#also i edited the subs for clarity

[pharawee]

[sincerely-sofie]

Hi! This may come across as a dumb question, but I wanted to write my own PMD:EoS fic, but I’m kind of lost on how I want to organize my thoughts and the plot. Additionally, I get new ideas and then I end up struggling with what I want to do. How did you organize things for your story?

This isn't a dumb question at all! It's something I've struggled with for a long time as a writer, and I'd be happy to share what I've come up with to solve my fight with story organization! I’ll try to speak coherently, but this is something I’m really passionate about, so I might ramble a bit, haha. Keep in mind that this is what works for me, and what will work for you may be very different. Take from this post what serves you well and ditch the rest :> 

Organizational Tools

You can use pretty much anything to organize your story— I’ve used everything from loose printer paper in storage clipboards to expansive Google Docs that are hundreds of pages long in the past. But what I’ve found that really works for me is an app called Notion. You may have heard of it— it’s really popular with productivity enthusiasts and small business owners, but it works like a dream for organizing creative projects! There’s a bit of a learning curve, but you can find a lot of templates out there for free that work really well if you don’t want to set things up yourself.

This is how my Notion page for TPiaG was set up:

The “Cheat Sheets” dropdown list was full of character sheets, links to Bulbapedia articles I’d refer to while outlining or writing, and also my completed outline. “Fun Stuff” was full of memes and jokes about the characters, an empty page that I’d start filling once I received kind comments on my fic, as well as ideas for additional stories relating to the AU— stuff like oneshots and possible sequels or diverging AUs. Fun fact: this is where I first wrote down my idea for The Present is a Gift: Paradox Edition AU!

“Chapters to Write” and “Chapters I’ve Written” were dropdown lists where I divided my outline into little sub-dropdown lists in “Chapters to Write”, and everytime I wrote a chapter, I would move it over to “Chapters I’ve Written”. Nothing is as reassuring when you’re stuck in the middle of writing a nearly 60k word fanfic as seeing the chapters slowly migrate to the right.

Organizing the Story

Outlining is a big part of my organization process, so I’ll be talking a fair bit about it. The first part of any story is your premise / core idea (it sounds like you’ve already got some of your own, so I won’t discuss coming up with those). The next step is brainstorming what you want to revolve around that premise. I already knew the characters fairly well, so what I did for TPiaG is write out a bunch of ideas for scenes on scraps of notebook paper and start arranging them on a table in different ways. I eventually settled on an order of events (many of which ended up cut for clarity in the actual fic), and then I started structuring them into chapters. 

How I structure chapters is inspired by the Kishotenketsu structure that is used fairly often in Asian storytelling. I divide each chapter into 5 parts: an Introduction that provides a starting point for the chapter, Development that builds on and adds context or tension to the introduction, a Twist that causes a new perspective on either the situation, characters, or something else in the story, a Resolution that helps wrap things up in a satisfying way, and then a Hook that leads the reader to want to read the next chapter. This is a structuring method that works way better for me than the Three Acts or the Hero’s Journey— I prefer the stronger focus on character vs. plot— and so I try to use it as often as possible. Here’s an example from my outline (if you’ve read TPiaG, you may notice some differences between it and the actual published chapters of the fic! It’s chapter 4 instead of chapter 3, for one thing!)

Organizing Characters

I’ll be honest— I didn’t fill out character sheets like I should have for this project. I kind of just went with the flow as I wrote them. Twig and Grovyle are the only characters who got sheets at all, and Grovyle still only got a half of one. However, I do have a blank copy of a character sheet I can share as reference!

I think most of this is pretty self-explanatory— but if anyone wants clarification on anything or what goes into the individual note sections, let me know! This is what the topmost part of Twig’s character sheet bio looks like: 

The Torment of the Human Mind, or: How to Deal with Idea Overload

This is an ongoing struggle for me. I’ve mentioned having ADHD in the past, but it really turns idea generation and shiny object syndrome into a purgatory of unspeakable proportions. Before TPiaG, I had never finished a creative project because I would constantly ping-pong back and forth between newer and funner ideas, inevitably abandoning WIPs, come back to them for a few weeks at a time, and then dart off to the next thing. This feels awful because you never finish anything when you’re stuck in this cycle, and having all those ideas as open tabs in your brain is exhausting. 

My greatest advice for figuring out what you want to do and then doing it? Figure out a fun idea— maybe not the funnest idea, but an idea you enjoy and can create with your current skills and a good helping of hard work— and then commit to it with a story priority hierarchy. Every time you want to work on another idea, you have to work on the idea you committed to first for 30 minutes (or a different block of time, whatever works for you!). After that allotted time is up, you’re free to work on whatever other projects you like— but you have to start at the top of the priority hierarchy. That way, you still get work done on your #1 project, but you’re not restricted to it. 

Alternatively: Write until that priority project is done. You can make notes on ideas, you can make Pinterest boards for them, and you can make playlists— but you can only write for your priority project. I’d recommend doing this with a deadline in mind. Something like Camp NaNoWriMo or a similar month-long challenge. Novelty is an important part of my workflow! I get it. But for some people, bouncing back and forth between ideas is detrimental to their ability to focus / write, and committing to a single project at a time is extremely beneficial. I thought that I was someone who needed total freedom to work on any of my projects, but it turns out that being handcuffed to a project and a word count goal for a month was exactly what I needed to finish my first ever complete manuscript.

Yikes, this was a lot. I hope I answered your question well enough. If not, ask again and give me another shot! I love talking about creativity, and I would be overjoyed to help you create however I can.

[princessgarnetxvi]

Nina's recollection at Boneparte's House and Vera's "Abandonment"

There are a lot of confusion pertaining to the events in Monster but there was a particular scene that never left my mind: The memories Nina recalls when she is in Boneparte's house during the Ruhenheim arc.

The general consensus believes that the conversation which begins at "I'm sorry." was Vera, their mother, speaking to Anna and Johan just before she coldly abandons them to survive on their own.

After heavy researching, dissecting and triple crossing all sources; I have finally concluded what was being told to us there in that scene:

None of that is true.

Special thanks to @poop-tart for discussing this with me back and forth and offering some clarity to my madness. As well as @plainteacup for reaffirming my findings with the French translations.

So let's begin.

I started questioning all of the wiki pages that refers to that conversation as being spoken to by their mother and their only evidence is that the mother was shown in a glimpse just before the rest was recalled by Nina.

( this is an incorrect subtitle / translation ^^^^)

But after buying the perfect edition and reading how they translated the scene, I was doubtful about my dispositions on that scene and on Vera as well.

These are the screenshots from the Perfect Edition in English

Johan is apologizing for that day, revealing his guilt that his sister was taken.

Why do I assume this was Johan and not their mother? Just before that conversation unfolded, the first piece of information that was presented was one single question:

Prior to this question, Nina was screaming about the events of the Red Rose, assuming as she was retelling it to Johan. Then, realizing that their mother was not there (Anna was dragged out of the house first before she ever got to see that their mother was also kidnapped that day) Anna asked Johan where their mother was. Johan proceeded to tell her that they must survive on their own because their mother was never going to come back for them.

To confirm whether or not the perfect edition simply had it wrong, I went back to the anime subbed, turned off the subtitles and just listened to the Japanese lines as best as I could:

(I am a Japanese speaker but I did not watch the anime subbed up until that point. I prefer it in English)

二人で生きて行けなくちゃ - is the first line which translates to:

ふたりでいきて - the 2nd line which translates to:

You may be asking why would the English dub mistranslate that scene? Well, this wouldn't be the first time they made an error in their translation. For instance, before the border they had Johan/Anna call one another as Johan and Anna - but that was a grave mistake in mixing up the story and its events. Canonically, Johan and Anna did not get their names until AFTER they were saved by General Wolf. Which is why in Japanese, prior to that event, the twins simply referred to themselves as "Big Brother and Little sister."

This confirms that after the Red Rose incident, Vera never came home to them. Whether or not you believe her never going to look for her kids after the fact is an act of abandonment, it must be declared that she did not return home to her children only to cruelly abandon them as many (myself included) came to believe due to these mistranslations. She remained in France where the MKB shipped her to and remained protected by the ministry she hid within. Johan and Anna waited for her and when Johan finally accepted that their mother was never returning to them (assuming she abandoned them) he tells Anna that they will need to survive together before breaking down and crying over this revelation. This in turn made Anna question, "Why are you crying?!" because Anna did not come to the conclusion that their mother had abandoned them.

This information provides clarity as to why Nina was finally able to understand Johan, empathize with him enough to be able to forgive him. She remembered he was a boy who felt guilty over what happened to her; a boy who cried when he realized they were now all alone in the world. She understood that Johan desperately did anything and everything to ensure he and Anna survived despite it all.

Most importantly, Tenma's information about their mother, a woman who still remembered them despite her illness, was significant to Johan because he had assumed his whole life that their mother just threw them all away. (which subjectively you can still say she abandoned them because she never went to look for them but that isn't the point here...)

It reveals to us that the whole time Johan did not know about his mother's whereabouts nor did he 100% know if she was dead or alive. This is further confirmed by Johan in the Kinderheim 511 tape when asked of his mother he replies "I think she is alive."

IF Vera was the one who returned to the 3 Frogs after the Red Rose incident, then Johan would know 100% that she was alive. But instead in that recording Johan says "I THINK she is alive." which goes to show there was a level of uncertainty there because Johan never sees his mother again after she was kidnapped.

I am relieved to finally understand what was going on in this scene. Before anyone interjects that something in Another Monster clarified that it was Vera who said this, I combed through that book 7-8 times today before finally making this post and couldn't find a single thing implying that Vera returned home to her kids only to leave them behind.

Thank you for reading this long post.

I hope it helps.

p.s. here is the French translation of the scene just for extra foundation:

Nous devrons vivre seuls = We gotta live alone.

Seuls, tous les deux = alone, the both of us.

[room-surprise]

Dungeon Meshi Anime Review, Season 2, Episode 14 review

This is technically the second cour of Dungeon Meshi, with a new opening and ending so we've made it to season 2, baby!

Happy Kabru day! I think Trigger did a great job with this so I don't have a lot to talk about.

Spoilers below!

The new OP is really nicely animated and very sweet, but I don't really like it. I think the song isn't as good as the first OP and the visuals just don't really excite or interest me the way the first OP did. It's cute though! I think it would have made a great ending...

The ending is wonderful like before, with more beautiful illustrations. Are these also by Kui? Will we get Kui illustrations for every ending? That would be so fantastic! I like this song better than the new OP song...

What the hell are Fleki and Lycion laughing at in the ending. Just pointing and laughing at a water fountain...

There my darling lad Kabru goes, killing again! Good for him.

Animated very nicely, conveys just how fast and lethal Kabru is against human opponents. I hope that anime onlies are now worrying about Laios and his party! That's what they should be worrying about!

Love that they managed to capture Kui's insanely wonderful fight choreography, Kabru switching targets last second after doing a fake-out, and then stealing one person's sword to use it to kill two other people... He's so slick, and Trigger captured it so well.

Sadly no improvements (extra clarity) was added to any of the talking scenes in this ep that start to explain Kabru and his party's motivations. I didn't expect them to change anything though, so it's still as good as it was in the manga, which is still pretty damn good... But would have been nice to have someone tighten up the dialog and make it flow more like human conversation.

Characters sitting around and talking about stuff that isn't monster biology or cooking is probably Kui's greatest weak points as an author, and I don't blame her at all, but it's the one blind spot she could use a liiiiiiittle extra help with. At least in the first half of the manga. Towards the end she gets way better at it. Practice does that to you!

EDIT: Trigger made Holm eat meat!!! He's a religious vegetarian!!!! Oops.

SO.... english dub issues.

The cast is still generally great and the dub script is generally superior to the Japanese subtitles, though it seems like the Japanese subs might be getting better? Or this episode was unusually bad in English so the Japanese subs seemed better.

Kabru's voice in English...

The thing about Kabru's character is that he changes how he talks and acts depending on who he's talking to. The Japanese version does this relatively well.

It's mostly about the pitch of Kabru's voice and how sweet his tone is. He's trying to make himself sound non-threatening, polite, and friendly. And then when he's not doing that, he sounds more stern and mature, talking in a deeper pitch without being so self-effacing.

The English version... is struggling a bit with this.

In the other episodes it sounded alright, but in this episode Kabru's voice actor, for whatever reason, seemed to be mumbling/slurring his words, not enunciating, and cutting off and shortening his words, shoulda, woulda, kinda, and talking in a more "relaxed" and informal manner

This isn't inherently a problem, but since nobody else in the anime so far talks like this, what does this style of speaking signify? Why is Kabru talking like this for this entire episode?

Is it because Kabru's from the West? Do all the people in the West talk that way? Will the elves talk like that?

Since they didn't match Zon and Leed's way of speaking to each other I doubt they'll follow through with this...

If it's meant to make Kabru sound "tough", why does Kabru do it the entire episode and not just with the corpse retrievers? Why does he keep talking that way while talking to his friends?

Even if sounding "tough" is what he's trying to accomplish, Kabru wasn't really being tough in those scenes, he was being tricky and conniving... And then with his friends he was being curious and solving a mystery.

It's not the worst performance I've ever heard, but it's a change/addition with no basis in the original version, so as with Leed and Zon, I'm left wondering "why are you doing this? What are you trying to tell us about the characters?"

