#applies to a huge amount of 'genre' fiction also

[alexanderwales]

The second chapter of Save the Cat! is about genre, titled "Give me the same thing ... only different!". The general principle is one that I strongly agree with, even if I don't always practice it in my writing: you must know how and why things work in fiction, you must be a student of the realms you're writing in, you must give your own twists on clichés if you think you might be writing them, and must be familiar with clichés so that you don't end up boring people. Study things that are like the thing you're trying to create. Analyze them, take them apart, understand how they work or don't work.

But then a lot of the chapter is taken up with Snyder's own system of ten genres, and when I was reading it I wanted to just stop him and say "hey, what the fuck, did you even watch that movie?"

Also I laughed for like five minutes at him putting Schindler's List in the "Dude with a Problem" genre, even though I agree that according to his typology it completely fits.

I'm a huge fan of making up arbitrary categories and then stuffing things into them. I don't think it's often very useful, no, but it's fun, and when you're done shoving things into boxes, you can pull them back out, find a new set of boxes, and repeat the process. I'm not going to repeat Snyder's categories here, but I think they kind of suck, and don't accurately reflect genre as we understand them, and the whole thing would have been better off is it was taking story archetypes and saying why they work and then what the usual deviations from them were.

Here are two examples that I take issue with, among others. First, by his accounting Planes, Trains, and Automobiles is a "Golden Fleece" movie, the kind of film centered around a hero's journey where what he ends up finding is, ultimately, himself, and every set piece along the way is important only in the way it relates to the hero's self-acceptance or whatever.

No. Wrong. Planes, Trains, and Automobiles is very very clearly a "Buddy Love" under this system. Look at this fucking image:

Could this DVD cover make this any more obvious? Literally all the promotional material is like this. It even says in the book that most "Buddy Love" movies start with the "buddies" disliking each other, and that their relationship is central to the movie. And if Snyder is getting this wrong, what else is he getting wrong about his own system?

Example two. I'm just going to quote it in full:

Now look at The Matrix and compare and contrast it with the Disney/Pixar hit Monsters, Inc. Yup. Same movie.

Fucking what do you mean.

Under this system of genres, Monsters, Inc. is very clearly another "Buddy Love" movie. There's a kid they have to deal with, but most of the movie is grounded in the relationship between Mike and Sulley. Like, what's the low point of the whole movie? They get banished to the Himalayas and then have a big fight! It's about their relationship to each other!

(I looked this up on the savethecat website and found an article claiming that it's an example of "Monster in the House", which is fucking stupid, because what's the monster and what's the house? Just does not apply. The child is takes the role of the "monster" for such a small amount of the movie, then they're looking after her and trying to return her home, and even before that it's not relatable as a monster to the audience. Blake Snyder didn't write the article, so maybe he had something different in mind.)

Meanwhile, The Matrix most closely falls into either "Dude with a Problem" (ordinary man thrust into extraordinary circumstances) or "Superhero" (extraordinary man in ordinary circumstances) and I would argue that it's actually neither of those because it's a goddamned hero's journey and those are their own thing and it makes no sense to try to split them into two parts because you don't get more explanatory power of what's working and what's not. His analysis of what he calls "Superhero" films also sucks for that reason and just totally misses the mark about what makes them tick.

So how are these the same movie? I don't know, it probably made sense to Blake Snyder. I have done my due diligence and searched for answers online, but haven't found much, just some weak ass defenses.

Also, I really hated that he says Chinatown and Who Framed Roger Rabbit? are basically the same movie because no shit. Who Framed Roger Rabbit? is a parody of noir, and was adapted from the script for a never-produced third film in what was supposed to be a Chinatown trilogy. But even then, I don't get how you can say they're the same movie without pointing out the strong "Buddy Love" through line in Roger Rabbit!

This whole chapter was a total miss for me. Decent advice at the start that I've been hearing and preaching for a long time, but this typology sucks and he doesn't even seem to understand it (or the movies he's putting in it) very well. And since the typology sucks, it's a bad lens for understanding the underlying rules of writing, of story structure, the components of story, etc.

[throughdarkeningskies]

when I was a teen and I read everything I could get my hands on, I had this rule in my head to seperate 'literary' fic from 'chick-lit'. and the rule was this: if they have sex and its bad its literary. if they have sex and they enjoy it its chick-lit.

alternate variations:

- if there are dark serious themes explored and everyone is dark and serious about it it's literary. if dark serious themes are explored but the characters crack jokes about it its chick-lit

- if a man writes it its literary and if a woman writes it its chick-lit

- if its written with the most dry boring-ass prose possible it's literary. if its written the way an actual person would talk its chick-lit

[lavishedinjimin]

Crybaby - 3 (m)

— synopsis: he calls you crybaby, crybaby. but you don’t fucking care.

alt: Jungkook doesn’t want to leave you.

↳ pairing: jungkook x reader

↳ genre: smut, fluff

↳ rating: r-18/18+

↳ word count: 12k

↳ warnings: the usual dom!jk x sub! reader, ddlg themes, reader is small in height, degrading terms, he’s aggressive this chapter YIKES, jungkook gets turned on seeing you cry, manhandling, uses of rope and a vibrator, kinky sex, size kink, multiple orgasms, rough intercourse, jk’s a sadist, throat fucking, dirty talk, teasing, very possessive jk, and aftercare!!! there’s also some tooth melting fluff to (hopefully) balance everything out ;)

A/n: Before anything else, I want to repeat saying that everything written here is purely fictional, consensual, and doesn’t mirror the mentioned artists’ personality in real life.

Jungkook thinks you’re the most adorable person in the entire world.

“How did you even fall in love with me?” you ask innocently, resting your head on his lap as you both let Edward Scissorhands play in the background. You didn’t even want to watch it in the first place but of course, a little bit of his desperate ‘please’ and puppy eyes always wins your meek heart.

He wraps his hand around your jaw, leaning down to kiss your lips tenderly. Giggling from the sudden impromptu kiss, you feel his soft, supple lips fondle with your own so gingerly. His grip on you tightens before he pulls away with a smirk, noticing the blush on your cheeks.

“So suddenly, baby?” Jungkook mutters as he feeds you a spoonful of Reese’s ice cream he holds in one hand. Looking down at your endearing face, he replies, “Don’t you remember our arcade date? That’s when I confessed my love to you.”

“Yeah, but…” you ponder, “Did you plan it all along?”

Jungkook shuts his eyes before giggling, his dimples peeking through his cheeks. Watching black strands of hair fall down right in front of his eyes as you gaze at him in confusion. Jungkook just sits there. “Well, there’s this exact moment when I knew that I just had to make you mine.”

With your eyes slowly expanding, you try to hide the smile that was slowly creeping up your face. He places the spoon inside the tub, letting his hand stroke your delicate cheek. “Wanna know what it was, baby girl?”

The way how fast you nodded your head was a little bit embarrassing. He grins nonetheless, “So…”

*flashback*

“Y/n,” Jungkook’s arm snakes around your waist before he tugs you closer to him. He gazes down at you with a smile before he points to the shelf full of toys and stuffed animals. “Which one do you like?”

Gulping, you stare at him with furrowed eyebrows, “Why?”

He doesn’t hesitate to answer, “Because I’m gonna win as many tickets as I possibly can to get it for you.”

You didn’t know how to respond for your shyness takes over you once again. On the other hand, Jungkook finds this so charming about you.

“The pink penguin…perhaps?” you mumble.

Jungkook immediately walks closer to approach the male employee behind the counter and inquires, “Excuse me, but how many tickets to get that penguin over there?”

You giggle as you watch how serious he looked as if talking about a huge business deal with his arms crossed together.

The man replies with a bright smile, “1500 tickets, that is!”

“That’s a lot—” you exhale.

“Let’s go, Y/n!” he abruptly pulls you by the arm and tugs you along with him, “I’m gonna get that lil’ penguin for you, baby.”

Your heart swells at the petname. It wasn’t his first time saying it, you just can’t get used to it.

Even though this was the fifth date, the post-nervousness was still there. Before he picked you up from work, your hands were sweating bizarrely. It wasn’t like you weren’t comfortable with him, no, you were always at ease when you’re with him. The reason for the nervousness was you haven’t been in a relationship with someone for so long, and Jungkook has his bars set up high. 

Plus, it was overwhelming in a good way; Jungkook was the confident type and he likes to display how much he adores you – either in private or public places, he didn’t care. As long as he can properly show how much he likes you.  

The arcade has a very 80s feel to it, with a color scheme of mostly red, yellow, and blue. It was lively and has a fun atmosphere going around. Children were running around with their parents, eager to search for another machine to take over, teenage boys were competing against each other in a game of Tekken, and a lot of girls were having a blast inside the Karaoke rooms. 

While time goes on in the arcade, you never realized that he was super competitive. “Y/n, I’m gonna beat this record, watch me.” He says in a deep tone as though wanting to sound serious, stretching his arms to prepare for the punching machine.

“Are you sure?” you chuckle as you hold all of you two’s well-earned tickets from the past hours, “The record is 877. Are you even strong enough?”

You could’ve sworn to yourself that it was an innocent, genuine question. But Jungkook, on the other hand, turns behind to look at you with those dark yet sensual eyes. He precipitously cracks his knuckles, succeeding to intimidate you.

“What a weird question, Y/n,” he says sarcastically with a smirk daubed on his face, “I don’t think you know how powerful I am, babe.”

As soon as those words left his lips, he turns back around in a flash, swinging his right arm with all his might until his fist crashes against the punching bag. You let out a loud gasp, mouth forming into a beaming wide grin as the machine slightly thuds from the harsh impact.

Still, he doesn’t look at the score and he looks at you with a cocky grin, boldly spreading his arms out.

“Kook—” you snort.

“What did I tell you, Y/n? I’m the strongest man you know.”

“Sure but,” you cover your mouth to prevent yourself from laughing too loud, “You s-scored 878!”

Jungkook whips around instantly. Surely, surely he didn’t win by only 1 single point! He groans and stomps his foot like a little child. “You’ve got to be kidding me.”

You couldn’t control your laughter anymore as you reach out to him, hugging his body from behind. Jungkook throws his head back in despair while he places his hands on top of yours. Your hug felt warm and soft, feeling your cheek pressed up against him. Jungkook turns you around until he was face to face with you.

“You’re so small,” he practically whispers underneath his breath. He places his long, slender index finger below your chin and tilts your head up. Then with his other hand, he uses it to remove the lost strands of hair away from your face. “So fucking cute.”

You can’t help but look away as your body freezes in place. And once again, you feel yourself wanting to crawl into a little ball and hide from everyone from how tough he was staring at you. There was a fuzzy, fiery feeling going on inside your system that you can’t seem to handle.

“Nuh-uh, keep those pretty eyes on me.” He applies just the right amount of force on your chin and angles your head to look up.

Your breathing almost stops at that single sentence.

Jungkook looked like as if numerous of thoughts were running through his brain. His eyes were not only fixated on yours but were darting all over. He memorizes the pattern on your face; the distance between your nose to your mouth, the little creases near your eyes, your moles, and even the little pimples you had on your temples, he thinks you’re so beautiful. Too beautiful to handle.

‘How can a person look so perfect?’ He asks himself.

“Kook?”

Oh, how soft your voice is. His mouth curves into a gentle smile for he can’t help himself but pull you closer.

“Hm?”

“People are staring.”

Jungkook scoffs quietly, “Let them stare, Y/n. This is our world and they’re just living in it.”

You had a tough, long day at work and this date really made your day better. You were laughing and having fun with Jungkook the whole time, experiencing one of the most enjoyable days you’ve ever had. It was as if all of your problems went away whenever you’re with him. You and he played almost every game in the arcade, except for the Dance Dance machine which was sadly under maintenance. You were really looking forward to beating him in Dance Revolution because he insists that he’s a good dancer. He has yet to prove that to you! 

“Yes! I won!” You yelled, turning your hands into a fist after successfully beating Jungkook at the Hockey table. He chuckles when you stuck your tongue out at him like a child.

