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notebookmusical · 2 years ago

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I met Chloe Gong at a book signing and was so excited to meet her (I'm also Gen z trying to be published) and I told her this and that maybe I could be in her author friend group and she just...laughed. She shot her friend or whoever was helping her a side eye like "get a load of this loser" and then did that mean girl thing where they giggle and humor you. I know she was making fun of me with her friend. I felt humiliated and got home and gave my sister the signed book because I didn't want to look at it anymore. I've heard other people say she has mean girl energy but I didn't want to believe them and now I'm crushed.

hello love!! first, i'm really sorry that that your experience meeting someone you really looked up to was less than desired, to put it lightly. i don't know what chloe is like personally, and even if i did, i don't think that matters in this conversation. on another note, it's really amazing that you're working towards being published! i wish you all the best in your journey, and i hope you find your community soon. i know that publishing can be really isolating, and while i'm not personally trying to get published, i know a lot of traditionally published authors i follow + friends who are querying have spoken about that. i would encourage you to seek out people who are in a similar boat to you (trying to get published), and trying to build authentic relationships, whether it's through things like writertwt, writeblr, instagram, mentorship programs, discords, or other areas. while reading this ask, it reminded me of something i read once in my emails — an author that i like, allison saft, occasionally offers up writerly advice in her newsletters, and i thought some of it might resonate with you/offer you some comfort. it's from her september 24, 2021 email newsletter (i had to dig for this one in my inbox). i've copy/pasted both the initial letter, and allison's response, under the read more 🤍 i'm sending you a big hug, and a lot of love your way!

initial letter:

Hey Al,

I’ve been struggling with the loneliness of being a writer. I understand that it’s just part of the job, and I also recognize that my personality/mental health only makes it more isolating. Sometimes it feels like I’ve made a sort of self-inflicted prison, and I don’t know how to get myself out of it.

I’ve tried being more involved on social media, which is terrible for my mental health for several reasons. Part of it is seeing people succeeding – and often only seeing the highlights of someone’s career – while I’m trudging through a draft feeling like every word is awful and I’m never going to get anywhere. Sometimes it feels like all the ambition in me is turning to rot.

But another (possibly even worse) struggle with social media is seeing the bonds other writers have formed with each other. Of course, I know that sometimes social media interactions can make it seem like people are closer than they are, but I think pretty much every writer/author I’ve followed has at one point or another talked of the importance of having writing friends and critique partners, having people you feel comfortable sharing your work and your struggles with, people to encourage you along the way. And seeing those reminders of what I’ve always struggled to form…well, it gets to be a lot. I’ve heard authors talk all the time of how, despite writing being a very lonely thing, it’s impossible to do it alone.

But, when you are alone, how do you cope with that? I know I’m supposed to be my own cheerleader – and sometimes I am – but more and more often I feel like I’m only my worst critic. And sometimes it’s hard to even want to keep writing when there’s no one else to share the process with. I think another part of the problem may be that I feel like I should be able to do it all on my own, and yet I keep failing in every possible way.

I’m not even really sure what I’m asking at this point, but the combination of mental health struggles and writing being a very solitary thing have me feeling like I’m sort of just desperately grasping at any bit of advice.

Thanks, Lone Wolf

allison's response:

Hi there LW,

I want to begin by saying that I’m so sorry you’re hurting—and thank you for writing in. This may be a strange thing to say, but… this letter is beautiful, both in sentiment and in writing. I can only imagine how your books must read; they must be just as true and aching. I believe I will speak for at least 75% of people reading this right now in saying, OUCH. This was painfully relatable.

You said you don’t know what you’re asking, but it seems to me that you have a clear and important question. When we yearn for connection—both as artists and as social beings—how do we carry on without it? I think there is a second question lurking underneath the first, one I have asked myself many times: How does everyone else manage to do what I can’t? These are hard, heavy questions. I’m going to answer them to the best of my ability. But first, I want to tell you a few things—not to diminish your concerns but maybe to soften them. I can tell how tight of a hold they have on you.

I think you’ve hit on the great paradox of being a writer. Writing is solitary, yes, but it’s not done in a vacuum. Even when you are alone in a room, you conjure someone else beside you. The act of writing requires you to imagine an audience, a reader on the other side who will find truth and meaning in what we’ve written. Stories are meant to be shared. However, when our imagination is constrained by feelings of hopelessness and self-loathing, the only reader we can envision is hostile. My hostile reader wears many faces: upside-down versions of my editor and agents who realize I’m a hack after 2.5+ years of working together; the snarky Goodreads reviewer; or perhaps the unsmiling countenance of anonymous reader from a publication you may know, Kourkis Reviewz. But more often than not, that reader is wearing my own face. As a read through my work, I leave sneering comments to myself like, “oh, come on” or “do better” or—the most elegant in its cutting simplicity—“bad.” My standards grow more and more exacting with every piece, and yet, I never know whether I’ve achieved anything by the time I finish.

How can you possibly create under those conditions? On the most practical, career-related level, I think that’s what feel-good advice like “you can’t do it alone!” tries to address: if you’re harsh on yourself, getting outside perspective is a much-needed reality check. Sometimes, I crave validation or want others’ ideas to breathe new life into a project. So, while unpleasant, I think it’s certainly possible to write alone. I wrote Down Comes the Night before I knew “the writing community” existed, although I did have my partner to listen to my meltdowns about the process. I know a few writers who write books without critique partners. I know many more writers who have virtually no online presence, and I imagine they lead happier, more fulfilling lives than I do. But I digress.

I think you know all of this intellectually—exactly as you know that social media can be like a car’s sideview mirror: people may appear closer than they are. Let me climb back onto my Myth of the Writer hobby horse for a moment and say that this: the writing community has a toxic positivity problem. It will sell you all sorts of self-torture implements. One of them is this emphasis on an unconditionally supportive community. Find your people, we are exhorted, as if it’s a simple thing. We’re all in this together.

It’s sometimes hard to reconcile that attitude with what we’re willing to do to each other, with the zero-sum mentality The Industry implants in us. And even if people aren’t actively malicious, it can be difficult to navigate the vast gulf publishing wedges between us. Jealousy and self-pity can hurt others if we’re not careful, and in my experience, few of us are equipped with the communication skills to take that care 100% of the time. What I’m saying is that writer friendships can be deeply fraught, and we don’t see the struggles behind the scenes. Certain friendships can become part of your online persona—and consequently, they become shackles. But I’m not going to sit here and tell you something ridiculous and curmudgeonly like, “You don’t need friends!” or “All friendships between writers are doomed to fail!” because it’s not true. We all need friends. We especially need friends who understand what we’re going through. Honestly—and it sounds like you may relate to this—we need friends to keep us from becoming jaded. On the days where my own ambitions feel pointless and rotten, I can feel hope for those I love.

So let me gently push back on that lie you’re telling yourself: you can’t go through life alone. However, I don’t want you to turn that into a stick to beat yourself with because, oh, here’s Al telling me what I already know: that I do need writing friends and I’m a failure for not having that squared away already. But listen, LW: you are not a failure. You’re torturing yourself with this belief that you should be able to power through feelings of self-doubt and loneliness all by yourself. You’re punishing yourself for finding it difficult to connect with others when you’ve mentioned your mental health is poor right now. So, I don’t mean that you ought to find friends so that you can be on your way to succeeding in life and in writing. What I mean is that you deserve to share your joys and sorrows. You deserve to feel supported. You deserve to be loved.

This is allegedly an advice column, so I will now attempt to give you some advice. First, I’m afraid, we must talk about a guy named Jacques Lacan. Bear with me here, LW, and forgive me. I’ve been poisoned by my partner’s Lacan phase from early grad school. Anyway, Lacan has this concept of objet petit a, which is meant to be an algebraic symbol that represents “the unattainable object of desire.” It is, if you like, the Hitchcockian MacGuffin. Like a MacGuffin, objet a is empty and arbitrary. It’s a placeholder for something we believe will fill the void within us. If only I get this one thing, we think, I’ll be happy. And inevitably, that’s why our goalposts always move. The truth is, we will never be satisfied.

I think that’s why social media is so punishing. Beyond the fact it’s designed to keep us outraged and scrolling, it also seems to present us a window locked from the other side. We look in on the textures of people’s relationships—their inside jokes, their memes of each other’s characters, their gushing praise on each other’s snippets—and in our most self-pitying moods, we think, If only I were there. If only they’d open the door to me. If I had what they have, I’ll know I’ll have arrived. It feels like starving while you can hear all the Ring-Danes feasting in their mead hall. We’re all Grendel in this metaphor. Beowulf was the real villain all along!! Just kidding—I don’t believe (in a majority of cases) what I see people describe as “cliques” are anything more than friends being, well… friends. But I think all of us can understand that pang of longing.

Now, you may be thinking that this is a deeply depressing model of the psyche. If we’re never going to get objet a—if nothing is ever going to make us happy and whole—what’s the point of this whole living business? I don’t presume to have the answers. But Lacan says what keeps us going is not the getting but the trying. More accurately, it’s the failures. That try-fail cycle is what keeps us engaged with the world, exactly as it keeps readers engaged with a story. Love isn’t the prerequisite for happiness, and making the connections you yearn for won’t fill the void within you. But reaching out—even when it’s awkward and painful—might get close.

Forgive me for presuming, LW, but as I read your letter, it struck me that you talk about being alone almost as though it’s something you’ve resigned yourself to. That your loneliness is indeed a solid thing, a prison with no doors and no windows. It sounds terrible. And I think to a certain extent, you’re right. Loneliness is a prison. But I’ve come to believe that it’s not designed to keep us in—but rather to keep everyone else out.

Loneliness is an old friend of mine. It’s a comfortable, familiar kind of pain—one that’s often easier to bear than risking rejection. As we sit and rot in that prison of our own making, we start telling ourselves stories about ourselves: cruel fairytales that grow more powerful the more we repeat them. As they become ingrained within us, we agree with poisonous thoughts like “being alone is tolerable; it’s something I can endure indefinitely” and “friendship is not for strange, sad people like me” or “connecting with others comes easy to everyone else but not to me”—a feeling exacerbated by PDOF (public displays of online friendship, naturally).

But those are not truths, LW. They’re stories. And you are not alone.

You’re not alone in feeling alone, and you’re not uniquely broken—or broken at all. I think all of us feel as though we are strange little aliens deposited on this earth with very half-baked instructions from the mothership. We go through our days, doing our best to imitate human behavior and do our silly human tasks. We blunder through social interactions. We hurt people’s feelings by mistake. We struggle through conversations with new acquaintances. We let old friendships fade with time. We form snap connections with someone we’ll never see again. And at the end of the day, we sit with ourselves and wonder, Am I completely alone in this world? Am I doing this right? Can someone please tell me if I’m doing any of this right?