I'll have to go back and listen to Kabru's earlier appearances to see if he sounds the same in those, but I really don't remember him talking this way before...

Kabruuuuuu

[normalaboutdntm]

Revised subtitles for The Art of Pleasing Princes

Hello Melliot fandom! I love TAoPP but it always bothered me that the captions weren't more accurate. Presenting. . . TAoPP subs 2.0!

I still wouldn't call this a 100% accurate version since there were a couple of unintelligible lines I left in for clarity. I also wouldn't call this the Absolutely Best version since some of my edits removed clarity. It was a weird balancing act of trying to make the show understandable while also, well, keeping it understandable. I'm sure I'll make tweaks the next time I rewatch TAoPP, but for now I've at least fixed all the glaring issues.

To use: download my srt file, download TAoPP from YouTube (I used 4k Video Downloader), and download VLC Player if you don't already have it. Open the video in VLC, click on "Subtitle" on the top left, then "Add Subtitle File" and select my srt file (you can skip this if the video and my srt file are in the same folder on your computer). You may need to select the sub track in the Subtitle menu.

Enjoy!

[devilman-things]

fair is fair

the watcher crew posted an apology you can watch here

I think it's only fair that I posted this, seeing as I've been posting and reblogging and doomscrolling in this tag for three days.

I believe this is a good apology and they addressed basically every piece of criticism

my thoughts under the break have been edited for clarity

I left a comment on the video, which I will report here.

“as I commented on the "goodbye youtube" video with my own gripes, I think it's fair that I comment on this one.

I believe this was a very good apology and a fair solution to sustain your company, I believe a lot of people will decide to support you on this.

I'm glad the callous comment of "everyone can afford 6$" was addressed.

I'm also glad you decided to give free subs to your patrons, as they were the people that would've been fucked over the most.

I think the trust has been wounded and emotions hurt, but this honest apology will go a long way to repair things.

also great that you didn't put music in the background and didn't use tech bro buzzwords, as that would've come off as extremely fake"

this basically sums up my current thoughts on the situation, I'm glad they decided to consider the fans' voices and that they found a way to make this decision sustainable, but I still feel very bruised by everything that happened.

don't misunderstand me, I am extremely glad they decided to apologise, but I think the shitstorm could've been avoided altogether if they had put in more thought from the beginning.

as of right now, I'm still unsubscribed and it will be a while before I sub again, if I ever will. this was a huge mistake, and even if I'm glad for the apology, I'm disillusioned and disappointed.

[bropunzeling]

3, 32, 46

What are some tropes or details that you think are very characteristic of your fics?

oh hmm. writing from the perspective of someone who doesn't realize the other person has feelings for them - either because they are falling in love slower or they're so wrapped up in their own feelings that they can't see the love in front of their face. a pivotal sibling conversation. fake television shows; bonus points for reality tv (for someone who never watches dating shows i love to come up with stupid versions of them for whatever au i'm writing in). that the big moment of clarity happens in a moment of domesticity or gentleness rather than through sex. love being demonstrated through paying attention. important conversations in cars. apparently, rushing to someone's side when they're hurt (lol hashtag called out by that one). i wont list the sex acts we all know which ones im gonna do lmao rip.

What’s your ideal fic length to read?

i love stuff in the 20 to 50k range! obvi i will read shorter (so many good sub-10k fics) and i will read longer (pLENTY of 90-110k fics i adore) but 20 to 50k is the perfect read for an hour or two before bed range for me; plus it's long enough for the story to have some shape and arc without being a wholeass novel

Do you prefer writing on your phone or on a computer (or something else)? Do you think where you write affects the way you write?

it fully depends on the fic type. stuff like what i wrote today - short, one to two scenes, often porn, often a flash in the pan concept - i can bang out on my phone without mobile gdocs screaming at me. anything longer than 3k i have to start doing on my laptop. especially if i need to keep track of things like themes, phrasing; it's also much harder for me to edit on mobile than on my computer. i like the page layout!

[krneil]

I'm not sure of the validity of this claim. I updated and it worked yesterday (while connected, I have since unplugged my ethernet net cable from my computer (the only way for my computer to connect to the net), then booted up Clip Studio then opened up a file in paint. It let me with out any fuss other then to say on the Clip Studio splash page that I was offline. This version of CSP is 2.0 perpetual so no subscription, but 2.0 has been paid for (I wanted one thing, got that thing, and won't be having the updates when it moves over to updating for stuff I don't want to pay for).

I also have a sub for app for my android tablet (due to tablet, I have to get the full program sub and not the mobile). This has been updated to 2.0.2 as well. I turned off the Wifi, then opened the application and it had no issues booting up and letting me draw and do whatever. As a point of clarity, I have the Clip Studio Paint PRO Single-device plan for it.

I'll also note I have not tried being disconnected for more then 1 hr so haven't tested if the authentication for the programs can lapse or other ways of testing. I've only done as outlined. If there are other ways that are proven to support this, I'm happy to try and get riled up about it.

I am unsure where the OP got their info, be it personal experience or word of mouth, but I'm not getting. TL;DR: After personal testing, can paint offline via perpetual license CPS 2.0 or sub. Where source for issue? No issue here. Edit 28 Apr: Welp. I was correct with the authentication caveat at the end, particularly with the 2.0.3 update explicitly stating they would extend the time to w/e they deemed appropriate. I'm hoping for min of a week, but no clue what they're doing. Good to know tho!

Hey hey everyone please tell

@ clipstudiopaint latest update is horrible. They didn't tell you this with the 2.0 update

You may ask why is that?

TL;TR: “If you don’t have internet well TOO BAD! We won’t let you use CSP. You must have 24/7 internet to use it”

So yeah, give them very vocal feedback of how terrible this is.

[krisravencroft]

Darkwhisper Chronicles: December 2023 Update

Hello again; it has been a little while. In my introduction, I mentioned my interest in documenting and sharing a bit of my journey as I continue my writing projects. As of now, I will be trying my hand at posting updates and figuring out how I want to go about that. In time, I may adjust the format for clarity, ease, and balancing the amount of information given. Perhaps I might even extend the amount of time in-between updates to avoid putting unnecessary pressure on myself and to avoid flooding those who would follow along with equally unnecessary posts. As of right now in the latter case, I'm thinking bi-monthly (the longer meaning) or even quarterly updates, but we will see how that goes.

As will be reflected on my blog, there has been a leap in progress since my introduction. In balancing life events with my work, my progress has been steady at an average of one writing fugue per week. In working on the novels "The Nhordara Crusade" and "Damnation Trilogy I: The Scouring of Morthir," I have found that the scale of each entry is rather consistently going to be about three-times the size of my early projections, and for that, I will avoid noting progress on books of mine that are sub-100 pages even if they are close to said marker. With that said, let's begin.

I tend to scale my work in one of two formats. The first, which I will call my draft format, is a very simple page adjustment that helps me structure my paragraphs neatly and be more conservative with how many words I try to shove into a page. I use it primarily to soothe any sort of quirks I have about the presentation on individual pages. Once I have a substantial enough draft, it then goes through my review format (as suggested by my friend) which gives the pages a more realistic book scale and appearance that is no longer subject to my eccentricities about presentation. I have found that when converted to review format, there is around a 10% decrease in page-count per chapter, and that is spectacular news for me as it means chapters will be more digestible and I will have more room for writing as I continue the story unabridged and even add onto it. When sharing progress, there are a few things I advise be kept in mind: 1. Page counts provided are derived from draft format, and ideally, published format will condense even unedited work into fewer pages; 2. I do not keep track of edits and additions I make to older chapters, and so page counts alone do not reflect how much writing has been done or how much progress has been made; and 3. Typically, edits are adding information or tweaking wordage (and thus expanding content), unless a substantial overhaul is required for earlier chapters.

Now, most of my writing since my introduction has been concentrated on the first book of the Damnation Trilogy; enough so that it has caught up to The Nhordara Crusade in terms of scale. As of present, removing dedication and disclaimer pages, removing the glossary from the back and the timeline with lore context from the front, removing the table of contents, and leaving exclusively prologue and chapter content: The Nhordara Crusade is sitting at 414 pages representing 20 chapters, and Damnation 1 (The Scouring of Morthir) is sitting at 443 pages that also represent 20 chapters. Damnation 1 is certainly halfway finished and The Nhordara Crusade is ambiguously also past that threshold... though by how much is unclear even to me, since it will take exploring all of the plot points and scenes I want included to see just how long the story continues before reaching its intended ending. Unless stated otherwise, I will not be counting going back and editing older chapters in progress reports, nor accounting for compression by format changes. Over the past two months, I have been on a Damnation Trilogy kick, and so I can safely say that with those disclaimers in mind, I have written seven chapters representing 136 pages in Damnation I: The Scouring of Morthir.

At the start of this month, I have written an additional 24 pages in Damnation I, but I may be scrapping most of them and starting again from relative scratch. I believe that with the diverging narratives in the current act, the novel will be better served if I write them completely out of order while riding off of specific inspiration, so that way the tone remains consistent throughout them all, and so not a one is written unevenly from the rest. As far as I am concerned, I can stitch them all back together later.

I look forward to sharing more of my journey. I will be back in a couple months.

[thekriitpatel]

Present Continuous Tense

Embracing the Present: Mastering the Present Continuous Tense in English

Welcome to our English learning blog, where we delve into the fascinating world of grammar. In this edition, we will explore the Present Continuous Tense, a versatile and dynamic aspect of the English language.  Whether you're a beginner or an intermediate learner, mastering this tense will greatly enhance your ability to express ongoing actions and current situations in real-time.  Get ready to embrace the present and dive into the intricacies of the Present Continuous Tense as we uncover its formation, usage, and examples.  Let's embark on this journey together and take your English proficiency to new heights!