“I obviously allowed you to win that one, babe,” he playfully rolls his eyes. “I mean, you have to win at least something, right?”

“Hey!” you pout, treading heavily to his side. Jungkook gawks down at you with his brows raised. “I won because I’m good at it, okay?”

“Aww,” he teases, “Alright then little one. Say whatever you want.”

“You’re so,” you gulp, “so m-mean.”

Jungkook looks around the arcade, zooming his eyes all over the place until he spots an ice-cream seller just outside the building.

An idea pops up inside his mind.

“I’ll treat you some ice cream, how’s that?”

He notices how your eyes glimmer as if little shining stars replaced your pupils. You nod frantically.

“Yeah? Alright, wait for me here, okay? And in the meantime, how about you turn in all of our tickets, and let’s see if we can get the penguin stuffie.”

“Okay,” you jitter excitedly, holding the stack of tickets tighter. You watch him walk out of the area, catching the way he pulls out his black leather wallet from the back pocket of his jeans.

Making your way down the hallway to the main entrance where the ticket eaters are, you smile at a couple of strangers who had their eyes on you. When you arrived, you can’t take your eyes off of the shelves full of plushies. Especially the pink penguin that you were after. You had an instinct to squint your eyes at the toy as if having a little staring contest with it while the machine consumes and counts all of the tickets.

After a little while, you hear Jungkook’s voice calling your name.

“Y/n!” he shouts, holding up two cookies and cream ice cream cones, “come, come!”

You sprinted. You didn’t know why you were so excited to get the ice cream, leaving the tickets counting all alone behind you.

“Yaaay! Ice cr—oomph!” 

There was a step slightly higher towards the exit and your feet immediately collides against it. Like a quick wisp of air, your body smashes upon the hard, cold cemented floor. A loud, painful cry escapes your lips as you close your eyes, trying to endure the building pain on your forearms and knees.

‘This is so embarrassing!’ you say in your mind, struggling to regain your composure. 

People around you looked, some tried to hide their obvious laughter by covering their mouths, but none helped.

Jungkook saw everything. Quickly handing the ice cream back to the vendor, saying that ‘he’ll come back for it’, he dashes to where you are and handles your fallen body with utmost care.

“Hey, hey baby,” he whispers, placing his hands on your underarms to lift you up with ease, “Are you okay? Are you hurt?”

His heart drops to his stomach right when you looked up at him with your big, teary eyes.

“Oh god,” Jungkook’s voice weakens, “No, no, don’t cry baby girl, don’t cry…”

You were so humiliated. You shouldn’t have run so fast like that, you should’ve watched your step! Now everyone will look at you weirdly!

Whimpering when Jungkook makes you walk, you shake your head to show that it hurts as you try to hold back your tears. “Ohh, Y/n,” he sighs before he lifts you up, and carries you to a nearby brown bench just outside the arcade. He crouches before you, “Does your knees hurt, hmm?” his hands caress your exposed legs up and down, trying his best to soothe you.

Biting your lip, you nod slowly.

“Aw, goodness,” he leans closer to you and kisses your forehead, “What did you do, huh? You should’ve been more careful and watched your step.” He clicks his tongue, making a ‘tsk’ sound, “Good thing there’s no scratches.”

The stern, strict tone of his voice caused you to look away and hang your head low. “S-Sorry…” you sniffed.

A single tear flows out of your right eye and it slowly treads down your cheek. Jungkook was quick to notice, wiping your tear away with his thumb. “Hey, it’s okay baby.” He reaches your hand and gives it a little kiss, “Don’t cry now, hmm? Look at me,” he tilts your head up with a single finger underneath your chin, “There’s nothing to be embarrassed about. You’re okay, you’re with me.”

You only stared at him with glossy eyes, not giving a reply. However, Jungkook’s mind comes up with a plan. “Wait here Y/n, okay? I’ll be right back.”

“No!” you whine, shaking your head. Your hands grab onto his muscular biceps as you try to pull him closer.

He chuckles quietly and holds your face in his big, warm hands, his eyes staring deep into yours. “I won’t be going far, baby girl, I’m not leaving you alone, yeah? Stay here for me, I’ll be back in a quick second.” With a final kiss on top of your head, he shuffles back inside the arcade, leaving you alone on the bench while the soft, supple air kisses your skin. The wind whooshes your hair to one side, causing a few strands to get caught in your mouth. You hiked your knees up to your stomach, hugging yourself in search of comfort.

You never want to go inside that arcade ever again.

A few moments have passed and you see Jungkook walking back to you with a huge grin on his face, hands behind his back as if hiding something.

Your mood instantly picks up again when he surprises you with the soft, pink penguin stuffie, handing it over to you with a big smile. You eagerly reached your arms out to grab for the toy, but he doesn’t give it to you just yet. 

“Uh-uh, promise me you won’t be sad anymore?”

“I promise!” you giggle, eyes laid still on the penguin. “Gimme!”

“Right,” he sighs amusingly, “Here you go, babe.” Jungkook laughs from how fast you snatched the stuffie away from him. He looks at you with love as you cuddled the toy in your arms, pressing your cheeks against it.

In the meantime, he leaves you to get the ice creams that the vendor was still keeping an eye on the entire time. Jungkook pays him and apologizes for the wait, before coming back to you with two cones in each hand.

“Ice cream,” he gives you your cone, “for my crybaby.”

Jungkook, somehow – as crazy as it may sound – feels his chest warming up from the sight of you. How come he likes seeing you this way? Something about taking care of you drives his heart pounding. Was it because you look so cute, yet so vulnerable? Or was it his caretaking, nurturing personality that was beginning to emerge? Whatever it was, Jungkook was fond of it.

Jungkook walks you back home, his hand intertwined with yours, while you carry your penguin toy that you named Perry. 

“Perry?” Jungkook chuckles amusingly, “Like Perry the Platypus?” 

“Nope!” you shake your head with a serious glint in your face, “Perry the Pink Penguin!” 

“Well that’s just horrific.” 

The air around the two of you was great – it wasn’t hot nor cold either. You two had little sweet talks and short conversations here and there as your shoes brush along the paved sidewalks.

When you both end up in your doorstep, you bid Jungkook goodbye. “Thank you for today, Kook,” you speak shyly, “And um, for this—” you refer to the penguin stuffie. He chuckles but not a word has been spoken. So you continue, “I-I also want to say sorry… for uh… because you had to see me cry…”

“No, no, it’s alright with me,” Jungkook quickly reassures you, enveloping your small figure into a hug, leaning down so that his chin rests on top of your head. “It doesn’t bother me. In fact, uh, Y/n?”

You raise your brows, pulling out of the hug to stare at him, “Yeah?”

Jungkook gulps the ball that has been formed in his throat, looking away from your beautiful face for a moment before recollecting his thoughts, “I’ve…I’ve thought about this for a while now. Like a really long time.”

You listen with your mouth slightly agape, watching him get a little flustered.

“I really really fucking like you, Y/n. I know you know that already.”

Your heart beats a little faster.

“And I want to spend more time with you. There’s not a day where I don’t think about you. Almost every second of my mind is filled with you and your pretty smile. I w-want to treat you and take care of you everyday without having to think twice. So, uh, if you want can you…can you be my girl—”

“Yes!”

Jungkook was taken aback from your quick reply. His eyes slightly expand as the corner of his lips curve up, “Yes?”

“Yes! I-I’ll be your girlfriend.”

Jungkook’s heart was filled with joy and ecstasy for he was so glad that you felt the same way. He lifts your body up and spins you around, causing you to squeal and hold onto his shoulders.

“You’re mine now, Y/n. Fucking finally.”

*end of flashback*

“What do you mean?! So the entire time we were playing games at that arcade… the moment you fell in love with me was when I cried because I tripped?!” You bellowed, sitting up straight on the couch as Jungkook laughs his ass off from your reaction.

“Well, obviously it’s not only that! That moment just sticks to my mind a lot. You’re too adorable when you cry.” Jungkook smirks on the last sentence, having two meanings behind it. 

You huff, standing up to head to the bedroom. “Hey, where are you going baby?” With him still giggling, he tries to catch your arm.

“Bedroom! I’m scared of Edward Scissorhands. You’re weird, Jungkook.”

“I’ll be with you after I finish my ice cream!”

Being a graphic designer can be challenging yet enjoyable at the same time. You get to do what you love which was drawing and editing digital photos, yet the only downfall was that you had to work in an office building. Being an introvert, having a lot of people around your workplace was a lot to get used to.

But thankfully, you have Jimin.

Not only is he one of your best friends, but he was also a senior designer who is assigned to you – his inferior.

Sometimes you two can’t even get a single thing done because all you both did was fool around your office, instead of him guiding you and teaching you the ropes.

“Hey, Y/n!” Jimin gleams as he walks inside the office room, hands in his pockets. He was wearing black fitted pants and a white long-sleeved shirt tucked inside. “Have you ate yet?”

You stretch your arms out, twisting your body side to side to crack your bones. “Uh, yeah! I ate two cups of ramen before you got here.”

He smiles at you, “That’s good. Anyway, are we still working on the designs for our Christmas calendar?” Jimin sits across from you, eyeing all of the scattered papers filled with colorful drawings.

“Mhm! This is my fourth edit. Director didn’t like my designs,” you pout.

“That’s why you need my help, Y/n.” He speaks slowly with his eyes squinting, enunciating his words, “Me and no one else.”

“Sure.” You roll your eyes.

“That’s no way to talk to your superior!”

Meanwhile, Jungkook tilts his head to the side in dismay when he gets stuck in the long traffic. He was on the way to your office building to pick you up from work, but of course, it just had to be a busy Monday today. No cars were moving even a single inch, the whole highway motionless that causes Jungkook to zone out a little bit.

Zoning out isn’t a good move for Jungkook for he tends to think about the most ridiculous, absurd things ever.

But suddenly, as if his thoughts were infatuated by a demon, the image of your sobbing, fucked-out face flashes in his mind. He unconsciously bites on his lower lip, remembering how much your little body shuddered, and how you keep withering around the bed from even the slightest of touch.

“Shit,” Jungkook breathes out, feeling uncomfortable in his seat. He shuffles around until he finds a good position, sensing a tightness in his pants. He recalls how he got so turned on just from your sensitivity, the way you were whimpering and trying your best to hold back your tears.

Knowing that he’s the only person that can make you cry from having sex really strokes his ego. Before he had you, he didn’t know that he had a kink for making his significant other cry during intercourse. 

It may be just the sadistic side of him getting fueled up whenever he sees your tears, he can’t explain how much it drives him wild.

Jungkook smirks while he rests his elbow on the car door as his fingers play with his lip. He’s cocky about the fact that he can make you sob and quiver like that. Make you turn so fucking submissive and obedient for him, letting him take over and control your frail, poor body.

He remembers the first time he discovers your filthy kinks and fantasies, how baffled he was to know that an innocent, shy girl like you can be so wild. It was always the ones you don’t expect to have a freaky side.

Jungkook grunts as his hand grip the steering wheel a little tighter, knuckles turning white. He chuckles to himself as the raging boner hardens beneath his black ripped jeans, almost being a little too painful to bear. He hears your cries of pleasure ringing in his ears, the way you whimpered so cutely every time, your sobs growing louder and louder, he loves those noises. Thankfully, the traffic eases up and cars finally move.

“Oh, Y/n,” Jungkook mutters whilst shaking his head, “What an angel you are.”

If it weren’t for the traffic lights that always reminded him to slow down, Jungkook would’ve driven in light-speed just to see you again. His dirty thoughts that won’t go away was making him impatient and hornier. 

When he successfully arrives at the building, he speed-walks to the elevator, heading to the second floor. Jungkook taps his foot impatiently, crossing his arms together. “Fucking hell,” he grunts as his mind keeps repeating images of your cute body trying to take his dick, how your legs shake, or the way your eyes couldn’t keep themselves open from the pleasure he was giving you. He sighs with a little grin on his face, “Why am I like this?”