At least, that’s how I feel. Would you believe me if I told you that I’m shy? I do my best to project outgoingness and geniality online and in my day-to-day life, but often, I feel as though there is a thick pane of glass between me and the rest of the world. Sometimes I feel like I am too afraid and exhausted to go through the effort of making friends, so I flatten my personality and slow my replies until people give up on me. Sometimes I feel so unbearably lonely, even in a room full of people I love. Because of this, at various points throughout my life, I have found myself friendless in a new place or wallowing beneath the weight of relationships I needed to end. Every time I find myself alone, I think, Alright, this is it. All the best is behind me now. I will never love anyone as powerfully as I loved the people I had and lost. No one will ever crack me again. But it’s never has been true.

I didn’t have a single friend in California for the first year we lived here. I hated myself for being too weird, too reclusive, too cowardly to make the effort. I sat in my circus classes, wretched and bitter, and envied the easy camaraderie my classmates had with each other. I thought, Why not me? Why haven’t I been folded into the group? I attended events that my partner’s academic program hosted and watched people’s eyes go dull the moment they found out I wasn’t a student. But then, one fateful day in 2019, someone I recognized from Twitter of all godforsaken places walked out of the apartment a few doors down the hall from mine.

Life is serendipitous and strange that way. What’s so beautiful to me is that there are billions of people out there, basically an infinite number of them. Some of them will hurt you. Some of them will be indifferent to you. Some interactions will be awkward or neutral at best. But sometimes, you’ll meet someone who will completely change your life. You’ll hold tight to them while you have them and know that in a million years, you’ll never find a soul who’s just like them. How fortunate I feel, even in goodbyes, to have brushed against them in the fleeting time we have. I want all of this desperately for you, LW. I want you to know the rush of joy that comes when you hear your friend’s book sold—and maybe even the sting of it, too. I want you to have a group chat that implodes spectacularly and a group chat that makes you feel as though you’ve finally found your place in this world. I want you to have a writer friend who you meet for the first time at a conference, and when you embrace them, you realize that all the chemistry you had online translates to real life.

And you will. But you can’t give up.

I know it’s hard when you’re feeling low. I know it’s hard to keep trying when all of us are so isolated—especially when you know social media is bad for your health. Right now, it’s difficult to break routines, try new things, and encounter potential friends in the wild. Some days—maybe even most days—you’re not going to be able to try. That’s okay. Be gentle with yourself. And be open to anything. I met one critique group when my day-job boss—another author by some wild coincidence—generously included me in a Slack with a few of her friends. Or, if you want to give social media another go, you can do it in a limited way. Maybe join in on things like Pitch Wars prompts or weekly chats hosted by other writers that allow you to tell people about your work. Don’t scroll the dread TL, just stay in your mentions and the hashtags you like. See if you can find people whose work sounds cool and ask them to swap pages. And if you manage to find someone who gives good feedback and whose writing you like, GRAB THEM AND RUN. You don’t need to stay on social media once you’ve established a rapport.

This may take time, and you’re not going to connect with everyone you meet. But there are so many writers out there, and someday, you will find someone who it feels as easy as breathing to be around. You will find someone to keep your inner critic at bay. And I know you’re able to do it. Writing to me with what you’re feeling was brave. It was a moment of connection. Even if it felt like whispering your thoughts to the void, hey… The void is looking back, and it’s (I’m) sending you love. Nothing is permanent. Know that the coping lies in the struggle. So take it day by day. Do as much as you feel you’re able. I promise you, that’s enough.

Yours, Al

#post: answered

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bestcashflowsite-blog · 2 years ago

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5 Hot Tips to Get More Traffic to Your Blog

Getting traffic isn't rocket science - it's actually pretty easy when you know a few of the best tricks pro-bloggers are using every day to get more traffic to their blogs.

Create an not-so-secret inner circle of your best buddies. Put together a list of your very best and most influential readers. These are the ones who regularly interact with you or post replies to your posts, share your posts with their followers, send you articles, buy your products and so forth. Put these folks on your special inner circle list, and email them to let them know of their newly attained status. Let them know the benefits – they'll get to see your posts before the general public and they'll be apprised of any new offerings, updates and ideas before anyone else. Solicit their feedback on your posts. This creates a sense of ownership for them and increases the odds they will go out of their way to share your content with their followers. Give them special benefits to thank them for their help, and offer to help them in return. Make it brain dead easy to share your content. If content is too difficult to share, your readers and inner circle are less likely to share it. So add the appropriate social sharing buttons for sites like Twitter, Facebook and LinkedIn. Write in-depth content that makes your readers look sexy-smart. Here's a little secret: People like to look super smart to their readers and friends. Okay, so maybe it's not a secret. But the fact is, in-depth articles tend to get shared more because the people sharing them want their friends to think they read in-depth articles. Plus, when someone new lands on your in-depth article, they are more likely to subscribe to get even more info than if they land on a simple fluff piece. Another secret: Posts with images, lists and videos will attract over 5 times more links than posts containing only plain text. So don't stop at just the words – add things like images and graphs to make it share-worthy. Cheat. Just a little. This isn't really cheating, but it sure feels like it. Look at your old content and find the pieces that are still relevant, whether they were written 3 months ago or a year ago. Now share them again via social media. This way you get new traffic without having to write new content – how awesome is that? Write a mini-sales letter to promote each blog post. Traditionally, when a blogger writes a new post she sends out the title and first paragraph to her list with an invite to click the link and read the rest. But the real meat of a blog post isn't in that intro paragraph, which is why this method isn't worth beans. Instead, write a mini sales letter that gets the email reader curious and excited to know more. This doesn't have to be long; 50 -100 of the right words is perfect. Build curiosity and show them what the big benefits / takeaways of reading your article will be, and your click-through rates could double if not triple. That's it – 5 simple tips to increase your blog traffic. Pick out your favorite and try it right now, then make a note to use the other 4 within the next 7 days and you'll begin to see a real boost in your traffic within the month. Read the full article

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icinch · 2 years ago

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5 Hot Tips to Get More Traffic to Your Blog

New Post has been published on https://www.cinchhomebiz.com/5-hot-tips-to-get-more-traffic-to-your-blog/

5 Hot Tips to Get More Traffic to Your Blog

Getting traffic isn’t rocket science – it’s actually pretty easy when you know a few of the best tricks pro-bloggers are using every day to get more traffic to their blogs.

Create an not-so-secret inner circle of your best buddies.

Put together a list of your very best and most influential readers. These are the ones who regularly interact with you or post replies to your posts, share your posts with their followers, send you articles, buy your products and so forth.

Put these folks on your special inner circle list, and email them to let them know of their newly attained status. Let them know the benefits – they’ll get to see your posts before the general public and they’ll be apprised of any new offerings, updates and ideas before anyone else.

Solicit their feedback on your posts. This creates a sense of ownership for them and increases the odds they will go out of their way to share your content with their followers. Give them special benefits to thank them for their help, and offer to help them in return.

Make it brain dead easy to share your content.

If content is too difficult to share, your readers and inner circle are less likely to share it. So add the appropriate social sharing buttons for sites like Twitter, Facebook and LinkedIn.

Write in-depth content that makes your readers look sexy-smart.

Here’s a little secret: People like to look super smart to their readers and friends. Okay, so maybe it’s not a secret. But the fact is, in-depth articles tend to get shared more because the people sharing them want their friends to think they read in-depth articles. Plus, when someone new lands on your in-depth article, they are more likely to subscribe to get even more info than if they land on a simple fluff piece.

Another secret: Posts with images, lists and videos will attract over 5 times more links than posts containing only plain text. So don’t stop at just the words – add things like images and graphs to make it share-worthy.

Cheat. Just a little.

This isn’t really cheating, but it sure feels like it. Look at your old content and find the pieces that are still relevant, whether they were written 3 months ago or a year ago. Now share them again via social media. This way you get new traffic without having to write new content – how awesome is that?

Write a mini-sales letter to promote each blog post.

Traditionally, when a blogger writes a new post she sends out the title and first paragraph to her list with an invite to click the link and read the rest. But the real meat of a blog post isn’t in that intro paragraph, which is why this method isn’t worth beans.

Instead, write a mini sales letter that gets the email reader curious and excited to know more. This doesn’t have to be long; 50 -100 of the right words is perfect. Build curiosity and show them what the big benefits / takeaways of reading your article will be, and your click-through rates could double if not triple.

That’s it – 5 simple tips to increase your blog traffic. Pick out your favorite and try it right now, then make a note to use the other 4 within the next 7 days and you’ll begin to see a real boost in your traffic within the month.

0 notes

amagicdoctor · 2 years ago

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That's a good question. Can't answer for sure. Tho... There's one online interaction that springs to mind between people from Krakoa to those outside of it: It was Magneto emailing the Scarlet Witch. But he's like a government official and she's a celebrity so I don't think it can be used to confirm that the entire population can (easily) contact those outside of it or even tell them what really goes down on Krakoa (censorship might screw things around). So... ¯⁠\⁠(⁠°⁠_⁠o⁠)⁠/⁠¯

Yeah all the people at the top get all the good stuff first 😂. I can imagine nothing being set up at first and Magneto making a fuss about hurrying up just do he could contact Wanda to bring her over there. He ain't even worried about everyone else's situation, he just needed to show off to his daughter😂😂

But y'all have told me Krakoa took forever to put up a wifi system (or something like it) so electronic communication on Krakoa had been unavailable for a while. That's why I mentioned letters instead of email or text messages. And networking computers/the internet is a whole thing, especially if you're trying to communicate with another nation. I know there are tech geniuses among the mutants but they took forever to get even the most basic crap together. I know I enjoy the things the internet can provide like YouTube and social media but those are random bonuses. Having electronic communications is so beneficial to a world that runs on technology, I can't imagine not everyone would be ok with leaving that behind! If I was a lone mutant or a small family with an outside relationship to anyone left behind on earth I'd be scared not having the ability to tell them I'm ALIVE and doing OK. Like what the hell?

Now once we get past all of that insanity I was thinking about the horrors of censorship too! With Prof X putting all his besties (like the telepaths) at the top who KNOWS what people are able to express between each other. Can't think of dissidence, can't write about dissidence, God I'd be mortified 😨

#hell simulator #text response #ask for admin

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sineala · 4 years ago

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How would you say fandom culture has changed over the years? What are some differences you notice between older and younger fandom folks?

I’ve been thinking for a while about how to answer this, and I’m not sure I have a really good answer, but I’m going to try.

