#also they won't work in a conventional romance though

[true-unicorn-queen]

it takes an insane amount of gravitas to pull audiences in for any actor but an unconventionally attractive actor in a romantic role is another level.

[vullcanica]

I've been thinking a little bit today, re: Avita, morality and love. Namely, how she makes a clean separation between the two and how she operates and makes her choices based on that.

To start with she's a woman with completely neutral moral innerworkings. It has nothing to do with alignment charts or what have you, I'm talking about the general basis of the morality of judgement and action, which ideally functions on neutrality and which posits all are born deserving of the same treatment. In any verse Avita is a firm believer in this. She approaches everyone with the same consideration, believing they are owed it. Yet she's capable of loving the morally reprehensible who act in opposition to that worldview. One would think this clashes with or even entirely negates her fundamental ethics but it doesn't. She maintains a complete mental separation between love and morality. They're two different, independently operational compasses that she follows on a case by case basis.

It's why she does not need love or even partiality to act morally and does not heed morality when she loves. Her type of easy kindness, acceptance and borderline heroism might get confused for deep empathy or compassion and suggest that she feels, relates to or even cares about everyone around her but at its core it's simply the unbreakable belief in equal merit by birth. That all creatures come into existence equally entitled to life, survival, freedom, respect, honesty and basic kindnesses. None above the other. Love itself, the concept of it, comes into direct conflict with those ethics - its very nature suggests partiality. So it is kept entirely separate. She does not need to love or even particularly like someone to treat them morally. Her kindness isn't only reserved to a select few. It's a much stronger sentiment and far more consistent an altruism than one borne of her emotional compulsions would have been.

((The other edge of the sword: She doesn't need to hate someone to harm them either. She could feel bad or remorseful for them and still choose to not let that move her. Yes, she's empathetic, there is an emotional compulsion there, but she allows it to play little part in her opinions and decision-making. Empathy is NOT morally charged and never will be.))

And then there's love.

And though love is separate from her moral views, it always reigns far above them.

The brightest example of this: In all verses Avita loves her fathers unconditionally regardless of their amorality, ruthlessness and infamous renown. They are her family, come hell or high water, and that is an immutable fact of her person that all who befriend or come to love her must accept in some capacity.

She experienced the best of them, yes, but was never spared their true nature either, nor lied to. Therefore her love for them is full, sincere, genuine and not exclusive of their darker sides. She spent her upbringing lovingly surrounded by the morbid and macabre and moralities and ideologies she did not end up growing into. In fact, her natural traits were nurtured fearlessly in such an independent household, even though her fathers did not possess them. That's the love she was surrounded by and the love she gives. She's capable of looking past differences, vast though they may be, and places no moral conditions on those she cares for.

[princesssarisa]

Comments about "Snow White and the Seven Dwarfs" that can and should coexist

I think these comments address every feminist complaint I've ever read about the 1937 Disney classic, though I don't know if they'll all be "addressed" in the live-action remake or not.

"It's an old-fashioned convention for a fictional young girl's dreams to revolve around romance, based in the outdated, patriarchal idea that love and marriage are what female lives 'naturally' revolve around and should revolve around. It's only appropriate that more 'modern,' 'feminist' heroines have different wishes and goals."

and

"For a lonely, abused orphan like Snow White, whose only apparent friends at the beginning are birds, it's perfectly natural that she should dream of love."

"Love at First Sight isn't realistic, to portray it in modern media is out of fashion, and in real life, it would be ridiculous at best and disturbing at worst for a young man to just notice a pretty girl singing alone in a courtyard and promptly climb over the wall and sing a love song to her."

and

"Love at First Sight is a storytelling convention, and children can see it in fairy tales without assuming it's real. It won't make your daughter instantly run off with a cute stranger. Snow White and the Prince's romance isn't meant to be realistic – it's a simple, old-fashioned, idealized Romeo and Juliet-style romance, and we should feel free to enjoy it as such."

"Modern feminism doesn't like damsels in distress. It's only natural that in today's media, heroines should show more strength in the face of danger than they did in 1930s media."

and

"It's perfectly natural for Snow White to be petrified with fear when the Huntsman is about to kill her – instead of, say, trying to fight back – and frantic with terror as she runs through the dark forest. Not because 'girls are weak,' but because she's so young. A boy in the same situation would have just as much right to be terrified. Besides, after her initial terror passes, she proves remarkably resilient as she comforts herself by befriending the animals and singing a song. Not all strength looks 'tough,' after all."

"The original Grimms' tale and the 1937 film's emphasis on Snow White's cleaning and cooking reflects an outdated, patriarchal model of ideal femininity. It's probably best for a modern retelling to at least slightly downplay it, or omit it altogether."

and

"There's absolutely nothing wrong with having a nurturing personality and favoring domestic skills, regardless of gender. It's perfectly fine that as an individual, Snow White enjoys cooking and uses songs and imagination to make housework fun. Especially because of the Cinderella-like life her stepmother forced her into – domestic work is the main skill that she's learned, and it's all she has to offer the dwarfs in exchange for staying in their house."

"The 1937 Snow White is a bit too much of a 'mother hen' to the dwarfs, in a way that arguably borders on ableism. In a modern reimagining, she should remember that they're her elders, not children, and give them due respect."

and

"It's endearing to watch Snow White cajole, gently scold, and tease the dwarfs, and to gain power over a household of seven men in her own soft way."

"As the Queen's only (step)child, Snow White is presumably the heir to the throne. Retellings focuses on her coming into her own as a leader, leading a rebellion against the Queen, and finally becoming queen herself in the end are valid. So are retellings where the Queen is only Snow White's regent and wants to kill her not just for her beauty, but to keep the throne for herself."

and

"Snow White doesn't need to be a leader and her storyline doesn't need to be political in any way. That's not what the tale is about."

"Someday My Prince Will Come isn't a modern feminist song, just like I'm Wishing isn't one. It's out of fashion for a heroine's dreams to revolve around romantic love. The emphasis on the Prince coming to Snow White also places her in a passive role, rather than letting her be active like a more modern heroine and search for him."

and

"Someday My Prince Will Come gets a bad rap. Snow White isn't fantasizing about a prince she's never met. She loves him already, and is singing of her undying hope that they'll meet again, even though it seems unlikely that they will. Nor does she center her whole life around her dreams of him. Apart from the song and her wish on the "wishing apple," she never even mentions him after their meeting: as much as she loves him, she doesn't waste time pining for him, but moves on with her life while holding onto her faith that they'll reunite. Nor can she go looking for him herself, because she's in hiding from the Queen, so of course she dreams that he'll come to her."

"Snow White is painfully naïve to trust the Witch, and to let her in the house and take food from her despite having been warned repeatedly to beware of strangers. This earns her no points as a role model. It's no wonder that modern adaptations tend to make her 'smarter,' and either (a) have the Queen take the shape of someone she already knows and trusts, or (b) have her know the apple is poisoned, but eat it as a self-sacrifice to save the dwarfs' lives or some such thing, or (c) rewrite the story's climax to cut the poisoning altogether."

and

"Snow White isn't stupid, she's just naïve because she's young, and the Witch takes advantage of her kindness and her love. Despite knowing better, she can't bear to refuse a frail old woman's pleas to let her rest in the house. Then when she's told that the apple grants wishes and will bring the Prince to her, when she's been dreaming of him so ardently and still has no way of knowing if they'll meet again, she can't resist. It's a fatal mistake, but aren't heroines allowed to make mistakes? Must she be a role model in every moment? Why can't it be poignant that the Witch takes advantage of her youthful innocence and tender heart to mislead her?"

"The trope of the male hero saving the heroine was overused and outdated long ago. It makes sense for a modern retelling of Snow White to find some way or other for Snow White to save herself."

and

"The Prince waking Snow White isn't a particularly glaring case of 'boy rescues girl.' It's just a matter of love conquering evil. The Prince doesn't do any 'manly' act of heroism; all he does is give Snow White a kiss that he doesn't even know will revive her."

"The Prince kissing the seemingly-dead Snow White's lips has earned so much controversy over the years that it should be no surprise when modern retellings avoid it."

and

"The Prince's kiss isn't 'necrophilia' or 'non-consensual.' He's just giving his 'dead' beloved a sad, affectionate farewell. In later movies, is Belle being 'necrophiliac' or 'non-consensual' when she lays her head on the Beast's lifeless chest while declaring her love, or is Elsa when she hugs Anna's ice statue form in grief? This is no different."

"The Queen can be seen as a misogynistic figure, first of all by vilifying a woman in power, secondly because petty vanity is her motive, and any possible sympathetic explanation for why she's so desperate to be the fairest in the land (e.g. because society ties women's worth too much to their beauty) is ignored. It's understandable that a modern retelling should try to make her a more nuanced figure."

and

"The Queen is still one of Disney's most terrifying villains, despite being the first. She doesn't need more 'depth' or 'nuance' to be an outstanding character."

"Snow White is a passive character in both the original Grimms' tale and the Disney film. She's defined more by what happens to her and how other people feel about her than by anything she does. So of course modern retellings will tend to find ways to make her a more active player and give her more agency."

and

"A character doesn't need to be 'active' or have constant 'agency' to be a good character. We push for heroines to have 'agency' because women have too often been forced to be passive and rely on men, but for an individual character, in and of herself, 'active' doesn't need to be the rule. In the Grimms' tale, Snow White is passive because she's more of a symbol of youth and beauty than a real person: the real (villain) protagonist is the Queen. And in the Disney film, where Snow White is more of a person and more clearly the protagonist, what she does is be warm, friendly, and full of life and joy. In this way she earns others' love, and love saves her life. For some of us, this is wish-fulfillment and central to the story's appeal. Snow White is threatened with the Queen's terrible hatred, but just by being herself she earns a bounty of love, and love proves stronger than hate."

[plutodetective]

Something that I noticed about Jonathan and Mina so far is that they haven't even talked to each other in the story, but they are already in an established relationship. So there is no getting to know each other, development of their relationship in stages up to proposing. So it doesn't classify as a romance, but they do things that show desire to reunite (ike Mina saying she can't wait and that one day she may give her new travel journal to him to share with)

I think that does still classify as a romance, just not a very traditional one, in terms of literary conventions (trust JonMina to not be traditional even when it comes to that. I love them, your honor.) I wish there were more fictional romances that focused on the post-getting-together part, in the commitment, the challenges that go beyond "will they or won't they?" I absolutely love how we can see how in love and devoted to each other these two are, without even seeing them interacting. I have a friend who's a first time reader, and she said she can't remember the last time she felt this invested in the main romance in a classic book, and she hasn't even seen them together! I love that they already know each other, have known each other for years, and even though they're so young, this is a more "mature" romance than we usually see depicted in media, in the sense that the relationship itself has lasted for longer and faced more challenges than we usually see in romances that only cover the beginning of the relationship.

(Sorry for talking about my own book here, but I'm writing an original series with a sapphic main couple that investigates mysteries together. The other day I was in a zoom call with a woman who runs a sapphic book club, and when I said that my series does start with them meeting, but that it covers decades of their lives and ends when they have a son in college, she was so excited, because there's nearly no sapphic romance that goes beyond those early stages. And I don't think that's exclusive to sapphic fiction. We need more romances that cover life after the early getting to know each other period, and has challenges like "working to earn enough money to get married" and "planning how to be married and also business partners", and I love JonMina for having been that so early on.)