The door opens and he makes his way to your area, knowing which hallways and turns he has to make thanks from his previous visits. He makes long, quick strides until he finally reaches your office.

But the excited smile that was once planted in his face fades away when he spots you from outside the window, with Jimin behind you. Jungkook feels his body tense when Jimin leans his body from behind, his arms trapping your upper body with his cheek pressed against your face.

“What the fuck?”

Jungkook’s blood boils and he feels himself getting enraged. Why were you letting him touch you like that? He knows that Jimin’s only a friend, but he was not supposed to act all touchy like that with a girl who’s already taken. It made Jungkook furious to see some other man holding his girl like that – for he was supposed to be the only one. The only arms that are supposed to wrap around your body are his.

He tries to calm down. Jungkook really does attempt to calm down but his nerves don’t stop heating up. With a shaky exhale, he grabs his phone from his back pocket and calls your number to test if you’ll pick up.

“Oh, wait, is that your phone?” Jimin asks, “Someone’s calling you.”

You giggle while you make your way to the desk while dragging Jimin behind you. Your phone displayed Jungkook’s name – although it made your heart skip a beat – you declined the call.

“Huh,” Jungkook scoffs, smirking wrathfully. He doesn’t even try to wonder why you didn’t pick up. He feels irritated and all the flirty, playful mood he once had was gone in a single moment.

You jump in surprise when the door swings open, revealing a very angry Jungkook making his way to your desk. Jimin instantly distances himself away from you.

“B-Babe!” you laugh nervously, palms getting sweaty. You quickly glance at Jimin, sending him a worried look before turning your attention back to Jungkook. Your boyfriend stands tall across the desk with his arms crossed, glaring at you with a lifted eyebrow. “You’re here e-early!”

He doesn’t reply.

Unwillingly, you clasp your hands behind your back and your head hangs low from Jungkook’s intimidating, hard glare, falling right into submission. You gulp from the immense tension that builds up in the room.

“Uh…I’ll be heading off—” Jimin says, making his way to the exit but Jungkook doesn’t speak a single word to him, nor to you. 

You take this chance to gather all of your belongings, packing your laptop, tablet, and shoving all of your papers inside your tote bag in a rush. 

“So we’re allowed to let other people touch us, hmm, Y/n?” He runs a hand through his hair, frustrated. His head was tilted up although his gaze looks down on you. 

“I-It doesn’t mean anything!” you feel your knees getting wobbly, wanting to just disappear from the harsh look he was giving you. 

He rolls his eyes, “Of fucking course it doesn’t. But tell me, Y/n, if it were the other way around. If you saw some other girl’s face pressed against fucking mine while she had her arms around me, would you like it?” With your feet shuffling against the floor in fear, you look away from him. “Huh? Would you like seeing some other girl in your place?” 

“No.” 

“No. That’s correct. So I have the right to be fucking angry.” 

Jungkook rushes forward, “Why didn’t you answer your phone, hmm?” he slams his hand on the desk, causing you to gasp. “Y/n?”

While your eyes look down on the ground, you can hear the heel of his boots clicking against the floor, walking closer to you. The air that surrounds the two of you immediately thickens, and you weren’t a fan of the tense atmosphere at all.

“I was w-working—”

“Bullshit.” He grips your jaw tightly in one hand, forcing you to angle your head up and look at him. “Don’t fucking lie to me.”

Your heart clenches and drops down to the floor from the stringent attitude of his voice. You mewl when he tightens his grip and feverishly rattles your head side to side. “Use your fucking words.”

“I…w-was…” you stammer, “talking with Jimin.” Instant regret fills your mind and body for even being so close with Jimin when you should’ve answered his call. “I’m sorry—!”

“Save your sorry’s for later. I won’t be accepting your apologies soon enough, brat.”

He releases his grip on you and walks away without sparing you another glance. “We’ve been together for so long, Y/n. Haven’t you learned that I don’t like it when other men oggle you up?” Jungkook turns back around, lifting the hems of his long-sleeves so that it exposes his forearms. “If I wasn’t here, you would’ve allowed him to keep touching you like that, right? Yes or no?” 

You immediately shake your head, “N-No!” 

“No? Really...” he laughs darkly, “Please, Y/n, I wasn’t born yesterday. Since he’s ‘just a friend’ I still think you would’ve let him touch you. I know you, I see right past your fucking lies.” 

He wasn’t wrong, and you feel so guilty. So guilty that all you wanted to do was to hug him and apologize, but you know that it isn’t easy. 

“Head down to the car. Don’t make me wait for you because if not, I’m gonna fucking leave you here.” He brushes his long hair back and with that, he was gone.

A chill came running down your spine and you immediately follow right behind his footsteps.

The car ride back home was quiet and you didn’t like the silence at all. You were trying to force yourself to talk, say sorry so that everything will hopefully go back to normal. But there was as if a thick wall separating the two of you.

“Babe?” you whisper meekly, your hand nervously playing with the hem of your thigh-high stockings. Jungkook clenches his jaw yet he doesn’t respond.

A pout creeps up your lips instinctively, “I’m really really sorry…”

No response.

You feel a heavy burden in your heart, upsetting you even more because he was giving you the silent treatment. Jungkook has never ignored you like this before, not even in your most heated argument. Looking at his face in hopes that he’ll at least give you a single glance, you depict how his eyebrows were furrowed and eyes straight ahead on the road. “Kook, please talk to me—”

Your words got cut off when the engine suddenly roars loudly and the car accelerates, your body going in a state of shock as Jungkook shifts the gear. He steps on the pedal and the car goes from a steady 60 to 80 miles per hour.

“Jungkook! S-Slow down!” your left hand reaches out to grab a hold of his own hand, but he was quick to shove it away, leaving you sad and whining in your seat.

Jungkook clicks his tongue, “The faster we get back home, the quicker I can punish you.” He says without looking at you.

Your core jumps and twists at his demeaning words, feeling confused yet excited at the same time. Unintentionally, you clench your thighs together as his hot, sultry voice resonates throughout the car.

“You can smile all you want right now baby,” he mutters, “Gonna wipe that cheeky little grin on your face later when I force your orgasms out of you.”

“Put your hands against the wall,” Jungkook immediately commands after he drags you to his bedroom. He stands tall behind you, watching your poor figure slowly obeying his words. His lips curve up when he studies your body, already trembling in fear. This feeds unto his primal, dominant desires to take over you and ruin you. Your little hands touch the cold walls with your back slightly arched, already knowing what’s about to come.

Jungkook’s dick throbs in just the sight of the combination of your skirt and thigh-highs. He doesn’t hesitate to firmly grasp your ass cheek below the flimsy material with his big hand, causing a whimper to fall off your lips. “Look at this fucking outfit you have,” he muses, “If it weren’t for that sweater you have on, I would’ve said that you look so much like a fucking slut.”

“Jungkook—”

He suddenly blows a hard slap, “That’s not my name. Huh, you really wanna disobey daddy?”

You whimper, “N-No.”

He hikes your skirt up to expose more of your plump ass, landing another harsh spank that caused your body to jolt, eyes fluttering shut from the sting. “No? Isn’t it disrespectful to ignore daddy’s phone-calls?” he hits your ass again, harder, his muscles flexing. “Tell me, what was Jimin doing that he just need to fucking put his hands all over you with his head so fucking close to yours, huh?”

Your eyes instantly start to become glossy from the solid, rough slaps on your tender ass cheeks. Chewing on your bottom lip, you try your best to cover your little sniffs.

Within a quick second, Jungkook flips you around until your back was pressed firmly against the wall, his hand wrapped around your throat. You hitch your breath up from the aggressive behavior, how his eyes were quick to scan your body up and down like a predator. “You’re not gonna answer me?” he scoffs, “Fucking god – you love to make daddy mad, don’t you? Acting like such a bitch.”

Furiously shaking your head side to side, you disagree with his statement. Jungkook is scary when he’s angry – even though it can be seen as hot sometimes – you never want to make him mad on purpose!

“T-That’s not true, daddy!” your bottom lip faintly quivers as your eyes can’t seem to focus on him.

Jungkook’s eyebrows raise up, giving you a mocking expression, “Ohh really, baby?” the grip on your throat tightens, making you gasp for air, “You don’t like making me angry? When in fact that I know you like being punished like this. You like daddy manhandling your frail, little body, and letting him ruin it in every possible way. Are you gonna lie and tell me that that isn’t true, hm? ”

You didn’t know what to answer. Your chest heaves up and down in panic while you release a quiet, little mewl in desperation. Jungkook – somehow – finds that adorable; how your big, teary eyes look up at him in utter fear of what’s about to come.

He smirks as he leans down to your height, your faces so close to each other as his lips barely graze against yours. You can feel his hot breath upon you, the warmness of his body resonating. 

With a low, almost gravelly voice, he asks you; “Do you not talk?”

Those words seem awfully familiar…

Gulping nervously, you tremble, “I-I can…”

“You can? Sorry darling, I just needed to make sure because you seem to be silent every time I ask a goddamn question. Now, get on the fucking bed.”

Jungkook watches you scramble and obey his command, the cold mattress rubs against your skin from the air conditioning. He stands at the edge of the bed, watching you with primal eyes. “Undress.”

“W-What?”

“I said what I said. Strip,” he crosses his arms, revealing his toned biceps, “Leave your skirt and stockings on. Remove everything except those.”

You can’t seem to look at his eyes because you were afraid that you were going to melt when you do so. You tug your sweater up, your skin exposing to the air that surrounds the two of you, followed by your bra. Your boyfriend sees your cute hardened nipples, making him smirk a little bit.

“Now your panties, go on.”

Before you can even yank your undergarment down, Jungkook speaks, “Look at me while you do so. You’ve been avoiding my eyes all this time.”

Jungkook barely hears the quiet whimper that emits your mouth while your eyes finally lock onto his. Wanting to tease you furthermore, he sends you a cocky smirk with a quick raise of his brow as you pulled your panties down.

His breath almost hitches up from the sight of you, all naked except those kinky pairs of stockings and skirt. He wonders if you specifically wore them just to tease him, heck, was it even appropriate for your work? Even so, he’s glad that he’s the only person to see you like this, so beautiful and ready to be ruined.

You wonder if he’s going to crawl on the bed with you and touch you, waiting for him to make a move but nothing happens. You look up at him expectantly with wide eyes as your hands timidly fumble with your skirt.

“Touch yourself.”

Your heart sinks to your stomach. Did you hear him correctly? Like... does he really want you to play with yourself right in front of him? You can feel your tummy do backflips from his words while you instantly turn shy once again.

“Fucking hell, is one instruction not enough for that brain of yours to comprehend? I said—,” he leans down to grab your thighs, forcing your legs apart with vigor, exposing your cunt all to his eyes. “—touch yourself.”

You whine when he suddenly crawls on top of you, arms on either side of your figure to support himself up, his face hovering above yours. He leans down and whispers in your ear, “Bring your hand down, little girl, and play with your pussy the way daddy does.”

Without angering him further, you obey and brought your hand down to touch your clit. Jungkook never removes his eye-contact as he watches your face slowly contort in pleasure. With two fingers, you gently circled your clit, making your mouth part open from the meek pleasure. “O-Ohh,” you can feel your wet lips when you dragged your fingers along them.

You feel so embarrassed masturbating in front of him like this. Jungkook chuckles and kneels in front of you, placing his knees in between your spread legs to watch how you play with your cunt. You moan when he finally grabs the hem of his shirt and pulls it up, revealing his toned body for your eyes to see. This encouraged you to rub your clit faster, but it just wasn’t enough.

“Daddy��” you whine, “please...”

Jungkook notices the frown that was beginning to form your lips, but instead of feeling bad, he takes the opportunity to degrade you. “What is it, baby? Hm? Do you even know how to touch your pussy?” he teases, “Do you still fuckin’ need daddy’s help?”