Table of Contents Introduction to the Present Progress Tense The Present Continuous, also known as the Present Progressive Tense, is an essential aspect of English grammar that allows us to describe actions happening in the present moment.  It provides a window into ongoing activities and current situations, allowing us to express what is occurring right now. Whether you're talking about something happening at this very second or discussing temporary situations, the Present Continuous Tense is the go-to tool for conveying such information with accuracy and clarity.  We will delve into the formation, usage, and nuances of the Present Continuous Tense, equipping you with the knowledge to confidently incorporate it into your everyday English conversations.  Get ready to embrace the power of the present and elevate your language skills as we explore the intricacies of the Present Continuous. Let's dive in! Structure of Present Continuous Tense The Present Continuous, also known as the Present Progressive Tense, is formed by using the present tense of the auxiliary verb "to be" (am, is, are) followed by the present participle (-ing form) of the main verb with present continuous tense formula.   Present continuous tense formula and example :  Basic Structure of Present Continuous Tense (Sub + Am/IS/Are + V1+ING) - Singular subjects: - I am + verb-ing - Example: I am studying for my exam. - Third-person singular subjects (he, she, it): - He/She/It is + verb-ing - Example: She is working on a project. - Plural subjects: - We/You/They are + verb-ing - Example: They are playing football. It is important to note that the verb "to be" changes based on the subject, while the main verb remains in the present participle form throughout. Understanding the structure of the Present Continuous Tense will allow you to construct sentences accurately and convey ongoing actions in the present. With this foundation in place, let's explore the various contexts in which the Present Continuous Tense is used and gain a deeper understanding of its significance in English communication. Applications of Present Continuous Tense Expressing Current Actions and Activities The Present Continuous Tense, also known as the Present Progressive Tense, is a fundamental aspect of English grammar that allows us to describe actions and activities happening in the present moment.  By using the Present Continuous Tense, we can vividly portray ongoing actions, temporary situations, and even future arrangements. Let's explore this concept with an example: Example: "I am currently studying for my exams at the library." In this sentence, the Present Continuous Tense is employed to convey the action of studying, which is happening at the present moment. The use of the auxiliary verb "am" (for the first-person singular pronoun "I") and the present participle form of the verb "study" ("-ing" form) work together to create the Present Continuous structure. The sentence showcases the speaker's ongoing activity of studying for exams, emphasizing that it is happening right now. The Present Continuous Tense allows us to bring the present to life, enabling us to describe activities as they unfold.  Whether you're talking about your current actions, describing events in real-time, or discussing temporary situations, mastering the Present Continuous will greatly enhance your ability to express yourself fluently and accurately in English.  Temporary Situations and Temporary States One of the key aspects of the Present Continuous Tense is its ability to describe temporary situations and temporary states with present continuous tense examples.  This tense allows us to express actions or situations that are happening right now, but are not permanent or ongoing. It is perfect for capturing the dynamic nature of our daily lives and the ever-changing circumstances we find ourselves in.  For example, imagine you're discussing your current job. You could say,  "I am working as a sales representative at a tech company."  The use of the Present Continuous Tense indicates that this is your temporary job and emphasizes that it may not be a long-term position. Similarly, you could say, "She is studying medicine at university,"  highlighting that her current pursuit of studying medicine is a temporary state.  By mastering the Present Continuous, you will be able to accurately convey the transitory nature of various situations, making your conversations more nuanced and precise. Future Plans and Arrangements One of the key uses of the Present Continuous Tense is to talk about future plans and arrangements. This tense allows us to express actions that have been scheduled or planned in advance. By using the Present Continuous Tense in these contexts, we convey a sense of definite intention and commitment to the future event. - let's say you have made plans to meet a friend for dinner next week. You can express this arrangement using the Present Continuous Tense by saying, "I am meeting my friend for dinner next week." This sentence not only indicates a future action but also emphasizes that the plan has been confirmed and is definite. - Similarly, you can use the Present Continuous Tense to talk about future events or activities that you have already scheduled, such as attending a concert, participating in a workshop, or going on a trip. For instance, "I am going to a concert this weekend" or "I am attending a workshop next month." By using the Present Continuous for future plans and arrangements, you bring a sense of immediacy and certainty to your language. It allows you to express your future intentions with clarity and conviction, enabling effective communication and making your statements more impactful. Expressing Annoyance and Complaints The Present Tense not only helps us describe ongoing actions, but it is also a valuable tool for expressing annoyance and complaints in real-time situations. By using this tense, we can convey our dissatisfaction or frustration with a particular situation or person. Let's explore a few examples to understand how the Present Continuous Tense can be employed to express annoyance or complaints: - "I'm constantly hearing loud music from my neighbor's apartment. It's driving me crazy!" In this sentence, the speaker uses the Present Continuous Tense ("I'm constantly hearing") to convey their ongoing annoyance with the loud music coming from their neighbor's apartment. - "She's always interrupting me when I'm speaking. It's really irritating!" Here, the Present Continuous Tense ("She's always interrupting") is employed to express the speaker's frustration with the constant interruptions they face while speaking. - "The construction work near my house is going on day and night. I can't get a moment of peace!" By using the Present Continuous Tense ("The construction work is going on"), the speaker highlights their ongoing complaint about the disturbance caused by the non-stop construction work near their residence. The Present Continuous allows us to express our annoyance or complaints about present situations effectively, making our concerns feel more immediate and relevant. By incorporating this tense into our language repertoire, we can communicate our dissatisfaction in a clear and concise manner. Adverbs of Time with the Present Continuous When discussing the Present Continuous Tense, it is important to consider the role of adverbs of time.  These adverbs provide valuable information about when an action is taking place in relation to the present moment.  By incorporating adverbs of time into your sentences, you can convey a clearer picture of ongoing actions and current situations. Here are a few examples: - "I am currently studying for my exams." - In this sentence, the adverb "currently" emphasizes that the action of studying is happening at this very moment. It adds a sense of immediacy to the ongoing activity. - "She is often traveling for work." - The adverb "often" indicates that the action of traveling is occurring frequently in the present. It highlights the regularity or frequency of the ongoing action. - "They are temporarily staying with us." - Here, the adverb "temporarily" suggests that the action of staying is for a limited duration. It implies that the situation is not permanent and will change in the future. By incorporating adverbs of time into your sentences, you can provide additional context and precision to your descriptions of ongoing actions and current situations in the present. Experiment with different adverbs of time to expand your range of expression and create a more nuanced understanding of the Present Continuous Tense. Questions and Negations in the Present Continuous In addition to expressing current actions and activities, the Present Continuous Tense also allows us to form questions and negations. These forms are crucial for effective communication, as they enable us to inquire about ongoing actions and deny their occurrence.  Let's explore the structure and examples of questions and negations in the Present Continuous Tense. Questions in the Present Continuous To form a question in the Present Continuous Tense, we invert the subject and the auxiliary verb "be."  The auxiliary verb "be" in the Present Continuous takes the form of "am," "is," or "are" depending on the subject. Here's the structure: Question Word + Auxiliary Verb "be" + Subject + Present Participle (-ing form) + Rest of the Sentence + ? Example 1: Are you studying for your exams? In this example, the question is formed by inverting the subject "you" and the auxiliary verb "are." The present participle "studying" follows, and the rest of the sentence completes the question. The question asks about the ongoing action of studying for exams. Example 2: Is she working on a project? In this case, the auxiliary verb "is" is used with the third-person singular subject "she." The present participle "working" follows, and the question seeks information about her current activity of working on a project. Negations in the Present Continuous To form a negation in the Present Continuous Tense, we use the negative form of the auxiliary verb "be" and place the word "not" between the auxiliary verb and the present participle. Here's the structure: Subject + Auxiliary Verb "be" (in negative form) + "not" + Present Participle (-ing form) + Rest of the Sentence. Example 1: They are not listening to music. In this example, the negation is formed by using the negative form "are not" with the subject "they." The present participle "listening" follows, and the rest of the sentence completes the negation. It expresses that they are not currently engaged in the activity of listening to music. Example 2: He is not eating meat. Here, the negative form "is not" is used with the subject "he." The present participle "eating" follows, and the negation states that he is not presently consuming meat.

Practice Exercises for Present Continuous Tense

Present Continuous Tense exercises with answers with present continuous tense questions exercises Exercise 1: Fill in the blanks with the appropriate form of the verb in the Present Continuous Tense. - The children _______________ (play) in the park right now. - I _______________ (study) for my upcoming exam. - They _______________ (watch) a movie at the cinema. - She _______________ (cook) dinner for her family. - We _______________ (wait) for the bus at the bus stop. - He _______________ (write) an email to his boss. - The sun _______________ (shine) brightly in the sky. - The dog _______________ (chase) its tail in the backyard. - They _______________ (dance) at the party. - I _______________ (read) an interesting book. Exercise 2: Rewrite the following sentences using the Present Continuous Tense. - She reads a book. (Present Continuous) - They play football. (Present Continuous) - I eat breakfast. (Present Continuous) - He watches television. (Present Continuous) - We go to the gym. (Present Continuous) Exercise 3: Write questions for the given answers using the Present Continuous Tense. - Answer: Yes, they are playing outside. Question: __________________________________________________________________? - Answer: No, he isn't studying right now. Question: __________________________________________________________________? - Answer: Yes, she is writing an email to her friend. Question: __________________________________________________________________? - Answer: No, we aren't watching a movie at the theater. Question: __________________________________________________________________? - Answer: Yes, he is playing the guitar. Question: __________________________________________________________________? Note: The answers for the exercises are as follows:  Exercise 1: - are playing - am studying - are watching - is cooking - are waiting - is writing - is shining - is chasing - are dancing - am reading Exercise 2: - She is reading a book. - They are playing football. - I am eating breakfast. - He is watching television. - We are going to the gym. Exercise 3: - Are they playing outside? - Isn't he studying right now? - Is she writing an email to her friend? - Aren't we watching a movie at the theater? - Is he playing the guitar? Feel free to use these practice exercises to enhance your understanding and usage of the Present Continuous Tense. Remember to review your answers and seek assistance if needed. Happy practicing!

Tips for Mastering the Present Continuous Tense

Understand the Basic Structure Familiarize yourself with the structure of the Present Continuous. Remember that it consists of the auxiliary verb "be" (am, is, are) followed by the present participle (-ing form) of the main verb. Practice with Everyday Activities Use the Present Continuous Tense to describe your current activities and actions in everyday life. This will help you become comfortable with the tense and its usage. Note the Difference from Simple Present Understand the distinction between the Present Continuous Tense and the Simple Present Tense. While the Present Continuous Tense describes ongoing actions, the Simple Present is used for habitual actions or general truths. Pay Attention to Time Expressions Be mindful of time expressions that are commonly used with the Present Continuous, such as "now," "at the moment," or "currently." Incorporate these expressions to add clarity and emphasis to your sentences. Practice Questions and Negations Practice forming questions and negations in the Present Continuous. This will help you become fluent in constructing different types of sentences using this tense. Use Visual Aids and Context Visual aids, such as pictures or videos, can help you associate actions with the Present Continuous Tense. Additionally, practice using the tense in different contexts to reinforce your understanding and usage.

Engage in Conversations

Engage in conversations with native English speakers or language partners. Use the Present Continuous to describe what you and others are doing at the moment. This will provide practical exposure and feedback. Read and Listen Read books, articles, and listen to English audio or podcasts. Pay attention to how the Present Continuous is used in various contexts. This will help you develop a natural sense of when to use the tense. Remember, practice and exposure are essential for mastering the Present Continuous Tense. By incorporating these tips into your learning routine, you will gradually develop confidence and proficiency in using this important tense. Happy learning!

Common Mistakes to Avoid in the Present Continuous Tense

Common Mistakes to Avoid in the Present Continuous Tense: - Incorrect Verb Form: Ensure that you use the correct form of the verb in the Present Continuous Tense. Remember to add "-ing" to the base form of the verb and use the appropriate auxiliary verb "be" (am, is, are) according to the subject.               Incorrect: He is go to the store.                Correct: He is going to the store. - Unnecessary Use of "Always": Avoid using "always" in the Present Continuous unless you genuinely want to express a continuous action that happens regularly. "Always" is more commonly used in the Simple Present Tense.           Incorrect: She is always complaining about the weather.            Correct: She complains about the weather. Read the full article

[bylrndgm]

i noticed something...

I was watching S04E01 (because I needed screencaps for an edit I made that I’ll post sooner or later) and, oh my, I had to share with you all.

As soon Lucas says this, look at Mike’s reaction:

To me it just screams: “yeah you’re right”. And there is even a little disappointment? And what about the last frames where he nods a few times as to convince himself?

I haven’t made a gif but seconds later he is nervously playing with the shoulder strap of his backpack.

We understand here, that they started high school with a goal: to make things better, to change, twist their lives for the best.

But then we see Mike and well... he looks disappointed, almost guilty, getting nervous, because he knows that for him things didn’t get better: new chapter but same book, same mindset, same everything. 

He nods, trying to convince himself that maybe, things will eventually get better.

Now fast forward to Mike and Dustin’s search for a sub for Eddie’s campaign. After search with no results, Mike proceeds saying this:

If we assume correct the supposition that high school didn’t really provide Mike with the change he wanted to have, then, it’s understandable that he hates high school, and so, why keeping convincing himself that things will be any different?

Also, by saying hate it means that he’s still hoping things will change, he hasn’t given up on that already (when you say you hate something, means you still care, remember xoxo).

But again just notice Mike’s expressions a few moments later, because he’s either on the verge of crying or just out of breath.

In this last one gif, to me, it’s pretty clear that is the first option: he’s on the verge of tears. I am feeling it in my bones, blame it on my water placements, but it couldn’t be any clearer.

So, my take on this, and I ought to kiss my meninges because for once in their lives have clicked on something, is that:

Will left, and Mike had to re-adjust his life, find another balancing point

No wonder he started playing DnD again, it’s like connecting with his inner child and keep Will next to him even if he’s far

However, as much as he wanted high school to bring some fresh air into his life that didn’t happen and Mike is left with hating high school because it didn’t bring any clarity, Will’s still in California, nothing has changed.

The only person that can actually substitute Lucas would be Will and the reason why he hates high school it’s that it had to help him not to think about Will being far, but here he is again, thinking of him.

I’d love to hear your thoughts on this, btw! Hope it made some sense!!

[m1ndpalace]

good boys get their reward. —ango sakaguchi.

content: nsfw, dom!reader, sub!ango, pegging, degradation, dirty talk, slut shaming, femdom, restraints, that's about it i think?

(also, not thoroughly edited so expect minor mistakes)

skin soaked in sweat, his slick black hair tangled in the firm hold of your fingertips, his glasses foggy, his office suit haphazardly taken off him: his right nipple exposed—dress shirt far from the crisp state it usually is in, one sleeve off him despite not being completely unbuttoned. 

the high and mighty ango sakaguchi, kneeling in front of you; sweat and tears cascading down his face, painting more colors to his magnificent fucked out state. 

"i've been good, please—" he begged.

the prettiest whimpers left his kiss-swollen lips as soon as you held his swollen length. pearls of pre-cum were starting to drip down his desperate hardness when you started to work your hand once again.

he shuddered against you, his eyes low and breaths heavy.

"why, do you have proof you didn't touch yourself while you were away?" you asked him, facing his reflection, a hand tightly holding his hair to avoid his posture to curl, another hand on his hardness—his contained pleasure slowly unravelling in pearly drops from his slit.

"i‐in my bag, the e‐envelope."

in a smaller black envelope in the midst of manila envelopes, there lie two polaroid pictures. one with him in his usual office attire, his belt unbuckled exposing his chastity cage, and another—a shot showing the vibrator you inserted in him, completely untouched.

with his arms behind his back, completely restrained by his necktie, he crawled to you whimpering. “please make me cum, i want to cum—please,” he struggled as he resorted to getting friction from the floor.

silent pleading from his low lidded eyes begged below you. his legs visibly quaked as you turned the vibrator’s setting up. it was an enjoyable sight. after all, an important figure like him is rare to be in this position. 

“i’m yours, use me all you want please—please fuck me as hard as you want,” he drooled out, his eyes rolling back from intense pleasure.

“god, you look so pretty for me. you want my cock?” 

his pretty face nodded excitedly. “please, i’m near, i want to cum on your dick please.”

as soon as your dildo entered his eager hole, a chorus of his moans and whimpers echoed in the room. without taking the vibrator off, you thrusted harder and harder, again and again.

“yes, there, right there harder—please."

"you're such a slut, huh? you're so eager to be fucked hard. you want my dick, huh? you want to be fucked hard? tell me what you are, tell me what you really are." you gripped his hair to angle his face at his slutty reflection.

with dildo and vibrator still stretching his insides, you confronted him and his disheveled reflection. "you tell the world you're a dignified man, yet here you are begging for your hole to be filled."