[izzyspussy]

actually you know what. literally YES we are supposed to be ""handwaving"" away where the real stede bonnet's wealth came from. in the exact same way we're supposed to be ""handwaving"" the fact that the real blackbeard was white and a rapist, and that bonnet, blackbeard, and hands were all under 30 at the time our story is taking place.

when engaging with fiction the conventions of the genre are important and should directly inform your interpretation.

historical fiction is fictional. the conventions of the genre are that creators cherry pick aspects of their chosen time setting to create an environment and and aesthetic to be the delivery method of something else.

when you start reading or watching or listening to a piece of historical fiction, the set up and exposition will tell you where to expect inaccuracies. it is your job as an audience to either accept them or if they're unacceptable to you to find something else to enjoy. write a scathing review if you must, tell your friends you don't recommend it, make something yourself set in the same time period that has different inaccuracies instead (because it won't have none), etc. but pointing at an inaccuracy in a piece of historical fiction that formally introduced itself in the beginning and asking what it's doing there is quite silly.

of course stede bonnet, fictional character, doesn't have slaves - or at the very least it would be tonally jarring and narratively ineffective to show him doing so in this particular work. he is here to be an insufferable silly little guy who is coming of age at 46 and romancing a pirate on the jaunty high seas with benny hill music metaphorically playing in the background. it would have to be a completely different story, and he a completely different character, to put that particular historical accuracy in.

romance is also fictional. the conventions of the genre are that conflicts and/or the relevant consequences thereof are primarily interpersonal, that it is fun and/or sentimental, and that there will be a relatively clear cut happy ending. there's almost certainly some aspect of wish fulfillment fantasy.

romance is one of the genres that is most adherent to its conventions. all romance is the same at its most basic level, and that is a feature of the genre for its fans not a bug. the leads are attractive and lovable. characteristics that in real life might be unattractive and loathsome - like, for example, extreme wealth - but that would be attractive if only they could magically exist without any of the real world things that make them suck... will be present as things that are attractive by necessarily removing the real world things that make them suck, because it's fiction and you can do magic there. the characters are created to be endgame love interests from inception. they simply won't have qualities that make them impossible for the other one to love. they are not real people who have to meet by chance and make a relationship work with effort, they were formulated in a lab to be in this relationship with this person forever. yes, even when the characters are based on people who were real. in some cases (like this one), especially then.

stede bonnet, fictional character, would not fall in love with a rapist. therefore blackbeard, fictional character made to be a love interest to him, cannot be a rapist. blackbeard, fictional character, would not fall in love with a slave owner. therefore stede bonnet, fictional character made to be a love interest to him, cannot own slaves. this has to be true for the story to remain a romance.

(or i suppose you could write a romance romantic narrative between bonnet, slaver, and blackbeard, rapist, if you really wanted to. it wouldn't qualify for the specific genre of RomanceTM though, and it would be niche as hell if it had any audience at all, and there certainly would be no benny hill music metaphorical or otherwise. see? this is something else now, practically unrecognizable from what we started with despite having the same historical setting and characters.)

comedy, unlike romance, is one of the genres most versatile and least beholden to convention. however, it still has to be funny. of course, dramatic relief in comedy is just as important as comedic relief in drama, but the primary goal of comedy is to make the audience laugh. and while there are not many conventions other than that, and a skillful enough comedian really can find a way to explore any topic in a way that's funny, a romantic comedy must necessarily also follow the rules of romance - or else it is not a romantic comedy. it can't have jokes in it that ruin the romance.

and tbf, recognizing as an audience that a detail or topic that would be true and relevant if this were all really happening isn't necessarily true or relevant or is just never going to come up in a work of fiction for reasons inherent to that particular work is not ""handwaving"" those things away. those things are not there, in this thing. and if you want to think about those things in the context of this one specific thing that doesn't have them, that's what fanfiction is for. but it's an added thing, not something that is missing from the source or that is being ignored by the creators or other audience members.

[mermaidsirennikita]

Romance Recs: LGBTQ+ Love Stories Across Subgenres

Hello hello

Obviously, June is not the only month to read LGBTQ+ romance (would recommend doing it year-round, personally) but! It seems like a good time to make a themed rec post.

I won't pretend to be the most well-read in terms of LGBTQ+ romance, but it does matter to me, and I'm especially interested in romances that push the characters to something beyond "wholesome love story where everyone is nice all the time".

With that in mind, try...

A Long Time Dead by Samara Breger (F/F, paranormal romance).

Take Interview with the Vampire, make it sapphic, and offer less horror and more happy endings (of every variety). Don't get me wrong: the horror is very real. There is plenty of death and destruction, and a very Gothic Victorian feel throughout. But the story ultimately revolves around new vampire Poppy--bright, bold, and flirtatious--and experienced vampire Roisin--uptight, caring, guilt-ridden--trying to make it work over the decades. All with the specter of Roisin's psychotic ex. Also, you get a coven of gay vampires!

Heated Rivalry by Rachel Reid (M/M, sports romance)

Cocky Ilya Rozanov and golden boy Shane Hollander are the top rivals in the NHL--what nobody knows is that they've been hooking up on the low since their rookie season, despite claiming to dislike each other. One of my all time favorite books, this romance is pure vibes. Love and angst and sex and the examination of toxic masculinity and insecurities--you get it all here. It's serious, but never too serious, and the chemistry between the lovers sells it. I completely, 100% believe in this love story. Also, the depiction of Ilya's bisexuality is so good. Followed by the direct sequel The Long Game (which is also great) it's the second in Reid's queer hockey series Game Changers.

The New Camelot Trilogy by Sierra Simone (M/M/F, political romance)

If you're looking for a polyamorous romance, this ranks as one of the best--though it's not for the faint of heart. A retelling of King Arthur's saga in which Arthur (Ash) is the President, Lancelot (Embry) is his Vice President, and Guinevere (Greer) is the eventual First Lady, this trilogy has... all the things you'd expect from King Arthur (murder, long-past incest, tons of intrigue). Also, it's pretty kink-forward, with everything from CBT to CNC. But you never fall away from the core love story between three people who all adore each other. What begins as a conventional love triangle unfolds into a triad wherein they have to work out jealousy and resentment and past wounds. You could read all three characters as bisexual, but of course the real journey there is between Ash and Embry--war buddies, hurt lovers, who happen to be in love with each other and in love with Ash's wife. Angst has never been better (or hotter).

Mafia Target by Mila Finelli (M/M, mafia romance)

The mafia is obviously very homophobic--and this book does confront that! But it doesn't linger on the issue. Because the real appeal? Is the cat-and-mouse game turned whirlwind romance because between erstwhile mafia heir Giulio Ravazzani and ultimate assassin Alessio Ricci. There are a lot of secrets here; and I mean, they do meet when Alessio is sent to kill Giulio. They just can't help but like each other, though, and they're both so competent (and violent, to be honest). The romance is HOT, and Alessio's ability to kill is balanced with Giulio's natural authority and slick wit. You don't have to read the previous books in the series (all M/F) to understand this one, but I will say that the first two, featuring Giulio's father as the hero, have a pretty lovely father-son journey.

Their Marchioness by Jess Michaels (M/M/F historical romance)

A marquess and marchioness have a happy marriage--but Elliot knows that his wife, Merritt, loved another man before they married. Peter Reid, a playwright Elliot has patronized for some time now. So when their tenth anniversary approaches, Elliot offers Peter and Merritt the opportunity to rekindle their connection... under his watch. What begins as a kinky threesome, however, deepens as it becomes clear that Elliot (raised by a homophobic father) has as deep a connection with Peter as Merritt does. This is one of the few "struggling with my sexuality" LGBTQ+ romances that works for me, because Elliot is so loving to Merritt and Peter, and so determined to ensure their happiness... even at the cost of his own. Because both Peter and Elliot have an existing connection to Merritt, a lot of the development focuses on Peter and Elliot, and the emotional payoff is quite strong for a relatively short book.

Mortal Follies by Alexis Hall (F/F, historical fantasy romance)

This light--but high stakes--fantastical romance reads as half-Austen, half-Shakespeare, all witchy romcom between a couple of disaster lesbians. Maelys meets Georgianna Landrake (aka The Duke of Annadale) while a curse causes her dress to fall apart at a ball. The Duke is brooding, moody, and intense, resistant to Maelys's advances without actually being able to resist her. It's funny, as any Alexis Hall book is... and it's whimsical... but there's also an element of the melancholy here. The Duke lives on the outskirts of society, a suspected murderess; and watching her fall for Maelys is so satisfying, and never without a sense of the magical.

The Secret Lives of Country Gentlemen by K.J. Charles (M/M, historical romance)

Imagine moving to the middle of nowhere, having to take care of your absent (dead) father's mistress and a sister you never met, and trying to testify against a bunch of local smugglers... Only to go to court and find yourself being blackmailed by your old anonymous hookup. Who happens to be one of the lead smugglers. I understand the blackmail part being off-putting, but let me tell you: the romance between Gareth, hapless sort of upper class twit, and Joss Doomsday, smuggler extraordinaire, is worth it. We actually begin with Joss and Gareth on one of their random hookups, with no real names or information exchanged. It ends sourly, and they would never see each other again... but fate intervened. The marshy setting, the adventure, the romcom antics--this one is hard to resist.

Unmasked by the Marquess by Cat Sebastian (M/NB, historical romance)

Alistair, our hapless bisexual duke, sure does like his new best friend Robin, the young man about town. Things seem to go wrong after a reckless kiss--but just as Alistair thinks Robin is going to blackmail him, it turns out that Robin is housemaid Charity Church. But Charity sees herself more as Robin than Charity, not quite a man or a woman. This romance is pretty groundbreaking in terms of its depiction of Robin's gender identity--she uses she/her pronouns, but is pretty clearly non-binary. And while, as they fall in love, it's as simple as her simply marrying him to Alistair, Robin's anxieties are never dismissed, her resistance to playing a gender-conforming role valid. This is also just a really fucking good friends to lovers romance, with hot sex, yearning, a scene where Robin removes her gloves with her teeth and Alistair almost loses his mind... It's good shit.

Queen Takes Rose by Katee Robert (F/F, contemporary romance)

I remember the concept of Maleficent and Aurora being so popular years ago--and Katee Robert takes that and runs with it in her Wicked Villains series (which is generally pretty queer). Malone is our modern-day Maleficent, shady and vampy. Aurora is a brat who owes her, and their relationship is gray and complex and heated. If you're looking for sapphic romance with a bit of an edge (without ever going too far), this could be for you!

Something Fabulous by Alexis Hall (M/M, historical romance)

When stuffy duke Valentine botches his proposal to the woman he's been set to marry since childhood, he's forced to go on a cross-country adventure to find her... alongside her frivolous, somehow alluring twin brother Bonny. A true historical romcom with actual laugh out loud moments (as well as great romance), this book... goes wherever it wants. There's dueling. There's a colony of lesbians. There's an interesting use of metaphors of certain body parts. Also, Valentine is demisexual! It's a must-read, especially if you need a pick me up.

Something Spectacular by Alexis Hall (NB/NB, historical romance)

After being dumped by her best friend Arabella, Peggy is woe begotten but not able to resist said friend's pleas for help in seducing the famous castrato soprano, Orfeo. But Orfeo seems a lot more interested in Peggy than Arabella... A standalone sequel to the above book (which does read better if you read them in order, in my opinion), Something Spectacular gives us a truly unique love story. Peggy is genderfluid, and Orfeo is agender. They're both a bit wounded, both a bit on the fringes of society; and Peggy's sensibility and competence is contrasted Orfeo's seductive sense of drama perfectly. You don't see castrati depicted often in fiction, and I think Orfeo's trauma and sense of identity is portrayed sensitively... while never taking away from their passion and allure. Still extremely funny, just a bit angstier than the first book, and kind of perfect.