You don’t even care if you look pitiful, shaking your head up and down. “Y-Yes, please touch m-me…” you say with a quiet voice. As you continue to masturbate, Jungkook sees how your body trembles, knowing that it wants more.

But sadly, you look too good in this position that you’re in. Your skirt hiked up to your abdomen while your toes curl in desperation. Jungkook lightly scoffs as he doesn’t hesitate to palm his rock-hard cock through his jeans. “Mmm, I would if you had been a good girl. But daddy wants you to cum with your own fingers, prove to me that you’re a big girl who can fucking cum without my help.”

You release an exasperated groan, arching your back in utter need. Jungkook was cruel to do this to you, as he definitely knows how much you prefer his own fingers on your juicy little pussy.

The sight was boosting his ego, whether he likes it or not. He observes how your cute, middle finger tries to insert itself inside your tight little hole, earning a loud moan from you. Jungkook sees your arousal dripping down from your entrance, the glistering liquid running down to your ass. You were so wet, and he was dying to taste you. Jungkook feels his dominance taking over as his patience was wearing thin, wanting to shove your hands away and just take over. It frustrates him how desperate you make him feel without even trying.

You finger yourself with one hand, as the other continues to rub your clit. You try to remember how Jungkook does it, your mind trying to reminisce his techniques, making you distracted from your own pleasure. It doesn’t even feel half as good as his! You let out a loud, frustrated whine, feeling your eyes well up with tears once again.

“I-I can’t,” you sniff, a tear rolling down your cheek as you try your best to make yourself feel good, “Please, daddy I need y-you!”

Jungkook leans forward as he wipes your tears with his thumb, licking his lips slowly while he watches you with a sensual look. “What do you need from daddy, hm?”

You groan, hating how much he can torture you like this. Your breathing was already unstable and your mind was thinking of ways on how you can make him touch you. “I need your fingers, daddy – please? I can’t cum like this,” you shake your head desperately, “I can’t.”

“Holy fucking shit, I think I need to get a new baby girl. One who knows how to pleasure herself without my help.”

“No!” you yell, closing your eyes as more tears wells up, “N-No! I-I’m sorry I just can’t…”

Jungkook almost feels bad. Almost.

“That’s sad, baby girl. If you can’t cum then don’t try anymore.” He abruptly spanks your inner thigh, leaving you crying for more, “You’ve been a bad girl today and you’ve got to endure your punishment.”

Jungkook tugs your hands away and your pussy clenches from the sour loss. “Keep crying, slut, this is what you deserve.” He stands up from the bed and makes his way to the closet to get something. You obediently lay there with a frown as you wiped your eyes, ogling his broad, muscular back in the meantime.

When he was taking up more time than you wanted, you kicked your legs impatiently while whining.

He smirks, rolling his eyes, “Impatient, I see?” After that, he swiftly turns around to reveal a red-colored rope, dangling it side to side for a little tease.

“What are you g-gonna do with that?” you ask with wide, glossy eyes.

Jungkook walks back to you with that signature sultry yet teasing look, making you anticipate what’s about to come even more.

“Daddy’s gonna tie your hands behind your back until your wrists bruise, little one.”

Your core throbs from the image he paints in your mind, how the rope would probably scratch against your skin, and how turned on he would be from the sight of you struggling. Jungkook motions you to turn around with a little spin of his finger. You kneel, looking away from him while he grabs your wrists together in one hand. The arrogant smirk doesn’t wipe off of his face as he ties the rope around your hands, whimpering when he pulls it tight. 

“Is that too tight baby girl?” he asks, stopping himself from laughing, “Does it hurt?”

You sniff, “A l-little bit.”

“Good. I was actually planning to bind your legs together as well, but I don’t think you can handle that anymore.” He says behind you, “I don’t think your precious body can handle being daddy’s little ropebunny.”

With his words, you turn your head to look at him with a confused expression, “Rope…ropebunny?”

Jungkook chuckles and nods his head once.

“What does that mean, daddy?”

Jungkook’s heart swell, “Means that you’re letting me tie you up, restraint your body with rope – and letting daddy do whatever he fucking wants to you. Bruise your skin until it hurts too much. If maybe you weren’t such a crybaby and a sensitive little bitch then I would’ve done that to you by now.”

He doesn’t let you reply as he gives your ass a loud, stinging spank using the palm of his right hand. You whimper in pain, closing your eyes for a mere second as your mouth parts.

“Head down, ass up. Now.”

You do as you’re told, and not going to lie, your heart was doing backflips from the nervousness and intimidation of the position that you’re in. Your ass and cunt were so exposed, allowing him to see how wet you are. Your cheeks pressed against the sheets, tilted to the side so that you can at least see a portion of his figure behind you. Although you release a loud cry when he suddenly lands a slap directly on your throbbing clit. Your hands instinctively moved to grab onto something, but the rope was preventing them from doing so.

“Daddy—!” He slaps your pussy again, this time harder. He slides his index finger down your wet slick, teasingly prodding against your entrance that causes your arousal to gush.

“God, you’re so fucking noisy. I’d put a gag in that loud mouth of yours to shut you up, but daddy loves your cute whimpers too much.”

You dig your nails onto your palm when Jungkook finally plays with your pussy, using two fingers to gently – barely rub your clit. The tip of his index and middle finger brushes against your throbbing clit, using the slightest bit of pressure. He bites his lip from the way you wiggle your ass, desperate for more. “You can’t even masturbate without my assistance, fucking hell,” he muses, “did it embarrass you, huh?”

“Mhmm,” you hum meekly, grinding your teeth together because you needed more friction, and you were too afraid to tell him.

“Yeah?” Jungkook smirks, “You had to cry like a pathetic little bitch, too.” Without a warning, he easily shoves his middle finger in, making you arch your back painfully, drawing a loud squeal. He starts pumping it in and out at a fast pace. The wet squelching noise that your cunt makes, paired with your moans was music to his ears. “I guess it feels better when daddy plays with your pussy, right slut?”

When you don’t answer immediately, too focused on the pleasure, he inserts two more fingers in – stretching your pussy. You gasp loudly, his long, slender fingers reaching the most intimate places inside of you. Jungkook bites his lip harshly, getting so turned on from your sweet moans and whines. 

“Y-Yeah… yes daddy – oww fuck – it feels much better,” even though your mind was filled in lust and can’t think of anything else but the way he was furiously pumping three fingers in and out of you, you answer him in fear that his punishment will turn way worse. His three fingers were almost too much for your hole to handle, making your hips tremble as it tries to accommodate the girth. 

“Who owns your pussy, hm?” he uses his other unoccupied hand to rub and pinch your clit, providing you with overstimulation of pleasure. His fingers reach deeper until it hits your g-spot, making your toes curl while you once again tear up. He growls, “Who fucking owns you?”

“You!” you moan, vision getting blurry, “You own me d-daddy…” you can already feel yourself coming close to an orgasm – one thing you can’t do with your own fingers. Your stomach tightens and tightens, waiting for your oh-so needed release. You sob onto the sheets, eyes closed in desperation.

“Good thing you know—” but he suddenly pulls his hands away, leaving you shaking and breathless. “This is my cunt and I get to do whatever I want with it.”

“No!” you groan in frustration from the denied orgasm, eyebrows furrowing as your legs shake, “Fuck y-you.”

Jungkook’s ears pick up the words you muttered.

“What was that?” He roughly wraps his hand around your neck and forces your upper body to lift up. You start to panic as Jungkook chokes you, “What the fuck did you say, hm? Getting fucking bold today, aren’t we?”

“S-Sorry,” you stutter, not having the courage to speak. You didn’t mean to say that at all! You were just frustrated and the words slipped out without realizing it! He sees a droplet of tear dripping down your cheek and he rolls his eyes.

“What a bratty, disobedient little fucktoy.” Jungkook quickly stands up to unbutton his jeans and pulls it down, leaving himself in his underwear. “You’re not the good girl that I know.” He hops back on the bed with you and moves so that he kneels in front of you. He holds your face up with one hand on your jaw as the other pulls his boxers down. Your mouth waters from the sight of his cock springing out, the angry red tip hitting your cheek.

“If I stuff my cock down your throat then maybe you’d shut the fuck up, learn your lesson, and think before you speak. Huh, slut?” He strokes his length a few times, letting his precum lube his cock.

He nudges the tip against your lips, signaling you to open your mouth. He releases a long, guttural moan when you wrap your lips around him as he pushes his length further and further, your mouth feeling so warm and wet. Jungkook initiates the pace as he starts to rock his hips steadily. A sudden gush of tears escapes your eyes when he shoves past your gag reflex, whining as your throat struggles to take in his big cock. 

“Choke.”

Jungkook doesn’t wipe the tears off of your face like he used to, this time letting them flow and drip down your jaw. Your pussy clenches every time he thrusts forwards, feeling yourself get wetter and more aroused from the noises he makes. He twitches whenever your throat contracts, feeling it tighten and squeezes his cock so good.

“Do you like this, baby girl?” he smiles sadistically, “You like being throat fucked?” Jungkook knows you can’t answer so he continues to torment you, “I like you better when your mouth is stuffed with daddy’s cock. Much more useful than being an undisciplined, rude slut.”

You shut your eyes while you slack your jaw, trying to take all of him the best that you can. He grabs a bunch of your hair, pulling at your scalp, the pain making you kick your legs repeatedly. While he snaps his hips, thrusting in and out, Jungkook watches how your saliva drips down from to your chin that makes a whole mess of your face.

Jungkook finally gains some sort of empathy, pulling his dick out to let you breathe. You emit a harsh, rugged exhale. He lowers himself until his face was directly parallel to yours, “Why was he touching you like that?” His eyes scans your poor, messy self, eyes puffy with your hair all over the place. 

You sniff, “He’s just a f-friend!”

He wipes the saliva on the corner of your mouth using his thumb, “Don’t you have a boyfriend? Hm? Doesn’t he know that you’re mine? Even if he’s your goddamn friend, he doesn’t need to touch you like that.” His voice somehow turned soft, a bit more like his natural talking voice. He shakes his head whilst staring directly at your weary eyes, “And what if I wasn’t there, huh? What if he did something to you that I wouldn’t like?”

“Are…” you tilt your head, trying to lighten up the situation in hopes that he’ll go easy on you. You start to giggle, “Are you jealous, daddy?”

You didn’t know that it was a bad move until his face immediately hardens, raising an eyebrow up. He scoffs, “You think I would be punishing you like this if your actions took a toll on me, Y/n?” he stands up from the bed and walks over to the bedside table, opening the drawer, “Lay on your tummy. I won’t say it again.”

Jungkook grabs the remote control vibrator from the box of toys the two of you had been collecting. You certainly love your toys, he knows that, but it’s a completely different situation if he uses them to torture you. It’s better for him that you can’t see what he’s doing, bringing your anticipations up for what’s about to come. He turns the toy on, your breath immediately hitching when you hear the buzzing sound. The hot pink, egg-like looking toy with a slender tail vibrates against his palm.

“Daddy? Wha…what are you gonna do with tha—” Your words painfully got cut off when he plunges the toy inside your pussy, the vibrations instantly resonating throughout your core and lower abdomen. You sobbed loudly, the rope tightening around your wrists whenever you tried to struggle away. “Oh my god!” your back arches, feeling your eyes rolling to the back of your head, “Daddy!”

He walks to the other side of the room to go sit on the plush loveseat, twiddling with the remote on his right hand. He doesn’t hesitate to crank the setting up, noticing how your ass trembles and wiggles. Your mouth drops open while you feel an immense tingling sensation down there, moaning and shuddering on the bed. 

Jungkook wraps his hand around his cock and starts to pump slowly, observing how your cute little figure trembles and makes a mess of the sheets. He notices the way your pussy clenches around the toy so tightly, and how your cunt never stopped dripping in arousal. 

