a book club is a worthless non-hobby? Are you including academic reading? Are you including going to the art museum? Going to the theatre, concerts, or other performances? Taped liveshows? Watching sports events on TV? Are you including news media? Are you including YouTube tutorials about how to do various tasks, crafts, or other hobbies? Are you including trade magazines? Are you including industry publications in various fields? What constitutes "content," and what constitutes "consuming" in this discourse? Define it. "Consuming content" is a nothing phrase that people use to mean multiple different things depending on what they, personally, judge as valid media. It's a buzzword at best, and when the same buzzword can be used to describe both "idly scrolling social media" and "reading and discussing a book," it's a meaningless phrase.

As an artist and author, if engaging with media is bad and worthless, am I supposed to conclude that making it is equally worthless? If "consuming content" is a bad, lazy, worthless, fake hobby, what makes creating art a worthwhile pursuit? If I am constantly being told as an artist that engaging with media isn't a worthwhile pursuit in its own right, and the people who want to engage with my art are just brainless fandom losers, what incentive do I have to make that art anymore? Furthermore, to everyone reading this paragraph and thinking, "that's not what content creation is," I refer you to bullet #2: If the phrase "make content" can be used to mean "low-effort posts made to advertise cheap and useless products" as well as "being a novelist" or "getting a gig as a writer on a TV show," it's a meaningless phrase.

None of that is even getting into issues such as the way influencers are preyed on by both brands and targeted harassment from trolls. Influencer culture has major issues, but boiling those issues down to "stupid vapid young people who are too lazy to make real art or get real jobs" (which is a mindset I see frequently online) is unhelpful. So many people pursue influencer deals because they're living in poverty but are skilled at various social media and advertising related tasks, and just like any worker, they're being exploited because they need to eat. Labor rights for influencers are a huge topic that entertainment industry unions have been actively discussing and working toward. (Related links for further info: [x] [x] [x] [x])

"Consuming content is not a hobby" is a worthless statement unless you define what you mean by both "consuming" and "content." Quite frankly, you also need to define "hobby," because if you're putting requirements on what is and isn't allowed to be a "real" hobby, you mostly just seem like you're moving goalposts and defining "worthwhile hobby" as "hobby I, personally, think is good." Use more specific language to articulate your actual problems with the entertainment industry, the art world, influencer culture, or whatever else you're actually upset by.

Media and fandom can involve any number of enriching, satisfying hobbies that take up a perfectly acceptable and healthy space in someone's life. If you aren't into it, go find hobbies you do like and stop policing how other people spend their precious free time in this nightmare hellscape of a world.

[wickedlittleoz]

an artist i follow got an ask about whether it was alright to use their art as covers for fanfic bookbinding and i'm. sorry i must have missed this discourse but since when are people outright printing out other people's work and binding them into books? do you contact and get author's permission (sure as fuck hope so)? and how do we writers feel about that, because i certainly feel very uncomfortable with that idea. i mean not to spoil the artistic expression of bookbinding because it's beautiful work that i most certainly could not do, but. you can access them stories any time you want on the websites where they were originally posted. why print them? again i mean i get the pleasure of holding & reading physical books, i much prefer that too, but like. get some books i guess? sorry i come from a place of honesty and tbh surprise and confusion about this whole thing. someone tell me how we're feeling about this. someone explain to me why it's being done. i just wanna understand

[kwisatzworld]

Since the 2020s, Luca Marini has become many press men’s ‘go-to’ rider. The Italian’s ability to open the window on what he does has increased his stock vastly as a member of the MotoGP grid. He managed to repel most of the nepotism finger-pointing over being Valentino Rossi’s stepbrother with six wins and fifteen podiums in Moto2 and then gathered two podium finishes and a gaggle of top five results in three years with Ducati. ‘Ay, this is bullshit,’ Uccio told me in Sepang. ‘If you are in the top five in MotoGP then it’s not because you are Valentino Rossi’s brother. It is not like this.’ I’ve spoken with him a few times. In 2023, I felt like I had to ask why he made such effort engaging with media when the same activity for his teammate, Marco Bezzecchi, looked as much fun as removing one of his tattoos. ‘I like to answer questions well,’ he told me calmly but firmly, with his angled face and almost sleepy blue eyes. ‘I like looking at interviews from other riders but also from other athletes in other sports. I feel that I want to understand more from what people are saying. I love to learn something new or something from the “inside” of sports that is impossible to understand from only watching TV. I like to give this to fans, to the journalists and to the people that want to know more about our job and our sport. In my opinion, this sort of stuff is interesting … and I don’t mean just in MotoGP but in football or whatever. I don’t want to be a rider that answers just “generally” – sometimes, yes, you need to – but if I can do something more then I like to, because the fans of racing are very passionate. Maybe telling them more about it will increase the passion? From the television it is hard to take in everything.’ Interviews take place on a clock, and they rarely run over fifteen minutes, but the possibilities for discussion and insight with athletes like Marini give substance that very rarely comes through a TV equivalent or even a podcast (those mediums require more of a performance). There is more nuance and subtlety to a written article, and arguably more storytelling. Luca spoke with me in his second language and his general enthusiasm to ruminate on the minutiae of MotoGP gives writers a reason for being. The evaporation of magazines and outlets for long-form material is a gnawing frustration in MotoGP. There are constantly stories to be told, and not solely to stuff a website for clicks or to bash out lines to service SEO protocol. Therein lies another ‘rub’: dwindling readerships mean it’s not always easy for writers to acquire a tiny block of a rider’s day. It’s a matter of priorities. Understandably, teams must comply with a sponsor’s ambitions for visibility and that means mainly TV and lots of eyeballs. A racer will have minimal time for promotion in a grand prix schedule that involves the track sessions, preparation, team meetings, guest and fan engagements, commercial duties and physio. If a team’s PR crew then want precious minutes for him to dress as a panda and produce a humorous video for TikTok or social media where it will gather hundreds of thousands of views and lots of interaction then it’s clear that the humble journo with a drastically smaller audience will slip down the list. We’re lucky that press officers still value the contribution of specialist ‘print’ media and that analysis and perspective can co-exist with other ‘output’.