Pride Not Prejudice by various authors (anthology)

This recently published collection is one I must recommend--it comes from a wide variety of diverse authors, and the pairings are equally so. I haven't read all of them yet, but standouts thus far include Mafia Brute by Mila Finelli (M/M, mafia romance), about an Italian fashion designer and a Russian mobster... on a boat; When She's Shy by Ruby Dixon (F/F, sci-fi romance) in which an introverted human woman falls for a lovely, sexy alien babe; and Lady Waverly's Lover by Amalie Howard (F/F, historical romance) a hot interclass, age gap illicit affair story.

The Conquering of Tate the Pious by Sierra Simone (F/F, historical romance)

This novella is a truly unique historical romance on several level. We go back to the time of the Norman Conquest, with our heroine, Tate, acting as an abbess at an unconventional convent. What's she to do when the Norman invaders arrive? Bigger issue: what's she going to do about the fact that the feared "Wolf" is a (kind of villainous) lady? It's a little dark, a lot hot, and somewhat surreal in the best kind of way. Right now, you can only find this in the Villain I'd Like to F... anthology, which has several other good novellas (all M/F except for one M/M/F entry) but the authors tend to release the novellas individually after the collections shutter.

An Island Princess Starts a Scandal by Adriana Herrera (F/F, historical romance)

Adriana Herrera writes fabulous historicals, and this is no exception. Here we have a Caribbean heiress running up against (in more ways than one) a guarded, business-minded duchess. Cora is savvy and sexy but emotionally withholding; Manuela is engaged to a man and committed to staying the course, despite being a lesbian... but before she marries, she's determined to have some fun. But, you know, fun does tend to lead to love. A special part of this book is its Parisian setting; 1800s Paris was lesbian central for a minute, and the book DELIGHTS in that.

A Lady for a Duke by Alexis Hall (M/F, trans heroine and cis hero, historical romance)

Probably the most serious-minded Alexis Hall I've read, without losing its sense of whimsy. Viola has been living as her true self for years, ever since she faked her death at the Battle of Waterloo. She's left most of the people she knew before behind, including her best friend, the Duke of Gracewood... Until she finds out that he's become hopelessly depressed, tormented by chronic pain and survivor's guilt. She's unable to resist coming along on a venture to help him--and, not recognizing her, he's at first intrigued and then, slowly, captivated... If you're worried about this book doing the "moment of recognition wrong"--I personally found it extremely gentle and romantic and sad. Never does the book declare Viola wrong. Never does it not love her. And God, Gracewood loves her too. It's a swoony romance that never takes the binary route, luxuriating not in Viola's trans-ness as a tragedy. A lot of it is also really a great adventure of a romance, in a way that's charmingly old school. Deep sigh.

Give Me More by Sara Cate (M/M/F, contemporary romance)

For me, the best poly romances allow for some angst, some work towards figuring out dynamics and acceptance. This book does that perfectly, and it makes its characters do the work. Drake (who's long been out as bi) and Hunter (who identifies as straight) have been best friends since childhood. They even met Hunter's now-wife, Isabel, at the same time; and the three of them going on a work-related road trip together seems natural. Until Hunter catches Drake and Isabel in a tense moment. What begins as Hunter watching leads to.... feelings. Between all three. The book is less about three people falling in love, and more about Hunter and Isabel, who've been in love for a decade, realizing that they're both also in love with Drake (and have been for a long time) and Drake is in love with both of them. It's emotionally intense (heads up: Hunter has a hard time coming to terms with his bisexuality because of his abusive father) and tenderly romantic at once. Also, hot as hell.

The Queer Principles of Kit Webb by Cat Sebastian (M/M, historical romance)

When duke's son Percy approaches retired highwayman Kit Webb to steal something from Percy's father, Kit turns him down cold. But he IS open to teaching Percy how to steal--leading to a caper of a love story between a guy who falls hard and a guy who doesn't want to admit he's falling. And yes--the gruff highwayman is the one that falls hard. Percy is one of my favorite romance characters of all time, brittle and cutting and flirty and cold. He's only really sweet for Kit, and even then it takes a lot of work to get him there, even though he loves the people he loves so much. It's funny, it's light while packing an emotional punch, it's an adventure with everything from robbery to prizefighting. And it's followed up by the delightfully queer The Perfect Crimes of Marian Hayes, a M/F romance with two bi leads.

[mellicindi]

Hello! I was wondering, how do you plan fics? I remember reading Life is Not a Hallmark Movie and thought the storyline was amazing. So I was wondering if you could explain your process for outlining?

Hi! Thanks for the ask~

I wish I had a more helpful answer, but the truth is that I didn't have an outline for Hallmark fic. I published each chapter as I wrote it, without really knowing what would be coming in the later chapters. (There were a few notable exceptions that I could talk about in more detail in another post, if you're curious.) I've tried tons of methods of outlining before for other stories, and would consistently find that even if I was really excited about the outline, the characters just wouldn't behave according to my plans. If I forced them to, the writing fell dead in the water. Hallmark was sort of an experiment for me, to see what would happen if I tried flying blind. I was honestly shocked at how much easier it was for me to write when I didn't plan ahead. That said, I think there were a couple factors that helped me actually finish it:

I had a very clear intention of the feelings I wanted to evoke. That being, a story about two people who are very lonely in different ways, overcoming their hangups and falling in love. Bittersweet, but ultimately heartwarming.

I was already familiar with the structure of romance novels. So, though I didn't outline, I knew that the general shape of the story would be: meet cute --> characters grow closer --> point of crisis forcing the protagonist to acknowledge his feelings --> getting together --> some sort of betrayal/crisis that tears them apart --> reconciliation and true happy ending.

I had a lot of tropes to work with. Because it was a parody of a Hallmark movie, there were a few scenes I knew I wanted to include, even if I didn't know the details of how/why they would unfold. (ie, a fancy Christmas party, an airport reunion scene, etc.)

I JUST LOVE BINGQIU SO GODDAMN MUCH. Seriously, I just want to dissect Shen Yuan's brain, and I myself am already in love with Luo Binghe, so writing about falling in love with him was natural sldghidfgh

So, I had an emotional core, a general structure, key scenes, and characters I was madly desperately unhealthily obsessed with.

After that, I focused on storytelling principles. The first is always following a chain of causation. Another is the +/- method. These are useful for pacing, and keeping even simple scenes engaging. I love rambling about storytelling principles, so hmu if you're interested in a write up about anything!

I also had a document called 'vague future ideas' that was just that: either potential plot points or snippets of dialogue that were floating in my head. Some made it in, some didn't. I tried to keep it to short bullet points as much as possible, just a collection of vague things that could happen, but not getting too deep into any of them. This was mostly helpful in figuring out which things should not happen, tbh XD Like, at one point, I was thinking LBH would actually succeed at getting on the airplane, and there would be some sort of time gap, and rather than LMY explaining about LBH's past, SY would have to like, go on a sleuthing spree and figure out where LBH ran off to, and... uh, yeah, glad I dropped that in the brainstorming phase lol!

So yeah, sorry if that wasn't super helpful for the question you actually asked. But, as for outlining methods I used in the past, here are a few that helped me the most (keeping in mind that I tend to prefer looser methods, which certainly won't be the case for everyone!):

One Page Plotting, which is quite similar to the Story Circle

Both of these break down the story into 8 major beats. I find thinking about stories in quarters more intuitive than in thirds or fifths, so I prefer these over the 3-act or 5-act structure.

Flashlight Method

A nice middle ground between plotting and discovery writing. Probably best used if you're familiar with the conventions of the genre you're writing in to use as a mental map.

I also want to shout out Ellen Brock's youtube channel. It's a treasure trove of useful writing advice from an editor's perspective. If you're into really intensive outlining, I'd recommend her videos for methodological plotters. Her ongoing series on story structure is also wonderful.

Thanks again for the ask! LMK if there's anything you'd be interested in seeing me go more in-depth about. I'm just a big 'ol storytelling nerd lmaooo

[clairelsonao3]

5 Comfort Films

Thanks for the tag, @mysticstarlightduck, whose post is here!

Seems like everyone's doing this one today, and since I seem to be doing very little today except comforting myself after an extremely stressful day yesterday, I might as well go for it. (And maybe then I'll watch them all!)

(By the way, I'm well aware that the newest film on this list came out in 1991, and I make no apologies for that.)

Criteria: Like any top-5 style list, I had to come up with my own very specific criteria, because I'm an obnoxious, pretentious nerd. That means trying my best to include different categories -- I could easily name 5 musicals or 5 Disney movies, but I won't. So it's one musical, one Disney, one romcom, one dramedy, one straight-up farce, etc. Second of all, Christmas movies could be a category all on their own, so those are all disqualified (check back in December). Fourth, no sad endings (sorry Titanic, Moulin Rouge, and Casablanca.) Fifth, I cheated by naming a runner-up for each one that falls into the same category. Sixth... I'll shut up now. Here's the list.

The Sound of Music (1965) -- Honestly, just about any musical could probably find a spot on my comfort list, but it begins and ends with this one. Slow-burn romance, breathtaking cinematography, and arguably Rodgers and Hammerstein's greatest score make 3 hours go by like that. Even when the Nazis come on the scene you're never seriously worried anything bad will happen. Runner-up: Gigi (1958).

2. Mary Poppins (1964) -- Yes, Julie Andrews again. She herself could be a walking, singing comfort movie. There are a million Disney animated flicks that could make the comfort list, but by mixing animation and live action to perfection, this is automatically the best of both worlds. Even hearing Dick van Dyke's horrendous Cockney accent is like wrapping up in a warm blanket. Runner up: Beauty and the Beast (1991).

3. Pretty Woman (1990) -- I was probably well into my 20s before I realized, hey this isn't just a movie I watch every time it comes on TV for no reason. I actually LIKE it. It's one of those movies. The lightest, fluffiest movie about sex work ever made. A self-acknowledged Cinderella story. Runner-up: Just Like Heaven (2005).

4. The Breakfast Club (1985) -- Even though Ferris Bueller is also great and obviously the more conventional choice for a John Hughes comfort flick, I'm going to go with this one. Yes, it's a bit darker, but it's also funny as fuck, which is kind of my thing, it involves forbidden romance, which, duh, and also has a surprisingly hopeful and upbeat ending. Runner-up: Ferris Bueller's Day Off (1986).

5. Spaceballs (1987) -- I thought way too hard about which film should get the last spot on the list. If the musicals are rainy-afternoon-watch-with-your-mom-in-the-living-room kind of movies, this is a late-night-premium-cable-parents not-home-watch-with-your-brother-in-the-basement-and-laugh-your-ass-off kind of movie. Every time I lampshade myself in something I write (and I do that a lot) it's a nod to Mel Brooks and the classic satirical style of comedy he perfected. Runner-up: Star Wars Original Trilogy (1977 et al.) (I know, not the same genre, but it's the source material, so whatever).

Hmmm... I'll gently tag @starlit-hopes-and-dreams and OPEN TAG because I'm seeing everybody get tagged in this and I can't keep them all straight.

[thesmallmeggles]

The Moment has arrived!