He teases his swollen tip with his thumb as he turns the toy’s setting up another notch. The smirk grows on his face from the noises you make. He was addicted to the sight of you right now; your hips shuddering as you try to escape all of the vast ecstasy, the stockings you wear making you look as adorable as ever – if he had a camera he would definitely take a picture of you.

“Daddy, p-please – I’m gonna cum!” you sob, chewing on your swollen bottom lip. That was his cue to put the setting to the highest level. Within a flash, your spill your cum down your pussy and onto the bed, ruining the sheets as your body contorts, hands balling into tight fists. Your orgasm feels like you gushed a whole waterfall, cumming so hard while your hips involuntarily lifts up off of the bed. 

He continues to fuck his hand, staring at your sweaty, hot body with hooded eyes while he groans darkly. His cock was rock solid and was also begging for a release, but he knows to control himself. Jungkook hears your sobs get louder and louder, knowing that the overstimulation was too much for you to handle.

He stands up and crawls back with you on the bed, his warm hands starting to caress your inner thighs.

“Da—” you cry, “daddy… t-too much…”

“Yeah?” he smirks before lifting your ass up until he was directly in front of your cunt. he smells your arousal and it caused shivers to run down his back. Without holding back, he wraps his mouth around your throbbing clit and starts to suck harshly on it. 

Jungkook was absolutely nasty to do this to you. Your eyes roll to the back of your head as you feel his tongue swirl around your bud, flicking and sucking at the same time. You can’t even comprehend the pain and pleasure that as going through your body right now, for it was all too much. “A-Aawwh shit,” you breathe, “D-Daddy, I can’t... oh m-my god!” 

The combination of the powerful buzzing vibrator inside you, plus his mouth on your clit caused another strong climax to wash throughout your system. You flail your arms behind your back as your body can’t seem to keep still. Jungkook holds your hips in place as he licks your pussy clean of your cum. He grunts from the way your legs were quivering after forcing another orgasm out of you. 

“Taste so fuckin’ delicious,” he says after wiping his mouth with the back of his hand, “What a good little pussy.” 

Finally, he pulls on the tail and the toy plops out with a wet sound. Though your chest doesn’t stop heaving up and down, your system is still riled up from the strong orgasms you just had.

“What will you say, baby girl, hm?”

You perk your head up from the sudden question. Your mind quickly wanders for an answer but was quickly distracted when you feel him squeeze your tender ass cheeks. 

Leaning down to your ear, he whispers with an awful smirk, “Say ‘thank you daddy’.” His monotone voice sent shivers all throughout your body, “Say thank you for letting you cum. I would’ve stopped the toy and edged you when you were about to orgasm to further your punishment, but glad I didn’t, right baby?”

“Thank…” your cheeks start to heat up, “Thank you for l-letting me cum, daddy.”

“Mm, good girl. I just had to get a taste of your sweet cunt after seeing you shake and tremble like that. Such a good, pretty little girl.” 

He was actually supposed to reward you after this. That was just his initial plan, until he is distracted by your phone suddenly ringing from the other side of the room. He quirks a brow up and starts heading to where your bag was placed, rummaging through it to get the device that interrupted the moment.

He reads the caller ID.  

Jungkook is dead quiet as he reaches back to you until he takes a seat on your thighs. His silence further builds up your anxiousness, your gut twisting and turning after you hear him groan underneath his breath. “Daddy?” whispering, you tilt your head to the side to figure out what he was doing.

“Y/n! I’m so glad you picked up the phone,” Jimin speaks in a rush, “I was so worried about what happened. Are you and Jungkook okay?” He rolls his eyes and doesn’t hesitate to put the phone on loudspeaker, placing the device in front of you so that you can see who was calling.

Jimin’s voice unsettled you, leaving your body in a state of shock, humiliation, and awkwardness. You furiously shake your head, lips pursed in a straight, pungent line – making it known to Jungkook that you didn’t want to talk to him. Why can’t he just hang up?!

“Hello? Y/n?” As Jimin worries from the other side of the line, you quietly mewl when you feel him poking the tip of his dick right up against your dripping wet entrance, sliding the head up and down your soaked slit slowly to torture you. “Answer him,” Jungkook growls from behind, “Talk to him as I fuck your tight little pussy.”

“Y/n, do you hear me?” Jimin asks once again, and this time you pick up the courage to reply.

“Y-Yeah,” your voice strains, closing your eyes as you try your best not to moan out loud as Jungkook pushes the head in, feeling your walls flutter around his thick girth. “I hear – oohh – I hear you.”

While inching his cock further and further, he grasps your bounded wrists in one hand, as the other firmly holds onto your waist. He struggles to keep quiet, only releasing quick little grunts here and there as he slowly thrusts his hips. Your body squirms from the humiliating situation he has put you through, yet he holds you down.

“Hey, I’m really sorry about what happened earlier,” You notice the sad tone in Jimin’s voice, “I really didn’t mean to touch you like that, and I should’ve known better. You’re taken.”

“M-Mhmm—!” Jungkook shoves his length deeper and deeper, hit tip hitting your g-spot again and again, rougher and harder with each sharp thrust. Your eyes generate more tears, definitely making your nose a little bit stuffy while you struggle to breathe properly. Jungkook groans underneath his breath from how tight your pussy is after being teased and tortured.

Jimin continues with his apology, saying that he wants to personally apologize to Jungkook – but you weren’t listening anymore. You can’t! His words were going in one ear and out of the other because your mind only focuses on how his big, thick cock was tearing your cunt apart. With each outward stroke, your pussy keeps sucking him back in. He smirks from the way your pussy was gushing your arousal endlessly, soaking the sheets and making a mess of yourself.

As if everything can’t be humiliating enough, Jungkook blows a hard, loud spank on your ass, definitely not caring if it can be heard from the other end of the call. Gasping, you mewl from the stinging sensation but also worried if Jimin heard. Jungkook laughs menacingly, spanking your ass again.

“Y-Y/n?” Jimin says slowly, “What’s happening over there?”

“Nothing! I’m o-okay – mmngg shit,” your jaw drops when he fucks you faster and rougher all of the sudden, his balls starting to clap against your poor, throbbing clit. Jungkook feels impatient so he takes the phone back, puts it against his ear, and speaks for you. “Jimin!” he greets happily as if he’s not pounding your pussy until you break, “Don’t worry about Y/n, she’s doing just great.”

How can he talk so steadily like that? Your teeth sink down on your bruised bottom lip again to stop you from moaning too loud. “But I’m trusting you, Jimin, not to touch my girl like that again, okay? I know you two are friends, sure – but there’s a limit. She has a boyfriend now.”

The possessiveness in his voice turns you on so much, not even expecting such a dark tone as he talks to him like that. Your arms start to hurt after being tied for too long, wrists getting sensitive as it keeps scratching against the rope.

“Yeah, okay, goodbye.” He finally hangs up, throws your phone somewhere on the floor. After that, he firmly grips your waist and changes your position with ease. He sits down on the bed, flips you around to make you straddle his cock.

His breath almost gets stuck in his throat from the way you looked. His hands immediately flies to cup your head, thumbs wiping your tears away from your cheeks as you look down at his with lustful eyes. “Baby girl,” he whispers, eyes raking your body up and down while you don’t stop bouncing on his cock, “Keep crying. I wanna see you get ruined on my big cock.”

He pulls you closer by wrapping his right hand around your neck, squeezing tightly, as his other hand guides your hips up and down. Your hard nipples slightly graze against his chest, adding more pleasure than you already can take.

“I’m g-gonna cum,” you grit, eyes drooping, “I’m gonna fucking cum again, daddy.”

He chuckles and nods his head. He can’t stay angry at you for too long. He can’t wait to provide you the aftercare that you deserve after this. He helps you to your orgasm by meeting your thrusts, fucking his cock into you while he brings a hand down to rub your clit with vigor. Your moans were getting louder, higher in pitch, as you can feel the oh-so-familiar tightness in your stomach again. You throw your head back, hands trying to pry themselves out of the rope. Thankfully, he gives you the benefit of the doubt and finally starts undoing the knot, unwrapping your wrists so that they can finally be set free. “Here you go princess,” he groans, “Ah ah, keep your arms still.”

Within a second of your hands being free, you quickly hug his sweaty body so tightly, pressing your cheeks against his shoulder, not only to have something to hold onto but to feel his comfort after a long time of being suppressed and denied from it. Jungkook laughs and kisses your shoulder, “I love you, Y/n.”

“Love y-you— awh god, thatfeelssogood!”

“Yeah?” he bites his lip, feeling the urge to tease you with his words for the hundredth time, “How good?” He attaches his mouth on your damp neck, sucking and biting on all of the sweet and tender spots that he knows you love. Trailing kisses all over, you were certain that he’ll leave marks all over your skin. Your body shivers when he uses his teeth to bite down on you, adding more to the buildup of your climax. “So g-good, daddy,” you whine, bouncing up and down harder, “Your big cock f-feels…feels so good inside my tight fucking pussy, daddy.”

Jungkook’s cock throbs from your unexpected words, gasping a little with a cocky smirk, “Mmm, when did you learn how to talk like that, huh?” a spank lands on your right, tender ass cheek, “Such lewd words coming out of that pretty mouth.”

Your mind starts to feel dizzy, almost to the edge of blacking out as your orgasm overpowers your body. He grunts from the way your walls were clenching around him so firmly, using his dick to your own good. Wrapping his arms around you tighter, he forces you to stay still on his cock while letting you ride out your high. “There we go, baby, there we go. Cum for me,” he insinuates, “Fucking hell, such a good, pretty girl for daddy.” He lifts your chin up with one hand, trying your best to make eye-contact with him but your tearful eyes feel too heavy. “Cumming so hard, oh my fucking god darling.”

Almost seeing black and white spots, your mind goes into a frenzy for you have no thoughts but the overwhelming sensation of your climax taking over your body. Jungkook moans as he lays you back down on the bed, bringing himself to his high. With your body shivering from the high sensitivity, Jungkook doesn’t stop.

His thrusts were sloppy and his pace becomes unsteady, moans getting louder. His body tenses and goes still inside of you, trapping your small body in his as he blows his load. He fills your cunt up with his cum, painting your walls in his seed. You can feel him twitch while you claw your hands on his back, trembling.

Jungkook mutters a series of curse words as your pussy squeezes his cock so hard, milking him properly until the very last drop of cum. After a little while, he pulls his dick out and he sees his cum leaking out of your pulsating little hole and dripping onto the bed. Licking his lips from the hot sight, he caresses your inner thighs as he tries to calm you down.

“Deep breaths, sweetheart. Deep, slow breaths for me.” He hovers back on top of you as he places his right arm underneath your head for support, his other hand gently stroking your side. All the anger, all the controlling and dominating aura that he previously had ten seconds ago immediately fades as he takes the role to comfort you the best that he can. He wipes your cheeks clean with the back of his hand, almost looking down at you with a slight pout. “Baby girl, look at me, hm?” Jungkook whispers gently, “Look at me.”

Once you do so, he feels himself almost collapsing from the poor, worn-out look that was embedded on your little face. “Oh, sweetie,” he sighs, “I’m so sorry.”

“N-No,” you slowly shake your head, still breathless, “Don’t say…”

“I should’ve, fuck—” Jungkook tilts his head to the side in dismay, feeling almost frustrated in himself, “I should’ve fucking stopped, look at you baby.” He holds your hand, gives your bruised wrist a wet, long kiss.

“Kook, I’m okay,” you giggle, a hint of tiredness in your voice, “I l-loved it.”

“Are you sure? Baby girl do you remember what I told you? If you ever feel too uncomfortable, or pain that you couldn’t bear anymore, or if you just want me to stop completely, what will you say?”

Perhaps this was one of the best things you love about Jungkook. His duality. One minute he’s rough and would dominate the fuck out of you, and the next minute he’s treating you like his princess.

“I’ll say my safe word.”

“Good,” he kisses your lips once, smiling down at you, “always remember that.”