The Catalan Grand Prix in 2024, round six of the series, and Luca Marini was yet to score a point. There had been rumours in the Italian press that he wanted to break his two-year contract and escape the results-and-performance limbo. Apparently, Marini was pissed off. Not an apt time, then, for another one-to-one chat. Luckily for Luca and me, Honda’s woes were not really my subject on the table. I was more interested in his genesis than the company’s regeneration. Why MotoGP for him? Especially with a name like ‘Rossi’ a permanent part of his shadow. Due to his family and his connections, was MotoGP and motorcycle racing some sort of pre-ordained path? Sitting on the top floor of the wobbly HRC hospitality, I watched the eyebrows raise as he jostled on the edge of the armchair in his white HRC shirt. ‘I was just trying to do what I like,’ he explained. ‘Sport was one of the most important things to me because I believe it can teach you many good things for life, and motorbikes was the sport that gave me the most emotion. I tried to understand my feelings and to enjoy the whole process. When I was a child, I never thought I was different. I was doing what made me happy. If I was not happy to be in the disco then I would be at home watching races or thinking about school – because I had to be good at school. I wanted to be on a track, on a bike and trying to improve myself every day.’ But where did that come from? ‘This I don’t know! My parents never told me how to do something. They gave me a lot of love in their ways, for sure, but my father told me – always – that the day I wanted to stop with the bikes then no problem, be free to do whatever you want, and I really appreciated this on one side but on the other side I would have liked to have been pushed more by my father to improve more when I was younger.’ Luca was twenty-seven when we spoke. He had recently married Marta, his partner of seven years, who he met while they were in primary school together. They were expecting their first child. Marini would end up as one of seven fathers on the grid. He was talking from a position of reflection and hindsight, but it is still unusual to find someone who wished he had been urged further. ‘Yes, because I saw many riders that were forced more by the parents.’ I brought up Jorge Lorenzo and the fractured relationship with his father/coach Chicho as an example of the other extreme. ‘Extreme maybe… but he won five world championships!’ Luca reasoned. ‘So, it depends on which side you want to see it. I think he is enjoying his life now and with time, everything passes. I think you have to thank your parents because they only want the best for you, and they love you in their ways. Also, my mum let me be free in every way, not just bikes. She just told me: “Keep focused and don’t worry.”’