I’ve been in fandom since approximately 1995. Maybe 1994. At that point, the world wide web was a relatively new part of the internet, and the fandoms I was in had most of their activity on privately-hosted mailing lists (predating eGroups/OneList/Yahoo Groups) and on Usenet newsgroups, with fiction beginning to be available on websites as part of either fandom-specific or pairing-specific archives as well as authors’ individual pages. Fanfiction.net did not yet exist. LiveJournal did not exist. AO3 definitely did not exist. If you wanted real-time chat, there was IRC. I was coming in basically at the tail end of zine fandom; zines were no longer the only way of distributing fanfiction, as fandom started to move online. So I have a selection of zines from 90s-era Western media fandoms but even by then zines weren’t where I was doing most of my reading.

I think in terms of generally “what it was like to be in fandom,” the big-picture stuff hasn’t changed. Fandom still produces creative fanwork and likes to, y’know, get together and talk about fandom. Also, almost every fight or complaint that fandom has about something is a thing that has been going on for actual years. People complain that, say, the kudos button is ruining comment culture because back in the LJ days the only way you could comment on a story was, well, by leaving an actual comment, or sending an email on a mailing list, and this might mean that people who would have otherwise commented have left a kudos instead. But back in the LJ and mailing list days, people were complaining that commenting was going downhill since the days of zines, when in order to comment on a story you had to write a real paper letter and mail it and because you had to do that, the quality of feedback was so much better than you got nowadays because people could just dash off a quick email or comment. You get the idea. Top/bottom wars are not new either. Pairing wars are not new. If you’ve been in fandom a while, you will pretty much have seen all the fights already. I think one thing that is new, though, is the fandom awareness of things like privilege and intersectionality and various -isms, as well as things like “providing warnings might be nice” (do you know how much unwarned deathfic I have read? a lot!) and I sure won’t say we’re perfect at any of this now, but I think fandom is trying way way more about all that stuff than it used to.

There are some fights we actually don’t have anymore, as far as I can tell. I feel like it’s been years since I’ve seen the “real person fiction is wrong” battle, but also I don’t hang out in a whole lot of RPF fandoms, so it’s possible that’s still going and I just don’t see it.

There also used to be a recurring debate about whether gay relationships that were canonical were slash or not. When slash started, obviously this wasn’t a question because there weren’t canonical gay relationships in fandoms, period. But as gay characters began to appear in media, people started to wonder “does slash mean all same-sex relationships, or does slash mean only non-canonical same-sex relationships?” Now, you may be reading this and think that sounds like an incredibly weird thing to get hung up on, but that’s because what appears to have happened is that the term “ship” (originally from X-Files Mulder/Scully fandom) has, as far as I can tell, come up and eaten most of the rest of the terminology. Now people will just say, “oh, I ship that.” For any pairing, gay or not, canonical or not. Fandom seems to have decided that for the most part it no longer actually needs a term specific to same-sex relationships as a genre.

Similarly, there are a few genres of fic that we used to have also pretty much don’t exist anymore. There are also plenty of genres that are well-entrenched now that are also extremely recent -- A/B/O comes to mind. But there are some kinds of fic we don’t write a lot of now. Like, I haven’t seen smarm in years! I also haven’t seen We’re Not Gay We Just Love Each Other in a while. There was also a particular style of slash writing where you’d basically have to explain, in detail, what made you think that these particular characters could be anything other than straight. You’d have to motivate this decision. You’d have to look at their canonical heterosexual relationships and come up with a way to explain why all those had happened in order to reconcile how this one guy could have romantic feelings for another guy. When had he figured out he wasn’t straight? Who might he have been with before? How does he interact with people in ways that make you think he’s not straight? That kind of thing. You had to, essentially, show your work. And these days a lot of fanfic is just like, “Okay, Captain America is bisexual, let’s go!” It’s... different.

Fandom also used to skew older, is my sense. A lot older. I don’t know, actually, if it really was older, but I get the sense now that there are some younger people who are surprised that adults are still in fandom. I have seen people saying these days that they think they’re too old for fanfiction because they are not in middle school anymore. And I think a lot of this has to do with the fact that the barriers to access fandom are a lot lower than they used to be. You used to basically have to be an adult with disposable income (or know an adult with disposable income who was willing to help you out; but even then if you were reading explicit fiction you also had to swear you were 18+, usually by sending in an age statement to whoever you were buying the zine from or to the mods of the list you wanted to join, so a lot of fandom was very much age-gated). Internet access was not widely available. Even if you had internet access, you maybe didn’t have your own email address, so you couldn’t sign up for mailing lists; free email providers didn’t exist. If you wanted to buy zines, you had to have money to buy them. If you wanted to go to cons, you had to be able to afford the cost of the con, travel to the con, et cetera. If you wanted to have a website you had to know HTML. Social media did not exist. You want to draw art? Guess what, you’re probably drawing it on paper! You might be able to upload a picture to your website if you have a digital camera or a scanner, but both of those things are expensive, and also a lot of people don’t have the capability or the money to download pictures from the internet (some people have data caps with overage charges, and some people have text-only connections!), so they won’t get to see it. Maybe you can sell your piece at a con! You want to make a fanvid? We called them songvids, but, anyway, you know how you’re doing that? You’re going to hook two VCRs together and smash the play and record buttons very fast! If you want anyone else to watch them, you are either making them a tape personally and mailing it to them or bringing your vids to a convention. Maybe you can digitize them and upload them, but it’s going to take people hours to download them!

(Every three hours my ISP would kick me off the internet and I’d have to dial in again. If it was a busy time of day, it might take me 20 or 30 minutes to get a connection again. And that was assuming no one else in the house needed to use the phone line. Imagine if your modem went out every three hours now.)

And now, for the cost of my internet connection, I can read pretty much whatever fanfiction I want, whenever I want it. I can see all the fanart I want! I can watch vids! Podfic exists now! Fanmixes exist! Gifsets and moodboards exist! If I want to write fic I can write it with programs that are completely free, and as soon as I post it everyone in the entire world can read it. If I want to draw or make vids that may require some additional investment, but I may also be able to do it with things I already have. Do you have any idea how good we all have it?

There are a couple of kinds of fan activity that don’t seem to exist anymore, though, and I miss them. I know that roleplaying still goes on, but I feel like these days most people who do real-time text roleplay have switched to things like Discord. I know that in the LJ days, RP communities were popular. But I really miss MU*s (MUDs, MUSHes, MOOs, MUXes..), which were servers for real-time text-based RP with a bunch of... hmm... features to aid RP. There were virtual rooms with text descriptions, and objects in virtual rooms with descriptions, and your character had a description, and they could interact with the objects as well as with other characters, and you could program things to change descriptions or emit various kinds of text or take you to different rooms, and so on. Just to, y’know, enhance the atmosphere. It was fun and it was where I learned to RP and I’m sad they’re pretty much gone now.

I also don’t think I see a lot of fanfiction awards in fandoms. Wonder where they went.

Going back to the previous point, the barriers to actually consuming the canon you are fannish about are way, way, way lower now. You can pretty much take it for granted that if right now someone tells you about a shiny new fandom, there will be a way to read that book or watch that show or movie right now. Possibly for free! Of course you can watch it! Why wouldn’t you be able to?

This was absolutely, absolutely not the case before. I’m currently in Marvel Comics fandom. If there is a comic I want to read, I can read it right now on the internet. I have subscribed to Marvel Unlimited and I can read pretty much every comic that is older than three months old; the newer ones cost extra money. But I can do it all from the comfort of my own home right now. I was also, actually, in Marvel Comics fandom in the nineties. If I wanted to read a comic, I had to go to a comic book store and hope they had it in stock; if they didn’t, I had to try another store. Not a lot of comics were available in trade paperback and they definitely weren’t readable on the internet. I used to read a lot of Gambit h/c fic set after Uncanny X-Men #350. I never found a copy of UXM #350. I still haven’t! But I did eventually read it on Unlimited.

Being in TV show fandoms also had similar challenges. Was the show you were watching still on the air? No? Then you’d better hope you could find it in reruns, or know someone who had tapes of it that they could copy for you, otherwise you weren’t watching that show. It was, I think, pretty common for people to be in fandoms for shows they hadn’t seen, because they had no way to see the show, but they loved all the fanfic. The Sentinel had a whole lot of fans like that, both because I think it took a while for it to end up in reruns and because overseas distribution was probably poor. So you’d get people who read the fic and wrote fic based on the other fic they’d read, which meant that you got massive, massive amounts of fanon appearing that people just assumed was in the show because it was a weirdly specific detail that appeared in someone’s fic once. Like “Jim and Blair’s apartment has a small water heater” (not actually canonical) or “Blair is a vegetarian” (there’s an episode where his mother visits and IIRC cooks him one of his favorite meals, which is beef tongue).

Like, I was in The Professionals fandom for years. I read all the fic. I hadn’t seen the show. As far as I know, it never aired in the US, and it certainly never had any kind of US VHS or DVD release. I’d seen a couple songvids. I eventually saw a couple episodes in maybe 2003, and that was because my dad special-ordered a commercial VHS tape from the UK and paid someone to convert it from PAL to NTSC. I didn’t get to see the whole show until several years later when I got a region-free DVD player someone in fandom sent me burned copies of the UK DVD releases and then I special-ordered the commercial release of the DVDs from the UK myself. But if I were a new fan and wanted to watch Pros right now? It is on YouTube! For free!

I think also one of the things about fandom that’s not immediately evident to new fans is the way in which it is permanent and/or impermanent. There are probably people whose first fannish experience is on Tumblr or who only read fanfic on FFN and who have no idea what they would do if either site, say, just shut down. But if you’ve been in fandom a while, you’ve been through, say, Discord, Tumblr, Twitter, Pillowfort, Imzy, DW, JournalFen, LJ, GeoCities, IRC, mailing lists. And sure, if Tumblr closed, it would be inconvenient. But fandom would pack up and move somewhere else. You would find it again. It would, eventually, be okay. Similarly, if you’ve been in a lot of fandoms, if you’ve made a lot of friends, drifting through fandoms is like that. You’ll make a friend in 1998 because you were in the same fandom, and then you might go your own ways, and ten years later you might be in another fandom with them again! It happens.

But the flip side of that is that I think a lot of older fans have learned not to trust in the permanence of any particular site. If you like a story, you save it as soon as you read it. If you like a piece of art, you save it. If you like a vid, you save it. Because you don’t know when the site it’s on will be gone for good. I have, like, twenty years of lovingly-curated fanfic. And I feel like people who have only been in fandom since AO3 existed might not understand how much AO3 is a game-changer compared to what we had before. It’s a site where you can put your fic up and you don’t have to worry that the webhost is going out of business, or that the site might delete your work because they don’t allow gay fiction or explicit fiction or fiction written in second person or fiction for fandoms where the creator doesn’t like fanfiction, or whatever. Because all of those things have absolutely happened. But, I mean, I still save pretty much everything I like, even on AO3, just in case.

So, basically, yeah, fandom is a whole lot more accessible than it used to be. I think fandom is pretty much still fandom, but it’s a lot easier to get into, and that has made it way more open to people who wouldn’t have been able to be in fandom before. There is so, so much more now than there ever was before, and I think that’s great.