✨Zanzo Relationship Headcanons✨

These are painted with broad strokes - the specifics are variable. Also these aren't in any particular order.

Being Friends With Zanzo

Casual knowledge flexes to impress you. Competitiveness. Teasing.

More than anything, Zanzo wants someone who'll respect his autonomy. If he feels that you're too clingy, he'll retreat.

He will use you as a sounding board. You don't need to agree with what Zanzo's saying. He just wants someone to hear him out.

Part of your friendship duties involves talking Zanzo out of his more questionable ideas.

If you don't have any activity ideas planned, Zanzo's got you covered. What ever you end up doing will be memorable - not necessarily for the intended reasons.

Expect anime watching and video game sessions in your future. Attending conventions.

Pre-Canon testing sessions in the R&D Department

*Casually rearranges his schedule so he can spend more time with you*

If he drops or reduces the Jojo villain act around you, that is a sign of trust/comfort.

Nicknames!

Please let him into your life. Tell him about your work/school day. Hobbies. Pets. Family. He can't be the only one running the show.

Random texts/social media pings.

If Zanzo offends you or oversteps a boundary at any point, just tell him. He'd rather have honesty than quiet resentment.

Romance Specific

Most things I mentioned in the above section apply to this one.

If you're the one to ask him out, he'll be outwardly ecstatic. Internally however, Zanzo is skeptical. It's just as if not more likely that you're playing him for an ulterior motive. He will give you the benefit of the doubt regardless. A scientist is always open to experience.

Zanzo won't hesitate to ask you out. Moving forward might be challenging though.

Autism be damned, this man can flirt. He might not realize he's doing it.

Zanzo may persuade you into matching cosplays.

There will be Pocky.

Pre-Canon Zanzo would stage something in the AR Labs. He can't take you to the Moon, but he could simulate it.

Zanzo pulls out all the stops - flowers, candies, etc. You deserve nothing less than perfection. He definitely wasn't binge watching romance anime to prepare beforehand. ;)

Gifts and date ideas tailored towards you and your interests.

Zanzo is the type of person who insists on paying for everything himself. You might be able to convince him to split the bill.

Anything that goes wrong on your date will throw Zanzo off. He's usually quick on recovery.

He loves when you complement his projects, but if you say anything positive related to his appearance or habits - he'll get flustered.

Once you reach that stage of your relationship, please hold him.

[gillianthecat]

thoughts while watching Happy Merry Ending (episodes 7-8)

Episode 7:

Oh darling. On the one hand I as a viewer am glad you're pushing this seme away. On the other, my heart is breaking for you that it's because you don't think it's safe to be loved, and that someone would only want you out of pity. You say that he and your abuser are the same, but not for the same reasons I think so. I see stalker parallels; you see that falling in love puts you in danger.

But Jae Hyeon, to his credit, is not actual an abusive stalker, merely an eager seme thrust into the wrong story. And so he listens with a breaking heart and stays away.

Yay! They're letting Seung Jun have personal growth and be courageous on his own! Writing songs. Finding his own voice again. Walking in to strange studios. (It seems for now at least they're prioritizing healing journey over seme-uke romance.)

And Chun Wu escaped too! I'm lying here literally grinning with tears in my eyes. And the CEO has been taken down! I don't even mind that it all happened off screen, because his defeat wasn't the important part. Seung Jun's healing is, and that's what we get to see.

This feels like the final episode? But Viki lists 10? And world-of-bl lists 8? I confused. Guess I'll find out as I go. (Speaking of things that confuse me, I guess Yeon Oh is a stage name?)

Oh Ho Yeon. You are a good egg and a selfless friend. Your smile when your coworker teased you about "your lover." So pleased and rueful. And his non-confession. "Buy me dinner sometime." What a line! Too ambitious for this clueless, and probably still insecure, man to get. Especially since he's being forced by genre conventions to love an overbearing stranger. But there was so much hope and resignation in it. Your eyes. As they sat on the dock I too had a flash of hope for real love to flourish, but it was soon whisked away. And Ho Yeon, because he most wants you to be healthy and happy, tells you to go get what the uke parasite that has taken over your body demands you want.

But seriously, how can they make Ho Yeon keep getting better and better as a character and not make him endgame. And they cast the hottest man in the show to play him? Who can also act and I'm pretty sure carry the lead. And they have 10x the chemistry with each other. It feels like different ends of the production team we're working at cross purposes.

(Secretly still holding out hope for my episode 11 dreams to manifest.)

Aw he waits in the cafe all day. I've said this before, but i feel like this actor is really good and the nuances of Seung Jun's emotions and the complexity of his layers. It's clear without being overdone. Also I like his voice! (I'm assuming it's actually his.) And the world created in the show also feels grounded, not overly flashy but real. I would buy that as a real television studio. The coffee shop and surf paddle board place seems like they exist. They probably don't have a huge budget, but it doesn't feel made on the cheap.

He took off his sunglasses at the end! He dared to expose himself to being seen! And he smiled his lovely smile!

Episode 8

I guess 7 wasn't the final episode after all. That one was dedicated to Seung Jun's healing himself, this one will be dedicated to reunion. (I can't imagine that 9 and 10 are real though, what would be left? Surely they won't drag reunion out for that long. Maybe it's to show the real ending of Seung Jun finally falling for Ho Yeon. Probably just interviews and bts stuff.)

Though the multiple question marks after the episode title "Happy Merry Ending?!?!" have me worried/intrigued lol

Ok I'm gonna try and watch this as a bottle episode, disconnected from everything that came be for and everything I know about the characters. Because I expect as simple reunion story, about two lovers forced apart finding each other again, it could be quite sweet.

Jae Hyeon is trying to move on with his life but is stuck in sadness :-( He decides to close down the coffee shop and now it's his turn to drift.

And dramatic reveal! He finds out that the love of his life has become a singer and hears him dedicate a song to him. Time to run to your man!

And Ho Yeon to the rescue to let him in, winning millions of hearts world wide while continuing to break his own.

The adoration on Jae Hyeon's face as he watches Seung Jun sing. The song dedicated to him. About how he inspired Seung Jun to regain his courage. (But I'm confused it doesn't seem like SJ notices him in the room?)

Ah, he did see him, but was being professional about it. Now they take turns running to each other! I'm enjoying seeing Jae Hyeon be one nervous about his whether he's wanted, and Seung Hyeon be the pursuer. That feels like a necessary balance.

And so they walk in a beautiful park, and hold hands. They have adorable domesticity, and now I can see their chemistry. Seung Jun is comfortably himself again, and Jae Hyun remains enamored. I do feel thrilled for Seung Jun that he gets to have the joyful safe heathy love he thought he could never be allowed. I was right; viewed in isolation this episode is sweet.

(If only i understood why they fell in love in the first place, or at least felt like I saw it happen instead of just being declared to have happened, lines like "let's never be apart again" would have emotional resonance to me. And the intentional call back to that opening shot of Ho Yeon in Seung Jun's bed would make me feel glad that SJ found his love instead of sad for Ho Yeon's broken heart and for the better version of the story we were robbed of.

Seung Jun looks so hot in that white suit oh my god. It was a good production choice to have him in that ill-fitting, too tight black suit at the beginning, when he's hiding and uncomfortable in his own skin. Yet another detail that made this world and these characters feel complete.

Ok but this scene in the wedding hall is actually wonderful. Seung Jun walking slowly down the aisle of plants with that beautiful smile on his face. Jae Hyeok realizing his dream of singing on stage to the man he loves. (And of course he too has a gorgeous voice when he's not pretending to be a rank beginner. I assume this actor is also an idol?)

yeah and of course you can't resist kissing him after that romantic stunt. Even I was crying out for Seung Jun to march over there and grab him. (Also the actor conveyed his overwhelming love and desire very well. I continue to stan.) And this kiss was better executed, lol.

Episode 9

Well. I pressed play. Let's see what it is. Everything felt pretty neatly tied up though, so it's hard to imagine more story. But it seems like the same kind of opening credits? (At this point it's hard for me to even advocate for them to break up and Seung Jun to end up with beautiful pining Ho Yeon, because Seung Jun seems so blissful in his new life.)

Ah yes. They're just interviews and bts footage. Which I may watch someday because curious about a lot of the choices made, but I want to marinate in the show itself for a while first.

So. Despite everything, I think I loved this show. Like, my instinct is to rate it a 9.5 out of 10. There were a few serious flaws in structure, but I think even though I never was convinced by them falling in love, the end convinced me that they were in love. Because of that, and because it was really more about Seung Jun's journey, I wouldn't necessarily call it a BL. The prices fit oddly, but not of them were beautiful and grounded and real. And it turns out that is more salient to my feelings about the whole thing.

[luxsea]

KICKS IN THE DOOR GIF. 3, 4, 9, 19, 21, 29, 31, 32. ok love you mwah

blorbo jail for moji 1000 years! >:) love you too mwahahaha thank you for the ask, i may have went overboard w my responses >.<

3. What is your character’s moral alignment?

for the most part, lux is chaotic good! their actions are not really motivated by any desire to be a good person, they simply stand up for others freedom and their right to make decisions for themselves. you can do whatever you want forever and ever <3 there are traumatic events in their past that very well could've lead them down a remorseful path but they instead eventually accepted each step of their journey and the people they meet as a learning experience. and when they care deeply for someone, all morals go out the window if it means keeping them safe. they may be pure chaos at times but they have respect for the knowledge and passions of other people and they do not steal from an honest working man. but the gods can kiss their ass for all they care.

4. How did you choose your Tav’s name, if you gave them a unique one?

any jokes i could make abt needing to escape character creation after being trapped remaking lux for a week aside, the reasoning behind why i chose their name is very multifaceted. it's mainly inspired by tiefling virtue naming convention, a name they choose for themself after they left their home and is symbolic of who they aspire to be. to focus on that glimmer of hope despite everything and shine for others. they also have a great appreciation for art and a good shiny. and they literally have to be the shiniest thing in the room. "i am a (lux)ury few can afford" etc. lux is also short and sweet like tav! :) i really like latin names and will never escape the kingdom hearts fan allegations (guilty) they don't have a family last name because [redacted] and i don't know if they would keep their trade last name if they had one. they deserve a title though, something badass to match their fury of avernus wifey >:) when i find the perfect one i'll let you know!

9. What is your Tav’s biggest priority or goal?

their biggest priority during the game is to avoid the main quest at all cost. "i quite like the worm and the powers it grants me actually" is to be a light in the darkness for the companions they're closest with on their personal journeys. they want to find a way to fix karlachs engine because she deserves to enjoy her life despite the injustices shes suffered, to make sure shadowheart doesnt feel alone in the world as she discovers who she truly is and to help wyll find an alternate path from the endless cycle of duty and self sacrifice. there is always a way. lux is the designated leader of the group and they won't let anything bad happen to their friends especially now that they have found a sense of belonging again, they wouldn't dare fail them and they'll set the world on fire if they have to.