‘My parents saw I was fast and I was enjoying motorbikes and could have a career,’ Luca went on. ‘It was just the flow, following the flow. I was a rider and I was enjoying myself, so we looked to see if we could continue because I had problems of money as my dad was paying everything. He is a psychologist so not a rich man. I had to find sponsors and also my brother sometimes helped me and that was great. I was growing a lot during the years in the [VR46] academy and everything was getting better. I was enjoying it more and more and continued with this flow. I was loving what I was doing.’ Remuneration was apparently one of the reasons for his HRC choice. Understandable enough for a factory rider with a sizeable job on his hands, but Luca felt like he had to offer some perspective because sportsmen at his level have another type of determination and motivation. He stared into space, thought and then tried to express himself. ‘The thing is that money is not what you are looking for when you are a rider. Yeah, we earn a good amount of money but it is never enough! It is for this that people go to Andorra. And, in the end, if you focus on that it is never enough. I focus on enjoying my life and doing something that gives me emotion, good feelings and trying, obviously, to earn as much as possible!’ He pointed at his personalized but blank cap on the low coffee table in front of us. ‘But, as you can see, I don’t have a sponsor so I’m not a guy who is pushing as much as others to have them because unfortunately it is not my target here. I think I am smart and clever and when I stop this career I will find something that can help me earn more money than here. I am just trying to enjoy this career and the only way to do that is to fight for victories and this moment I need to find fun in a different way.’ Marini’s mentality switch from a race-winning motorcycle to a machine, team and company in flux was one of the running themes on the grid during 2024 MotoGP. His career choice might still turn out to be inspired, didactic. His predicament could be very temporary, for the better or the worse, but it does provoke questions about the role of psychology. ‘It is a super-powerful tool but, trust me, everybody uses it a lot,’ Marini confided. ‘You cannot see it clearly but it [MotoGP] is more about this than the physical side on many occasions. This sport is super-difficult and dangerous sometimes, so you have to be focused when you are riding. We have trained a lot since we were children because most of us started when we were four or five years old and we are ready to do everything. ‘I am in my best moment and mental shape,’ he insisted. ‘It means when I arrive in the paddock, I am happy and calm and ready to do my job in the best way. But then we start to struggle with the bike on track! When you miss the speed then you cannot be … happy. I want to be fast, and I want to enjoy riding the bike, but at the moment, without the results, it is a little bit difficult. However, I’m also satisfied to work with all these engineers and Honda.’

[kabr0ztrousers]

Here's an interesting idea. A monster and their newly turned mate going at it for the first time since the transformation. The obvious route would be Vampires or werewolves (which I won't say no to), but I'm gonna request specifically a demon having sex with his newly corrupted partner for the first time. What kind of demon and how much corruption I leave up to you.

Keep up the good work and may writers block never find you

Kabr0z Writes episode 128: Neophyte

Find the rest of the Kabr0z Writes anthology here!

This series is also on AO3!

CWs: oral sex; transformation; knotting; femdom; minor cbt; enthusiastic consent all round

A/N: There's like 3 episodes in the works now, but we'll get back on track this weekend hopefully 😁 you've got a mer-May one, a Chitinid one, and soonish an attempt at fanfic for a property I haven't properly watched in years

###########################################

He painted the last sigil onto you, over your heart. The deep red blood in sharp contrast to your pale skin. He stepped back to admire his handiwork an double check the circle.

"You're beautiful, have I told you that today?"

You grinned, of course he had. Of course, he wasn't bad looking himself. He was tall, of course, eschewing the fashion for paper thin skin stretched over metallic bones. Instead he was lightly muscled, a runners physique with sandy coloured skin and understated ivory horns. When he wore his hair long, you could only see he was a demon at all when you got him nude. Once the clothes came off however it was obvious. Glowing sigils burned into the Mediterranean skin, running from his shoulders to his groin, drawing the eye to a canid sheath.

He was an incubus. You'd met on a dating website just over two years ago, apparently he was summoned by accident at some point and decided to make the most of it while he was around. You got to talking, and one thing led to another. He hadn't even tried to barter for your soul in all the time you'd been seeing one another.

This was your wedding gift. Immortality, shapeshifting, and a whole plethora of slightly less interesting abilities. That's why you were stood here, totally nude, covered in sigils painted in sheep's blood he'd got from an abbatoir this morning. Supposedly the ritual could be done with a white mouse and a few popsicle sticks, but this had more gravitas.

You looked at your groom to be, smiling at him "Ready when you are, sweetie"

He smiled back, before starting to chant. The sigils painted onto you heated up, the skin sizzling under them. You could feel your flesh starting to cook, molten brimstone filling your veins. It didn't hurt. You felt strong, stronger than you'd ever felt in your life. You were suddenly aware of every ache and pain you'd ever put up with melting away. Every stiff joint, every missed hour of sleep, all of it shucking off you as though you were shedding your skin. You've never felt this good.

The chanting ended, and you stood. Still you, but changed. You looked at yourself, your skin was still the same pinkish-white it ever was, your reddish hair still hung to your shoulders, your belly still stuck out maybe a little further than you liked. But you knew that it was all changeable now, as easily as you would think it. At a whim, your skin rippled. The signs your lover had given you reappearing as deep tattoos. You flexed your back muscles, feeling as you willed a pair of wings into being. You looked at him, grinning as you discovered yourself, and you felt something new. Desire. You needed to own him, completely and utterly. He must be yours.

You flung yourself at him, catching him off guard and bowling him over. Your legs wrapped around his head as you landed, looking down at his belly, and the robes he wore for the ceremony. Claws formed on your fingertips as you rent the fabric to ribbons, then vanished as soon as their work was done.