#Anonymous #replies

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couldnt-think-of-a-funny-name · 3 years ago

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PLEASE post your deh dream concepts

thank you for enabling me queen

OKAY first of all, I think it would have worked better as a straight play instead of a musical! there are moments, like 'sincerely, me' for example, where the singing just cheapens the moment. like, that song is a fun little bop! that they're...singing about fabricating a dead child's emails in order to lie to his family? lmfao it just Doesn't sit right imo. don't worry, I'm gonna work Ben Platt singing into it tho, just hang on.

Second- there was a show Daniel Radcliffe did on broadway about social media privacy a few years ago, and I remember it was interactive, the audience all logged onto a specific wifi network and used their phones during the show, it was cool! Dear Evan Hansen like....Tries to involve social media commentary but it just kinda gives up on it. like, they flash some fake profiles with a projector, and briefly shows Alana dramatizing what Evan told her online, but that's pretty much it??? I think it would have been super cool and unique to work the audience into the story like that. like...when I was in high school our school had a specific facebook page where people could anonymously compliment other students? and I know other schools have had similar things like that. they could set up a site that's supposed to be the school's media along those lines, and have the audience post on it (regarding the events of the plot) and have it read out during the show. maybe it'll even effect the climax if we wanna get fancy- some audiences might be more sympathetic to Evan while others want him to have harsher consequences! who knows! I just feel like the musical really dropped this whole 'how can we Connect' message it was going for and it'd be really cool to see it used better

Third- okay so. the letter writing thing. like, that IS an actual therapy thing but it's a bit...weird? I feel like most therapists recommend journaling over that also it feels kinda mean lmao 'no one will talk to me all day so I have to write to myself' ksjddklf. and Evan doesn't really...have much of a personality? like, he has an anxiety disorder, he's ashamed of his home life, he likes trees. that's kinda...it? like despite going on a complex arc he's not a very fleshed out character, it's weird. and since ben platt legally has to sing- I propose Evan likes song writing. it's something that's a little more relatable than the tree thing, and it also just adds to him lol. his 'I Need To Escape This Town' energy = he wants to be a musician. it'll show he's good with words when writing them down- which helps him fabricate the emails with Connor. Zoe's in band, so it gives the two of them something to bond over that doesn't involve Connor. maybe the letter itself was a weirdly formatted song he was working on, or maybe the therapist thought he'd like the letter thing bc of songwriting- but we can see it progress trough the show, like Alana wants him to write and perform a song about Connor and the Murphy's think that'll be so sweet! or maybe when he finally fesses up he writes a song about the whole mess and posts it online or something to that effect. I just think it'd be nice.

(also hi literally why is his therapist not a character??? feel like that's someone who might have a lot to say about the situation lmfao)

Four- focus more on Evan's suicidal thoughts??? omg like the big reveal they had was good but it was never like. revealed to anyone around him and overall just kinda passed over in the grand scheme of the plot like. bro. the show is supposed to be about this kid's mental health

I think...straight play, social media interactive, and then Evan's secret DOES get exposed- whether by people finding holes, the murphy's exposing him, or Evan cracking by himself, something like that. the 'one year later' part at the end, Evan posts a video explaining his side of the story and sings a song dedicated to Connor (maybe a little you will be found rework?). those are my biggest ideas anyway. the show holds a powerful story but I just feel like tweaking it would make it so much better idk

#dear evan hansen #deh #musicals #evan hansen #asks #molly mumbles #sunsetinsanremo

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publiccollectors · 4 years ago

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From the discussion “Towards A Self Sustaining Publishing Model” hosted by Printed Matter.

Some things I have learned in over 30 years of publishing since my teenage days as a zine maker, administrating my project Public Collectors, and from working in the group Temporary Services and our publishing imprint Half Letter Press.

I have just ten minutes to speak. If only one or two things that I share are useful, that’s plenty! It took me decades to understand some of this stuff.

Use every exhibition invitation with a budget to print something. Use the whole budget to print something. Make something in a large enough print run so that you have something to give away and surplus that you can sell. Your publication can be a folded sheet of paper, a booklet, a newspaper, a poster, a book, or anything in between.

Be able to print at least something at home. Buy a cheap laser printer or inkjet printer, find a used copy machine, buy a RISO or some other duplicator, carve something into a potato or a piece of foam and print it. Being able to do at least some of the printing and production at home—even if it’s on a tiny scale—will compel you to print things that you might have convinced yourself not to send out or bring to a professional printer. Hopefully the ability to print impulsively and compulsively will result in good work. Figure out how to keep making things on every scale. Look for cheap used printing equipment on Craigslist. Team up with friends and buy equipment together that you can share. Start a printing collective in your basement.

Ideally your publication should cost 1/5th or 1/6th of the retail price to make. If you sell a $10.00 publication through a store, you are probably only going to make $6.00 or less after the store takes its cut. So ideally your $10.00 book costs $2.00 or less to make. Don’t aim to just break even. Aim to make a profit so you can keep making more publications and pay for your life. Publishing will probably never be your sole income but don’t lose money on purpose. Make things that are priced fairly and look like they justify what they cost to buy. The fact that you didn’t find a more affordable way to print something is not an excuse to sell something that feels cheap and shitty for a ridiculous sum of money. Good cheap printing is easier to find than ever before. Do your homework.

Figure out the cheapest and least wasteful ways to do everything. Ask other publishers where they get their work printed. Look for local printers so you can avoid shipping fees. Ask local printers if you can pay in cash for a discount. Ask printers if there is a cheaper way to do what you want to do by adjusting the size of your paper or the paper stock or some other small shift in form. If you print things yourself, buy the paper that is on sale. Design a publication around the paper that you found for cheap. Discount warehouses sometimes have good paper. Even dollar stores sometimes have good paper. I’ve even bought paper at flea markets. Costco sells an 800 sheet ream of 24 lb paper for $6.99. I use it all the time. It rules. I also recommend getting your jugs of organic olive oil there, but you can’t print with that.

Free printing is good printing. If you have access to free printing, use it. Free printing is like free food at art openings and conference receptions. It is one of those pleasures in life that never gets old. Come up with an idea that is based around the aesthetics of whatever free printing you have access to and make the publication that way. Eat the cheese and bread. Drink the wine. Make the copies at work.

Buy bulk shipping mailers on eBay. Find bubble wrap and other packing materials in the trash. Look out for neighbors who just bought new furniture—it’s usually wrapped in miles of packing material you can use for shipping books. Boycott terrible right wing fuckers like ULINE. Seriously, they give money to everyone horrible. Trump? Check. Ted Cruz? Check. Scott Walker? Check. ROY FUCKING MOORE? CHECK FUCKING CHECK! Tear up their catalogs and use them as packing material to protect your books. Make publications that have a consistent size so you can purchase cardboard mailers in bulk and get a discount on them. Buy packing tape in bulk. Buy everything in bulk. You can store your extra reams of paper under your bed or on top of your kitchen cabinets if necessary. Be like a wacko survivalist prepper, but for office supplies. Go to estate sales and look for the home office in the house. Buy the dead person’s extra tape and staples and rulers and scissors. I’ve been using some random dead person’s staples for years because I bought their staple hoard. Staples aren’t like meat and milk. They don’t expire.

I’m against competition. Try to avoid competing with other artists for resources. If you don’t truly need the money, don’t ask for it. Artists should have a section on their CV where they list grants they could have easily gotten but didn’t apply for because they are privileged enough that they don’t need the money as much as someone else. I almost never apply for anything but the one thing I do apply for and get every year is a part-time faculty development grant from Columbia College Chicago where I teach. It pays adjuncts up to $2,500 a year to fund their projects and seems to be completely non-competitive. My union negotiated to get us more money. I have used that grant to make over a dozen publications. The value of the publications I make and sell with each grant is about three or four times the value of the grant itself. Some years I make more from the grant than I do from the limited number of classes I teach. But I don’t depend on this grant to be a publisher and I’d still be able to make things without it.

Make things in different price ranges so everyone can afford your work, but also so that you can sustain your practice. Make a publication that costs $2.00, that costs $6.00, that costs $20.00, and make something special for the fancy ass institutional libraries that have a lot of money to spare and can buy something that costs $300.00. Likewise, make things in all different size print runs. Is there something you can print 1,000 of that you can keep selling and giving away for years, to enjoy that quantity discount that comes with offset printing a large number of publications?

Collaborate with people and pay them with publications (if they are cool with that) that they can sell on their own. Sometimes this ends up being better pay and more useful than an honorarium, and it helps justify a larger print run. But see what they need—don’t assume. Barter with other publishers and sell each other’s work and let each other keep the money. This helps with distribution. Sometimes it’s easier to sell their work than it is to sell your own. Help others expand the audience for their publications.

Fund your publishing practice by asking your friends who teach to invite you to talk to their college classes about your work. Use those guest speaker fees to print something. I sometimes tell people on social media: If three or four people will invite me to speak to their class, it could fund the entire next issue of X booklet series that you like so much. This has often worked. Also, sometimes their students end up ordering publications. Sometimes lectures about publications generate more income than the publications themselves.

Have an emailing list and write newsletters to announce new publications. Stay in touch with people who like what you do. Expect to spend a ton of time corresponding with people. Have some cheap things and cool ephemera on hand that you can send people for free when they mail order your publications. Reward people who support you directly with something nice that they didn’t expect. People like handwritten notes. It’s okay if they are very short but sign the packing slip and at least write “Thank you!”

Above all, know that publishing is a life journey and not a get rich quick scheme, or even a make very much money scheme. Enjoy the experience of meeting and working with others, trade your publications with other publishers and build up an amazing library of small press, hard to find artist books. Get vaccinated and travel and sleep on each other’s couches. Be generous with your time, knowledge, resources, and work. Tell Jeff Bezos to fuck off by never selling anything you make through Amazon. Find the bookstores that you love and work with them forever. It’s nicer to have deeper relationships with fewer bookstores than surface level interactions with dozens of shops run by people you don’t know.

Think about your publishing family. Bookstore people are your family. People that organize book fairs and zine fests are your publishing family. Other publishers are your family. People who follow your work for years on end are your family. Printers and binderies are your family. The postal workers that know you by name and that you know by name are your family. The person who doesn’t care if you make the free copies at work is your family. Over thirty years later, I’m still in contact with people I exchanged zines with through the mail when I was a teenager. In some cases I still haven’t met them in person. It’s fine! They are my family. Your students are your family—particularly once they graduate or drop out, as long as they continue making books and zines. Your family is your family, particularly if they value and support your publishing practice. And for this reason, this talk is dedicated to my late father Bruce Fischer, who let me use the company copier and postage meter when I was in high school, and to my mom who sat on the floor with me and helped me hand collate and staple my zines.