You were awfully thankful that he’s the type to always shower you in kisses after a whole round of sex. Always caring about your well-being, that’s what he loves to do. Jungkook has cleaned himself in the bathroom first before he can handle and take care of you. He comes out of the bathroom dressed only with a pair of gray sweatpants with a damp towel and one of his t-shirt in his hand.

Kneeling before you on the bed, he starts to gently wipe your inner thighs and genitalia with the cloth. It was ticklish on the spot of your inner thighs, releasing a giggle as you try to move away from him. He smirks, grasping your leg down. “Tickles?” he grins at you.

“Turn around, little one. Let me massage your back.”

Your heart beats happily at that. But once you followed his command, his eyes immediately fly down to your ass. He hikes up the skirt that you still had on a bit higher, and he sees his handprints imprinted on your precious, delicate skin. “Holy shit,” he breathes out. Your body twitches when he carefully lays a hand down. “Sorry for this, little one. Guess you aren’t sitting for a couple of days, huh?”

Hiding your face in your arms, you quietly squeal, his words having an effect on you. “I g-guess so.”

Jungkook proceeds with his mission to massage your back, using his big hands to his advantage to knead your skin with just the right amount of pressure, massaging your arms and shoulders, pressing down on your lower back. Little groans emit from your mouth, enjoying the warmth of his hands. Your eyes eventually close, feeling that you were eventually going to fall asleep from how relaxing it is.

“Want some tea, darling?” he asks.

“Mm, no thank you. I’m a little sleepy…”

Your mouth curves up into a grin when he starts peppering kisses all over your back as well, moving your hair to one side. Jungkook, too, was smiling. He can’t even figure out how he got so lucky with you.

“You wanna nap, Y/n?”

“Mhm,” you nod.

“Okay, let’s get you in this shirt first. C’mon sweetie, flip back around for me.”

He holds onto the hem of your skirt and tugs it down, throwing it somewhere on the floor. His shirt reaches almost on your knee after slipping it on. Soon, he lays down beside you and starts spooning your body. It was easy for him to enclose yourself in his warmth, for his limbs were obviously bigger than yours. “Let’s take a rest and clean everything up later, okay?”

Although you didn’t reply.

“Baby?” he tilts your head to make you look at him. “What’s wrong?”

“Kook, I-uh…I wanna say sorry for what happened earlier—”

“Shh, shh, settle down now, sweetheart. I’m not angry about that anymore,” he gives you a beaming smile, his dimples peeking through. Oh, to swim in someone’s dimples…

“Don’t worry about it. I love you, Y/n. More than this fucking world.”

“Impossible!” giggling, you eventually squirm around him because you know for a fact that he’ll hug you tighter.

He did.

“Nothing’s impossible when you’re mine – my girl.”

God, you can never take a break with him and his impeccable word choices. You feel your cheeks heat up, shying away from him that caused him to laugh in amusement a little.

“I love you too, Kook,” your heart says genuinely. Jungkook pulls you closer and makes you rest your head on his arm. “Cozy? Let’s take a rest, baby. You’ve had a long day today, you did well. You might be sore afterwards but I’ll be right here when you wake up.”  The only thing you can remember after that was the gentle kiss he placed on your cheek, and the feeling of love and comfort in the air that encloses both of you. 

“You know, Jungkook,” Taehyung speaks while munching on his Cap’n Crunch cereal, watching Jungkook come back to their apartment after driving you back to your own building. “You’re fucking lucky I was out partying. If not I would’ve…” Jungkook rolls his eyes when Taehyung fakes a gagging sound, “I w-would’ve thrown up hearing the two of you.”

“Funny,” he says blandly while heading towards the cupboards to make himself his own bowl of cereal.

Taehyung walks to his side, “Aren’t you and Y/n together for almost a year now? I don’t know much about relationships, but don’t you think it’s time for you guys to have a place of your own?”

Jungkook chuckles, heading towards the living room as he sits on the old green couch with his cereal on one hand. “So you’re kicking me out, Tae?”

“Well yeah, maybe I am, asshole.”

The youngest abruptly turns his head to him with a look of confusion, “Wait, really?”

Taehyung smirks, “Yup! I’m sick of you bringing Y/n here just to fuck, and not even let her hang out with me!”

Hang out with him? Since when was Taehyung interested in her? After a little moment of silence, Jungkook finally thinks of a reply, “What do you even wanna do with her? Also most of the time you’re either out getting drunk or locking yourself up in your room playing video games.”

“Threesome.”

Jungkook almost spits out the mouthful of milk and cereal.

“What the fuck—”

“Let’s have a threesome together.”

“No fucking way, bro.” Jungkook scoffs, pointing a finger at him, “We are not doing that.”

Taehyung was having the time of his life teasing Jungkook. He stands up in front of him, blocking his view of the TV. “I’m not having a threesome just to see you naked, cunt,” slowly, his mouth forms a smirk, “I wanna see Y/n nak—”

“Don’t even think about finishing that, Taehyung. I’m not fucking joking around.”

“Okay, shit, chill man,” he laughs, watching how Jungkook rolls his eyes. “And here I am thinking that you’re kinky and open-minded.”

Taehyung just loves to get into his nerves.

“I am,” Jungkook says in all seriousness, looking directly at his eyes. “But you know how I am with her. How selfish I can be. Other people will be fine with this, sure, but her body is for my eyes only, Tae. You can fuck anyone you like but not my girl.”

Taehyung sighs, walking away as he throws his hand in the air, “Fine, fine, whatever.”

Jungkook crosses his legs together, leaning back into the couch as he closes his eyes. The fact that he just had to put that image into his mind – someone else fucking his girl – he just can’t do it. He can be too possessive of your body and he wants it only for him.

“But if your girl ever wants two cocks to play with one day, hit me up.”

“If she wants two cocks then we’ll use a fucking dildo. Shut your ass up or else I’m gonna beat the fuck outta you,” Jungkook warns with a menacing chuckle.

Although Taehyung isn’t bothered by it, he fakes being frightened, “Oooohh, scary! Don’t hit me daddy!”

“Yep, that’s it.” Jungkook places the bowl down on the couch before abruptly standing up. Taehyung runs away while laughing like a madman with Jungkook following behind him. His roommate ends up locking himself inside his room where Jungkook can’t come in. “I’m sorry, I’m sorry!” He says in the middle of laughter.

“You’re fucking hideous, you know that?” Jungkook crosses his arms.

“Tell me something I don’t know, Jeon.”

When Jungkook turned nineteen, he remembered asking his mother when a man should introduce his girlfriend to his parents.

His mother, heart filled with genuine compassion, replied with; “When you are fully committed, and when you know for a fact that you will be spending the rest of your life with her – that’s when you let her eat at our table. So be very mindful of your feelings, Jungkookie. Remember this when you grow up, alright? I know you didn’t believe in long-lasting love when you were younger, but trust me when I say that it truly depends on the person.”

It was clear that Jungkook’s romantic side definitely came from his parents.

And fast-forward to the present, here you are sitting at their dining table, meeting his parents for the very first time. 

“So, Y/n,” Jungkook’s mother beams from the other side of the table while passing her husband more rice for his bibimbap, “How did you and Jungkook meet?”

“Mom,” Jungkook chuckles, “Haven’t I told you that a hundred times already?”

You blush from his words, trying your best not to look down in shyness. Though you feel your boyfriend’s right hand rests on your knee to ease you up.

“I know! But I just want to hear it from Y/n’s point of view! Who knows, you might be hiding some details!”

Before you can speak, his dad talks before you, “I was actually there at the time,” he smiles at you, “I think you should thank me for making Jungkook talk to you!”

“Hun, please let Y/n talk—”

Jungkook grins, “I think I would’ve talked to Y/n whether or not you told me so, dad.”

“Let the girl talk!” his mom balls her hand into a fist and pounds on the table.       

You busted out a laugh, quickly covering your mouth as you shook your head in disbelief. You’ve never encountered such a fun, happy family like this. This was your first time being introduced to someone’s parents, and truthfully, you wanted them to be your last.

“So, um,” you take a glance at Jungkook before continuing as if asking for permission first. He smiles down at you and nods his head, feeling his hand squeeze your knee. “Jeon’s Kitchen was actually a favorite place of mine! And of course, it’s still is—” you beam at his father, “It was raining very hard so I decided to stop by to eat some food before work.”

“Brown coffee and banana bread, yep, I remember that!” His dad proudly says.

“That’s correct, Mr. Jeon,” you giggle, “I sat alone and waited for the order until Jungkook here suddenly bursts into the café, all drenched from the rain!” You turn your gaze at him with creased eyes from the way you were smiling as you talk, “If I remember correctly, his car broke down and he had nothing to do, so he decided to help Mr. Jeon with work, is that right?”

Jungkook responds with a hum, staring amusingly into your glimmering eyes that were full of love.

“Until Mr. Jeon told Jungkook to keep me company! So yeah, that’s where we started talking.”

Of course, you had to leave out the fact that you had such an intimidating first impression of their son. You recall how hard his stare was as he talked to you, and how he literally made you blush so easily just by his handsome smirk (that until now you couldn’t get used to!). He carried such a strong aura, even up to this day.

“After that, well, we exchanged numbers and everything went from there!”

Before Jungkook drove you to his parent’s house so that they can finally meet you, you were an absolute nervous wreck. Overthinking that what if you say something embarrassing? What if you humiliate yourself in front of them? You were driven to have a good impression on them, which Jungkook founded adorable. Of course, he reassured you, saying, “They already love you from all of the stories I’ve told, baby.”  

And he was right. His parents never would’ve thought that a girl like you would walk into his life. You’re a blessing for their son.

Jungkook doesn’t sway his eyes off of you as you continue to chat with his parents, telling them your goals and dreams for the future. He watches the way your mouth tilts into the prettiest smile he’s ever seen, lips tinted with lipstick that was just begging to be kissed. He also catches the way your head slightly tilts as you talk, oh – he can’t forget how your knees were nervously jumping! With his hand slowly caressing your knee up to your thigh, he reminds you to calm down.

His breath hitches up a slight bit when you unexpectedly hold his hand under the table. He feels how cold your hand was so it was good for you to take his own warmth. Using his thumb, he strokes your skin delicately, and you instantly feel much better.

When the time is right and when he garners enough money, he will buy a house for the two of you. It doesn’t have to be fancy or anything elegant, but enough to keep you happy and contented – he knows you’ll understand that. Needless to say, he’s excited about the future he’s going to have with you. His mind wanders to the point of your first anniversary, the second anniversary, even up until marriage and having kids. It’s a huge stretch, yes, but he’d rather spend his life alone than without you. 

If his past self can read his mind right now, he’d definitely laugh.

He can’t wait to live his whole life with you by his side. You already have all the qualities he’s been looking in a person, and there’s no way in hell he’s going to leave you anytime soon. 

His mother’s voice cracks him from his thoughts, “Y/n’s such a pretty girl. So amusing to look at, too!” She gawks at you with excited, wide eyes. Her eyes reminded you of Jungkook, the same big and round ones, “Next time when you come to visit us, let me teach you my signature shrimp fried rice recipe, okay? Are you allergic to shrimp, Y/n?”

“Nope! I love shrimp!”

“That’s great!” his mom claps, “Jungkook, thanks for bringing Y/n here with us. She’s so wonderful.”

Shaking your head, you try to take her compliments as much as you can but of course, your bashfulness takes over.

Your boyfriend removes his hand from yours, only lifts it up so that his arm can rest at the backrest of the chair while he starts to stroke your head lovingly. The corners of his lips tilts up to form a smile, he feels as if fireworks were going off of his whole body, for he was so in love with you. How can a person love someone this much? 

He mutters the next sentence underneath his breath, thus only he and his pounding heart can hear; “That’s my girl.”

The End.