"tell me what you are," you whispered.

and like clockwork, he opened his quivering lips to obediently reply. "i'm a slut—i'm your slut."

"what are you again? i can't hear your words," you teased.

he positioned his ass up to give you a nearer view of his filled hole. "i'm your pretty cocksleeve who likes to be fucked silly by your dick."

"very," you thrusted, "good." 

every merciless pounding was a bruising hit to his spot but his moans told you otherwise. 

"i'm near, faster please," he cried as you buried what he wanted into him.

his face was glistening from sweat, his eyebrows higher each time you slid in, his eyes rolling back each stretch. his frantic whimpers and begging turned into cries of moans, trying to keep a heavy but steady breath. 

"ohh, i'm near, i'm near, yes please i—"

sated by his clarity, you looked at his stained reflection. "good boys always get their reward, did you like yours?"

"yes. thank you very much," he breathed.

[charmedseoull]

Interview with sugamins about her work House of Cards (Ao3′s second most hit English work and most hit BTS work)

Before You Read the Interview

Archive of Our Own Transcript

Reddit Transcript Part 1 / Part 2

House of Cards is documented within the Top 50 Most Hit BTS Works on Archive of Our Own Project, otherwise known as T50BTS, by Charmedseoul. It is the second most hit English work on the Archive of Our Own platform, most hit BTS work, and 16th most hit work overall. It centers around the internationally popular K-Pop idol group BTS (Bangtan Sonyeondan) with the main characters being Park Jimin, Kim Taehyung, and Jeon Jungkook. This work is being documented for historical purposes for the Fanlore website with its own page. Charmedseoul is a BTS-focused anonymous historian who plans to eventually document each of the top 50 most hit BTS work on Ao3 as in depth as this one. If you are in contact with any of the authors of these works, please contact her on Twitter @charmedseoul or on Tumblr @charmedseoull.

Parts of this interview have been edited with links to Fanlore and Wikipedia pages for understanding. Any information in [brackets] serves for further clarity for readers and elaboration of information.

Disclaimers: This interview contains spoilers for the BTS Archive of Our Own work House of Cards. The story’s Archive of Our Own tags contain violence and gangster activity, along with discussion of prostitution and drug use. The full tag list is:

Alternate Universe - Gangsters

Gang Violence

Violence

Drugs

Drug Use

Explicit Sexual Content

Explicit Language

Blood and Gore

Blood and Torture

Gambling

Gunplay

Undercover

Disturbing Themes

Homophobic Language

Attempted Rape/Non-Con

Xenophobia

Dom/sub

Threesome - M/M/M

Drug Addiction

Dubious Consent

This interview discusses an 18+ mature work and Not Safe for Work topics. Please read this interview at your own discretion. You are responsible for the content you consume.

House of Cards by sugamins is a multi-chapter Archive of Our Own fanfiction that follows police officer Kim Taehyung’s undercover operation into the gangster world of Haedogje Pa. Jeon Jungkook, shrouded in an air of mystery and dubbed “The Boy,” is the heir to this crime empire. Park Jimin lives with him, acting as a lover of sorts in a high, pristine penthouse apartment. The story follows the three and their complicated relationship where sex, violence, and drugs surround them. Kim Taehyung tries to take down the empire as his moral lines of black and white begin blurring into gray. In this crime-ridden alternate reality to Seoul, everything from the structure of the gangster world to the trust between three lovers is as fragile as a house of cards.

Now presenting the interview with sugamins, author of Archive of Our Own’s second most hit English work and most hit BTS work, House of Cards:

How did you start writing?

How did you get into fanfiction?

How much writing experience did you have prior to House of Cards?

Do you have any literary or artistic inspirations? Any other authors or works that have inspired you to create anytime before or after House of Cards?

How did you become an ARMY [ARMY stands for Adorable Representative MC for the Youth. It is the fandom name for fans of BTS, otherwise known as Bangtan Sonyeondan]?

I started writing fanfiction in 2012. But before then, I used to enjoy writing stories as a child and young teenager. I used to write and illustrate my own stories. I even had a sketchbook filled with my own comic book, which was terrible! But I've always been creative. It started with art and then I moved onto writing when I discovered I was able to be much more creative with my words rather than my pencil.

I first got into fanfiction through my years spent on Tumblr. I had always known that it had existed, but I had never really gone looking for it because I hadn't belonged to a fandom at that point in my life. It was back in 2012 when I stumbled upon an EXO fanfic that a lot of people were talking about (Arbitrage, you can find it on Livejournal.) I read it and then thought...wow, so this is fanfiction! From that point, I started reading more and more, mostly Infinite fanfiction. And then I decided to start writing with the encouragement of an old online friend, and here I am!

In terms of writing experience, I have never formally received education. I stopped studying English Language and Literature when I was 16, instead focusing on Art, History, and Religious Education (purely because I wanted to learn about philosophy and quantum mechanics) for my final two years at high-school. The only experience I have is through writing fanfiction. I started back in 2012, and I've developed a lot since then. I started off small, writing horror short stories and little collections. Brotherhood was the first 'long fic' I created. I was shocked that it managed to get so big because I had never created a story of that size before. Writing helped me gain experience and figure out what worked and what didn't work, what I was good at writing, and where I was lacking and needed to learn. I don't think you can really experience an art form until you start doing it. You can learn all about the techniques and the conventions, but until you pick up a pen and start writing or drawing, you won't ever know what it means to create.

My literary inspiration has always been Stephen King. Which is funny, as he has described himself as 'having diarrhea of the typewriter.' I think that applies to me sometimes. I am a bit of a wordy writer, though I've started honing it down for certain stories. Sometimes, a story needs to be floral and descriptive, sometimes, it needs to be punchy and direct. So, King was my major inspiration, especially with horror. I also enjoy the works of Poe and Lovecraft (I acknowledge the problematic themes in the work of Lovercraft and seek not to praise him as a person. He was a terrible person for sure, but sadly, he had a way with cosmic horror that is hard to find.) I also enjoy Chuck Palahniuk and the dark, seedy and overall zany stories that he has created. I like his style a lot!

In terms of inspirations for House of Cards, I was obviously inspired by the films Infernal Affairs/The Departed. American Gangster and Training Day were also major inspirations (and also because I love Denzel Washington's performances in both films. I mean, who doesn't love him?) But I also drew inspiration from other sources that were less focused on gangs, more focused on the dark, nihilistic state of the world around us. I couldn't recommend the TV series True Detective hard enough. It is one of the best series I have ever watched. It handles dark and disturbing content so well, and its fractured, unreliable story-telling and philosophical musing is some of the best I've ever seen on screen. I highly recommend checking it out, but be sure to check the content warning and triggers because it certainly isn't suitable for younger audiences and those with triggers. In terms of real-life content, I think Ross Kemps' docu-series are very good. Particularly Extreme World and On Gangs. His docu-series show the dark and disturbing side of criminal activity, the drug trade and more. 

I became a fan of BTS [Bangtan Sonyeondan] back in 2013. I had already been a fan of K-Pop for some time by then, as I had started listening to various K-Pop and K-Rock artists back in 2009. I knew of their debut, but I had seen hundreds of new acts debut by the time that they broke into the scene, and so I didn't pay much heed. Someone I followed on Tumblr at the time kept posting about how much she loved them, especially Taehyung [BTS V/Kim Taehyung]. One day, I stumbled upon a gifset of Yoongi [BTS Suga/Min Yoongi] being sarcastic in one of their first interviews. I thought he was funny, so I decided to check them out. At the time, they had recently released We Are Bulletproof Pt. 2 [BTS’s second music video release with their debut album 2 Kool 4 Skool]. I followed them from that point, and their first comeback [A “comeback” refers to when a K-Pop idol group releases new music, usually done twice a year.] was also my first comeback. I liked their music [BTS released Boy In Luv and Just One Day in 2014, both music videos of songs from their Skool Luv Affair EP.], but I liked them even more as individuals. I loved watching their shows [Here is a link to BTS’s schedule during 2014 when they had their first comeback. You can find the shows and interviews they were on there.], even though they are incredibly embarrassing to look back on now. They just had so much energy and looked to be having so much fun that I was having fun just watching them. I was a fan, I liked a lot of their songs and followed their activities. But it wasn't until they released HYYH Part One [Hwa Yang Yeon Hwa Part 1 (Korean) = The Most Beautiful Moment in Life Pt. 1 (This is the title in English), released with the I Need U and Dope music videos.] that I really became a fan of their music. I had already created a couple of small horror stories for the fandom at that point. HYYH Part One [The Most Beautiful Moment in Life Pt. 1] inspired me so much that I created Brotherhood, my first 'long fic.' I joined AO3 [Archive of Our Own] and started posting there. I received so much support from fellow fans that I carried on writing, and the rest is history!

How has your experience being an ARMY [Adorable Representative MCs of the Youth, BTS’s global fan base name.] been? Did you ever leave the fandom then come back? How did you interact with others when you first got into the fandom and as you grew up?

How have you been since you wrote House of Cards? What have you been working on? 

Are you okay with talking about how old you are now and how old you were when you wrote House of Cards?

Before you even wrote House of Cards, what inspired it? Any TV shows? Music? Movies? Books? Ideas? It could be anything.

How did you start writing House of Cards? Did you finish the entire story then publish it or did you write it as you went? What was the writing process like?

Did you have any beta readers or editors? If you did, are you still in contact with them now? How did they feel about your work?

My experience being a fan has mostly been positive over the years. In the earlier days, back around when I first started writing for the fandom, it was certainly much more positive. I've received so much support over the years, not only in my writing but in my personal life from readers and fellow fans that being a fan of the boys [The members of BTS] really has changed my life. That's not an exaggeration. I doubt I would even be here now without those years having such a positive effect on my mental health. I've never really been the kind to interact with others and form cliques within the fandom, I just like being in my own space and interacting with everyone that comes my way, I guess?

These days, I'm not as active as a writer or in fandom spaces however. I feel like my time in the fandom has started to come up and I don't know how I feel about it just yet. I feel nostalgic for the time when I was first starting out in the fandom and I didn't really know much, but everything was fun. It doesn't feel so fun now, but I mostly contribute that to the effect that Twitter has had on shaping the fandom's growth. Twitter has never been a good place for creatives within fandoms because of issues with algorithms and such. Tumblr was always the better website for hosting artistic content for a variety of reasons. So, I think the fact that everything is on Twitter now has been partly responsible for my decline in engagement and overall enjoyment. I'm currently taking a break from Twitter. The next couple of months will be what makes me either stay or leave the fandom.

Since writing House of Cards, I've been an active writer in the fandom. Over the years, I've added quite a lot of stories to my AO3 accounts and various pseuds. My largest ongoing story is another gang story, set in the 1980s, called Valentino Summers. I actually started writing and publishing it on Ao3 just four or so months after I finished House of Cards—which is wild to think about. Finally finishing House of Cards seems like such a long time ago in my mind, and yet I'm still working on a story I created that same year! I like contributing horror stories to the fandom, especially in the Halloween period. I like publishing series in the month/upcoming weeks before Halloween—though I won't be doing so this year [2020].

When I started writing House of Cards, I would have just turned 22. It was inspired by the song 'Wires' by The Neighbourhood. I might be mistaken, but I believe that Jungkook [BTS Jungkook/Jeon Jungkook] posted a tweet with the song in it. [Jungkook did tweet about this song. Here is the English translation.] I had never heard of the band before, but my partner was a fan of their music. She sent the song to me and I was very interested in the lyrics, so I started discussing them with her. One thing led to the next, and then we had basically come up with the entire plot of the story. We just needed to create the characters. We spent a little while doing so, and then I started doing some research and started writing the story. There really isn't a grand backstory to House of Cards, it just happened so fast. We often come up with story ideas like that, and my partner is responsible for a huge amount of my stories. She has the creative visions, which I then turn into words. We make quite the team, haha~ The inspirations, I mentioned those in my previous answer regarding films and TV shows.

I published the story as I went, though I staggered the updates because I didn't want to post too frequently. I had the entire story planned out from the start——I didn't change a single aspect of the story no matter what I received in terms of feedback. I think a lot of readers assume that writers might tweak things if they sense the audience wants something to happen in terms of plot or relationships. Personally, I don't like doing that. I like sticking to my plans even if I know my vision might not be what the readers want. I think it's important for the story to be created the way I see it because my vision is what made me create it, if that makes sense.

The writing process was surprisingly smooth! You might not think it because the story is big and there are a lot of characters and plot threads to keep on top of, but it went smoothly for me. It flowed just as smoothly from start to finish as Brotherhood did. I never struggled once with writing the chapters, nor did I ever get stuck and wonder if I should change the content in order to make it easier to write. I'm surprised that I managed to complete it so easily because that's not the case with writing now! I tend to be a lot slower now, more deliberate and more open to changes in order to ease the process and the overall flow of the story. In a way, this change has been for the best. I do wonder what House of Cards would be like if I were to write it now, with my different approach to planning and writing. It would probably have a quicker flow, and the word count would either go down as a result of cuts, or go up because of additional scenes I would have likely included.