His tongue was long and purposeful. He knew what you wanted, and wanted to give it to you. He delved into you, materialising more tongues as he needed them to caress your clit, your g-spot, your asshole, all at once. You still weren't satisfied. Even as he drove you swiftly to orgasm you wanted more, you needed more. You bent forwards, diving onto his cock, forked tongue slipping from your mouth and into his sheath, wrapping around the shaft. You drew it into your mouth, taking it into your throat. Every gag made your cunt twitch. You felt yourself blushing as you fucked him with your throat, bobbing hard on his cock as his hands gripped your arse.

He was getting close. You could feel the tip of his cock starting to drip viscous precum into your throat. You pulled away a moment "you cum when I tell you, hound. Not before"

The dripping didn't stop, but the nodding between your thighs told you he'd heard you. You licked his cock, tasting the umami liquid, before stuffing it back into your mouth, as far as it would go. His balls twitched as your throat fucked him, desperate to release, to give you his seed. You grabbed them, squeezing them in your hand, hearing him groan in pain as they churned in your grip and he throbbed in your mouth. Another wave of pre flowed out of him. His tongues sped up, redoubling their efforts, sending a renewed tide of pleasure washing over you in a warm flood.

You squeezed harder. He's not getting off that easily.

You sat up slowly, feeling every inch of him sliding out of you as you released his twitching cock to the air. He looked so pathetic, rock hard, spurting his pre into the air, on the verge of cumming just from eating you out. Maybe you should reward him.

You held him down as you stood. One foot planted in the middle of his chest, keeping him pinned to the floor. You watched as his tongues combined back into one relatively normal one, your wetness still shimmering on his face as he smiled gormlessly up at you.

He wheezed a little when you turned, grinding your heel into his solar plexus, then groaned with satisfaction as you lowered yourself onto him, crouching with the tip of his cock barely inside you, circling your hips to stimulate the very tip of him before letting him enter you fully. The smile came back on his face as his hand stroked your side. You might make him pay for touching you without permission later, but for now you'll allow it.

You rocked on his cock, slowly at first, just to make him whine, then getting faster, angling yourself to rub him against the sweet spot that really got your leg twitching. You chuckled, his face was all screwed up, trying his hardest not to cum before you let him. You reached behind yourself and found his balls, round and pent up, ready to give you what you both knew you wanted, but you're still enjoying denying him. You rolled his balls in one hand while the other rolled your clit. You rubbed his tip up against the upper walls of your cunt, forcing his thrusts straight into your g-spot. You were close, so close you could taste it. Your body was shaking in anticipation, ready to let it out. You gave one final push-

You screamed. You gripped him. You squirted. Thin squirt sprayed from you, covering your lover in your sweet-smelling juices. You pushed down on him, feeling his knot enter you. You tightened around him, willing your cunt to close up, to keep him locked inside

"Please, love" he whined "please let me"

You grinned "Have you been a good pet?"

He nodded

"Then you can cum"

He didn't wait to be told twice. He screamed out in relief as the force of his spurts made you gasp. You could feel it spraying into you, a hose of hot cum filling you in moments, and still coming. You felt your belly distend as he kept filling you, spurt after spurt ballooning your womb. By the time he was done you looked pregnant, and he was a gasping, twitching puddle on the floor under you, still held in by his throbbing knot.

"Who do you belong to?"

"You, my love, I belong to you" he gasped, even after being fucked silly he was still the charmer

"And don't you forget it"

#########################################

I was gonna go into some whole diatribe about desire, domination, and the nature of demons, but it's more fun to imagine this demon guy just being a subby mess, despite being an incubus

[garrethweasleyfest]

The event is open to writers and artists who want to celebrate our one and only potions prodigy!

How do I enter?

Fill in this form to register as a writer or artist and submit your prompts for fellow creators! Signups will close on 3rd August.

How long do I have to create something?

Signups will close on 3rd August and prompts assigned shortly after. Creators will then have until 16th of September to finish their piece, at which point all submissions should be posted to Tumblr using the #garreth weasley fest #garreth weasley fest 2025 hashtags!

The ao3 collection will reveal all works on 15th September and this Tumblr page will share entries from the 2025 hashtag throughout the week.

What kind of content can I submit?

The fest will be prompt-based for both art and fics. When signing up you will be asked to submit three prompts for your fellow creators. This can be anything from a word to a scene. Full prompt rules are below the cut.

Where can I go for updates, ideas and to ask questions?

The fest will run primarily on Tumblr and is organised by @cuffmeinblack - I'm happy to answer any questions!

There is also channel in the Weasley's Wizarding World discord for the event.