19. Who is your Tav romancing, if anyone?

oh... you know ;3 the big secret around camp is that lux is romancing karlach, totally not obvious to literally everyone!! these two make me feel very mentally ill you know this. the nature of my own immediate karlach favoritism and her being very much my type lead to a lot of coincidentally great chemistry between the two ¯\_(ツ)_/¯ and even though i very much believe they'd only be committed to each other, i love exploring the dynamic of a polyship with shadowheart and if the game allowed it past act 1. they're a sun/moon/star trio and make me feel so soft ;-; lux will be romancing shadowheart in my 2.0 playthru :') if im strong enough to resist romancing karlach again sdfdfgsdfd

21. If you’re romancing anyone, who fell first and who fell harder?

these types of things with karlux can be a bit difficult to pinpoint considering they were instantly fond of each other and developed feelings pretty quickly, accelerated by their circumstances. karlach was never able to think about romance during her time in avernus and once she's free she's just grateful to be alive, she would be content just finding a way to cool down and hug someone. so falling in love was certainly not something she expected- and neither did lux. karlach falls in love after the many cozy campfire talks and the risky kiss they share under the stars. she tells herself what they have between them is casual, that she doesn't mind sharing lux if they pursue someone else but she's really just repressing the extent of her feelings because of the limitations of her engine. but to see lux fight so hard to find a solution, and caring for her so much, that's when she knows. and lux ofc is super in love with her already but it hits them hard during karlachs second engine upgrade at last light. the excitement for both of them to finally being able to touch eachother mixing with the horrors of the ultimatum that is given on her life. karalch could die at any moment and she accepts that, but for lux, who is realizing they love her so much that they cannot imagine their life without her... that love is insurmountable and terrifying.

29. How easily offended are they? How do they act when offended?

i think their lived experiences have left them able to tolerate the petty stuff. in their travels they've heard pretty much every insult under the sun but they draw the line when other people are being degraded or oppressed. they try their best to be firm in their boundaries and what they don't tolerate. this isn't because they're all calm and collected, they're simply too aware of how dangerous they could potentially be if they let their anger take hold of them. this is something that can make them so powerful when they're in situations where they have to fight. but there is always risks and the nature of wild magic requires them to constantly question if it's worth it. and sometimes lux doesn't care.

31. How does your Tav dress for different occasions, like very fancy situations?

every occasion is a fancy situation, what do you mean? :^) lux's fashion sense can be a bit eclectic but when it comes to accessorizing, every piece is carefully picked and considered. they very much dress as a means of self expression and are also aware of how others respond to how you present yourself, using that to their advantage at times. i'm just saying, i think cleavage adds a charisma bonus and you can't tell me i'm wrong.

32. How did your Tav get their scars, if they have any?

their face scars originate from my first play through, i thought it would make sense two thirds through the journey that they would have some battle scars, especially considering how reckless they can be so i added it to the design. when i remade them for my 2.0 playthrough i kept the scar because i like when reiterations of a character retain details in honor of their past self :) this is tentative but i'm also experimenting with magical scaring on their hands, as if their magic sometimes burns right through them when they use their powers or even is rotting them from the inside out when they don't. it's a source of chronic pain they've had to live with which is why lux 2.0 even as a sorcerer makes a warlock pact in a desperate attempt to salve and control it. i would love to explore this idea more but for right now it's just a loose concept that also looks pretty badass c:

Baldur's Gate 3 Tav Ask Game

[miss-sapphicana]

F.A.Q

This post is the mobile friendly version of my "faq" page that is viewed better on a computer. The information is exactly the same, this is just for mobile users to visualise this information easier. | Navigation.

Ask Guidelines

I won't post bigotry (racism, xenophobia, lgbtphobia, misogyny, ableism, classism, fatphobia, etc are not allowed). I won't post anything NSFW either. Ask stuff related to the topics of my blog. Thank you ♡

Frequently Asked Questions

Question #01: What is Gaylor?

Gay + Taylor = Gaylor. Gaylor is a person who believes that Taylor Swift is not straight.

Question #02: What is queercoding?

Queercoding is the subtextual coding of a person/character in media as queer. Though such a person/character's sexual identity may not be explicitly confirmed within their respective work, a person/character might be coded as queer through the use of traits and stereotypes recognisable to the audience. Queercoding in people is used when a person wants to induce their sexuality without explicitly saying it either for personal reasons or because they aren't allowed to do so.

Question #03: Do you think Taylor is queerbaiting as a marketing strategy?

Disclaimer: This answer contains sources, definitions and phrases used in posts by ladychlo and larryisinlove. I just put them together and rewrote them slightly to make it more understandable for non-English speakers. All credit to them.

Let's first define what marketing is: Marketing is a term used to refer to the set of techniques or strategies used to study the behaviour of markets, which are made up of all consumers or potential buyers of a product. Its purpose is to attract and retain customers by satisfying their needs. The term "Marketing" is often confused with other types of actions related to advertising. It can also be considered as a set of actions or strategic aspects that can be developed in a planned way and cover a multitude of applications beyond simple advertising. It can be used to create everything from a sales strategy to planning the different impacts of a brand or company's actions. It is, without a doubt, a strictly necessary tool to achieve success in the market.

Marketing is normally applied to companies involved in the manufacturing of goods (tangible products). However, this discipline can also be used for the marketing of services (intangible products). We can name hotels, hairdressers, repair companies of different goods, professionals (doctors, lawyers, accountants, etc.), transport companies, and others. For its part, one of the sectors that has become more dynamic in the last decade is that of events. Events can be very diverse: sporting events, congresses, conventions, fairs, etc. Marketing is useful both to promote the realisation of these events and to use them as a communication tool. Marketing is also applicable to people: Athletes, movie stars, singers and politicians, for example, design and plan their careers by hiring a personal manager and public relations agencies.

Let's now define Queerbaiting: The term queerbaiting originally emerged to criticise the marketing techniques of some production companies that use homoerotic subtext to attract a queer audience by using hints and clues only to trick them later and throw the "no homo" at the end. You won't find the term in a formal dictionary but it was commonly used by fandoms on sites like LiveJournal. Here is the definition of Fanlore: «Queerbaiting is a term used to describe the perceived attempt by advertisers or canon creators to draw in a queer audience and/or slash fans by implying or hinting at a gay relationship that will never actually be depicted. "Queerbaiting" is most often — but not always — applied to television and film.» And this is one by The Guardian: «Queerbaiting is a term that exists mostly in fan communities and refers to the writers or creators of a world (whether of a movie franchise, a book series, or a TV show) using injections of homoeroticism and romance to draw an audience seeking LGBTQ representation, while not alienating a wider audience who may not want to see a gay relationship depicted.»

The damaging thing about queerbaiting is that it perpetuates heteronormativity, purposely shows it as if it's some kind of misunderstanding, a joke about how queer audiences are "delusional" to think that a character can be queer and basically invalidates queer reading. (queer reading is «an interpretation of discourse. It is not about finding a subtext created by the author, but rather about relating the text to the queer experience. It is, mostly, a reading from a critical point of view.»). In a cishet-normative society, we were taught to assume that heterosexuality and cis-ness are the norm. So whether you like it or not, you have the expectation that a certain person - artist or not - is cishet. So when that artist starts to imply otherwise, your expectations are distorted and they are contradicting normality and, of course, you're not going to assume "oh, they're not straight, cool", but you're going to assume that they’re using it for profit, ruling out the possibility that they're just queer. The world is not queer-friendly, most social structures are inherently cishet normative and in fact in many, many cases is actively queer erasing. As much as you can't assume an artist is cishet you can't put them on the same level as the industry as a whole either.

Queerbaiting and Pinkwashing are not used for individuals, an individual is a human being who feels anger, terror, pain, love, who can think and much more. That is why humans are by nature and culture complex and nuanced, and cannot be reduced to mere profit. You also have to see if they have enough advantages, resources or power within the system to basically come out of the closet. Assuming someone is queer is not "disrespectful" or "wrong". While the definition of queercoding is also linked to the fictional characters they write. Expressing one's sexuality and gender through clothing and artistic choices is something that can be traced back a long time, this blog by a lesbian dress historian is very interesting. It looks at the history of lesbians through clothing and fashion. Assuming that a person can be queer by coding through their clothing and fashion choices, through their art and artistic creations is not a "bad" thing. You are not delusional, you are reading situations and relating to them. And homoerotic interpretation is not a bad or negative thing. In my personal opinion, real people should be allowed to not know their own sexuality/gender and play with gender expression or try to have relationships with people of the same gender without having to explain themselves, as LGBT+ people do NOT own an explanation to cishet people.

Real people are allowed to know their sexuality and/or gender identity and not want to tell their friends or a public because 1) We don't owe explanations to anyone. 2) Coming out of the closet is literally a health risk both physically and mentally and if a person decides they don't want to go through that process, they should be respected and not accused without knowing. So:

— LGBT+ people using the term queerbaiting on real people: Do you remember being in the closet? How would you have felt if, when you had just discovered your sexuality/gender identity, you had thousands or millions of people accusing and insulting you? You would have felt pretty bad, wouldn't you?

— Cishet people using the term queerbaiting for real people: Why do you care so much if a person is ambiguous about their gender identity or sexuality? Why does it bother you that you don't know everything about everyone? Why do you think it's an obligation for LGBT+ people to come out of the closet?

— People who use the term queerbaiting on real people in general: Do you really care that "cishet" people don't "benefit" from the LGBT+ community or do you only care about satisfying your own expectations? Do you understand that you can't force people to come out of the closet against their will? Do you understand that accusing a person without knowing what you are accusing them of is inappropriate, don't you?

If you want to reflect further on queerbaiting: This Google Drive contains a lot of material.

Now that you know what you are talking about, I think we can conclude that: No, Taylor isn't queerbaiting as a marketing strategy.

Question #04: Do you think Taylor is unlabeled?

I don't rule out the possibility that Taylor is unlabeled, of course! but many people say she is unlabeled because she had never specified her sexuality. Not talking about your sexuality does not equate to being unlabeled. Not talking about your sexuality means that you want to keep it private, your sexuality may or may not be unlabeled, but you don't want to say it. Being unlabeled means that you don't categorize yourself under any of the commonly used labels and micro-labels. Basically, you don't want to put a fixed "title" or "label" on your sexuality.

Question #05: What is closeting?

Closeting is when a queer person hides their true sexual orientation or gender identity from the public and those around them, usually for fear of persecution, rejection, the reactions of others, legal issues, among other things. It is worth clarifying that it is not always for legal reasons, some people prefer not to come out of the wardrobe and that's it. But you have to understand something: Being in the closet for any reason, even just not wanting to come out, is already due to homophobia. What does this mean? That being in the closet will NEVER be the fault of the person in the closet, it will always be the fault of society and the situation the person is in. So, why do we include people who for fear or personal reasons choose not to come out of the closet when we talk about closeting?

Firstly because they meet the definition of closeting and secondly because being in the closet for legal reasons or for fear of coming out, even if they are different situations, the cause is the same. The point of including people who did not come out of the closet for fear is to make it visible that in addition to the legal issues, there is a social problem. People who do not come out because they are not allowed to is because the social problem interferes so much in their lives that legal action has to be taken. Nobody is in the closet for pleasure, because if lgbtphobia didn't exist, the closet wouldn't exist either. Closeting, as I said beforehand, can be divided into two: Voluntary and involuntary (Note: technically both are involuntary but we will use those terms to differentiate between them). In voluntary, the person decides of their own free will, without any external legal obligation, not to come out of the closet. In involuntary closeting, on the other hand, the person is forced to stay in the closet. In this second case, closeting functions as a method of direct oppression of the person. In involuntary cases, there are legal contracts with explicit clauses in this regard in between.

Question #06: How do you know closeting exists?