I didn't have any betas, which you can probably tell from the work. My stories are so big that I never wanted to put the burden of fixing them onto someone else. I know they are imperfect, oftentimes bloated things, but that's just what they are. I did try creating a story with another writer in the past, but it didn't go very well. She would often have conflicting opinions on things and would not have any leeway for anything I suggested, whereas I always had leeway to allow her to change things. Even to the point of completely changing the plot of the story that I had already started writing, and then allowing her to add graphic sexual content she didn't even want to be in the story. She actually stopped writing fanfiction randomly in the middle of us creating the story! She made a post about it being disgusting and nasty and then bowed out. I have no clue if she ever came back! So, my negative experience with attempting to work with someone else when creating a story kind of made me not want to have a beta. It's a wild story, I know!

House of Cards is praised for its realism and accuracy with weaponry, torture, sex, and violence. How did you research these things?

How did you come up with the gangster universe in House of Cards? How did you develop Haedogje Pa?

How did you name the original characters in House of Cards? Did any characters in particular take inspiration from existing characters in TV shows, anime, books, any type of media?

How did you decide on Vminkook as your main characters for the story? What do you see in their dynamic and them as characters?

Jimin is claimed to be one of the best written characters in the entire story. What was your thought process when characterizing him and developing him?

Taehyung is an especially dynamic character whose morals get tested time and time again in House of Cards. What was your thought process when characterizing him and developing him?

Jungkook is one of the characters that the readers spend the least amount of time getting a perspective from, but is incredibly well written in his character progression. What was your thought process when characterizing him and developing him?

When it came to various aspects in the story, I did do research. Most of it never really had an impact on the story itself. For example, I would be looking up gun models that are used by law enforcement agencies around the world and trying to find specs of them so I could learn how many bullets each gun held, or how much a magazine could hold. In action scenes, I didn't want my characters firing off 20+ bullets for a gun that—in reality—holds far less. That's a fact that doesn't really mean much to the average reader, but it meant something to me! I've always hated how many bullets fly through the air in action scenes in films and TV shows because I'm always wondering if it's possible with the firearms featured in the scene haha~ In terms of torture, I've come across the subject through various documentaries and TV shows about gangs, crime and serial killers. I didn't really do much additional research into the topic, beyond reading up on what I had come across to make sure it wasn't fictionalised for drama purposes. Obviously, there will be some lack of realism in my story because I couldn't possibly write a realistic portrayal of gang violence and torture when I have zero personal experience with it. My aim wasn't to give the story 'full' realism (I'll explain more about that in the next question) but to simply create a world that felt real, even if there were little aspects that had to be exaggerated for the sake of the story. Taehyung's behaviour when undercover certainly broke many procedures. The only thing working in his favour that allowed him to get away with it is that the crimes he committed couldn't be directly traced to him. But a real undercover agent would never do the things that he did on behalf of the gang. Basically, this means that the entire story is unrealistic! But of course, it wouldn't be very entertaining if Taehyung simply observed from the background and didn't dirty his hands. So, I had to bend and break the rules a little!

For the universe, I knew that I couldn't base it too much in reality. Because of basic Korean law, it would have been impossible for me to write the gang operating in the way they did in the story—especially with guns. Most Korean gangs tend to use other forms of violence and weapons in order to control their respective areas, rather than guns. My other story, Taste of Ink, has what I would consider a more realistic approach to gang activity—with the main weapons being knives, baseball bats, etc. and the main forms of violence being assault instead of flat-out murder. So, for the sake of allowing guns to appear in the story, I had to create a Neo-Seoul, so to speak. I took inspiration from Korean gangs, and mixed it with influences from other gang cultures in order to create 'Haedogje Pa.'

When it comes to naming original characters, I honestly don't put much thought into it. I like to use real names for inspiration. I often Google various Korean films I've watched and read the cast list in order to find interesting character and actor names. This is because I have a habit of reusing names sometimes. For example, readers of my stories might have come across a couple of Daesu and Goohee characters. Do you know where I got these names from? I picked Daesu from Oh Daesu - Choi Minsik's character in Oldboy. Goohee comes from the manhwa 'Let Dai' - he is the stubborn gang leader that actually has a good heart beneath his rough exterior. I ended up liking him the most by the end of the story, so his name is one that often comes to mind when I need to pick an original character name.

I never really consider real life dynamics when I'm writing because my stories are so detached from reality that it seems pointless including any inspiration from reality. I chose the three main characters simply because, at the time, they seemed to fit the character moulds the best. The other characters fit their respective characters so well (especially Namjoon [BTS RM/Kim Namjoon] and Yoongi) that I simply thought it was best to have Taehyung, Jimin [BTS Jimin/Park Jimin] and Jungkook as the three lead roles. I chose them more based on how I thought they could personally fit the characters, rather than focus on the dynamic. To use Taehyung as an example, I thought that he would fit the character of the informant in my story because in reality, he is intelligent and seemed like he would suit the role. For Jimin, I thought he would be a good choice for a character that some might think is vulnerable or even weak. He is actually very strong and the most important character for the plot progression. For Jungkook, I liked the thought of someone with such an innocent outer appearance hiding a dark secret.

I'm so glad that readers took to Jimin so positively on a whole. I know there are some that hated him, or that hated the fact I chose him for such a role (a 'negative' sex worker role). But Jimin is the most important character for the plot progression. It is through him that the entire plan finally culminates in the explosive finish. I wanted to treat him with care because I understood that his character could go very wrong if not handled correctly. It would have been easy for him to simply become nothing more than a sexual prop, should the story have focused too much on Taehyung and Jungkook as the key players. So, I decided to subvert it by giving Jimin the ultimate hand in the story and allowing him to have more control than Jungkook in the end. If Jimin had not decided to follow through with the plan, if he had decided to snitch or had simply refused to do his part in exposing the gang, the story would've ended drastically differently. But I also didn't want to write Jimin taking control of the entire situation at the end because it would've felt ingenuine. He is a character that has been deeply affected by a lifetime of trauma. I was worried that some might take my portrayal of his trauma the wrong way, and see him not as a character that has suffered immense mental damage but rather as an annoying, weak character that gets in the way of more 'interesting' dynamics. I'm sure there will be readers that think that. Mentally traumatized individuals are often seen in such negative light, be they fictional characters or real people. When writing his character, especially in the later scenes, I wanted to make sure the trauma he experienced would shape his behaviour. Writing the scene of him getting ready to leave, when he is taking his pills and he doesn't think he can do it, it was hard. It was hard getting into that headspace of feeling so powerless in the moment and knowing that freedom is in reach, but not knowing how to achieve it. He was a difficult character to write, but I think he turned out just right in the end.

Taehyung was probably the best character to write. I love characters that start off so morally upright and pristine, and by the end of the story, their backs are bending and close to breaking from the weight of their conscience and misdeeds. His character has many facets to him that made his perspectives so interesting to tackle. From his green days in the gang, where he is horrified by the violence he sees, to the changes in his psyche as he starts to become desensitized to it all. Fundamentally, Taehyung begins the story as a good man, a hero, but by the end, there is no black and white thinking. He has become grey, muddied from his time spent in the gang. Is he a hero for bringing them down? Would a hero do the things that he did in order to bring down the gang? He killed people. He tortured people. He threatened a man with a gun, a man he knew had a deepset fear of guns that would severely trigger him. I think it all depends on how the reader sees it. The hardest thing to write for his character was his troubled descent into the relationship between him, Jungkook and Jimin, and how it affects his thought processes and emotions. I didn't want House of Cards to be seen as a romantic story when I created it. If readers see it that way, they are more than entitled to their own interpretations. I cannot tell them how they can interpret my art, that is not my role as the creator. I don't know if I effectively portrayed the co-dependency between the three main characters as well as I would've liked. But I had never tackled such a story and themes before, and so it was all new to me.

I didn't know that Jungkook had the least perspective from the three main characters. Similarly, I never really put that much effort into creating and developing his character! Jungkook simply 'happened' in the moment. He would appear in the chapter, and then his character would basically take control of the scene. I never really knew what he was going to say or do beyond my rough plans for each scene. I just waited until he appeared and let the creative spirit flow through me. That's how he came to be! I've had that happen many times in the past with characters—they have a life of their own and I've no control over them. In my story, Brotherhood, Taehyung happened the same way. It was impossible to write his character in that story because he was so wild and free-spirited that it didn't feel right unless his behaviour was a total spur-of-the-moment reaction to the other characters and new plot points. But with Jungkook in House of Cards, I don't know why I didn't have him planned out like the others. It's interesting to think that he might've had a good progression when I never planned any of it in detail!

Were there any original characters you particularly liked writing or enjoyed?

When you wrote for the BTS hyung line, how did you determine their roles in the story and characterize each of them?

Is there a reason behind Namjoon saying “brother” or was it a consciously written character quirk?

When you handled more serious subject matter in House of Cards, how did you feel when writing it? Were you ever startled by your own work?

Was there any type of purposeful titling for the fanfiction chapters?

What was your reason for House of Cards’ open ending?

I liked writing Lim, the original informant that helped Taehyung join the gang. I like writing characters that come across as sleazy. In his case, the sleaze was all an act and wasn't true to his character; he was affecting it for the sake of creating a persona. But I enjoy writing absolute sleaze balls too—the kind of guys that have chest hair and wear gold chains and thick watches, who practically ooze oil. I just find them fun! Lim was a good teacher, even when he was rough around the edges. It was sad doing what I had to do to him for the sake of the plot. But I feel like Lim understood the game as well as everyone else, and so he knew he was running on borrowed time. 

Of course, I loved writing Bae Goohee too! He was an absolute bastard! I loved writing this figure that is spoken about throughout the story as a frightening man, one so brutal that the readers are already wary of him before he even appears in the story. I believe that Taehyung refers to him as a 'guard dog' at some point. I think Bae is the scariest character in the story for me because he is so ruthless and willing to do any order that the Jeon clan give to him. That kind of blind and unwavering devotion is frightening!

I also enjoyed writing Sungah and Jangmi. I think they're the only female characters in the story that have dialogue? Sungah has a great backstory that I unfortunately couldn't go into too much in the story, but it shaped her character a lot. I like how frank and intelligent she is—she holds her own even in a department filled with men that receive far more praise than she does simply because she is a woman. She also allowed me to add an angle about the unfair treatment of women in jobs that have power, drawing parallels with how Taehyung faces discrimination from his fellow officers when his sexuality is abruptly revealed during the investigation. As for Jangmi, I just liked writing about the wife of a mob boss! And not one that is simply a trophy wife, but actually has a lot of power and influence across the city. I wish I had been able to feature her more, alongside her husband, Jeon himself. But I like the scenes they appear in and I enjoyed writing them.

For the rest of the members, I had Namjoon and Hoseok [BTS J-Hope/Jung Hoseok]'s characters planned right from the start. I had also created plans for Yoongi and Seokjin [BTS Jin/Kim Seokjin], but I wasn't sure how much of a role they would play in the overall story. As I started writing them, I realised that Yoongi would play an important role in both Taehyung and Jimin's character development, and so he ended up featuring a lot more than I had expected. I planned their jobs and then let them influence how I would write them. Namjoon and Hoseok's characters came naturally. Yoongi's character completely took over his job role and basic description and became a really strong character that I'm proud of. Seokjin was a little trickier because he doesn't appear in too many scenes—but the scenes he does are integral to the plot. I needed to make sure that his character said everything he needed to in his limited scenes. He has quite the bombshell to drop after all! Seokjin was also tricky because I wanted him to have an air of mystery around him. I wanted him to be the kind of guy that not even Taehyung and his police connections would be able to unearth much about; a ghost in the system. I would've also liked for him to feature more in the story, but I feel like his character appeared in the essential scenes that the story needed. He was going to feature more in the planned sequel, being one of the first characters to appear alongside Yoongi. He was going to serve an important role, so I'm disappointed that I didn't get to show those scenes to readers.

With Namjoon, I wanted to portray him as a mature character, but not one that was conservative and stiff. I thought about having him say things like 'man' but that seemed too casual and didn't suit his character. 'Man' made him seem more like a surfer than a police officer. But when he said 'brother' in one of the scenes, I realised the word suited him better. It was fraternal, and it allowed him to show some affection towards the other characters without having to have physical contact with them. It's not the only Namjoon I've written that says 'brother' a lot. In Valentino Summers, Namjoon has experience with hippies in the neighbourhood that he lives in, so he also refers to other characters like Jimin as 'brother.' It just seems to suit him! I guess it's because I like creating Namjoon characters that are intelligent and mature, but still have a gentle and warm presence. I could picture him saying it in real life (I'm certain he already has!)

When writing serious subject matter, I'm surprised to admit that I was never shocked by what I was writing! I guess it's because I already knew that I was going to be handling dark themes. I wouldn't have tackled such subjects had I not felt comfortable doing so. Dark content isn't for everyone, and by that I don't simply mean consuming it. Creating it can be very difficult for some writers, and can even cause distress. It's not easy diving into a world that is filled with crime, pain and fear. It's even harder putting yourself into the shoes of a character that is suffering/has suffered. I was never writing in a desensitised state though. Far from it. I'm actually very sensitive to violence in reality. In fiction, it depends on the violence—but I'm usually not too affected by it. I've been a fan of horror since I was a child, and so I've seen a lot of nasty films filled with gore and 'shocking' deaths that never really had much of an effect on me. Unrealistic violence doesn't scare me. But when it comes to personal violence, that is always frightening to me. It's far scarier writing a scene where a character feels threatened by another character and doesn't know what is going to happen to them then, say, writing a scene of a character dying a bloody, ridiculous death in a horror story. Personal violence is much more realistic, therefore it is more unsettling to write. In House of Cards, the violence is very personal. It's in your face, it's inescapable for the characters that are involved in it. But at no point did I ever feel like I needed to stop writing because I was uncomfortable or scared by the content. If I had been uncomfortable, it would have been very reckless of me to continue writing the story.