Full rules below 👇

🦁 Please note, participants must be able to be contacted by @cuffmeinblack on Tumblr or Discord

Submitting prompts

🦁 Each creator will be asked to give three prompts

🦁 You will not receive your own prompt

🦁 Prompts should not be too prescriptive or force certain ships, but they can either be vague or something more detailed, still allowing for creativity within the prompt

🦁 Prompts should preferably not specify NSFW but at least one should be SFW

🦁 Examples include: 'modern!AU meet-cute', 'first time', 'fireworks'

Submitting entries

🦁 Works should be posted on Tumblr with both fest hashtags but can link off to other websites e.g. ao3 or Poipiku

🦁 When posting on Tumblr, please schedule your post for anytime on the reveal date (17th September) - a big bang is more fun!

🦁 If also submitting your work on ao3, please submit it to the collection by the 16th September

Content guidelines for creators

🦁 You only need to pick one of the three prompts you receive (but feel free to use multiple if you wish)

🦁 NSFW is welcome!

🦁 There are no restrictions on ships!

🦁 There are no specific topics that are banned, however we ask that creators tag their work accordingly, including all trigger warnings where appropriate. Topics include but are not limited to extreme violence/gore, non-con and dub-con

🦁 There is no minimum or maximum word count for fics

Full timeline

Signups and prompt collection: 24th June - 3rd August

Prompts assigned: 4th - 5th August

Creators work on their submissions: 4th August - 13th September

Deadline for submissions: 16th September

Submissions posted on Weasley Wednesday 17th September

[simmerkate]

Dark Academia Clutter

✨ Base Game Compatible 🎨 Maxis Match-Friendly 📁 6 New Objects | Custom Meshes | High Detail

📅 Early Access Available Now🔓 Public Release: April 19th

Bring a touch of mystery, intellect, and vintage charm into your Sims’ world with this moody and elegant collection. Ideal for libraries, study rooms, secret society halls, or historical homes.

Included Items:

🌍 Old Globe

Earth-toned vintage globe with a deep wooden base

Adds scholarly vibes to any corner

🎨 Dark Academia Wall Art

3 framed paintings: florals, a dreamy storm cloud, and vintage botanicals

Baroque-style black frames for that gothic gallery look

🔭 Old Telescope

Antique brass telescope on a wood tripod

For the celestial scholar or curious dreamer

🕯️ Gothic Candle

Slim taper candle in a wrought iron holder

Perfect moody lighting for long nights of study

📖 Ancient Book

Two variations in green and brown leather

Intricate runes and latches for a magical, mysterious feel

✒️ Ink Well and Feather

Black ink pot with a dark quill

A must-have for any writer, alchemist, or spell-caster⚠️ Polycount NoticeMost items in this set are low poly and optimized for gameplay. However, please note:

🔭 Old Telescope – High Poly (~5k+ polys)Use with caution on lower-end systems or if you’re running lots of high-poly CC. It’s best suited for storytelling, screenshots, or decorative builds. 🔓 Public Release: April 19th Patreon (xx) ad-free

Socials

Follow me for updates, sneak peeks, and more custom content!

Instagram: @SimmerKatex

Facebook: facebook.com/simmerkate

Website: www.simmerkate.com

CurseForge: SimmerKate

[hollowed-theory-hall]

hi hi hi!! first of all, i'm so fascinated with how your mind works. seeing your theories, metas, and explanations actually inspired me to read the books (even if they're off of this slightly dodgy website lol). i've read some of your thoughts on harry's love interests / possible li's for him (the theo posts too), and i wondered what sort of love interest would be fitting for him if they were a girl. would they be like luna or any other existing character, how would they meet (ideally), what house or personality traits, etc.

Thank you!! 💛

Holy shit, it's insane you enjoyed my writing so much even without reading the books and that I got you to read the HP books but please be careful not to download malware on your PC. Stay safe out there.

Honestly, I can see a lot of different types of characters working as a love interest for Harry, but there are some common denominators for characters I think would work with him better. That being said, shipping is very subjective, and I think any character could be written in a compelling romance with any character by a talented enough writer, so these are mostly my preferences for Harry's dynamics in a romance with how I see his character.

Someone like Luna definitely could work. I like their dynamic and under the right circumstances, I think it could work. She's blunt, and straightforward in a way Harry respects, she can call out his bullshit and isn't scared of being herself. Harry's also open-minded enough to let Luna believe whatever she wants and would probably not mind a Sweaden vacation even if he doesn't believe they'd actually find a Crumple-Horned Snorkack.

Personally, I was always under the impression that if Harry and Susan Bones actually talked they would've gotten along really well due to Susan's, like, 3 lines:

“Not with the dragon, you didn’t,” said Michael Corner at once. “That was a seriously cool bit of flying. . . .” “Yeah, well —” said Harry, feeling it would be churlish to disagree. “And nobody helped you get rid of those dementors this summer,” said Susan Bones.

(OotP, Ch16)

She clearly sees Hary's accomplishments for what they are and calls out his unfounded self-doubts (Harry needs someone who can do that without making him feel stupid).