That’s what I’ve got for now. Stay in touch and with luck, and enough vaccines and masks and hand sanitizer, maybe I’ll see you at a book fair. – Marc Fischer • Thank you to Be Oakley of GenderFail for the invitation to present, to the other presenters Vivian Sming, Yuri Ogita, and Devin Troy Strother, and to the wonderful people at Printed Matter for hosting this! You should be able to find the video archived on Printed Matter’s YouTube Channel. Presented on April 2, 2021

#Public Collectors #Publishing #Printed Matter #Be Oakley #Sming Sming #Coloured Publishing #GenderFail

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dingoes8myrp · 4 years ago

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An Examination of Joss Whedon

On February 11th, Charisma Carpenter made a post on her Instagram account detailing mistreatment she experienced on the sets of Angel and Buffy the Vampire Slayer. Carpenter worked on both shows from 1996 to 2004 and attributes this mistreatment to show creator Joss Whedon.

On the same day, I made a post on my Tumblr and my WordPress accounts regarding my stance on this topic. I felt it was important for me to post something quickly due to the large number of Buffyverse followers and mutuals on my Tumblr.

I was overwhelmed by the likes, reblogs, and comments this post received in less than twenty-four hours. I’m so glad so many people support Charisma Carpenter and others who are speaking out about their experiences.

Workplace mistreatment is insidious, and too often the systems in place to mediate these situations are designed to protect the employer rather than the person experiencing mistreatment. This happens everywhere in every industry. When people in the public eye draw attention to these issues it helps bring awareness to everyone and encourages societal change.

In today’s climate, social media moves faster than legal or internal HR systems. This means, more often than not, accusations spread, opinions form, and action is taken long before any investigation can occur. Because of this, it’s important for people to seek out the facts themselves in order to stay informed or make decisions about who in fandom they choose to support or not.

I’m going to go through various tid-bits I’ve seen over the past twenty-five years regarding Joss Whedon’s behavior, which prompted my quick response to Charisma Carpenter’s post. I feel it’s important to share this with those who may be new to the fandom, or those who doubt Charisma Carpenter’s claims and those of others.

The Bronze

Before there was Twitter, there was The Bronze.

The Bronze was the official online gathering place of Buffyverse fans. Joss Whedon and others involved with the shows occasionally popped in and posted, interacting with the fans. There was speculation about the trajectory of the show, discussion about lore, fan theories, and behind the scenes rumors.

I didn’t learn about these forums until I was in high school (from 2002 to 2006) and I never posted. I just read up on the fun factoids I could find. I wasn’t a heavy Internet user back then. We had one computer in my house and it was shared with my parents. I was only allowed on for so much time per day, yada yada.

I think Buffy the Vampire Slayer was one of the first shows – if not the first – to utilize this kind of creator/fan interaction. It wasn’t a regular thing back then.

The vibe of these forums was very laidback. When someone directly involved with Buffy the Vampire Slayer or Angel posted (known as a V.I.P.) it was with a very casual, unmoderated tone. There was no screenshotting every word to be saved for later. Someone from the media couldn’t grab a comment made and spread it across the Internet in real time. There were mailing lists – collections of email addresses for people who wanted updates on show spoilers or particular non-show activities of various actors. Fan letters were still a thing – actual snail mail letters you could send to actors and writers of the shows. Things moved slowly, and there wasn’t as much transparency as there is on the Internet today with sites like Instagram and Twitter.

In a series of posts made on November 6th, 2001, Joss Whedon reacted to the airing of the musical episode, “Once More with Feeling.” He called it “the biggest undertaking of my life,” but expressed his appreciation toward the UPN network, the cast, and crew – particularly Anthony Head, Amber Benson, and James Marsters. He calls Anthony Head “the golden throat” and writes of James Marsters, “And James, who always tells me to do everything I dream of, then brings that intense voice and those cheekbones along for the ride.”

All he writes about Amber Benson is, “Amber… just, you know… Amber….”

Alarmingly absent from his praise is star Sarah Michelle Gellar, who “went back and forth” over whether or not to sing in the episode. “I’m not a singer,” she told EW. She didn’t feel prepared enough and “didn’t feel confident.” As someone who broke out of her comfort zone and pulled off a wonderful leading performance, Gellar was certainly deserving of some acknowledgment.

Seemingly realizing he neglected to mention Marti Noxon, Whedon tacked on, “Do you know anyone that hot who can run a show? Do you? I don’t think so. What a voice.” At the time, alongside comments about James Marsters’ cheekbones and being “a little gay” for Anthony Head, this seemed to be an attempt at an edgy complement (though a little cringey). Marti Noxon was a new showrunner for Buffy, taking over for Joss. Referring to her as hot rather than praising her work is a little demeaning, in my opinion, particularly when it was up to him to make sure she was respected and taken seriously in filling his shoes.

On May 22nd, 2002, Whedon posted about “the gay thing” – probably not for the first time. Regarding some fan reactions to the death of Tara Maclay, Joss wrote, “I knew some people would be angry with me for destroying the only gay couple on the show, but the idea that I COULDN’T kill Tara because she was gay is as offensive to me as the idea that I DID kill her because she was gay. Willow’s story was not about being gay. It was about weakness, addiction, loss… the way life hits you in the gut right when you think you’re back on your feet.”

Keep in mind, at the time, Willow was one of the first gay main characters – if not THE first – on a major primetime show in the sci-fi/fantasy genre. Having a gay couple on a major show like this was not a regular thing, which made the shocking death of Tara and the dark turn of Willow particularly hard-hitting. While Whedon isn’t saying anything particularly inflammatory here, it does show a sort of crass attitude toward the removal of this representation from the show, which had become so important to so many fans – and still is now.

There’s not a lot of meaty information to be found that I could dig up, but I wanted to give people an idea of this landscape back in the day. I picked out those particular Joss Whedon posts because they show a very casual disregard for the women involved in the shows – an insidious and subtle thing, but it’s there.

Fighting with Buffy

Jeff Pruitt was a stunt coordinator on Buffy the Vampire Slayer from 1997 to 2000. He also happened to be romantically involved with Sarah Michelle Gellar’s stunt double, Sophia Crawford. Both would exit the show by its fifth season. According to Pruitt, it was not an amicable exit.

Pruitt claims he and Crawford were treated badly on the set, that Crawford was “one never ending injury” and she had “reached the end of her rope.” He said that they were threatened and blackballed when they made attempts to leave before the 100th episode. They got an opportunity to work on Dark Angel, but the people at Dark Angel supposedly received a phone call from “someone high up at their studio” and were told not to hire Pruitt and Crawford. He suspects this was to keep Sophia Crawford from leaving Buffy the Vampire Slayer.

Their firing was unceremonious, according to Pruitt. “Sophia was told point blank that she was being fired because she knew too much about things,” he claimed. He said Joss Whedon and Jane Espenson threatened Crawford, saying if she spoke about what happened on set she’d “never work in this town again.”

Jeff Pruitt spoke about “sneaky politics” behind the scenes, saying “there was something weird going on” in the months leading up to his and Crawford’s exit. Pruitt claims Sarah Michelle Gellar was a “spoiled starlett” and that she was “out to get” him and Crawford. He attributes statements he made in private emails that were later read by Joss Whedon to his firing.

It’s worth noting that many people have stated that Sarah Michelle Gellar is undeserving of a “diva” label. When asked in 2004 what it was like working with Sarah Michelle Gellar, Julie Benz said, “She’s extremely talented and generous. Her reputation is just completely untrue. Unfortunately in Hollywood if you’re young and female and you have an opinion you get labeled a diva or something…else. Sarah’s an amazing talent, but she got labeled.”

In a 2013 interview on Bravo’s Watch What Happens Live, Alyson Hannigan answered a series of rapid-fire questions about Buffy the Vampire Slayer. When asked who was the most “annoyed” by the end of the show, she said, “Sarah,” referring to Sarah Michelle Gellar. When the audience booed, Hannigan clarified, “Well, she had a big career going, and it was a lot of work.” When asked when Gellar started to “hate” the show, Hannigan quickly said season three. In a later interview for Huffpost Live, Hannigan clarified her comments further. “[Sarah Michelle Gellar] worked her butt off,” she stated. “She worked eighteen-hour days for years.” Hannigan said she wouldn’t have classified Gellar as “annoyed,” saying, “she was super professional.”

Honestly, I’m Team Sarah on this one. I couldn’t find corroborating sources for Jeff Pruitt’s claims of her “diva” behavior, but I found several sources stating otherwise. Gellar did confirm during a cast reunion that she may have oversold her stunt experience, which ultimately would have meant more work for her stunt double and the stunt coordinator. It seems to me like this set everything on a bad foot with that team. But, the reasons Jeff Pruitt and Sophia Crawford gave for their exit had little-to-nothing to do with Gellar.

Vincent Kartheiser

Vincent Kartheiser played Connor on Angel, and he did a number of interviews talking about his experience on the show. I picked his interviews because I’ve always found him to be very candid and he doesn’t seem to shy away from uncomfortable answers to questions. A few of his answers provide a little insight into the mood on the set at times, and Charisma Carpenter’s attitude.

When Charisma Carpenter was pregnant on the show, she had a storyline that heavily involved Connor, so the two spent a lot of time working together on set. He was asked about her pregnancy and how it affected filming. In a 2003 interview for BBC Cult, Kartheiser said of Carpenter, “she was a great sport and would suck up the pain even though you could see that she was in it.”

In another interview for Angel Magazine from the same year, he said Carpenter had “an abundance of energy for a working, pregnant lady who, right in the heart of her pregnancy, they put her in so much.”

It’s worth noting Vincent Kartheiser had his own issues with the show. “What really made me interested in Angel was the idea that as a show, it changed so much and all the characters could change so much,” he told Angel Magazine. “It wasn’t that clichéd kind of ‘show up, do your thing, go home’ all the time.” Unfortunately, the potential that interested him never came to fruition for his character. “As the season went on, we never really got to deal with the relationship problems between me and David,” Kartheiser said, referring to David Boreanaz as Angel. “I never really got the opportunity to bond with any other characters.” He expressed a feeling that there was nowhere for his character to go and that Connor’s motivations seemed to change from week to week. “There were parts of the season I didn’t have the opportunity to stretch,” he explained, “that it felt like I was doing the same scene over and over.”

Vincent Kartheiser did a later interview with Giantmag.com where he reiterated some of these frustrations. For him, the character of Connor started to get stale early on. “Every week I’d show up and have a scene with Cordelia,” he said, “then Angel would show up and I’d have some sort of conflict with him. There’d be a couple of fight scenes where I’d fight with them even though I didn’t want to and then I would sulk and leave. That to me was every episode.” He felt the writers had written Connor “into a corner” and that fans responded poorly to him.