My word of advice to fellow dark content writers: it's always important to recognise your own boundaries. There's nothing wrong with removing dark content from a story if you get a bad vibe or feel strange when writing/reviewing it. Always follow your gut instincts and never put out work that you don't like.

When writing stories, I vary between titling the chapters and leaving them blank. For House of Cards, I cannot remember the exact method for naming the chapters. Sometimes, the title comes to me when I am writing the plans and I have an idea that just suits the mood of the chapter. Other times, I have finished the entire chapter and I have to spend some time reviewing the content to decide that the title will be. In some cases, I have finished most of a whole story and I'm still not certain what to title it! I feel like with House of Cards, the titles came after the chapters were finished, or at least when they were works-in-progress.

There are some titles that really stand out to me. 'Nice Teeth' for example, is a really ridiculous title. Going into the chapter, I don't think many readers would've imagined what it could mean. 'Submachine Sodomy' is even funnier. I really can't believe I chose that as a title! I'll bet a lot of readers saw it and thought, "Oh no! Not another gunplay scene!" Luckily for them, it wasn't a reference to Jungkook's predilection for firearms in bed.

In terms of chapter titles that I really like: 'Delusions of Grandeur,' 'I Own This Fucking City,' 'Sleeping Dogs Bite' and 'Carpe-fucking-Diem.' I just feel like these titles are very well suited to the contents of the chapters. They are the kind of titles that have bite to them, that hint at action or an important plot point.

As for the open ending, there are a couple of reasons. First of all, I had planned to continue the story in a sequel that would pick up after the events of House of Cards, roughly a year on after the investigation. However, I did not pursue this sequel. I wanted House of Cards to end on an open note for the sequel to continue the story. When it comes to certain stories, I just feel that closed endings aren't always necessary. I often enjoy stories with open endings. With House of Cards, it didn't seem right just closing the book and saying it was over. There was still so much that needed to be explored. Unfortunately, I decided to not continue it. But I still think that House of Cards' ending fits the story.

Were there any scenes or moments or lines in House of Cards that you were particularly proud of or want to highlight?

If you were to write the Yoomin sequel to House of Cards, how would’ve that looked like?

How were readers’ reactions to your work in the beginning?

Did any reader comments stick with you in particular?

How did you take the criticisms and hatred towards House of Cards for its serious subject matter? When did those types of comments start appearing? Also, where did the hatred come from? Twitter? Tumblr? Ao3 comments? Did people harass you at all or hurt you? How did you heal from that?

House of Cards has a lot of scenes. I'm proud of most of them and I think I did the best I could when writing them. I do not really like the sex scenes, but that is because I wanted to write them in a dirty, sleazy way. If I could, I would change them. I like the action scenes, especially the Gold Monkey Casino and police raid scenes. Action scenes are hard to write! Fight scenes in particular are so tricky. I often sit there, choreographing the fights so I can describe them! I loved writing Yoongi's introduction to the story, when he walks into the scene wearing nothing but his underpants.

One scene that I really liked writing is the scene where Namjoon and Hoseok investigate the USB stick that Taehyung sends to them. I personally love Namjoon and Hoseok's characters. I always enjoyed writing them. In this scene, I liked getting to write them in a setting that was not the police department office. A scene where they got to relax and banter with each other, even though they were still working. They discover a horrifying crime ring in the city, but they are left with no choice but to keep it secret because they do not want to risk blowing Taehyung's cover. I do not know why I really like this scene, I just do.

In the sequel, which focused primarily on Jimin and Yoongi, the plans were to have them reunite through Seokjin—who has avoided jail time through a plea deal with the SMPA. They undergo a healing process together as they try to come to terms with what happened to them. Yoongi has a lot of unhealed trauma from his childhood, much like Jimin, which I only got to briefly touch upon in House of Cards. They grow closer from bonding over their traumatic experiences, and they become happier and healthier as a result. Taehyung and Seokjin were also going to be main characters, with Jungkook, Namjoon and Hoseok making supporting appearances over the duration of the story. It was going to be drastically different from House of Cards because it would be lacking in action and violence. It would have been much more intimate, with much more scenes of characters talking and discovering things about one another.

I cannot remember early reactions to the story, I just know they were positive. There was a lot of positive support from the start. As I updated and started to get more and more into the story, I received a lot of support on tumblr too. I started posting chapter previews there, as I used to get asks [On Tumblr, users are able to ask bloggers questions through an “Ask” function. This can be done anonymously or with their own blog username associated with the question.] requesting them. I got A LOT of asks on my original Tumblr from readers that wanted to discuss the characters and certain scenes. It was really interesting seeing just how much the readers were interested in the story, so much so that they wanted to learn even more about the characters and the universe I had created.

Through House of Cards, I have received comments and messages from readers that had addictions. They told me about how they recognised their own behaviors through Taehyung, and this helped them realise what was happening to them. Those comments stuck with me for obvious reasons. I have family members with addiction issues, and knowing that I could help some stranger I have never met before come to terms with their own addictive behaviours had a massive impact on me. Funnily enough, a negative comment stuck with me. It was not a bad comment, by no means meant to cause offence. It was a comment that was left on the story when I was posting the early chapters. I recall the reader asking when the story was going to pick up the pace because it was too slow. It stuck with me because, at this point in the story, Taehyung had already trained to become an undercover agent, had enrolled in the gang, had met and interacted with Jungkook, and had murdered a man. I was surprised that this amount of development had been seen as 'slow' by a reader, as I had thought the plot had been moving very fast.

I never really had any hate posted on the story when I was updating it. I got angry reactions when I had finished it. Because the story had not ended the way some readers had wanted, I think that was what caused the negative reactions. On my original Tumblr, I even got an ask about how an anon reader was going to write their own ending because my one was bad. I told them that I did not want them to take my story and change it like that. I have no idea if they ever posted the ending anywhere. The angry reactions were mostly from shippers, who were upset with the story not ending the way they had wanted. To them, I ask: what were you expecting from the story? I thought it was always obvious that Taehyung was going to do what he had set out to do from the start, so I do not think I misled readers at all. It was a story about an undercover agent taking down a gang—and that is what I wrote.

I know there was some animosity towards me on Twitter too. Twitter is a whirlpool of negativity, I am not surprised. Writing House of Cards made me appear problematic. My partner used to follow an author a long time back, who tweeted about me being problematic—despite having never interacted with me or admittedly read my stories. It was shocking to me that people were making assumptions of who I was as a person based on a story I created. I have never created stories with the aims of hurting or upsetting others. I am a very quiet and private person, and I hate the idea of hurting others. It was strange to me that people could assume me to be this cruel or even dangerous individual, intent on hurting others, because I created a fictional story. Do they think the same of script writers for television shows? Or film directors, who create films with dark subject matter? Do they think published authors are problematic people for writing dark and disturbing content? Do they think certain genres should not exist because they do not personally like them?

I do think it is strange that fan fiction writers are placed on these ridiculously high pedestals of moral absolutism. Fan fiction was created to be a space for creative outlet for marginalised individuals, particularly queer individuals. The heavy censorship of dark and unusual content is putting this entire ethos at danger. I understand not wanting to have certain topics included in stories because there is a risk that the content can be used for grooming or can be presented in a way that can negatively affect young consumers' perceptions (like pedophilia for example.) I certainly agree that there needs to be boundaries in place to stop the community from being flooded with such illegal content. But I think there is a difference between wanting to remove dangerous content, and wanting to get rid of content you do not like. Content can be problematic to you, but that does not make it dangerous, illegal, or bad. For some readers, the content they create is their way of dealing with trauma. Maybe this is not healthy for them. But that is their decision to make, not yours.

I orphaned the story because I did not want to handle the potential backlash. To put it simply, I do not handle negative criticism well. Not because I am stuck-up and think I am perfect, but because I am a very anxious person. Just reading angry comments makes me feel very uncomfortable, often nauseous. I know that House of Cards has received overwhelmingly positive feedback from readers, and for that I am thankful. But I had to distance myself for the sake of my own mental health. Since orphaning it, it exploded in popularity. I am thankful that I orphaned it because that amount of attention would frighten me a lot, haha~

What was your reaction to the fanfiction trailer by Sappiamur?

How did you come to the decision to reveal your real name in the end note of House of Cards?

How did you feel when you finished House of Cards?

How did you come to the decision to orphan House of Cards?

Did you ever anticipate the overwhelming fan reaction to House of Cards?

How do you feel knowing that House of Cards is one of the most read fanfictions on Ao3?

What do you want House of Cards to be remembered for?

What do you hope people take away from House of Cards?

Why do you think House of Cards became so popular?

I had to go back and watch it. It's been some time since I last have, and I'm still as amazed by it now as I was back then. The trailer is insane. I cannot imagine how much work went into making it. It's so good and it fits the vibes of the story to perfection. I think the first time I watched it, I was in shock. I must have repeated it at least 10 times in a row, just to make sure it was real and I wasn't imagining it. Then I think I screamed about it on my social media accounts, haha~ If you reading this have not watched the trailer, consider doing so. I promise you won't be disappointed.

Back when I first started posting fanfics, I used to get a lot of asks wanting to know my name, my pronouns, stuff like that. I thought by adding my name at the end of the stories, it would help cut down on these requests. But I also did so because I used to get a lot of asks referring to me as 'author-nim' and I didn't like being addressed by this honorific. I'm not Korean so I have no right to receive that honorific. So, I included my real name so readers could address me with it when sending me asks and interacting with me. I don't add my name at the end of my stories now, but my name is in my Twitter bio for those that want to know.

When I finished it, I felt relieved! I was so calm in the moment! Looking back on it, I can't remember much. But I do remember finishing House of Cards without any issues. The final chapters flowed smoothly, it all clicked into place, and I had a great time writing them.

I came to the decision to orphan the story after several nights of contemplation. I was considering deleting the story, along with a few others, but my partner and some friends told me I shouldn't do so. They suggested orphaning it instead. So, I did so. I didn't want to delete it in case readers that had started it had not gotten to finish it yet. I would've felt very mean robbing them of the opportunity to finish the story like that. I don't regret orphaning it instead of deleting it. I didn't want to destroy the story, I just needed some distance between me and the story.

I didn't anticipate it, and I still don't understand it! I'm shocked that House of Cards got the reaction that it received. Do I think it's a good story? Yes, I think that I worked hard to create a story that is enjoyable to read. But did I ever think it would get the reaction it did? Not in a million years! I thought that it would be one of my more popular stories because a) the pairings and b) the content. Gang stories usually tend to get a lot of attention because it's a popular genre in fanfiction. I just didn't expect it to reach such a vast amount of hits, kudos and comments.

I'm in shock that it is one of the most read stories on AO3. I don't think I will ever be able to create another story that will garner that kind of attention and feedback. It's a once in a lifetime thing, so I'm immensely proud of myself for achieving such a feat. But really, it's all because of the readers that it achieved such a goal. I'm so thankful for every single one of them.

I just want it to be remembered for being enjoyable, I think. I don't have any grand and lofty ambitions for the story. I think so long as the readers enjoyed it, that is all that matters.

I'm not sure what I would like readers to take away from House of Cards. I guess I want them to reflect on the idea of morality and that not everything is black-and-white. Good people can do bad things, and bad things can happen to good people. It's hard to answer this question because House of Cards isn't a story that I consider to have deep messages in it? There are no messages about acceptance and love and healthy relationships and such, like some of my other stories.

Honestly? I don't know what made it get so popular. I assume it's because of the pairings or the setting of the story. I know that a lot of readers say they love the story because of how well it's written, but I can't comment on that as the creator, haha~ I can't say my story is well-written as I'm not consuming it from an outside perspective. What I can say is that I do think I created a story that has a lot of twists and turns and betrayals, which I think adds to the enjoyment factor.

How are you now in 2020? Are you writing professionally in real life at all? 

How do you feel BTS fanfiction has changed over time? Since you’ve been writing for it for so long. 

Do you have any messages for people who may read this interview in the future?

I'm not writing professionally. I have self-published two books via Amazon and Lulu. One was a basic re-branding of my story babes in the woods. The other was a total rewrite of Brotherhood, which I called 'Brothers,' featuring a whole new setting and roster of characters. I published them as readers showed an interest in reading original stories. I have been considering rewriting House of Cards as an original work in the future, but I can't say for certain that I will do so.

Since I started writing, I think there's been a lot of changes in the fandom—not only in fanfiction but in general. There's been popular trends that have come and gone (I was around for the explosion of social media and text-based AUs, which I personally am not a fan of) but there's also been a lot of push for more inclusive content. I'm really happy by the amount of inclusive content that I see these days. Despite some pushback from non-queer fans that sometimes have an issue with queer subject matter (for example, trans characters) I think it's wonderful that artists of all colours, genders and sexualities are now proudly creating content they want to see, and not simply just what is 'in demand' from the fandom.