There are many examples of famous people who, over the years, have come forward with the truth about the matter. Let's look at some examples: Elliot Page, Elton John, Tom Daley, Lance Bass, Ty Herndon, Wentworth Miller, Ian Thorpe, Connor Franta, Ricky Martin, Anja Pesrson, Colton Haynes, Sam Smith, Julian Morris, Garrett Clayton, George Shelley, Kristen Stewart, Olly Alexander, Mark Feehily, Stephen Gately, Jaymi, Rock Hudson, among others.

Question #07: What is a beard?

The beard is the type of PR relationship that is used to cover up a celebrity's sexuality. This can relate to the brand they have been given and the product they are trying to sell. An actor might acquire a beard in order not to be cast only in certain roles. Similarly, a celebrity with a lot of teenage fans might make more money if it appears to be within his or her reach. The beard has been a public relations strategy for decades. They exist because gossip sites, newspapers, TV shows, radio programs and other media promote these relationships all the time. Real or not, the goal is to get you to notice them, so it is very important for the media to report on them. They will write about dates, cute holiday photos, fights, Valentine's Day or birthday presents. (Sometimes these things happen for real, sometimes they are staged and sometimes they are completely made up) Basically, anything to get them in the news and therefore in your mind.

Question #08: What is a PR Stunt and how do I recognize them?

Disclaimer: This answer contains information taken from daisiesonafield-blog. I just put them together and rewrote them slightly to make it more understandable for non-English speakers. All credit to her.

Celebrities use relationships (real or nor) to gain publicity. They are usually set up by their management teams and are called PR Stunts. Let's say it is no coincidence that the two protagonists of a new film are dating. They exist to: promote themselves or a product, for branding or for bearding. In case it is to promote yourself or a product: To earn money, a product has to be seen. A product can be a real product (such as shoes, a game, a drink), a film, music or even people. Fake relationships or PR can contribute to this: Having two actors appear together before the release of a film in which they both appear can benefit ticket sales, as well as keep both actors relevant, increasing their chances of being hired for films in the future. It is also not uncommon for celebrities to be paid to promote other products.

In the case of branding, it is often important for celebrities to be seen in a certain way. To do this, they may adopt a certain brand. The girl next door, the womanizer, the family man, these brands are placed on celebrities, and often the stars will try to play on this image by being seen with products that match their brand. It has already been said that the media writes stories about a couple's "dates" and "holidays". In this type of relationship, they make sure that everyone knows about it in order to gain publicity.

To do this, they often use social media. They may post photos on Instagram, Facebook, tweet about it, and sometimes even "leak" photos (sometimes even their friends or family members post them on these sites). Celebrities can also tip off the paparazzi so they know where they are, or rely on their fans. Some examples of how to make a PR Stunt more believable might be: A fan sighting, a leaked photo, a private moment that someone "accidentally" witnessed, a story from someone trusted (includes friends, associates and family), a sneaky photo, them at each other's homes (with recognizable props/background), some quality time with shared friends, a video/IG story along the lines of "oops, didn't see you in the background", a hack, shared clothing/accessories, driving together, an unpretentious account of what they do together, along with a grainy photo (e.g. going for lunch, shopping, coffee, dinner, to the park, etc.), a headline along the lines of "The paparazzi caught them!", following each other, following friends/family, more IG/social media stuff, etc.

Question #09: What is a contract? What are the most common types?

A contract is a legally enforceable promise or agreement between two or more parties that creates for each of them an obligation to do something and an obligation not to do something. For a contract to be valid, a party must have capacity to contract (e.g. persons suffering from a serious mental illness cannot contract), the subject matter of the contract must be lawful, the form of the contract must be legal and the parties must consent to it. All contracts have an expiry date. If one party breaches the contract, the other party or parties can take legal action against the party in breach. Some of the most common types of contracts are:

— Artist Agreement: According to ContractsCounsel: «Is a legal contract between an artist and another party, typically a production company or a producer. Artist agreements outline the terms and conditions of the artistic partnership and allow each party to understand what they are responsible for in the endeavor. Contracts like an artist agreement help avoid miscommunications and confusion over the rights and responsibilities of both parties involved. Artist agreements typically include availability expectations, performance markers, and licensing or ownership rights of the works created during the partnership. A contract like this can also allow the producer or production company to have the right to promote and license the creative work.»

— NDA: A non-disclosure agreement, also known as a confidentiality agreement, is a legally binding contract whereby one party agrees to give another party confidential information about its business or products and the other party agrees not to share this information with anyone else for a specified period of time. There are generally two kinds of time periods for these agreements: perpetual or with a stated time limit. A perpetual non-disclosure agreement never expires whilst a non-disclosure agreement with a stated time limitation ceases to be active past the time period.

According to EveryNDA: «There's no boilerplate timeframe for how long a non-disclosure can or should last and the specific timeframe will depend entirely upon the details of the agreement, the preferences of the parties involves, the relationship between the parties, and a number of other factors.» and «If a term clause is not included in an NDA, the parties can imply that the NDA will be in effect indefinitely. An NDA with no term clause is more common in an agreement where an ongoing relationship is taking place.» (i.e. ongoing relationships such as 10-year contracts). See also: What is the Maximum Term of an NDA if it is Not Mentioned in the Contract? by ClauseHound.

— Exclusive Rights Agreement / Full Rights Contract: According to ContractsCounsel: «Is a contract between an author and publisher that grants the publisher exclusive rights to publish, distribute, and sell the work. This type of agreement can be advantageous for both parties because it limits competition from other publishers. The agreements are typically long-term contracts covering multiple books with an option for renewal at the end of each term. The length of time in which exclusivity is granted varies depending on the terms. Typically, these agreements will last anywhere from one year to seven years or more if renewed at each term.»

— 360 Record Deal: According to indiemusicacademy: «Is an exclusive contract between a label and an artist. In a 360 deal, a recording label not only takes a share of the artist’s music sales, but also percentages of revenue from other ventures, such as concerts, merchandise, television appearances, or publishing. It’s this "all in" nature of the contract that has earned the nickname "360 deal." This is all in the goal of recouping what they "spent" on breaking a new artist and launching their career. At first glance, one would think this was a rotten deal, and unfortunately, it can be if you aren't careful. But there is a method behind the madness. A record label could spend an exorbitant amount on studio time, music videos, wardrobe and makeup, public appearances, and more. It all adds up in the end, and they aren't always making back a profit just from record sales. A record label is basically taking a gamble on an artists' success and increasing their odds of winning by profiting through other sales besides music.»

Question #10: Are closeting, beards and PR Stunts legal?

Disclaimer: This answer contains sources and information taken from obviouslygenuinely. I just put them together and rewrote them slightly to make it more understandable for non-English speakers. All credit to her.

Yes. Let's start with the fact that contracts can legally enforce closeting in the US and the UK through the morality clauses, NDAs and other types of contracts mentioned above.

According to Hughes Paddison: «Morality clauses may appear in talent or sponsorship contracts and give the employer the right to terminate the contract if the employee acts in a way that reflects negatively on the employer or otherwise reduces the benefit of the contract to the employer.»

According to Queerty: «While employers may not be able to wield such control over full-time employees, movie studios are considered independent contractors, and they could argue that portraying a hetero image is crucial to a successful business transaction.»

According to Gov.UK: «Someone is probably self-employed and doesn’t have the rights of an employee if they're exempt from PAYE and most of the following are also true: They put in bids or give quotes to get work, they're not under direct supervision when working, they submit invoices for the work they've done, they're responsible for paying their own National Insurance and tax, they don't get holiday or sick pay when they're not working, they operate under a contract (sometimes known as a 'contract for services' or 'consultancy agreement') that uses terms like 'self-employed', 'consultant' or an 'independent contractor'».

See also: FindLaw - What Is A Morality Clause? Is It Legal?; Wikipedia - Morals Clause; Fox Rothschild - Entertainers Face New Morals Clause Issues in the Age of Social Media; The Need for Strict Morality Clauses in Endorsement Contracts.

Question #11: What is a Music Publishing Company?

Music publishers sign a publishing contract for the written form of the music. For example, a songwriter may sign a contract with a publisher and never get to work in a band, enter a studio or go on tour. Record companies also contact publishers to see if they have suitable material for one of their artists to record, or they may ask the publisher to have one of their clients write a song for a client of the label.

Question #12: What is a Record Label?

Record labels are the body responsible for the production of music and everything related to it (music recordings, music videos, enforcement of music copyright protection, etc.). They have a contract with the artists and their management. Most record labels are divided into 12 departments, each equipped and staffed with professionals whose knowledge in the area of work is favourable and valued. In turn, we can divide these 12 departments into two groups, the departments that deal with the artist's publicity and marketing and the departments that deal with legal details and numbers. Within the legal affairs and sales departments, there are the following:

— The Legal Department: It is responsible for all contracts between the label and the artist, as well as contracts that may arise between the record company and other companies. All legal matters are handled here. It is composed of lawyers and legal advisors.

— The Corporate Business and Affairs Department: Is in charge of finances, accounting, payroll, among others. It is mostly composed of accountants.

— The Licensing Department: Is in charge of controlling and granting the necessary permissions for the use of the masters or recordings of the artists belonging to the label. For example, when the music is used in commercials, internet, films, videos, etc.

— The Sales Department: Oversees all retail activities of the discography. It focuses on building relationships with major physical, digital and other mass market retailers. The sales staff coordinates with the label's distribution company to get the record into as many shops as possible with the help of the Promotion and Publicity Department.

— The Liaison Department: the distribution of the main label is coordinated with the needs of the subsidiary labels. It ensures that everyone is aligned and organised in terms of dates, sales, approvals, paperwork and so on.

Within the marketing and publicity departments, there are the following:

— The Artist and Repertoire Department: This has been one of the most sought after positions within the Music Industry. They are in charge of discovering, locating and signing new talent. In addition to working with the artist in the selection of songs, producers and the recording studio where the record will be made. It communicates directly with the Business Affairs Department to make sure that all the paperwork and accounting for everyone involved in the recording of the artist's album is set up correctly.

— The Artist Development Department: Oversees the planning and career development of artists who have been signed. It coordinates the consistent promotional presence throughout the artist's career under the label. Over time this department has undergone numerous changes in the last decade and some labels have changed its name to Product Development, focusing efforts on hits, or on promoting the artist quickly in order to accelerate the return on financial investment. In artist promotion, it is about creating an image that appeals to the viewer and sells.

The emphasis has been placed on product development to ensure the success of the product as quickly as possible, which means that there are currently a considerable number of artists who manage to position themselves in a short time, but once their sales are not profitable for the label, they are discarded and their existence is never heard of again, that is to say, once the artist stops paying off and giving the numbers and profits that are expected, he or she is discarded, as what they consider an artist or product that is worthless and disposable.

— The Art Department: Is in charge of overseeing all product design work such as CDs, vinyl, album artwork and more, as well as print advertising, posters and sales signs or any other printed product.

— The Marketing Area: Creates the overall marketing plan for the artists and each album that is released. In addition, they are involved in the coordination of all promotion, advertising and sales campaigns that the label undertakes.

— The Publicity Department: Responsible for any reports, interviews or reviews in the national or local media, such as newspapers, magazines, radio and television stations and digital media, as well as coordinating publicity opportunities in the media, i.e. all reports or news that are to be released to the public must first be submitted and studied by the publicity department team to ensure that they do not interfere with the artist's image or sales.

— The Promotion Department's: Their main objective is to ensure that radio plays the artist's most recent singles. Creating strategies to position the songs on the right radio station is critical to the success of all parties involved.