When comparing his experience on Angel to his experience playing Pete Campbell on Mad Men, Kartheiser expressed a lackluster feeling on the set of Angel. “There was a real sense on Angel that people were just doing a job,” Kartheiser said of the set. “The grips, the DP, even the directors would kind of just show up, do their job and go home.” This atmosphere is a direct contrast to what had attracted Vincent Kartheiser to the show in the first place. “On Mad Men we also have Matthew Weiner on set all the time whereas Joss [Whedon] was hardly ever on Angel,” Kartheiser explained. “I think Joss was doing Firefly at that point and was in love with his next project. I had a friend who filmed a few episodes in the first season of Angel and said everyone was invested and there was crazy energy, so maybe I just came into it late.”

Kartheiser also delved deeper into his frustrations over the direction (or lack thereof) of his character. “I let them know right off the bat that some of the choices they were making [about Conner] were wrong,” he said. “I showed up to play that character and I had a lot of ideas. And they didn’t like any of those ideas.” As a result, Kartheiser said he got “jaded” and “angry” at the show. “I felt like it wasn’t a collaboration, that the people I was working with didn’t care to take risks.”

In hindsight, he went on to say, “I was never a fan of Buffy, I’ll say it straight out. I was never a fan of Angel. I always found it hard to say Joss’ words.”

From all these comments, both from the beginning of Vincent Kartheiser’s journey as Connor, and from a few years after the show ended, it seems like he was excited for the opportunity, but ultimately disappointed with the overall experience. He also revealed how uncomfortable Charisma Carpenter had to be during filming while she was pregnant, but noted her energy and attitude were never a problem.

Farewell Cordelia

Prior to Charisma Carpenter’s official exit from Angel, her character arc had taken a very strange turn and Cordelia had been ominously left in a coma. Concern grew when Charisma Carpenter was not included in the cast of season 5. In a 2003 interview with TV Guide Online, Joss Whedon stated, “The Angel/Cordelia [love story] had gone pretty much as far as we wanted to take it” and that it wasn’t popular with the fans. “It just seemed like a good time for certain people to move on,” he continued. “Not completely, obviously. I’m hoping that we’ll get Charisma to do some episodes as Cordelia sometime during the year.”

TV Guide asked, “Isn’t that a disservice to fans who invested all those years in the character and her redemption? It seems an odd thing to do to the show’s leading lady.” Whedon responded, “That’s a fluctuating concept, the leading lady thing. And it is a little odd. Some choices are ultimately kind of controversial about who stays and who goes and who we focus on. But obviously, we had to have her out of a bunch of episodes toward the end of the year because she was having a baby… so what we had [leading] up to it wasn’t a dynamic I wanted to play out that much.” When asked if things were left on good terms with Charisma Carpenter, Joss Whedon stated he wouldn’t discuss that in an interview.

From Charisma Carpenter’s perspective, she was uncomfortable with Cordelia’s storyline prior to her coma and her death. “It was creepy,” she said of Cordelia’s relationship with Connor. “Connor was Angel’s son and half my age.” Carpenter stated it was important for her to return to wrap up the character’s storyline. “We didn’t want to just leave Cordelia in a coma,” she stated. “Whatever happens after this, I’m open. But it’s just best this story be [resolved] now. Otherwise, it’s a disservice to the fans of our show.” When pressed regarding whether or not she’d return to the show, Carpenter replied, “I don’t think it’ll be necessary. You never say never. However, at this point in time, I don’t see a future for her.” She continued with, “I feel like Joss feels – the Cordelia stories have been told. There were no other directions to go with her.”

Carpenter’s final appearance as Cordelia was an emotional experience. “We’ve been crying for the last two days,” she said in a behind-the-scenes interview. “I’m so physically drained.” She wasn’t the only one affected, either. “The director was crying, the crew was crying, we were crying,” she said. She called it a sad goodbye personally, professionally, and story-wise.

Working with Joss Whedon

Over the years, Joss Whedon gained a reputation for being unconventional to work with. Many actors from the Buffyverse have said they were unhappy with their characters’ creative paths. Sarah Michelle Gellar felt season six “betrayed” who Buffy was, saying she had to be “talked off a ledge” a number of times during filming.

Nicholas Brendon felt the character of Xander was “underrated,” particularly during season seven. “Joss did have a talk with Sarah and I because he was kind of contemplating the idea of Xander and Buffy ending up together at the end of season seven,” Brendon told AV Club. “We were both for it, but then that never came to fruition and I lost my eye.”

On an episode of Michael Rosenbaum’s Inside of You podcast, James Marsters said he was “terrified” of Joss Whedon. “I wasn’t designed to be a romantic character,” he explained. “The audience reacted that way to it. And I remember [Joss Whedon] backed me up against a wall one day, and he was just like, ‘I don’t care how popular you are, kid. You’re dead! You hear me? You’re dead! Dead!” Rosenbaum asked, “Was he kidding around?” and Marsters replied, “No. Hell, no.” Marsters also said he had “open wounds” on his scalp from over-using bleach on his roots every eight days to keep the roots from growing out.

Multiple actors from Angel have talked about Whedon’s habit of making actors squirm. David Boreanaz spoke about how he learned about the Angel spinoff during a twentieth anniversary cast reunion. “I got a phone call that Joss wanted to talk to me,” Boreanaz recalled. “The only thing he said was, ‘I want you to come into my office tomorrow,’ and I’m like, ‘I’m fired.’” He described having a night of “angst” and spent the following day working on some flashback scenes. When he finally met with Whedon at lunch it took some time for Whedon to tell him his character was getting a spin-off. Alexis Denisof expressed a similar knee-jerk feeling of “uh-oh,” but had an idea the spin-off was filming. However, Amy Acker had a similar story to what Boreanaz experienced when she was told about her character Fred’s transformation into Illyria. “It seems to be an echo of, like, ‘Hey, can you meet me for coffee tomorrow?’ and I’m like, ‘Ohh, they’re firing me!’ And we sat down to coffee and he said, ‘I just wanted you to know I’m killing Fred.’ And he waited, like, really a long time.” Charisma Carpenter chimed in, “He likes to do that!” Acker was then informed she would still be on the show as Illyria.

Charisma Carpenter and Marti Noxon have shared their own stories about Joss’s “You’re fired, just kidding” stories. Seth Green quipped “He did that to me too, but it took.”

Whedon’s View of Women

While Joss Whedon considers his writing to be feminist, his portrayal of women as well as other statements he’s made contradict this. In 2013, he gave a speech for Equality Now about his dislike of the word “feminist.” While this speech earned him some acclaim, it also earned him some backlash from the feminist community. This was mainly because he claimed it’s natural for people to be equal, and to add “-ist” to the end of the word “feminist” implies that people’s natural state is to be unequal. This stance was seen as disrespectful to Feminism as a movement, for some.

Joss Whedon received wide criticism for his portrayal of women in the Marvel Cinematic Universe. One critic, Scott Mendelson, talked about Whedon’s portrayal of Scarlet Witch and Black Widow in Avengers: Age of Ultron. “Scarlet Witch eventually has to be coaxed into bravery by one of the male heroes,” Mendelson writes of Elizabeth’s Olson’s character. Mendelson was even less thrilled with Scarlet Johansson’s Natasha Romanoff. “Maybe I shouldn’t be annoyed that the only major female character’s primary arc is a theoretically unrequited pining for a nice guy with major anger issues,” he writes, “or that said character briefly gets captured by the villain in the second act and tossed in a cage for no reason other than to be rescued by her male compatriots.” Backlash over this film caused Whedon to quit Twitter. In an article for Gizmodo, writers Meredith Woerner and Katharine Trendacosta point out that Joss Whedon teased a “killer” backstory for Natasha Romanoff. “Instead of an assassin constantly struggling with finding moral lines she didn’t know existed, we got a woman who feels incomplete because she cannot have babies,” Woerner and Trendacosta concluded.

In 2017, Whedon’s ex-wife Kai Cole wrote a blog for The Wrap stating, “he used his relationship with me as a shield, both during and after our marriage, so no one would question his relationships with other women or scrutinize his writing as anything other than feminist.”

Cole alleges Whedon wrote her a letter in which he said, “When I was running ‘Buffy,’ I was surrounded by beautiful, needy, aggressive young women… As a guilty man I knew the only way to hide was to act as though I were righteous… In many ways I was the HEIGHT of normal, in this culture. We’re taught to be providers and companions and at the same time, to conquer and acquire — specifically sexually — and I was pulling off both!” At the end of her essay, Cole wrote, “I want the people who worship him to know he is human, and the organizations giving him awards for his feminist work, to think twice in the future about honoring a man who does not practice what he preaches.”

In response to Kai Cole’s letter, Laura M. Browning wrote in an AV Club article, “I was sad, but not shocked—maybe a little embarrassed I hadn’t looked more closely at some very clear problems in his work… His work has plenty of male gaze and women in refrigerators and some narratively pointless rape scenes—it’s all right there, in hundreds of hours of television and film—but boy, it sure is a lot more comfortable to listen to a guy tell you he’s a feminist than listen to a lot of women telling you he’s not.”

Whedon’s veneer of feminism has been cracking for several years.

Recent Allegations

Actor Ray Fisher claimed Joss Whedon behaved inappropriately on the set of Justice League, tweeting, “Joss Wheadon’s on-set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable.” Fisher also accused Geoff Johns and Jon Berg of enabling Whedon’s behavior. An investigation was done by Warner Brothers and co-stars Jason Mamoa and Kiersey Clemons publicly supported Fisher. Ultimately, the investigation concluded and “remedial action” was taken. The action taken has not been specified.

Shortly after, Joss Whedon exited the HBO series The Nevers, which Fisher attributes to his own claims.

Team Charisma

Those who have shown support to Charisma Carpenter include: Sarah Michelle Gellar Ray Fisher J. August Richards Michelle Trachtenberg Amber Benson Eliza Dushku Jose Molina Marti Noxon Emma Caulfield James Marsters Anthony Head Clare Kramer James C. Leary Sophia Crawford David Boreanaz Amy Acker Julie Benz Danny Strong Adam Busch Tom Lenk Nicholas Brendon Jeff Mariotte

Others who have written about Joss Whedon or come out to support those coming forward:

Courtney Enlow Nell Scovell Glen Mazzara

My Conclusion

As I stated in my previous post on this topic, I stand with Team Charisma. It is not okay for a person in a position of power over others in the workplace to misuse that power in an inappropriate or abusive manner. No matter how talented that person may be and how beloved the work may be.