The message that I would like to share with readers of this interview is: stay healthy, stay happy, and most importantly, stay you. I also want to take this moment to tell them this - if you are considering becoming a creator, but you are worried about reception to your work, or that it might not be good enough, stop right now! Stop doubting yourself and just give it a shot! I was once like you, scared that my weird and niche interests and writing would be ignored or even mocked by the fandom because no one would like it. Had I not decided to take the plunge, my life would be so drastically different. I've made so many friends, fallen in love, and completely changed my life by creating fan content. It can be scary, but once you take the leap, you will find your feet coming down on solid earth without any danger.

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[rigelmejo]

7/16/2021 - other stuff:

I started translating the simplified print version of Guardian that has additional scenes! I am not sharing it yet, but may in the future at some point. (Notes for future reference: taking a picture in good light with the page flat, depending on if needed upping contrast so its darker/lighter in photos, then opening in OCR in Pleco works pretty well at converting the text to digital so I can make notes and edit and look up words more easily. Also so far 1 page takes 1 hour to translate roughly so keep that in mind ToT).

I am yet again tempted to to a full on Listening Reading Method ‘test run.’ By that I mean: picking a novel, (step 1) reading in english, (step 2) reading in chinese with chinese audio (repeating as needed), (step 3) reading in english with chinese audio (repeating as needed), (step 4) listening to audio only. Yes I’m still debating if I’d do step 3, then step 2 - since I tend to flip which I do first depending on the day. Also debating if I ‘prep’ first by listening only (I could call it step 0). Also still debating if I’d do instead: step 0 listen only, step 1, step 2, step 3, ~step 2 again~, step 4 listen only. Basically I did tiny tests with The Little Prince, and I’ve done 20 chapters of Guardian so far (which did help) but Guardian is so long I end up varying how I do it each day into whatever way gets me TO do it and Guardian is so long it will be months until I know what ‘completing a book’ is like for the process. The original forum creator of L-R Method would do like 3-6 hour books or like 10 hour books. Guardian is... much longer. Also, if I pick a book both harder than The Little Prince (so there’s more vocab to learn) and easier than Guardian (so I can get to a natural listening stage faster) I wonder how much progress I’d make. Right now books I am considering for a ‘test method’ run are: Harry Potter 1 (simply because someone made parallel text with audiobook videos already so it is super convenient to do L-R Method, also the book has  2600 unique characters and 7700 unique words so I would likely reinforce my hanzi knowledge and learn maybe a couple hundred more, and likely increase my vocabulary by several hundred to a couple thousand depending on how much I focus, I’m fairly sure I can blow through it quickly the only limiting factor is like The Little Prince I am not sure if the reading level is low enough that I may not pick up significant amounts of new words compared to how many I pick up from Guardian - https://youtu.be/NLu0JW6VtGM). Sherlock Holmes - The Hound of Baskervilles (the book is 7.5 hours so not nearly as long as Guardian, I could probably L-R Method it in 2 weeks, the novel is written for adults and a mystery genre so genre-words I may find more useful to me while also probably having a bigger vocabulary than The Little Prince,  P74 巴斯克维尔的猎犬 01 audiobook - https://youtu.be/hDKfUjienKA, full playlist of the sherlock audiobooks - https://www.youtube.com/watch?v=D1QFMgv0n_Y&list=PLVyDH2ns1F757P-m8MHckuIFqWapl6y-1, and bilinguis.com has a parallel text which I am checking if it matches the audiobook - http://bilinguis.com/book/baskerville/zh/en/c1/). Bonus, just one day I’d love to test it with Alice in Wonderland in French since bilinguis.com has an audiobook and parallel text - http://bilinguis.com/book/alice/fr/en/c3/. Or Le Francais Par Le Methode Nature, since that also now has audio and text and one day I’d like to finish reading it - https://youtu.be/0uS5WSeH8iM.

Fun fact: I am listening to P74 巴斯克维尔的猎犬 01 (by  知识改变命运 ) in the background right now and the first thing I hear is “qinai watson” my dear watson ok. ok sherlock i see you. ToT. Aside from that I just keep hearing random words I know. If you plan to listen to a chinese sherlock audiobook though - I do recommend this playlist. I’ve found a few sherlock audiobooks and for some the audio is very rough like it was recorded from the radio, whereas this one is fairly clear and the reader speaks very clearly, and has a rhythm to sentences (which for me personally helps me listen easier and parse out words). So if you know some words they are much easier to hear, and if you are looking at the parallel text I linked on bilinguis it is quite easy to follow along. 

I really want to get into the habit of some extensive reading with audiobooks (as in reading while listening) just because it speeds up my reading, and I pick up some words in reading while practicing listening. Its also somewhat doable, whereas just listening I may often get lost unless I know the material well. Last night I read chapter 1 of MoDu while playing the audiobook and following along - obviously I did not read as in depth as if I’d have done L-R Method and looked up all unknown words with pop-up english. But combined listening comprehension and reading comprehension I understood ENOUGH to follow the plot and keep reading, at a faster pace than if I only was extensively reading and at a much better comprehension than if I only listen. (My listening comprehension is a bit better if I’ve read the text beforehand, but that’s sort of artificial since i prepped by reading the text beforehand). Yes, I learn new hanzi better with slower extended reading where I have time to really slow down and look at the new hanzi a lot. But I’d like to aim for quantity of materials read for a while? I’d if simply reading more will help, but a lot of the general advice seems to be the more extensive reading you do where you can follow the main points the more you will improve. And hey, maybe that applies to simply ‘listening a lot more’ too?

A lot of articles I’ve found recently emphasize repeated listening, and I want to try to include that more in how I study. While I might not do it as intensively as some articles suggest, I can definitely continue to do it in Clozemaster and continue playing audiobooks of chapters I’ve read already (so I can follow the audio ok) in my downtime. A LOT of my chinese study lately has not been active, its been mostly just ‘playing audio in the background.’ So since I’m not studying actively much, I might as well try to get in more listening.

I checked out the cdrama Forward Forever recently and opinions: if you understand basic chinese JUST watch it in chinese because wow are the english subs a hot mess ToT. I tried watching with subs and there were so many clear ‘wrong’ portions I just had to turn them off, they were made from google translate though so I’m not super surprised (but Xin Xiao Shi Yi Lang has much more decent auto-generated subs so ToT). I’m not sure if I’ll watch more or not, but I can definitely tell it was adapted from a BL source material with the way the main two guys are immediately set up as characters and then meet. I also want to check out Secret of the Three Kingdoms but I’ve seen like 3 minutes and I already am pretty aware I’ll probably like the show so much that I’ll want to put the english subs on for clarity. Secret of the Three Kingdoms feels Very well made.

If I was gonna try to summarize what my study plan has been this month:  - Listen-Reading Method Guardian (its going fine), with some experiments on the structure of the activity - translate some of Guardian (not really study as I’m pretty familiar w the chapters so just rereading things, mainly its translating practice) - Doing a few random things in japanese: read Guardian in japanese, play japanese video games a little bit, watch japanese-teaching video game example vids a bit (basically more tiny bits of japanese I’d add up to idk under 6 hours? just me glancing at things) - Reading this japanese grammar guide (I’m 1/3 through) - https://sakubi.neocities.org/ - Listen to various chinese audiobooks, with and without text. - Read various chinese chapters, with and without audio. - Listen/Read a bit of French, in Gigafrench (i truly mean a bit like a couple hours), Dracula (just listening) - some Clozemaster japanese, and a tiny bit of Clozemaster chinese (mainly to pick up stuff in japanese, and practice shadowing in both) So - some random chinese stuff reading/listening/L-R Method, some japanese exposure/grammar guide/clozemaster, a tiny bit of French (mainly listening practice). 

[sinceileftyoublog]

Shannon Lay Interview: A Still Spirit

Photo by Kai MacKnight

BY JORDAN MAINZER

“Have you always been who you are?” asks Shannon Lay on “Rare to Wake”, the opening track to her incredible new album Geist, out tomorrow via Sub Pop. She presents these type of earth-shattering questions with remarkable calm, though they entered her mind with anything but. The songs on Geist--the German word for “spirit”--came out of an intense period of self-reflection for Lay. In 2019, she released and toured on the terrific August, on which she observed the headspace of others, from Nick Drake’s mother Molly to a spider on a stack of records. After that, she began an inward process that, ironically, wouldn’t have been able to happen without the forced break of a global pandemic. Realizing that she perceived many aspects of her creative life past and present (which included working at a vintage clothing store, playing in the punk band Feels, and playing in Ty Segall’s Freedom Band) as brought upon by external forces, she took the opportunity to craft herself anew.

For many artists, songs that are born out of the desire to leave their comfort zone tend to be their most abrasive-sounding. Geist is instead Lay’s most beautiful and gentle record, played with a nylon-string acoustic guitar, her vocals and guitar recorded before she sent the tunes out to other musicians to add their own layers. That it was recorded this way yields a record that’s warm and oscillates gently on songs like “Sure” and “Time’s Arrow”. None of the songs even reach what sounds like a full-band choogle--the closest it comes is the end of “Rare to Wake” and “Untitled”, which has the only audible percussion on the record--but the record is rich in its assured calm. At the center of it all is Lay’s smoky voice, layered a capella on “Awaken and Allow” and traveling with her guitar on the album’s title track.

I spoke with Lay over the phone from her home in Pasadena, CA last month about Geist, her creative process, and cover songs. Read our conversation below, edited for length and clarity.

Since I Left You: What about Geist is unique as compared to anything else you’ve ever released?

Shannon Lay: With this one, the biggest difference was being more comfortable with what I felt called to offer. From the background of music I did and the scene I grew up in, when I started presenting my solo music, it always felt like it had to be edgy, tough, cool, or punk. There had to be something rough about it. With this one, I just embraced the fact that one of my specialties is creating really beautiful music. I’m so happy that I did, because the result really is this beautiful experience. I think it’s because I became so much clearer with the goal of it. I wasn’t so confused and wrapped up in the identities I had accumulated beforehand. 

SILY: Did that goal influence your decision to release “Rare to Wake” before even announcing the album?

SL: Yeah, totally. We also knew [Geist] would be a very appropriate fall record, so we saw this long span of time between finishing and releasing it, so it felt appropriate to trickle out songs. It seems that’s how people are digesting music now anyways, in smaller increments. It felt nice to present the single and make a video for it that felt appropriate.

SILY: It’s jacket weather here, finally. We just turned the heat on. Listening to Geist earlier today, I could tell it will be a popular record throughout the season.

SL: Oh, I love that! Yay! I know, I had my first jacket day the other day here, too, and then it went back to 100 degrees. But I really enjoyed it. [laughs]

SILY: Is “Rare to Wake” inspired by Dune?

SL: Yeah. I had never seen David Lynch’s version. It blew my mind, the content and message behind it. It really got my wheels turning. [Protagonist] Paul in the movie really has to prove to himself that he is who he is, and I think we’re all on that journey, but the conclusion of it is we’ve always been who we are and everything we can be. We’re just on different steps of the journey to that. [laughs] The new [Dune] looks pretty good.

SILY: Are you gonna see it in theaters?

SL: Oh yeah. I love movies where that’s the way you have to see it, in a theater. This one for sure is gonna be like that. 

SILY: On the track “Awaken and Allow”, when you sing, “I have to get out of California / The days go by like smoke in the wind,” is that a reference to the wildfires?

SL: Oh man, it wasn’t, but that is an appropriate interpretation. I like that. California basically represents my comfort zone in my life. I grew up here, I’ve always lived here, and I think that line was a poetic way of saying, “I need to step out of what makes me comfortable in order to grow.” If you don’t, time can slip away, and you can excuse the things you’re called to do because you’re fine where you’re at. It’s about challenging yourself, and California is just really safe and easy for me.

SILY: The title of the album is the German word for “spirit.” What led you to that word and in that language?

SL: I was actually looking through a 1930s music vocabulary book, all these cool words used to reference different moments in music or levels of playing and types of instruments and singing. That word came up in there. I loved the conciseness of it. It felt very appropriate. This record, I wanted it to be this very dense content delivered in a very gentle way. Disguising the word “spirit” in this kind of mystical sound-- “geist” is almost a sound--felt like a nice way to tie everything together. The whole time I was writing this, I was reflecting on the human spirit, how adaptable it is and how persevering it could be, [as I was] watching everyone go through hard times and triumphs. People finding themselves and taking the opportunity to get to know themselves and new ways of being. It was cool to hear people’s stories trickle in as I reconnected with folks. It’s a definite nod to how strong we are. I feel like “spirit” can have a religious context to some people. The problem with self-improvement in general is it can be off-putting with the way it’s worded, so “geist” felt like a poetic way of lightening the load of what I was handing you.

SILY: Was wanting to touch on adaptability and strength in the face of challenges directly inspired by anything going on in your life during the writing process?