Thank you so much for all of the amazing support for Crybaby! I never expected so much love and anticipation in the first place. I wrote Crybaby without any serious plot with a ‘tragedy/problem’ in mind, for it was only supposed to be a oneshot haha! Crybaby was mainly about the fact that Jungkook has dacryphilia and that’s it. But thanks to the support I’ve gotten, I made a part two and three! It’s sorta sad to end this series because I know a lot of people (including me) love this couple soo much! But they’ll make an appearance in short drabbles or even kinky hours. I’m sorry for the sudden ending, but this will not be the end for them!

Please tell me what you think by commenting or sending an ask, I really love to read your reactions!

Please stay safe, especially in these times. Remember that you are loved, and please be happy. I love you!

[winterandwords]

Writeblrs! Dark contemporary, crime, transgressive, lit fic etc?

I just posted a similar thing on TikTok about the genres I see most often on BookTok and I feel like it applies here too. Most of the lovely writeblr folk I've met so far are creating fantasy and paranormal, I think mostly for YA and NA age groups.

While it's always awesome to meet other writers and readers no matter what they're writing or reading, I don't often find people who are into the stuff I love deep down in my dark little heart.

I'm willing to accept that TikTok, Tumblr and even Instagam aren't necessarily home to many fans of the genres I adore, but I also feel like...surely there are others? Maybe we just aren't very visible.

So, I would LOVE LOVE LOVE to hear from other writeblrs who are into any or all of:

dark contemporary

crime

thrillers

transgressive fic

neo-noir

literary fiction

gritty sci-fi

horror where the monsters are people

adult fiction (as in fiction for adults-the-age-group, not 'adult' the other way it gets used, not that there's anything wrong with that)

I'm not expecting a huge amount of return on this, but who knows? If the list doesn't describe what you write or read, maybe you have friends who might vibe with those genres? I'd really appreciate reblogs to help me find writeblrs to connect with who I might not run into otherwise. Thanks! <3

[chiseler]

Ophelia By the Yard

Cobwebbed passages and wax-encrusted candelabra, dungeons festooned with wrist manacles, an iron maiden in every niche, carpets of dry ice fog, dead twig forests, painted hilltop castles, secret doorways through fireplaces or behind beds (both portals of hot passion), crypts, gloomy servants, cracking thunder and flashes of lightning, inexplicably tinted light sources, candles impossibly casting their own shadows, rubber bats on wires, grand staircases, long dining tables, huge doors with prodigiously pendulous knockers to rival anything in Hollywood.

Here was the precise moment — and it was nothing if not inevitable — when the darkness of horror film, both visible and inherent, leapt from the gothic toy box now joined by a no less disconcerting array of color. The best, brightest, sweetest, and most dazzling red-blooded palette that journeyman Italian cinematographers could coax from those tired cameras. Color, both its commercial necessity as well as all it promised the eye, would hereafter re-imagine the genre’s possibilities, in Italy and, gradually, everywhere else. 

When color hit the Italian Gothic cycle, a truly new vision was born. In Hammer films and other UK horror productions, the cheapness of Eastmancolor made it possible for blood to be red. Indeed, very red. And, while we shouldn't underestimate the startling impact this had, it was a fairly literal use of the medium. In the Italian movies, and to a large extent in Roger Corman's Poe cycle, color was an unlikely vehicle to further dismantle realism rather than to assert it. Overrun with tinted lights and filters, none of which added to the film’s realistic qualities, the movies became delirious. In Corman's Masque of the Red Death, we learn of an experiment that uses color to drive a man insane; it seems that filmmakers like Corman and Mario Bava were attempting the very same trick on their audiences.

The application of candy-wrapper hues to a haunted castle flick like The Whip and the Body adds a pop art vibe at odds with the genre, and when you get to something like Kill, Baby...Kill! the Gothic trappings are barely able to mask a distinctly modern sensibility, so much so that Fellini could plunder its phantasmal elements for Toby Dammit, fitting them perfectly into his sixties Roman nightmare.

Blood and Black Lace brings the saturated lighting and Gothic fillips into the twentieth century -- a sign creaking in a gale is the first image, translated from Frankensteinland to the exterior of a contemporary fashion house. A literal faceless killer disposes of six women in diabolical ways. The sour-faced detective remains several deaths back on the killer’s trail because the movie knows its audience, knows that it has zero interest in detection, character, motivation — though it’s all inertly there as a pretext for sadism, set-pieces of partially-clad women being hacked up, dot the film like musical numbers or action sequences might appear in a different genre. 

Since the 19th-century audience for literary Gothic Horror was comprised of far fewer men than women, would it be fair to ask whether Giallo’s advent might be an instrument of brutal violence, even revenge against “feminine” preoccupations? Consider 1964’s Danza Macabra, the film’s amorous vibes finding their ultimate source in that deathless screen goddess named Barbara Steele, whose marble white flesh photographs like some monument to classicism startled into unwanted Keatsian fever. Her presence practically demands that we ask ourselves: “Who is this wraith howling at a paper moon?” In other words, is it a coincidence that Steele’s “Elizabeth Blackwood” — a revenant temptress and undead sex symbol — hits screens the very same year as Giallo, which would transform Italian cinema into a decades-long death mill for women? 

The name “giallo”, meaning yellow, derives from the crime paperbacks issued by Italian publisher Mondadori. The eye-catching covers, featuring a circular illustration of some act of infamy embedded in a yellow panel, became utterly associated with the genre of literature. These books were likely to be by Edgar Wallace, the most popular author in the western world, or Agatha Christie: cardboard characters sliding through the most mechanical of plots; or classier local equivalents, like Francesco Mastriani or Carolina Invernizio. The founding principles laid down concerned the elaborate deceptions concealed by their authors, traps for the unwary reader, and the use of a distinctive design motif. The tendency of the characterisation to lapse into sub-comic-book cliché, the figures incapable of expressing or inspiring real sympathy, was, perhaps, an unintended side-effect of the focus on narrative sleight-of-hand.

When Italian filmmakers sought to translate sensational literature to the screen, they looked to other filmic influences: American film noir, influenced by German expressionism and often made by German emigrés (Lang, Siodmak, Dieterle, Ulmer); and the popular krimi cycle being produced in West Germany, mostly based on Edgar Wallace's leaden "shockers." These deployed stock characters, bizarre methods of murder, deceptive plotting, and exuberant use of chiaroscuro, the stylistic palette of noir intensified by more fog, more shafts of light, more inky shadows. A certain amount of fun, but different from the coming bloodbath because Wallace, despite somewhat fascistic tendencies, is anodyne and anaemic by comparison. No open misogyny, a sadism sublimated in story, a touching faith in Scotland Yard and the class system. In the Giallo, Wallace's more sensational aspects are adopted but made to serve a sensibility quite alien to the stodgy Englander: people are generally rotten, the system stinks, and crime becomes a lurid spectator sport served up to a viewer both thrilled and appalled. 

The Giallo fetishizes murder. But then, it fetishizes everything in sight. Every object, every half-filled wine glass and pastel-colored telephone, is photographed with obsessive, product-shot enthusiasm. Here, it must be emphasized that design implicates the viewer as the Italian camera-eye gawps like some unabashed tourist. Knife, wallpaper, onyx pinky ring — each detail transforms into an object made eerily subject: a sentient and glowering fragment of our own conscience, staring back at us in the darkened theater and pronouncing ineluctable guilt. And yet, for the directors who rode most dexterously the Giallo wave, homicide was something one did to women. Indulging in equal-opportunity lechery was merely an excuse to find other, more violent outlets for their misogyny. Please enter into evidence the demented enthusiasm for woman-killing evinced by Dario Argento, Mario Bava, Lucio Fulci, et al. — whatever trifling token massacres of men one might exhume from their respective oeuvres are inconsequential. Argento’s defense, “I love women, so I would rather see a beautiful woman killed than an ugly man,” should not satisfy us, and hardly seems designed to (also bear in mind Poe’s assertion that the death of a beautiful young woman was the most poetic of all subjects).

Filmmakers like Argento have no interest in sex per se. Suffering seems inessential, but terror and death are key, photographed with the same clinical absorption and aesthetic gloss as Giallo-maestros habitually apply to their interior design. Here, it must be emphasized that design implicates the viewer as the Italian camera-eye gawps like some unabashed tourist. Knife, wallpaper, onyx pinky ring – each detail transforms into an object made eerily subject: a sentient and glowering fragment of our own conscience, staring back at us in the darkened theater and pronouncing ineluctable guilt. That’s one important subtlety often lost amid Giallo’s vast antisocial hemorrhage.

Like a river of blood, homophobia, in the literal meaning of fear rather than hatred, runs through the genre. Lesbians are sinister and gay men barely exist. As we try to work out what in hell the Giallo is really up to, little dabs of dime-store Freudianism seem sufficient.

The filmmakers’ misogyny could be suspect, a sign of compromised masculinity, so they need fictional avatars to cloak their own feverish woman-hating. The subterfuge is clumsy at best, the desultory deceit embarrassingly macho. Giallo’s visual force, powerful enough to divorce eye from mind, is another matter, leaving us demoralized and ethically destitute; our hearts beating with all the righteous indignation of three dead shrubs (and maybe a half-eaten sandwich).

The Giallo is founded on an unstated assumption: the modern world brings forth monsters. Jack the Ripper was an aberration in his day, but now there's a Jack around every corner, behind every piece of modular furniture, every diving helmet lamp. Previously, disturbing events arose from what Ambrose Bierce called The Suitable Surroundings, or what the mad architect in Fritz Lang's The Secret Beyond the Door termed, with sly and sinister euphemism, "propitious rooms." There's the glorious line in Withnail and I: "That's the sort of window faces appear at." But now, in the modern world, evil occurs in the nicest of places, and tonal consistency died in a welter of cheerful stage blood. One needn’t enter an especially Bad Place to meet one’s worst nightmare, or perhaps better to say: the whole bright world qualified as a properly bad place. Imagine the pages of an interior design magazine invaded by anonymous psychopaths intent on painting the gleaming walls red.

Though the victims are overwhelmingly female and their killers male (Argento typically photographed his own leather-gloved hands to stand in for his assassin’s), when the violence becomes over-the-top in its sexualized woman-hating (like the crotch-stabbing in What Have You Done to Solange?), it’s usually a clue that the movie’s murderer will turn out to be female: a simple case of projection. Only Lucio Fulci, the most twisted of the bunch, trained as a doctor and experienced as an art critic, not only assigns misogyny to a straight male killer (The New York Ripper) but plays the killer himself in A Cat in the Brain. Though, in another self-protecting twist of narrative, all psychological explanations in Gialli are bullshit, always. Criminology and clinical psychology are largely ignored, and Argento has a clear preference for outdated theories like the extra chromosome signaling psychopathy (Cat O’Nine Tails). Did anybody use phrenology, or Lombroso’s crackpot physiognomic theories, as plot device?

A tradition of the Giallo is that the characters all tend to be dislikable, something Argento at least resisted in Cat O’ Nine Tails and Deep Red. With disposable characters, each of whom might be the killer and each of whose violent demise is served up as a set-piece, this distancing and contempt might just be a byproduct of the form rather than a principle or ethos, but it’s of some interest, perhaps mitigating the misogyny with a wash of misanthropy. A Unified Field Theory of Gialli would find a more deep-seated reason for the obnoxious characters as well as the stylized snuff and the glamorous presentation. What urge is being satisfied, and why here, now, like this?

Class war? Though prostitute-ripping is encouraged in the Giallo, most victims are wealthy, slashed to ribbons amid opulent interiors. Urbane characters who might previously have graced the sleek “white telephone” films of forties Italian cinema were briefly edged out by neo-realism’s concentration on the working class. Now these exquisite mannequins are trundled back onscreen to be ritually slaughtered for our viewing pleasure.

Victims must always be enviable: either beautiful and sexy or rich and swellegant, or all of the above, so the average moviegoer can rejoice in their dismemberment with a clear conscience. Mario Bava bloodily birthed the genre in Blood and Black Lace (1964), brutally offing fashion models in a variety of Sade-approved ways, the killer a literally faceless assassin into whom the (presumed male) audience could pour their own animosities without ever admitting it, with the female killer finally unmasked to provide exculpatory relief.