Hogwarts students, who now found themselves the unwilling objects of a gruesome sort of reflected fame as they walked the corridors: Susan Bones, who had an uncle, aunt, and cousins who had all died at the hands of one of the ten, said miserably during Herbology that she now had a good idea what it felt like to be Harry. “And I don’t know how you stand it, it’s horrible,” she said bluntly, dumping far too much dragon manure on her tray of Screechsnap seedlings, causing them to wriggle and squeak in discomfort.

(OotP, Ch25)

She's straightforward and chill with a few of her own demons and she dislikes public attention as much as Harry. Even if Susan had ways less time with Harry, she understands he doesn't like the attention. She asks "how you stand it?" she thinks he must hate it as much as she does. I just find it interesting a random Hufflepuff girl who has 2 lines knows and understands Harry better than his love interest who thinks he likes getting attention and going after Voldemort.

Basically, a blunt, chill Hufflepuff that treats him like just Harry and not the Boy-Who-Lived would work too, is what I'm saying. Like a younger Tonks-like character who's a bit more serious and responsible (which is how I imagine Susan, except, less punk) could work with Harry. (though Harry thinks anyone who looks a little punk looks cool... He thinks Tonks is cool, and Kingsly and Bill are instantly cool in Harry's opinion for having an earring, so maybe give him a punk girlfriend. I think he'd be into it)

A Gryffindor girl who likes Quidditch (like Ginny) could've worked too. My problem with Ginny is that JKR tried to make her too perfect in the later books. Like, a Gryffindor girl who's confident and has a sense of humor could've been a good match for Harry. Just give her some actual insecurities and the willingness to be emotionally vulnerable with Harry and without Ginny's obsession so she'd see Harry as Harry and not as the Boy-Who-Lived — that could've worked. Like, Ginny as a concept could've worked if the character and her romance with Harry were written better. As she is in the books, I don't think it works though, I'd change the character's personality/attitude if I wanted to write her with Harry, so I don't feel like I could really call her "Ginny" you know?

A Ravenclaw like Cho who doesn't expect Harry to be another Cedric and is just more chill and not actively grieving could've worked. Like, as I mentioned Luna (who's a Ravenclaw) could work with Harry, but a sporty, chill, Ravenclaw could've also worked. She just needed to know who Harry is and date him for him and not as a Cedric replacement. Also, I just, don't think Harry would be interested in a girl who's into dragging him to Madam Paddifoots, but, like, a Ravenclaw who plays Quidditch and is, like, idk, obsessed with alchemy and has a bit of a mad scientist vibe going on, could work with Harry. I think his love interest should have interests of her own, basically. I think it adds flavor.

A cunning and intelligent Slytherin girl who isn't Pansy Parkinson (a la Daphne Greengrass or Tracy Davis) could work as well, depending on how you characterize her.

Basically, to ship Harry with a girl, of any house, I'd be looking for a lot of the same traits I look for in guys I ship Harry with:

Treat Harry as Harry and not as the Boy Who Lived — the reason doesn't matter but he/she has to see Harry as his own person and not his scar or fame and understand he hates the attention.

Intelligence — because Harry's actually really smart and he needs someone who could not only keep up with him but also correct and argue with him when the situation calls for it.

Self-confidence but also some insecurities — they need to have a spine to stand their ground and call Harry on his bullshit and his own low self-esteem but they should have their own issues and self-perception problems. I like it when things are fair and a ship helps each other grow together. Also, I don't think Harry would date someone truly arrogant. Arrogant to hide insecurities — that I think could work though under the right conditions.

Wit and humor — Harry is a sarcastic, sassy little shit with a slightly dark sense of humor, I think he needs a partner who can match his sense of humor and not get offended if he makes a comment about wanting to torture Snape.

Chill — Harry is a little emotionally inept, he would probably not manage well with a very emotional partner that requires a lot of attention (like Cho). Don't get me wrong, Harry would care and do his best, and pay attention when needed, but the guy doesn't really know how to deal with crying people. So, his partner should be someone who's fine with Harry's sort of comfort methods. (Some people don't want to talk about it when they're upset, they just want someone to listen to them vent a bit. Which, I think Harry would be great at. And vice versa. Harry, when upset, often just wants someone to be next to him quietly, but he doesn't want to talk about it sometimes). Basically, they need to have matching comfort styles so they could actually communicate when upset.

Chill (p2) — Harry's sort of anger requires someone who'd be able to remain cool once Harry reaches his threshold in year 5 wouldn't get quickly offended, but instead calmly put Harry in his place. Basically, they need to have more emotional intelligence than Harry because someone needs to know how to do emotions in the relationship. (In Ronmione's case, Ron is the more emotionally intelligent one, contrary to what Hermione likes to think. In Hinny's case, neither of them knows how to do emotions somehow, which adds to why they never appealed to me, I think. In Tommary, which I used to read, Harry is the emotionally intelligent one in the relationship, which is why this pairing is only realistic to me when it's a disastrous mess)

Knows to be both blunt and subtle depending on the situation — Harry needs someone to match him, as Harry can be a sneaky Slytherin sometimes, but sometimes, the situations in his life would require his partner to be brave and blunt. I think, regardless of house, his partner should be able to do both.