SL: Before the pandemic even started, I was feeling a lot of cracks forming in my foundation. Who I was and who I thought I identified with was slipping away, and I couldn’t hold on to it anymore. I felt this need to drop it. It was like holding something really slippery. I dropped it all and was trying to rebuild as the pandemic hit. It was really an amazing opportunity to me to surrender and explore within myself a fresh start. It occurred to me that everything I thought I was, was built up from other people and their beliefs, attitudes, and behaviors. We’re these sponges in the world, and I had picked up a lot of stuff that wasn’t mine. I began this process of sorting through. The first thing I did was recognizing what I wanted to keep and what I wanted to work on. It was an intense process, and I don’t think I could have done it continuing to exist in the world as I was, pretending like I was okay. It allowed me to fall apart in this really amazing way that gave me a vantage point to all the broken pieces I could put back together in a much more stable, nurturing way.

SILY: Is this identity reclamation process part of your embracing your Irish roots in “Awaken and Allow”? It sounds like a traditional Irish folk song.

SL: I felt very connected to that, for sure. I think it’s a big part of who I am and where my family came from. I’m hopefully gonna go there next year. I’m so excited; I’ve never been. It’s good to keep falling down that rabbit hole. It felt like the first glimpse of the river that runs through everyone’s culture you can go to and take home. It was a cool experience having that song happen kind of organically. I felt very connected to ancestral energy. 

SILY: "Awaken and Allow” and “Rare to Wake” share a quality with the album in general: It sounds like it’s precluding something else, in a good way. The first time I heard “Rare to Wake”, I expected it to go into a full band jam at the end, but it stops. The a capella in “Awaken and Allow”, and “Untitled”, which has the only audible percussion on the record, made me think that because you expect the songs to go somewhere else but they don’t, it almost serves to reemphasize the importance of the present moment.

SL: Oh, I love that so much. I absolutely had the intention of a lot of stillness surrounding this record. It kind of requires you to have a moment of calm. Music all serves such different purposes...with this one, when I was figuring out what I wanted to put out into the world, in this moment in time, it feels like we all need as many reminders as possible to just sit there and be. We’re brought up to do, which is cool, too, but something about sitting and breathing and feeling your life force, everyone should experience that at some point. For people who feel like the world is happening to them, that kind of victim mentality. If you just take a minute to appreciate the fact that you can hear your heartbeat if you listen long enough or take a deep breath into your lungs. I wanted to promote moments like that, and I love that you got that out of it. It’s perfect.

SILY: I think living in the present is something that a lot of people have learned to do, almost by necessity, during long periods of isolation.

SL: Yeah. It’s a tough time for sure. It’s easy to feel like it’s happening to you. It’s either an excuse or an opportunity, and to make it an excuse is all too appealing. My gosh, it’s so nice to have that to reach for, because then nothing’s your fault. It’s all happening to you! When you flip your perspective, it’s such divine timing, and you’re absolutely meant to be wherever you’re meant to be. Even if it’s a difficult spot, there’s knowledge in that moment you need to search for. It’s so important to remember. It all comes back to being present. [laughs]

SILY: On August, you covered Karen Dalton. On Geist, you cover Syd Barrett’s “Late Night”. When did you first hear “Late Night”, and why did you decide to include it? Do you think including a cover is going to become a tradition on all of your records?

SL: I love covers so much. I love taking artists that more people should know about and giving them a little shoutout. Karen Dalton, ever since August has come out--and I’m not saying it’s me who did this--but I’ve noticed buzz around her. This documentary [Karen Dalton: In My Own Time] is coming out. It’s cool that these people who were maybe not so appreciated in their moment can now leave this legacy. The ripple effect of music is so incredible. Syd Barrett was one of those people, too. That guy was a weirdo, man. The music he made kind of reminds me of Arthur Russell. The first time you hear it, you may not like it. You have to sit with it and be in the right mood. It’s so beautiful and so off-kilter and has this very child-like maturity about it. “Late Night” especially has this innocence, but so much wisdom. It’s a really wild combo, and I feel it every time I play or listen to that song. He had that magical mix of being 80 and 8 at the same time. [laughs] It’s so weird.

When I try a cover, I don’t like to push it too hard. If it doesn’t come out immediately, I just move on. With [“Late Night”], I tried it, and it felt so nice and natural. Working on the harmonies was fun, and it felt like it had a place within this record. There’s an embrace of change and a loving yourself vibe within this record but a lot of projecting love outward and loving people and appreciating the relationships that have come and gone in your life. That song sums that up so beautifully.

SILY: I agree with you about Arthur Russell. It’s not sounds you traditionally associate with being beautiful, but when you listen to them and take it for what it is, it very much is beautiful. I think I feel the same way about someone like Kate Bush.

SL: Yes! The true weridos. Just pure freaks in the best sense of the word.

SILY: I’m not trying to think of others like that. Daniel Johnston, too.

SL: Absolutely!

SILY: What’s the story behind the cover art for this record?

SL: I reconnected with an old friend during the pandemic, and we ended up falling madly in love. We knew each other in middle school and were actually each other’s first kiss in middle school. We drifted apart as we got older and came back together. He became this really crucial piece of the visual aspects of this record. He directed all three of the music videos I did for it and took both of the cover photos. He lives in the Lincoln Heights area of Los Angeles, and there’s all these amazing hills around there. You walk up these craggy little paths, and all of a sudden, you’re on top of the world. On his street, there was this house that used to be there but got torn down, and the wall behind me was the retaining wall very poorly keeping the dirt held up behind me. [laughs] I loved the idea of presenting the confidence I was feeling grow within me on this record. I wanted to include the instrument I used as well, since everything came out of that Nylon-string guitar. 

We did these photos on film, so when we got them back, I thought, “This is it. This is how I feel in a really cool visual representation.” It was this very baller confident chick standing in front of this huge crack that I felt happen within myself. My whole self was shattered at the beginning of this journey, and it was this process of picking up the pieces. This image was so good, and on the back is this photo of me cracking up in the same position, which is the perfect juxtaposition. Another thing we have to remember in this life is to not take ourselves too seriously. It’s so important to have fun and be light about even the heaviest of things. It’s just a way to carry around less weight. It felt classic--I felt very inspired by classic country records, really straightforward, “Here’s the photo, some colors, and a great font.” [It's] so serious on the front, and you turn it over, and you’re like, “Oh yeah, this is all in good fun.”

SILY: It’s got some Gram Parsons energy.

SL: Yeah, totally. I can’t wait to get the vinyl. The yellow, we put this cool texture on it. It’s gonna look really beautiful.

SILY: Have you played these songs live?

SL: Yes, it’s been really fun. I’ve actually been practicing here with a stand-up bass player and a keyboard player who also sings. It’s been really, really fun to bring them to life. It requires this delicate touch that if it lines up just right, it’s powerful in its simplicity. I’m just obsessed! I’m playing a solo show tonight where I play most of the record because I can’t get enough of playing these songs. They feel so good and fit in so well with the electric stuff I do during the set.

SILY: Do you have any other covers you’re doing on this tour?

SL: I’m doing a good amount of solo shows, and I really like including Sibylle Baier covers. She was a really big influence on this record, and I was going to include one of her covers, but I don’t want to just cover the song and play the song. I want to put my own spin on it, but her songs are perfect as is. I’ll definitely do “Late Night”. I’m always down for covers. I always have a couple Arthur Russell covers in my pocket. Those are the best. 

SILY: When I saw you at Lincoln Hall, you and your band did an a capella version of “Everybody Everybody”.

SL: Yes! That is to this day one of my proudest accomplishments. [laughs]

SILY: Are you the type of songwriter who is always writing songs? Are you working on anything?

SL: I’m not! I feel very called to rest at the moment. I’m trying to reenter things so I can honor the fact that I’m not built to tour all year and only say yes to the things that feel really genuinely good. I’m really excited to see what comes next, because part of what’s hard about being creative is learning to honor and trust your process. One ingredient that gets introduced that could be avoided a lot of the time is worry. I’m trying to notice the pattern of my creativity and in the moments I don’t feel called to write, know that one day I’m gonna wake up and it’s gonna feel so good to go in there and go nuts and lose track of time and forget to eat and get lost in the flow. I think Neil Young said it: “If it’s not comin’, just mow the lawn.” I moved into a house by myself in February and have just been nesting, so that’s been really nice.

SILY: Anything you’ve been listening to, watching, or reading lately that you’ve enjoyed?

SL: I just finished [Dr. Nicole LePera’s] How to Do the Work, which is a great book that came out recently if you feel called to work on yourself and work on your behavioral patterns. It’s a really helpful book of stories and experiences from this one doctor. She has this Instagram called The Holistic Psychologist. She’s great. I just started [Steven Pressfield’s] The War of Art, which talks a lot about how you can get in the way of your creativity. It’s a very triggering book, so I’m gonna keep reading it. [laughs] It talks a lot about resistance and the way that we self-sabotage. I see so much of the things I wouldn’t really think of as self-sabotage in there. I just rewatched The Matrix trilogy after I saw the new one was coming out, which was fantastic. I’m always down for some Keanu. I’ve been listening to a lot of 90′s dance, or Steven Halpern meditation music. I’m either sleeping or dancing.

[kaimadeit]

The Foreigner: Review

I recently saw The Foreigner and in my opinion it’s one of the better films on Netflix.

Watching this film was a decent experience, the acting was considerably believable in most instances and Jackie Chan was excellent, not only as his grieving character but with his self-performed stunts and combat scenes (even at 63 years old he moves like he’s 30 or something, its wild). Each action set piece is positively tense, with a certain palpable brutality and weight to each physical impact. There are enough twists and turns in the plot that can easily keep you guessing and the character backstories are pretty interesting to say the least, especially Jackie Chan’s, (I’m just going to call him Jackie Chan throughout this review because his name in the film isn’t incredibly memorable to be honest.) his particular story is appropriately emotional and quite considerably heart-breaking and you absolutely believe his character and the things he’s capable of, after seeing flashbacks to what he’s had to endure and live through.

The film gets off to a good start by establishing Jackie Chan’s character (Mr. Quan) as an overprotective (but rightfully so) father when we, as the audience are introduced to him and his daughter Fan (Katie Leung). Their short rapport prior to the tragic incident that befalls them, shows his concern for her safety and in such a small period of time, we see him giving her a number of cautionary instructions for even the most trivial of tasks, such as; meeting her prom date or getting out of the car before he’s had a chance to park it appropriately.

Visually, the entire film is very well shot, however there isn’t really a standout scene that really highlights the work of the cinematographer, but the camera direction and editing is still solid for the most part. The scenes that require handheld camera work don’t feel overdone, (as is the case for a lot of films that make use of the shaky-cam technique) which in turn, brings a certain clarity to what could otherwise be kind of catastrophic. The bigger moments in this film, I believe, successfully capture the impact necessary for a story such as this. The opening explosion definitively sets the tone for the rest of the action filled scenes found throughout the rest of the story and the effect itself, is arguably aesthetically flawless in its presentation alone. The sound design in this same scene certainly deserves acknowledgment also, because of the sheer ferocity conveyed by the diegetic blast and the way in which the cataclysmic effects play out on-screen. However, though this scene is quite effective for what it is, I ca t help but be reminded of the term ‘Fridged’ in relation to the plot. The concept of someone (usually female) we haven’t spent a lot of time with but are told is important to the main character, being killed in an awful way to kickstart the main character’s goal; mainly vengeance or justice for what happened to the aforementioned female relative or love interest.

Although the initial scenario driving Jackie Chan’s scheme is kind of distasteful as character motivation, the following few scenes do their best to visualise a believable broken bond between him and his last remaining family member. Obviously, most of the heavy lifting for scenes such as this falls to Jackie Chan, and I feel in moments like this is where his range is predominant and absolutely incredibly showcased. Chan easily captures the tortured and pained expressions and mannerisms found in a grieving father, the powerful emotional moments in this film are all accredited to him and he does them absolute justice in my opinion. In all honesty this may be one of his best ever performances, and this singular role gives him the space to really exercise a different side to his acting persona that most people may not be used to. His deadpan delivery and demeanour are extremely functional for a sombre role like this and the screenplay it encompasses.in general though, regarding the performances in this film, Jackie Chan and Pierce Brosnan stand above the rest; their characters’ back and forth across the span of this film paired with some incredible scenes of action definitely carries an otherwise average storyline.

I personally think everyone in this film is doing an incredibly solid job in their respective roles, each actor turns in an extremely believable performance, although there is some overused and tired dialogue being used in one of the climactic sequences (you’ll know exactly what I’m talking about when you see it and hear it for yourself) the actors and actresses involved still deliver the lines in a credible fashion.

The plot is understandably simple yet, at the same time offers a higher complexity than most of the other productions Netflix has to offer. An appropriate amount of build-up is placed before each major plot reveal and on multiple viewings there is considerable foreshadowing regarding the identity of the specific bomber actually responsible for the blast that killed Jackie Chan’s daughter.

However, there is a somewhat unnecessary sub-plot that entails Pierce Brosnan’s nephew having an affair with his wife; this here doesn’t need to be in the film because it literally doesn’t affect anything at all. (Pierce Brosnan’s character finds out and literally doesn’t have a reaction other than mild disappointment and disgust at the fact that it’s his nephew that committed the deed.)

The end of the film does actually feel pretty satisfying though, all things considered. It successfully remains interesting without resorting to over-the-top instances of destruction, like in a lot of other films nowadays. So overall, I give it a solid 7 out of 10.