#buffy the vampire slayer #btvs #angel the series #joss whedon #charisma carpenter

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fansplaining · 4 years ago

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A Note from Fansplaining

If you’re subscribed to Fansplaining on iTunes or another podcatcher, you’ve probably seen that we put out a short statement this week in lieu of a new episode. Because we’re committed to making all audio we release fully accessible, we’ll transcribe the clip at the bottom of this post, below the cut. But fwiw, it’s mostly just explaining what’s in this post:

Black lives matter. We condemn white supremacy in all its forms. We believe the police should be defunded and dismantled. And we want to make sure everyone who listens to our podcast knows about ways they can contribute to this fight, and ways they can support the Black community (please note that these are U.S.-centric). We’ll be back with a new episode soon, but this is more important than anything we could say right now.

Places to donate

If you’re out of work or have lost hours in the past few months, you may not have money to spare. But even small donations—$5, $10—add up. A few organizations we recommend:

House of GG, a Black-led organization, is fundraising to build a permanent home in Little Rock, Arkansas where trans and gender-nonconforming people can both be housed and receive leadership training.

G.L.I.T.S. is fundraising to buy two buildings to create a permanent place to house and support Black trans people in New York City, as well as sign leases for space to use in the interim.

Sista Afya, a Chicago-based organization, is fundraising to keep its therapeutic services, social events, and wellness experiences under $15 and to hold large scale events like a free arts festival.

For a larger crowdsourced list, see suggestions here.

Ways to get involved if you can’t physically or monetarily participate

If, like us, you live in New York City, here’s a great resource for actionable things you can do from home. Here’s a national list, though for more granular detail for your town/city/region, you should search social media. Some great google doc action happening right now!!

As a reminder, when contacting elected officials:

Always write your own email, rather than use a form. People who work or have worked in these offices strongly advise this, and report that form emails are regularly filtered out, often directly into the trash.

Always write a postcard rather than a letter. Letters are scanned for things like anthrax and can get held up for days; postcards go straight through.

Ensure you know the official’s position on whatever you’re asking about before you call or write. If they’re already supporting or sponsoring a specific piece of legislation, call them anyway and thank them. They use constituent numbers to show that their positions have a lot of public support.

Particularly for white and non-BIPOC: reach out to your family members, as much as you feel safe doing so, and speak with them about Black Lives Matter and the issues of the day. If you have language barriers with your family members, or just need a place to start, Letters For Black Lives is a great resource that includes material in many languages.

Stream this video—all ad revenue will go to bail funds, families of victims of racist police brutality, and other Black-led organizations.

Resources on anti-Blackness and racism in fandom

Because we are a fandom podcast, we encourage white fans in particular to continue to listen to Black fans and other fans of color when it comes to racism in fandom. If you’re new to the podcast or haven’t dug into the full back catalogue, we recommend prioritizing:

Our pair of episodes on race and racism in fandom—especially anti-Blackness in fandom—featured eight different guests. Episodes 22A and B: “Race and Fandom Part 1” and “Race and Fandom Part 2.”

Ebony Elizabeth Thomas was one of our earliest and one of our most recent repeat guests. You can listen to her talk about race, children’s literature, and fandom in episode 7, “The Dark Fantastic” and episode 120, “Ebony Elizabeth Thomas.” Once you’ve listened to these episodes, buy or request that your library purchase a copy of her book, The Dark Fantastic.

Tanya DePass is the founder of I Need Diverse Games. In episode 42, “Fresh Out of Tokens,” she discussed fan/creator interaction and intersectionality in the context of games specifically.

Rukmini Pande is a well-known scholar of race and fandom. She first joined us in episode 29, “Shipping and Activism,” to talk about the ways that ships intersect with politics; then, she returned in episode 89, “Rukmini Pande,” and discussed her academic work. Once you’ve listened to these episodes, buy or request that your library purchase a copy of her book, Squee From the Margins.

In episode 48, “Con or Bust,” we interviewed Diana Pho and Mark Oshiro, two board members of Con or Bust, an organization that raises money to help fans of color attend conventions.

For further reading, Fan Studies Network North America has put together a great list of resources.

Transcript

[Intro music: “Awel” by stefsax]

Flourish Klink: Hi, Elizabeth.

Elizabeth Minkel: Hi, Flourish.

FK: Welcome to not an episode of Fansplaining. Um, we almost completely canceled recording at all, but we decided that we wanted to record a short thing, because we know some people only receive us through their podcatcher or whatever and don’t ever go to our website or our social media. So it felt important that we actually record something short today.

ELM: All right. So, just off the bat, at the risk of sounding like a terrible brand black .jpg with white letters, I think it should be obvious to everybody right now but it’s always worth restating—Black Lives Matter. We strongly support everything that is happening right now. We both strongly believe that the police should be…what word are we gonna use? Dismantled?

FK: Yes.

ELM: Dismantled. Like, we, like, you know—and like, strongly condemn white supremacy, which is the foundation of our country and much of the world.

FK: Right. So…

ELM: Very broad statement here, but like, you know, it’s definitely worth stating in explicit terms and not couching it around, you know, just to outright state support for Black people and the fight that is going on right now.

FK: Completely. And we really struggled with whether or not to record an episode because, on the one hand, there’s a lot of topics that we think would be really good to talk about that are within the purview of this podcast—stuff like the way people are using social media to organize, stuff like the entire conversation around K-pop fandom and the way that’s been going down. There’s like five things.

ELM: Spoiler, spoiler: It’s been going down poorly.

FK: Yeah.

ELM: Wait, side note: just anyone, please please please, cause I know a lot of people listen to this podcast and are in fandom but are not in K-pop fandom, if an article that you’re sharing about K-pop fans mobilizing doesn’t acknowledge the, like, rampant anti-Blackness happening within those spaces right now, they haven’t done enough research.

FK: Correct. And also, it’s both that and also if you see the narrative that K-pop fans are only bots, that’s also the other flip bad side of the coin.

ELM: Well, we should—now we’re gettin’ right into it. We’re not actually doing an episode. We’re not actually doing an episode. Yes.

FK: We’re actually gonna talk about this at some point in the future. Right now it feels like, you know, just being two white women talking about this stuff feels like not the thing to do right now? And we also don’t want to right now ask Black people to come on to our podcast and talk about things in a deeply traumatic and horrible moment. So we’re going to put a pin in the podcast and we’re gonna come back with all of those topics and a bunch of guests and basically begin to address this stuff, hopefully in a moment that’s less fraught. Is it ever gonna get less fraught? I don’t know if it’s gonna get less fraught.

ELM: That being said, let’s play it by ear! Because I could not tell you what’s gonna happen two weeks from now, but like…

FK: [sighs] Yeah, I really don’t know either.

ELM: Just, we’ll see. So in the meantime, we are going to put a post on Tumblr so it’ll be shareable, and we are going to include resources—places to donate, in particular places that aren’t getting as much attention. More grassroots stuff that we’re seeking out right now. And also ways to be active and involved for people who don’t have the money or physical ability to be protesting right now, because I am very aware of the narrative of “You should be in the streets! And if not then you should donate!” And it’s like, well, what happens if you are unemployed and also physically unable to get out there? There are so many ways that you can really be, actively lend your support right now.

So we’ll put those in there, and then also, we shared on Twitter a thread of great resources about anti-Blackness and racism in fandom, and since this is a fandom podcast we’ll be sharing some of those in that post as well, because it’s all connected.

FK: Absolutely. All right, everyone out there, stay safe, stay strong, if you’re in the streets stay in the streets, and we’ll be back when we can.

ELM: OK, bye Flourish!

FK: Bye, Elizabeth.

[Outro music: “Awel” by stefsax]

#fansplaining #fan culture #fan studies #fandom

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lilydalexf · 4 years ago

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Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Syntax6

Syntax6 has 17 stories at Gossamer, but you should visit her website for the complete collection of her fics and to see the cover art that comes with many of the stories (and to find her pro writing!). She's written some of the most beloved casefiles in the fandom. I've recced literally all of them here before. Twice. Big thanks to Syntax6 for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I’m delighted but not surprised because I’ve written and read fanfic for shows even older than XF. Also, I joined the XF fandom relatively late, at the end of 1999, so there were already hundreds of “classic” fics out there, stories that were theoretically superseded or dated by canon developments that came after them, but which nonetheless remained compelling in their own right. That is the beauty of fanfic: it is inspired by its original creators but not bound by them. It’s a world of “what if” and each story gets to run in a new direction, irrespective of the canon and all the other stories spinning off in their own universes. In this way, fanfic becomes almost timeless.

What do you think of when you think about your X-Files fandom experience? What did you take away from it? What did you take away from your experience with X-Files fic or with the fandom in general?

(I feel these are similar, at least for me, so I will combine them here.)

First and foremost, I found friends. There was a table full of XF fanfic writers at my wedding. Bugs was my maid of honor. I still talk to someone from XF fandom pretty much every day. Lysandra, Maybe Amanda, Michelle Kiefer, bugs…these are just some of the people who’ve been part of my life for half my existence now. Sometimes I get to have dinner with Audrey Roget or Anjou or MCA. Deb Wells and Sarah Ellen Parsons are part of my pro fic beta team. I have a similar list from the Hunter fandom, terrific people who have enriched my life in numerous ways and I am honored to count as friends.

Second, I learned a lot about writing during my years in XF fandom. I grew up there. Part of this growth experience was simply due to practice. I wrote about 1.2 million words of XF fanfic, which is the equivalent of 15 novels. I made mistakes and learned from them. But another essential part of learning is absorbing different kinds of well-told tales, and XF had these in spades. Some stories were funny. Others were lyrical. Some were short pieces with nary a word wasted while others were sprawling epics that took you on an adventure. The neat thing about XF is that it has space for many different kinds of stories, from hard-core sci-fi to historical romance. You can watch other authors executing these varied pieces and learn from them. You can form critique groups and ask for betas and get direct feedback on how to improve. It’s collaborative and fun, and this can’t be underestimated, generally supportive. The underlying shared love of the original product means that everyone comes into your work predisposed to enjoy it. I am grateful for all the encouragement and the critiques I received over my years in fandom.

Finally, I think a valuable lesson for writers that you can find in fandom, but not in your local author critique group, is how to handle yourself when your work goes public. Not everyone is going to like your work and they will make sure you know it. Some people will like it maybe too much, to the point where they cross boundaries. Learning to disengage yourself from public reaction to your work is a difficult but crucial aspect of being a writer. You control the story. You can’t control reaction to it. It’s frustrating at first, perhaps, but in the end, it’s freeing.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

I participated in ATXC, the Haven message boards, and the Scullyfic mailing list/news group. For a number of years, I also ran a fic discussion group with bugs called The Why Incision.

What got you involved with X-Files fanfic?