— The New Media Department: Promotes and produces the artists' videos that are shown on major music channels and programs. In addition, it oversees some promotions and internet marketing opportunities, using the audio and video media available on web platforms.

Question #13: What is a Management Company?

The management company or team is the important body that every celebrity must have and is in charge of publicity, promotion, programming/scheduling, image, digital marketing, day-to-day activities, etc. Basically, they plan, organize, direct and control all the essential activities of the celebrities. Their goal is to achieve high sales, maximum profits, business expansion, etc. They have a contract with the celebrities.

Question #14: What are independent (indie) artists?

Indie artists produce their music independently of commercial record labels or their subsidiaries; this may include an autonomous, do-it-yourself approach to recording and publishing. The advantages of being an indie artist are: Having full creative control over the music, receiving a higher percentage for the sale of their records and music, more active participation in the decision making of their image and regarding the marketing strategies of their music, little staff to bear the expenses of promoting the artist and their work material, etc. On the other hand, the disadvantages are: You don't have anyone to cover your expenses in full, you have limited resources, less chance of being globally known, etc.

Question #15: Do Record Companies, Record Labels and Management Companies take advantage of artists? How do you know?

Companies don't see artists as people with needs, feelings, dreams, thoughts, etc. They see them as products to be sold in order to make profit. These companies are almost exclusively in charge of making an artist as successful as possible at any cost, and will do everything in their power, even if it is legally or morally wrong, to achieve this. All the artists who are under these companies have legal battles or disagreements with the companies, only few cases come to light.

Some of them are: Britney Spears, Michael Jackson, Luis Miguel, Mick Jagger, Martin Scorsese, Ke$ha, Lady Gaga, Alanis Morissette, Mary-Kate y Ashley Olsen, The Beach Boys, Shia Labeouf, Shelley Duvall, Jennette McCurdy, Junsu, Jae-joong y Yoo-chun of JYJ, The East Light, etc.

Question #16: What is the difference between Paparazzi and common Photographers?

Photographers are people whose artistic activity or occupation consists of taking photographs through the use of a camera or other device capable of storing a two-dimensional replica of reality; paparazzi are freelance photographers who sell photographs of celebrities to the media. They are known as those who follow celebrities and try to obtain candid photographs. They can be paid to take photographs of specific people.

Question #17: What is the difference between Media and Tabloids?

Tabloids are small-format newspapers that deliver lurid and/or sensational news in summary form, with illustrations; while mass media are communication formats (e.g. radio, television, newspapers, magazines) that reach people widely.

Didn't see an answer to your question? Ask away!

[sailorblossoms-snowbaz]

Originally I added this as a reblog of my post unpacking comphet and how Simon fell into it, how he needed structures to survive, and that had me thinking about Agatha's side too. I'm making it it's own post now because both are long and it gets a bit messy to follow on the app lol

Simon's trauma and neglect played a big part in him falling into the structure that included "dating the damsel". At the center of it all, there's someone who's erroneously going along with expectations because he's starving for affection, because he wants to feel wanted. And that's something Agatha has in common with him. She might not be "starving" as much as Simon, but she's still starving for affection. Agatha wants to find herself, and she attempts to use romance to do so because she wants to feel wanted. She wants to feel the spark of being truly desired by someone who makes her feel passionate, rather than just being stared (or even ogled) at for her beauty by strangers.

This is why she fights with Simon when he tells her he prefers to stay at Watford in case Baz shows up in CO, rather than going to her house during break. Simon notes that it doesn't seem like she actually wants him to go with her, but that she wants him to want it (and yet Simon is choosing the possibility of seeing Baz, who's his "enemy" over her). This is also why both Penny and Simon note Agatha is "jealous" of what they have: it's clear that Penny and Simon, through their years of friendship, were each other's #1. When Penny looks back, she doesn't think about all of them as a team, it's just Simon and her (as a duo) against the world, while Agatha was just the one they were constantly saving (no wonder Agatha feels like a third wheel!)

It's likely that Agatha resented being stuck with expectations and unwanted attention while Penny could just be Simon's friend, even though Simon "liked Penny" better. And she says it herself: she doesn't have other friends. It must have been isolating, for someone who wants to feel wanted, to be friends with people who seemed to like each other much better than they liked her, who are always thinking of each other first before they thought about her (even more given Agatha recalls both of them ignoring her when she was constantly pointing out the dangers and the like). It must have been lonely then (and there's a difference between being lonely and wanting to be left alone). Heteronormativity has them all reframing these feelings as "romantic" jealousy, including wanting Simon, who's supposed to be in a romantic relationship with her, to like her better (after all, she's using conventional ideas of romance to feel wanted).

And it's so very telling that after 3 years of dating Simon, Agatha still doesn't feel wanted. She doesn't feel desired, she doesn't feel the spark. She thinks stuff like "her roommate is jealous because Simon liked her", but she doesn't actually feel like Simon genuinely likes her in a non-platonic way. It's so so very telling, that when she summarizes "their relationship" (which Penny already noted as just going through the motions and void of any romance in CO) it's not only lackluster as hell, but she's also just saying shit they can totally still do as friends. Also, Agatha being there because Simon "needs a date" to a school ball it's basically describing their dating as something done because they were obliged to fulfill a social expectation, rather than being together because they actually wanted it. It's quite fitting.

And then there's Agatha "liking" Baz. Since dating "the hero" was clearly not working out for Agatha, she starts wanting to go after the Bad Guy, which is also just following typical straight romantic conventions. Nothing about the way she thinks about Baz indicates that she's actually, genuinely attracted to him. Rather, she's attracted to an idea of him: that being wanted by a bad guy will be liberating and exciting, because he won't expect her to be so good and so perfectly well behaved (The expectation that she must be the perfect pure lady is part of her role. Agatha can be bitchy and a jerk, but she's very aware that this isn't "socially acceptable" of her, that her being "unlikeable" doesn't fit her role).

She's a whole cliché in her white dress, dramatically waiting for him at night, because she's still just following conventions, still expecting typical straight romances to hold the answers she's seeking (the pure good girl being drawn to the dangerous, attractive bad boy, except she's sure he wouldn't actually hurt her–it's a whole thing in romances, and note how Agatha isn't actually afraid of Baz, even as she thinks he will have her "poisoning people", with the way she's standing alone, defenseless and in the dark).

She says it herself, this is how she was looking for a spark. For a thrill. But looking back, it's so very embarrassing for her, because in her search to find herself and feel desired, she was just between two queer boys who have only ever wanted each other. Neither ever liked her that way. And well, it's not her fault really, since heteronormativity was trapping all of them during school, and it tells us that boys must compete for the pretty girl.

It's also worth noting that while Agatha and Simon are mirrors (they fucking share a braincell sometimes, I swear) Agatha can be quite a few steps ahead of him (and perhaps everyone else) in figuring her shit out. She was wrong about a lot of things at the start of CO, but once she puts a distance and starts to look back, she's not wrong at all in her assessments. And what she's basically saying is that comphet and heteronormativity were a kind of death for her. She was never going to find herself while she was trapped, she was never going to find her spark.

It's very interesting to note that when Agatha finally experiences real attraction for someone, there are things in common with Simon being attracted to Baz. Agatha also falls for someone who brings out the real her, someone who infuriates her and drives her crazy (while she can't help but want more, to want to be closer), who's ruthless in a sport, whose hair is a turn-on, who makes her talk about not really being into her previous (comphet!) relationship, etc (there are quite a few similarities between Baz and Niamh).

Both Simon and Agatha get a chance to talk about their relationship with their actual love interest in awtwb, and both communicate the worst with body language/reactions rather than words, you can see that here with Agatha, or with Simon self-harming (kicking walls, pulling his hair, etc). It's harder for Simon (due to his traumas and his resistance to process things, alongside Baz purposedly asking much harder questions to answer–questions related to identity), and he doesn't really think about it–in the rare ocassion he does bring it up, he's all to ready to wrongly blame himself for everything that went wrong, everything that simply sucked ass. While Agatha has spent much time thinking about everything that sucked ass for her about dating Simon, so now she can calmy say that she liked Simon. And the way she liked him is compared to the way Niamh likes him too: it's platonic.

Also worth noting is that you can tell Agatha is experiencing real, mind-blowing attraction in basically the same way you can tell when Simon experiences it for Baz. There are body reactions: Agatha's knees go weak just by looking at Niamh, Baz looks at Simon a certain way and it has him feeling hot and bothered, wanting to jump on him, to smash his head against the wall, wings snapping open and shit. There's also the way their thoughts are derailed, the way they keep repeating their love interests' names in their minds, as if they were unable to think about anything else. (Agatha going Niamh, Niamh, Niamh here isn't unlike the way Simon is constantly going Baz, Baz, Baz in his head since CO)

Also worth noting is that the woods were associated with negative feelings for Agatha, about feeling embarrassed and foolish for looking for something with someone she didn't really want, for someone who couldn't possibly give her what she wanted. But Agatha and Niamh kiss in the woods, basically reclaiming it with sapphic love and desire. There's her spark.

[olderthannetfic]

(as a sort-of response to this: 693946078923456512). Is it just me or are the authors who usually do this self-published? Maybe it's because being traditionally published demands writers to already have an idea of market trends, genres, and target demographics to even get an agent, but it's a trend I've noticed. I remember when J Harbon (another self-published [romance--ha!] author) started all that mess earlier this year about women supposedly writing to much/taking up too much space in m/m. It basically stuck to the typical arguments and boiled down to a combo of jealousy and entitlement to (women's) money. There was another self-pub transmasc author who backed Harbon up, stating that he writes (romance/erotica) for other queer men, and he feels uncomfortable when he receives negative reviews from women who critique of the sex acts/depictions in his writing. I'm cool with that; it's just weird that there's no sense of self-awareness.

When people read anything, they'll have feedback. If someone reads an action thriller, and they thought the plot was poorly constructed and the characters were flat, they'll say this if they didn't enjoy it. It's all about the writer's skill and how they use the conventions of the genre to match or subvert readers' expectations. So, if someone writes a novel or short story that is MM romance or erotica, it'll mostly consist of sex a/o a romantic relationship between men. If readers don't like it, that's what they'll critique--same as any other genre. Some readers will like it, some won't. It's the nature of writing for the public. And it just so happens that women are the only target audience for romance and erotica. Readers of romance/erotica will expect things to conform to the genre's conventions in some way. Something written to appeal to men might not be the cup of tea for the average woman regardless of sexuality. Hence, their readers will mostly be women who'll comment on their MM story negatively. It's not because they're women or they fetishize queer men or they feel entitled to queer men's stories. Authors who complain about this just don't know how to market their work and resort to crybullying female readers into idk, not reading their writing or something.

More self-published authors who whine about this need to just publish in literary fiction, then. If it's meant to be read and understood by men, you need to publish in genres marketed to men. Otherwise, you're not writing in the tradition of Gore Vidal, Umberto Saba, or James Baldwin. They go into, pretty much, the only female-dominated genre, then get upset when only women read/review it and queer men don't know their stuff exists. Market your work correctly, self-published authors, and stop trying to blame women for your failure.

(Of course, there's also the issue that they want male readers even though they have the tone, subject matter, delivery, and genre conventions of BL/romance, which, again, most men don't read, to begin with. So not sure how they think they'll make Red, White & Royal Blue bank from that by virtue of being queer men, but time has shown they don't.)