The capacity to be quiet — Harry is a quiet person overall and I think he'd work better with a partner who can just let him be quiet and not force him to engage in conversation. Ron and Hermione, for example, love bantering and bickering, but Harry finds their sort of bickering infuriating, so, yeah. Like, he can work with a partner who talks more than him, but they need to not always need to talk, yk?

At least a little anti-authority (or a lot) — I don't think Harry could date someone who's perfectly by-the-book and loves the rules and authority. Most of his clashes with Hermione come from a place of her trusting certain authority while Harry doesn't really trust any authority. I think he'd get frustrated dating someone who's too pro-authority (why he and Cho wouldn't have lasted even without Cedric's ghost hanging over them).

Magically talented — Harry's magic is insane, he doesn't need a partner that's on his level, but someone who is capable and skilled enough to hold their own is necessary with how dangerous Harry's life is and for him to be able to treat them seriously.

Brave — there are different kinds and levels of bravery, but at the end of the day, I don't think Harry could date someone who isn't brave enough to deal with all the shit Harry's life throws at him. Like, Harry's partner, I think, should be willing to join the trio on the Horcrux hunt should they be offered to. (I personally portray Theo, for example, as someone who doesn't think he's brave, but when he needs to, he's way braver than he thinks. Luna is brave enough to be herself and damn what anyone thinks. So you can play around with the kinds of bravery). Like, the fact Ginny didn't press him to know more about what they're planning and wanting to join the danger to help protect and defend Harry is insane to me. I think Harry deserves a ride-or-die relationship because he's a very ride-or-die person for the people he loves. (Hence why I love his friendship with Ron and Hermione. The Golden Trio is the definition of ride-or-die)

A bit of a tragic Backstory — this isn't mandatory, per se, but I think Harry would work best with a partner that has some of their own demons in their past. It's a little spice that I love. It's why I like shipping him with Theo (who from the very little we know of him can be read as being abused by his father, plus his mother is dead) or potentially Luna who saw her mother die. I think someone who's suffered some trauma similar to Harry would be better at connecting with Harry and seeing him in a way even Ron and Hermione struggle to do.

So, yeah, this is like, my thoughts on shipping Harry with any character and what's the broad strokes of my recipe for my preferred Harry dynamic in romance.

But, like with most things in fiction, it's all about execution. If you write it well enough, anything will work.

[superbatbigbang2025]

SBBB 2025 rules: 

No generative AI allowed in any form.

Minors are welcome, but will only be allowed to work on SFW projects.

Participants are required to have a Discord account, as the check-ins and creative teams collaboration will happen in the server dedicated to the event. They will also be asked to provide a second form of communication of their choice (e.g. tumblr, social media, email, etc.)

Progress check-ins as outlined in the event timeline are mandatory. This helps us all to ensure team communications are going smoothly, and that participants are on track to complete their works by the final deadlines.

If you are having trouble with a deadline, please let a mod know as soon as possible. The mod team can arrange something to accommodate reasonable requests for extensions.

Do not discuss, share or post your work on any social media until your assigned posting date.

If any participant wishes to contribute a form of art and/or content that does not fit the art criteria laid out in these rules (such as a podfic, fanvideo, gifset, photoset, etc.), please contact the mods to discuss what this will look like. These are more than welcome, and will be shared in the Big Bang pages along with the fics and their main companion art pieces.

For Writers:

Writers commit to publishing a new, original, SuperBat focused fic on their assigned posting date. (The work can be an existing WIP or idea, as long as it hasn’t been published anywhere before). 

Works must meet the minimum word count of 20k.

Works can include any and all ratings and warnings as long as they are tagged accordingly.

Any continuity and/or alternative universe is welcome.

Side couples are allowed as long as SuperBat remains the focus of the work. Moresomes with SuperBat (such as Clark/Bruce/Lois/Selina, or Clark/Bruce/Hal) are also allowed, but only if treated as secondary/background plots.

You are allowed to bring in your own beta, request one or more betas to be assigned to your team, or opt out of having a beta completely.

Multi-chapter works are allowed, but all the chapters must be published simultaneously on the assigned day.

Writers will publish their fics on Ao3 to allow the SBBB team to add their fics to the event’s collection.

For Artists:

Traditional and digital mediums are welcome. Traditional art must be scanned or photographed in clear lighting, ideally with minor color correction so that the final image accurately represents or enhances what was drawn. The final art must be at a resolution of at least 300dpi.