I started reading XF fanfic before I began watching the show. I had watched one season two episode (Soft Light) and then seen bits and pieces of a few others from season four. I’d seen Fight the Future. Basically, I’d seen enough to know which one was Mulder and which one was Scully, and which one believed in aliens. An acquaintance linked me to a rec site for XF fanfic (Gertie’s, maybe?) so that I could see how fic was formatted for the web. I clicked a fic, I think it was one by Lydia Bower dealing with Scully’s cancer arc, and basically did not stop reading. Soon I was printing off 300K of fic to take home with me each night. I could not believe the level of talent in the fandom, and that there were so many excellent writers just giving away their works for free. I wanted to play in this sandbox, too, so I started renting the VHS tapes to catch up on old episodes (see, I am An Old). After a few months, I began writing my own stuff.

What was it that got you hooked on the X-Files as a show?

I had to be dragged kicking and screaming to The X-Files. I’m not a sci-fi person by nature. I think my main objection is that, when done poorly, it feels lazy to me. Who did the thing? A ghost! Maybe an alien? I guess we’ll never know. You can always just shrug and play some spooky music and the “truth will always be out there…” somewhere beyond the story in front of you. You never have to commit to any kind of truth because you can invent some magical power or new kind of alien to change the story. I think, by the bitter end, the XF had devolved into this kind of storytelling. The mytharc made no kind of sense even in its own universe. But for years the XF achieved the best aspects of sci-fi storytelling—narrative flexibility and an apotheosis of our current fears dressed up as a super entertaining yarn.

What eventually sold me on the XF as a show is all of the smart storytelling and the sheer amount of ideas contained within its run. At its best, it’s a brilliant show. You have mediations on good versus evil, the role of government in a free society, is there a God, are we alone in the universe, and what are the elements that make us who we are? If Mulder and Morris Fletcher switch bodies, how do we know it’s really “them”? The tonal shifts from week to week were clever and engaging. For Vince Gilligan, truth was always found in fellow human beings. For Darin Morgan, humans were the biggest monster of all. The show was big enough to contain both these premises, and indeed, was stronger for it. The deep questions, the character quirks, the unsolved mysteries and all that went unsaid in the Mulder-Scully relationship left so much room for fanfic writers to do their own work. As such, the fandom attracted and continues to attract both dabbling writers and those who are serious craftspeople. People who like the mystery and those who like the sci-fi angle. Scientists and true believers. Like the show, it’s big enough for all.

What is your relationship like now to X-Files fandom?

I look at it like an old friend I catch up with once in a while. We’ve been close for so long that there’s no awkwardness—we just get each other! I love seeing people post screen shots and commentary, and I think it’s wonderful that so many writers are still inventing new adventures for Mulder and Scully. That is how the characters live on, and indeed how any of us lives on, through the stories that others tell about us.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

I ran the Hunter fandom for about five years, mostly because when I poked my head back in, I found the person in change was a bully who’d shut down everything due to her own waning interest. A person would try to start a topic for discussion, and she’d say, “We’ve already covered that.” Well, yes, in a 30-year-old show, there’s not a lot of new ground…

Most other shows, Hunter included, have smaller fandoms and thus don’t attract the depth of fan talent. I don’t just mean fanfic writers. I mean those who do visual art, fan vids, critiques, etc. The XF fandom has all these in droves, which makes it a rare and special place. But all fandoms have the particular joy of geeking out over favorite scenes and reveling in the meeting of shared minds. It will always look odd to those not contained within it, which brings me to the part of modern fandom I find somewhat uncomfortable…the creators are often in fan-space.

In Hunter, the female lead joins fan groups and participates. This is more common now in the age of social media, where writers, producers, actors, etc., are on the same platforms as the rest of us. Fan and creator interaction used to be highly circumscribed: fans wrote letters and maybe received a signed headshot in return. There were cons where show runners gave panels and took questions from the audience. You could stand in line to meet your favorite star. Now, you can @ your favorite star on Twitter, message her on Facebook or follow him on Instagram. In some ways, this is so fun! In other ways, it blurs in the lines in ways that make me uncomfortable. I think it’s rude, for example, if a fan were to go on a star’s social media and post fanfic there or say, “I thought the episode you wrote was terrible.” But what if it’s fan space and the actor is sitting right there, watching you? Is it rude to post fanfic in front of her, especially if she says it makes her uncomfortable? Is it mean to tell a writer his episode sucked right to his face?

Do you ever still watch The X-Files or think about Mulder and Scully?

I own the first seven seasons on DVD and will pull them out from time to time to rewatch old faves. I’ve shown a few episodes over the spring and summer to my ten-year-old daughter, and it’s been fun to see the series through her eyes. We’ve mostly opted for the comedic episodes because there’s enough going on in the real world to give her nightmares. Her favorite so far is Je Souhaite.

Do you ever still read X-Files fic? Fic in another fandom?

I don’t have much bandwidth to read fanfic these days. My job as a mystery/thriller author means I have to keep up with the market so I do most of my reading there right now. I also beta read for some pro-fic friends and betaing a novel will keep you busy.

Do you have any favorite X-Files fanfic stories or authors?

I read so much back in the day that this answer could go on for pages. Alas, it also hasn’t changed much over the past fifteen years because I haven’t read much since then. But, as we’re talking Golden Oldies today, here are a bunch:

All the Mulders, by Alloway I find this short story both hilarious and haunting. Scully embraces her power in the upside down post-apocalyptic world.

Strangers and the Strange Dead, by Kipler Taut prose and an intriguing 3rd party POV make this story a winner, and that’s before the kicker of an ending, which presaged 1013’s.

Cellphone, by Marasmus Talk about your killer twists! Also one of the cleverest titles coming or going.

Arizona Highways, by Fialka I think this is one of the best-crafted stories to come out of the XF. It’s majestic in scope, full of complex literary structure and theme, and yet the plot moves like a runaway freight train. Both the Mulder and Scully characterizations are handled with tender care.

So, We Kissed, by Alelou What I love about this one is how it grounds Mulder and Scully in the ordinary. Mulder’s terrible secret doesn’t involve a UFO or some CSM-conspiracy. Scully goes to therapy that actually looks like therapy. I guess what I’m saying is that I utterly believe this version of M & S in addition to just enjoying reading about them.

Sore Luck at the Luxor, by Anubis Hot, funny, atmospheric. What’s not to love?

Black Hole Season, by Penumbra Nobody does wordsmithing like Penumbra. I use her in arguments with professional writers when they try to tell me that adverbs and adjectives MUST GO. Just gorgeous, sly, insightful prose.

The Dreaming Sea, by Revely This one reads like a fairytale in all the best ways. Revely creates such loving, beautiful worlds for M & S to live in, and I wish they could stay there always.

Malus Genius, by Plausible Deniability and MaybeAmanda Funny and fun, with great original characters, a sly casefile and some clear-eyed musings on the perils of getting older. This one resonates more and more the older I get. ;)

Riding the Whirlpool, by Pufferdeux I look this one up periodically to prove to people that it exists. Scully gets off on a washing machine while Mulder helps. Yet it’s in character? And kinda works? This one has to be read to be believed.

Bone of Contention (part 1, part 2), by Michelle Kiefer and Kel People used to tell me all the time that casefiles are super easy to write while the poetic vignette is hard. Well, I can’t say which is harder but there much fewer well-done casefiles in the fandom than there are poetic vignettes. This is one of the great ones.

Antidote, by Rachel Howard A fic that manages to be both hot and cold as it imagines Mulder and Scully trying to stay alive in the frosty wilderness while a deadly virus is on the loose. This is an ooooold fic that holds up impressively well given everything that followed it!

Falling Down in Four Acts, by Anubis Anubis was actually a bunch of different writers sharing a single author name. This particular one paints an angry, vivid world for Our Heroes and their compatriots. There is no happy ending here, but I read this once and it stayed with me forever.

The Opposite of Impulse, by Maria Nicole A sweet slice of life on a sunny day. When I imagine a gentler universe for Mulder and Scully, this is the kind of place I’d put them.

What is your favorite of your own fics, X-Files and/or otherwise?

Bait and Switch is probably the most sophisticated and tightly plotted. It was late in my fanfic “career” and so it shows the benefits to all that learning. My favorite varies a lot, but I’ll say Universal Invariants because that one was nothing but fun.

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

I never say never! I don’t have any oldies sitting around, though. Everything I wrote, I posted.

Do you still write fic now? Or other creative work?

I write casefiles…er, I mean mysteries, under my own name now, Joanna Schaffhausen. My main series with Reed and Ellery consists of a male-female crime solving team, so I get a little bit of my XF kick that way. Their first book, The Vanishing Season, started its life as an XF fanfic back in the day. I had to rewrite it from the ground up to get it published, but if you know both stories, you can spot the similarities.

Where do you get ideas for stories?

The answer any writer will tell you is “everywhere.” Ideas are cheap and they’re all around us—on the news, on the subway, in conversations with friends, from Twitter memes, on a walk through the woods. My mysteries are often rooted in true crime, often more than one of them.

Each idea is like a strand of colored thread, and you have to braid them together into a coherent story. This is the tricky part, determining which threads belong in which story. If the ideas enhance one another or if they just create an ugly tangent.

Mostly, though, stories begin by asking “what if?” What if Scully’s boyfriend Ethan had never been cut from the pilot? What if Scully had moved to Utah after Fight the Future? What if the Lone Gunmen financed their toys by writing a successful comic book starring a thinly veiled Mulder and Scully?

Growing up, I had a sweet old lady for a neighbor. Her name was Doris and she gave me coffee ice cream while we watched Wheel of Fortune together. Every time there was a snow storm, the snow melted in her backyard in a such way that suggested she had numerous bodies buried out there. How’s that for a “what if?”

What's the story behind your pen name?

I’ve had a few of them and honestly can’t tell you where they came from, it’s been so long ago. The “6” part of syntax6 is because I joke that 6 is my lucky number. In eighth grade, my algebra teacher would go around the room in order, asking each student their answer to the previous night’s homework problems. I realized quickly that I didn’t have to do all the problems, just the fifteenth one because my desk was 15th on her list. This worked well until the day she decided to call on kids in random order. When she got to me and asked me the answer to the problem I had not done, I just invented something on the spot. “Uh…six?”

Her: “You mean 0.6, don’t you?”

Me, nodding vigorously: “YES, I DO.”

Her: “Very good. Moving on…”

Do your friends and family know about your fic and, if so, what have been their reactions?

My close friends and family have always known, and reactions have varied from mild befuddlement to enthusiastic support. My father voted in the Spookies one year, and you can believe he read the nominated stories before casting his vote. I think the most common reaction was: Why are you doing this for free? Why aren’t you trying to be a paid writer?

Well, having done both now, I can tell you that each kind of writing brings its own rewards. Fanfic is freeing because there is no pressure to make money from it. You can take risks and try new things and not have to worry if it fits into your business plan.

(Posted by Lilydale on September 15, 2020)

#new post #old school x #xfiles fanfic #xf fanfic #xf fanfic author interviews #syntax6

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