--

Traditionally published authors just sneer at selfpub and/or at Romance entirely. These selfpub dudes are insecure about their lack of validation and take it out on the rest of us.

[cool-the-binge-eater]

Apothecary Diaries - manga rec

Summary

Before it had an English name I just called it Kusuriya no Hitorigoto. It's about mao mao who was forced by kidnappers to be a court maid. A plain freckled girl who is nonchalant about it but misses working as a doctor assistant for her father.When the high ranking court ladies babies come down with an illness that others deem a curse mao mao figures out the cause. Trying her best not to get stuck in court drama squabbles only leaving a note on the cause. However a eunuch named jinshi figures her out and is forced to solve palace mysteries while also working as poison tester. (it's fine she likes to test poisons on herself)😓 So basically Chinese historical story that deals with harem life that's also a detective and medical story. So their are modern conventions and solutions that we take for granted that are used as solutions in the story. That’s the draw of alot of time traveling stories but since its not we don’t get an outsiders perspective about what we would consider wrong. Maomao has resigned herself to whatever happens to her and dosen’t fight the system directly but she still has a strong sense of justice.

Maomao- the pharmacist

Maomao is the protagonist /pov chara and is the main reason you read the story she's very eccentric when it comes to medicines and poisons but is actually very quick witted and emotionally intelligent. She's a realist and down to earth often thinking little of herself. Maomao has resigned herself to whatever happens to her. She knows she's smart and might be toooo smart. Her only motivation is medcine so political infighting and conspiracies is the opposite of that. Whenever her sense of justice shows up it really bursts and it's great to see💖😊 Even though she pettite skinny and a commoner whenever she decides to do something it really feels like she's risking her life.Also aro/ace representing she really dosent care about much except medicine.💞

Jinshi -Eunuch

He works as a foil to maomao becasue hes a born noble, the boss of her and is one of the most conniving characters. His personality starts off as a sadist/playful tease but eventually really cares for maomao in the story as he gets to know her better. Jinshi is the one who presents the issues to maomao and is the one withe the authority to give her tools to solve the cases.He's obviously hinting at maomao alot but she dosent get it or doesn't care.His job is to work in the harem and to do whatever the emperor requests if him. He's the most beautiful person in the story and alot of woman and men want him. He drinks this a medicine that make him more eunuch like to maintain that appearance. The reason why we don't know and his backstory is one of the big mysteries.

Setting

It's not a specific year which is good Apparently mongels are still a problem and they can keep in contact with the west if they want. Historical Chinese dramas I guess 🤷‍♀️. Politically ppl dislike the last emperor and just over a decade before slavery was abolished. U can technically sell family members tho if ur poor. Maomao was sold as a palace maid and all her earnings go to her "family". In fact most of the maid charachters are the same way.So some cultural things need to be addressed if your new to court drama. Honestly it's a cliche for me cuz I watch alot of Asian dramas but others might not.

In the palace we have the outer court that does real work like paper work and women can join the outer court but they are akin to secretaries. I think they dislike inner court ladies cuz they had to take a test (Also technically maids but they don't do the best job compared to inner court ladies). The inner palace only has women and they are all concubines for the emperor. There have been cases of maids becoming lower ranked concubines if they were pretty. 4 great positions are taken by great noble ladies and their families. These 4 ladies each have their own palace and are the ones most likely to become empress/create heirs.

Hanmachi/red light district is a big part of the story. Mao mao was raised there and is the 2nd location the story takes place. It's both a beautiful gorgeous palace and a dark dangerous alley. Maomao says that the brothels are both a cage and a Wall that protects them from the streets Maomao isn't a courtesan but was raised with her 3 big sisters the 3 princesses of Rokushoukan. All high courtesans need to learn to dance, play instruments, talk, play go or other board games and read. Men don't usually get to sleep with high courtesans and it dosent work on all girls but the more pure you are to get the higher the price.

BTW we never go to them but there are brothels that are lecherous, and there are cases of rape within that district and maomao has almost been in that situation which also hasn't been shown.

Adaptations/art

There are like 3 types of versions of the story for some reason. There are 2 mangas and the og light novel. The mangas not done but maybe the first one went in a different direction of the novel 🤔 idk??? I've read a little bit about the the light novel but honestly not that different. Mao mao is a very introspective charachter she has alot of thoughts and won't say alot of her thoughts or feelings due to fear of nobility or just laziness.

So the manga makes her alot more expressive while keeping her introspective thoughts. She can be very funny and comedic with her expressions. Later on when she gets stitches they keep reopening(she just roles with it and everyone gets freaked out for her)

The 2nd manga makes mao mao her personality more serious and aparently there's less emphasis on romance. Only 1 volume so can't judge on much. (Only read 2 chapters) so I'm gonna talk about the 1st manga.

(Light novel, Kusuriya no Hitorigoto manga and Mao Mao no Kōkyū Nazotoki Techō manga)

The art is really good what happens alot in shoujo series set in harems or inner courts. Is that the women are not hot they can be beautiful, pretty even but they really aren't hot.

But damnnnnnn all the girls are 🔥🔥🔥

Specifically the hanamachi ones and even maomao herself sometimes. Lol 😆 I'm gonna stop now

But seriously I like how they talk about sex, prostitution and harems. Alot of shoujo are so PG about a place that is notorious for sex work.

Last minute thoughts

Check it out there's 2 manga volumes out and more coming. (Or read the scanlations I did both)

I like jinshi when he gets jealous since he's so cool and in control alot seeing him flounder about with mao mao is fun ❤

Maomao has a pretty interesting past too and it's hinted at really early there's this guy she definitely dosent wanna meet in the outer palace (that's my hint for foreshadowing) 🤐

I would read the light novels if ur like dying to know the plot the manga is a monthly series (I won't cuz I'm lazy)

Previous emperor is a pedo current one is a dick. So yea royal family sucks what's new 🙄

[solomonish]

Dating Solomon Headcanons

sometimes (all the time) i think about the sorcerer

Also! I'm still working on my characterization of him so I might change all of this if it doesn't feel right. Please tell me what you think so I can improve!

Solomon

Before the two of you started dating, he managed to stick to your side as often as possible. It never seemed like there were ulterior motives - as the two human exchange students, you naturally sought each other out to share your experiences (or, on occasion, you just needed to seek someone out who understood the specific human brand of humor you had).

Even if demons didn’t always share your humor, there was the ever-present trend of a few daring ones spotting the two of you together and cooing something about lovebirds in mockery.

Solomon normally ignored them, but when he wanted to get a rise out of them (or you) he’d sling an arm around your waist and beam. Most demons just let their faces fall as their fun was ruined and walked away.

Once you do start dating, though, he either ignores them or purposely exaggerates his gags.

“Me? Date them? I’m not so desperate, how could you mistake me as such?”

He’ll stop if it starts to bother you, but that doesn’t mean he won’t replace it with something more annoying.

As friends, you’ll act all lovey-dovey, but dating you’ll be (even more) at each other’s throats

Solomon is all tricks and show, so dating him will sometimes feel like a performance art. Not necessarily in a shallow way - just sometimes, you notice the glimmering curtains he puts up for fun and scramble to get in on his act.

One thing Solomon really likes to do is subtly match outfits, especially if you’re out to something nice. Put on a nice dress/dress shirt and he’ll be asking for what color his own shirt (or tie, or something) should be. He won’t tell you that he likes looking like the two of you are a set.

He is neither big on nor against PDA. He’ll go along with anything you initiate and if he feels like he wants a quick kiss he’ll take one, but don’t expect anything hot and heavy in the RAD halls.

(Unless, of course, you let him usher you into an unused classroom. But more salacious instances don’t normally happen without provocation, and he would never actually let anyone actually walk in and see you in such a state.)

However, if you don't wait for him before following the masses of demons to the doors after your classes are over, you can expect him to find his spot beside you and slip his hand in yours before you leave the school grounds.

He does that lot: appear out of nowhere and grab your hand, or elbow you gently so you can hold his arm. Solomon won't say anything, but the more natural it becomes the happier it makes him. Its almost like you mold into each other, like it was meant to be...or so you said one time before he pestered you endlessly about it. You may never know the thought loves rent-free in his head

Doesn't really believe in conventional dates. If there's a place you want to go then he's down for an outing, but wine-and-dining doesn't open the door for romance the way a formal "date" should for him.

How to tell what he considers your excursions together:

"Didn't you want to ___?" = not a date, but he won't refuse any kisses or happy endings you might plan along the way.

"Would you be willing to ___?" = not a date, he needs help with a spell. You can get yourself a reward out of it easily (though he'll bemoan the absence of generosity in your soul and comment on your roommates and their influence over you multiple times)

"Can I show you something?" = probably a date, especially if he starts the conversation like this. You know you've got him pinned if he's standing before you thoughtfully, holding his chin and blushing as he averted his gaze.

Most dates involve magic - he can't hold back the urge to impress you, even if on the outside he'll scoff at the thought.

Has definitely tried to cook for you twice and only twice. The first time was a joke - he wanted to see how far you'd go to spare his feelings and was impressed at just how much you ate of his charred and ruined meal

The other time was a genuine attempt, and that's when he asked you to teach him how to cook

He will invite you over all the time to practice cooking and each time you can see Simeon glancing at the two of you from the corner of his eye

Solomon will definitely cheese it up here, asking if you could "guide his hands" or coming up behind you and resting his chin on your head while you cook

Because let's be real, you end up doing the bulk of the work here anyway

Solomon doesn't say "I love you" easily or often - and he would honestly prefer if you didn't need to hear it that often

He acts casual, acting so well its hard to remember he's lived and loved and lost for countless lifetimes. There are walls he isn't sure how to topple, so he just decides they must stay.

Solomon will definitely make sure you know you're important to him, that you hold a special place in his heart, but he shies at the idea of love

At first it manifests in offerings of peace, hoping to make your life easier: he's got a spell for anything and everything, all you need to do is ask

He'll transition into softening just slightly, a more tender expression on his face or his laughter lighter than it used to be. (Only for you, you notice.)

You'll realize the extent of his love not when he's melted into a puddle at your feet, but when he holds you as an equal in every regard

No longer will he coddle you: he'll offer to teach you anything you may want or need to know to face the troubles the Devildom has to throw at you

Perhaps most notable is the fact that he stops seeing you as a vessel for his entertainment: you still amuse him, sure, and he is intrigued by you every day, but those start to take shape as pros of knowing you rather than the purpose you serve him

Its a subtle shift, sure but when you realize that all of a sudden his words and caresses feel like they mean more, it makes you ridiculously giddy.

When he finally does say "I love you," he's breathless - he probably just barely got you both out of dire situations his latest magical excursion brought, escaping some rabid mythical beast with a quick spell after what felt like hours of running.

He looks over to you, just as breathless as you run your hands through your hair. Your eyes are wide and wild, and when you look at him he can still practically see exhilaration swirling in your bloodstream

He doesn't mean to say it but he doesn't mean not to - it just slips out because an adventure like this would normally leave him frustrated and sore, but all he sees with you in the picture is fun.

Solomon doesn't miss the way your eyes soften and your grin grows, and that alone hits him so hard he realizes he'd say it a million times over just to keep you this happy.

He doesn't do that, though - but every now and then you can feel the ghost of his breath on your ear and his warmth radiate to you the whisper of those three words forcing your face to blush

Sometimes he does this without actually saying "I love you," and it always makes you flustered. When he pulls away from you, though, his eyes are so happy you're fine to leave them unspoken

This time.