The artwork must be polished and represent multiple days worth of work. If you create a single illustration, it must contain the following attributes:

multiple figures

colors

shading

backgrounds

full render or detailed line art

If you want to contribute multiple illustrations, each individual illustration does not need to meet all the criteria above, but the total amount of work should roughly be equivalent.

We may discuss with artists the possibility of working on multiple projects if the artist group is smaller than the writers group. In this case, the total amount of work an artist contributes (outlined above) would be spread equally across projects.

Artists can publish their works on platforms such as Tumblr, Bluesky, Pillowfort, etc. We ask that artists also upload their final work onto a hosting website (such as imgur) that will allow for embedding into the corresponding fics. This can be discussed with the Mod team at any time, and assistance given for anyone who doesn't have experience with setting this up.

For Beta Readers:

You and your writer will establish what kind of help or feedback they are looking for (grammar, pacing, etc.)

You will be expected to be available to give timely feedback to your writer(s) as requested.

The event will have a dedicated space where betas will be able to provide quick feedback to any writers (not just who they’re paired with) who request assistance on their fics, but participation outside of your agreed teams is not mandatory.

For Pinch Hitters:

You can elect to sign up as a pinch hitter for art and/or beta reading purposes. 

In the unlikely scenario where a member of a team drops their role, pinch hitters will be asked to take over and work with the team.

The deadlines will remain the official ones, unless too critical. Mods will discuss each case with the pinch hitter to ensure that the workload and remaining time are balanced.

Want to know the timeline of the event? You can read it here!

[petermorwood]

Plot Wheels

I showed a couple of examples, one old, one modern, on this post.

The old wheel was one of several supposedly used by "Perry Mason" writer Erle Stanley Gardner, and while the photo on the other post is an exercise in squinting, this website has the transcribed information from at least four wheels.

Here they are, though some - "servant", "heroine's maid" - are showing their age, so tweak and update as required.

I wouldn't suggest relying heavily on these - but at the same time, Gardner produced 119 or 82, the number varies, Perry Mason novels and according to Wikipedia at the time of his death was the best-selling American author of the 20th century.

So he may have been onto something after all... ;->

*****

A: Wheel Of Hostile Minor Characters Whose Function Is Making Complications For The Hero

These folks put obstacles in the hero's way and make it difficult for them to reach their goal.

1. Hick detective. 2. Attorney. 3. Newspaper reporter. 4. Detective. 5. Business rival. 6. Rival in love. 7. Father of heroine. 8. Blackmailer. 9. Gossip. 10. Meddlesome friend. 11. Suspicious servant. 12. Hostile dog. 13. Spy. 14. Incidental crook. 15. Hotel detective. 16. Thickheaded police.

B: Wheel Of Complicating Circumstances

1. Hero is betrayed to villain by spies. 2. Every move the hero makes takes him from the frying pan and puts him into the fire. 3. Heroine's maid is a spy. 4. Father of heroine is hostile to the hero. 5. Detective believes the hero is guilty and tries to arrest him/her at a critical time. 6. Hero commits an incidental crime. For example, he/she is caught speeding and is arrested. 7. Witness mistakes hero for villain. 8. Hero violates the law and is sought. 9. Heroine's mind is poisoned against the hero. 10. Some character is not as represented. 11. Rival in love tries to discredit the hero. 12. Zeal of hick cop upsets plans.

C: Wheel of Blind Trails By Which The Hero Is Misled or Confused

1. Witness lies. 2. A document is forged. 3. A witness is planted. 4. A client conceals something. 5. A client misrepresents something. 6. A friend pretends to betray the hero. 7. The villains assistant pretends to betray the hero. 8. A vital witness refuses to talk. 9. False confessions. 10. Genuine mistakes. 11. A witness takes flight. 12. A witness is kidnapped. 13. A witness commits suicide. 14. A witness sells out. 15. Planted clues. 16. Impossible statements.

D. Wheel of Solutions

How the hero surmounts the obstacles thrown in his way.

1. Gets villain to betray himself through greed. 2. Gets the villain to, of his own free will, plant additional evidence. 3. Plants fake evidence to confuse the villain. 4. Fakes circumstances so the villain will think he / she has been discovered. 5. Tricks the hero's accomplice into confessing. 6. Villain is hoist by his / her own petard. 7. Villain killed while he / she is trying to frame someone. 8. Gets villain to overreach himself/herself. 9. Meets trickery with horse-sense. 10. Squashes obstacles by sheer courage. 11. Turns villains against each other. 12. Traps [tricks?] villain into betraying a hiding place. Hero either a) creates a fake fire, or b) gives him / her something else to conceal, or c) makes it necessary for the villain to flee (and so must take something out of the hiding place).