If narrative formulas absolve the straight male viewer, compositions have a way of ensnaring him. Beyond that omnivorous indulgence of sensation for its own lurid sake one finds in Giallo, there is a more gilded emphasis placed on Beauty (in the Catholic sense), and it is only the women who are mounted upon its pedestal. That these avatars of beauty are to be savored, ravaged, and brutalized — in that order — is what concerns us. But the sex and the suffering that captivates most sadists is never what registers; no, it is the instance of death, the terror that afflicts the dying woman’s face that resonates. Once again, physical interiors become a negative form of emotional interiority, rooms amplified for the sole purpose of grisly annihilations; a kind of heretical, strictly anti-Catholic transcendence through amoral delight in what otherwise falls under trivial headings, either “the visuals” or “color palette” – neither of which touch the essential nerve endings of Giallo.

Swaddled inside an otherwise hyper-masculine castle lies a windowless chamber with feminine, if not psychotic, decor. Before he tortures and stabs her to death, “Lord Alan Cunningham” (fresh from his sojourn in the asylum) brings his first victim to this pageant of off-gassing plastic furniture, the single most obnoxious vision ever imposed on gothic environs. Risibly overblown ’70s chic rules The Night Evelyn Came Out of the Grave with nods to Edgar Allan Poe, as the modish Lord juggles sports cars and medieval persecution. Laughs escape the viewer’s throat in dry heaves when each new MacGuffin devours itself without warning. Take “Aunt Agatha” (easily two decades younger than her middle-aged nephews) suddenly rising from her motorized wheelchair, clobbered from behind seconds later, her body dragged into a cage where foxes promptly munch her entrails. Nothing comes of this. The phony paralysis, the aunt’s role in a half-dozen mysteries, which include a battalion of sexy maids in miniskirts and blonde Harpo Marx wigs – all gulped, swallowed.

About the only thing we know for certain is that “Aunt Agatha” is gorgeous. Though, in the end, she’s another casualty of the same nihilism that crashes Giallo aesthetics headlong into Poe country. That is into “Lord Alan” and his gaudy room crowded with designer goods to be catalogued in a horror vacui of visual intrusiveness – a trashy shrine to his late wife, the titular Evelyn. If lapses of good taste define The Night Evelyn Came Out of the Grave, they also reflect Giallo’s abiding obsession with real estate. After all, this Mod hypnagogia has to fill the eye somewhere. Why not bang in the middle of a castle? Poe’s The Fall of the House of Usher features a wealthy aristocrat burying his twin sister alive, thereby entombing his own femininity.

Evelyn represents both Usher’s primary theme of the divided self and the obdurate refusal to learn from it. “Alan,” who emerges a moral hero in the end (after his shrink aids and abets his murder spree), remains just as ornery, alienated, and vainglorious as Giallo itself. We’re never told precisely what the film’s fetish objects are supposed to mean. And since the camera seizes upon each one with existential grimness, we’re left with a visual style that begs its own questions.

Function follows form into the abyss. One Ophelia after another dies to satisfy our cruel delectation, even as will-o’-the-wisp light, taken from the bogs and neglected cemeteries of Gothic Horror, finds itself transformed into a crimson-dripping stiletto.  Evelyn stands in for all Gialli, a genre which redefines film itself on the narrow front of visual impact: stainless steel cutlery and candy-colored light enact a sentient agenda as color becomes an instrument of hyperbolic misogyny that fills the eye and then some.  

As with certain other Italian genres, notably the peplum, smart characterization, solid performances and decent dialogue seem not only unnecessary to the Giallo but unwelcome (the spaghetti western, conversely, in which many of the same directors dabbled, seemed to demand a steady stream of good, cold-blooded wise-cracks). Argento, in pursuit of that “non-Cartesian” quality he admired in Poe, took this to extremes, stringing non-sequiturs together to form absurdist cut-ups, torching his stars’ credibility merely by forcing them to utter such nonsense. And this wasn’t enough: from Suspiria (1977) on, the psychological thriller (which the Giallo is a sub-genre of, only the psychology has to be deliberately nonsensical) was increasingly replaced by the supernatural. So that the laws of nature could be suspended along with the laws of coherent motivation.

In Suspiria and its 1980 quasi-sequel Inferno, the traditional knifings are interspersed with more uncanny events, as when a stone eagle comes to life and somehow makes a seeing-eye dog kill his owner, and there are also grotesque incidents with no relation to story whatever: a shower of maggots, or an attack by voracious rats in Central Park. The Giallo’s quest for a solution, inspired as it was by the old-school whodunits, is all but abandoned, replaced by the search for the next sensational set-piece.

Argento’s villains are now witches, but, abandoning centuries of tradition, these witches show more interest in stabbing their fellow women with kitchen knives than with worshipping Satan or riding broomsticks. Regardless of who they’re meant to be, Argento’s characters must express his desires, enact the atrocities he dreams of. And inhabit places built for his aesthetic pleasure rather than their own. Following Bava’s cue, he saturates his rooms in light blasted through colored gels, making every scene a stained-glass icon, no naturalistic explanation offered for the lurid tinted hues. Just as no explanation is offered for the presence of a room full of coiled razor-wire in a ballet school, or for the behavior of the young woman who throws herself into its midst without looking.

Dario Argento’s true significance, at least with respect to Giallo, was perceiving in the nick of time the almost incandescent obviousness of its limitations; that Italian commercial cinema’s garish, polychromatic spin on the garden-variety psychological thriller – departing from its forebears mainly in the rampant senselessness of its “psychology” – had Dead End written all over it. It could never last. On the other hand, Giallo does take a fresh turn with Argento’s Inferno, thanks in no small measure to a woman screenwriter who sadly remains uncredited. Daria Nicolodi explains that “having fought so hard to see my humble but excellent work in Suspiria recognized (up until a few days before the première I didn’t know if I would see my name in the film credits), I didn’t want to live through that again, so I said, ‘Do as you please, in any case, the story will talk for me because I wrote it.’”

Daria Nicolodi

Nicolodi’s conception humanizes (it would be tempting to say “feminizes”) Argento’s usual sanguinary exercises du style, while at the same time summoning legitimate psychology. This has nothing to do with strong characterization – indeed, the characters barely speak – and everything to do with the elemental power of water, fire, wind.… Inferno rescues Giallo by plunging it into seemingly endless visual interludes, a cinema that draws its strength from absence.

by The Chiselers

Daniel Riccuito, David Cairns, Tom Sutpen, and Richard Chetwynd

[thesunnyshow]

Name: reya

Writing Blog URL(s): @chu-ni

Age: 19

Nationality: african-british

Languages: english, swahili, korean

Star Sign: libra

MBTI: enfp/entp (it always changes lol)

Favorite color: purple!

Favorite food: i really love chicken burgers

Favorite movie: princess and the frog

Favorite ice cream flavor: vanilla!!

Favorite animal: elephants

Go-to karaoke song: fancy - twice

Coffee or tea? What are you ordering? caramel frappe with whipped cream, in general i prefer tea though

Dream job (whether you have a job or not)? secretary general at the UN….or an author

If you could have one superpower, what would you choose? making anyone agree with me and do what i want them to do

If you could visit a historical era, which would you choose? ancient egypt!!

If you could restart your life, knowing what you do now, would you?.....no.

Would you rather fight 100 chicken-sized horses or one horse-sized chicken? neither if i could lmfao but i’d go for 100 chicken sized horses

If you were a trope in a teen high school movie, what would you have been? the nerd who’s actually really pretty after she gets a cool makeover 

Do you believe in aliens/supernatural creatures? im not sure about aliens, but i definitely believe in ghosts and spirits.

What are some small things that make your day better? when i can have moments to myself to enjoy my own company. or when someone asks me what i want to eat and they bring it for me 🥺

Fun fact about yourself that not everyone would know? uhm…...probably the fact that i write fanfiction lol..but outside of that! i sing in the shower. and i talk to myself a lot.

What fandom(s) do you write for? nct dream currently, but in the future i want to expand to other groups!

When did you post your first piece? 17th of June 2018.

Do you write fluff/angst/crack/general/smut, combo, etc? Why? i can never write just one genre. predominantly i write fluff with a dash of angst for spice simply because i love a story that has an issue and then having that issue be resolved for a happy ending. when i started my blog i was 17, and so i said i wouldn't write smut. now that i'm older im feeling more and more comfortable writing suggestive content at the very LEAST.. so maybe in the future i might write smut, who knows? i like writing fluff because i like making people feel good, but i like adding angst to it because i feel like the contrast between the two is very *chefs kiss* to me.

Do you write OCs, X Readers, Ships...etc? i only write x readers!

Why did you decide to write for Tumblr? i first got tumblr when i was 13 years old and i was a fresh kpop fan lmfao. i wanted somewhere that shared my interests. of course i discovered x reader fics on here and i was in awe, i guess of how much power writers had in contributing to fandom content and keeping readers satiated. i’d always loved to write and so i’d always wanted to start my own writing blog, and for 2 years i did write for other blogs! it wasnt until 2018 that i finally took the leap and decided to start my own, because i wanted to impact people's emotions and take them on a journey through my writing.

What inspires you to write? what inspires me….teen movies, music!! music is a big one for me, and also the books that i read. i also grew up playing otome games so the plots and writing from those influence my writing a lot.

What genres/AUs do you enjoy writing the most? i really enjoy writing royalty!aus as well as exes!aus. i love to do them cause they require me to build a world and with royalty aus specifically i love weaving together bits of political intrigue, or arranged marriages, etc. its so much fun!!

What do you hope your readers take away from your work? that if this world is too rough or too much, you can always escape from it. it might not be physical, but immersing yourself in a universe that's entirely different for a little while can help soothe you.

What do you do when you hit a rough spot creatively? usually i try and take breaks. the problem with that is that my breaks can go on for longer than i’d like and im trying to fix that. so my other solution is to read read read!! read as much as i can, or go back to books that i loved. ask myself what i liked about the writing, what are some parts that i thought were amazing examples of good writing - i note them down then see if i can apply that to my own work. another thing i do is take a break from writing my longer, fleshed out works and write blurbs! blurbs are a great way for me to write but not feel like its tedious because i don't have to spend as much time on them and it gets me into the groove of writing without feeling stressed out.

What is your favorite work and why? Your most successful? my favourite piece of work is miscommunication. it took me months to write that, even after i lost all the work halfway through, and its the longest piece of work i have written so far, so its kinda like my baby. my most successful is candy jar. its also the work i owe my blog exposure to - it was the first piece i published, and it was also the first piece of writing i did in around 4 years.

Who is your favorite person to write about? i don't have much out for them, but i really enjoy exploring mark’s and jeno’s characters. they're people, but in my work i enjoy analysing them and judging how they’d act in different contexts.

Do you think there’s a difference between writing fanfiction vs. completely original prose? the only difference for me is that fanfiction (depending on the fandom) has some of the stuff fleshed out for you already, such as the world its in. if youre the type to write AUs then the only thing you already have is the characters - the planning, the writing, the drafting, and everything else is still the writer's responsibility. therefore there isn't much of a difference between the two for me.

What do you think makes a good story?  a good story, to me, is one that takes me on a journey. it could be any genre, but i like to feel immersed and connected to the characters and the world in it. also aside from the obvious, like good grammar, a good story feels natural to read. i don't feel like skim reading half of it.

What is your writing process like? my writing process consists of me getting inspiration - usually from a song, or a film or a book ive read or a game ive played - i note down my idea and who i want the story to be about, and then bullet point the whole story, with some snippets of particular dialogue i want the reader or the other person to say at certain scenes. i then open another document ( i have a writing app on my phone, called werdsmith, so i use that!) and set a word count goal i want to hit so i can track my progress and start writing the fic, with fleshed out language and exposition. when im done (usually after a couple weeks up to a few months, depends on the length of the plan) i read through it to fix any mistakes, then i transfer it to docs so i can read it again and italicise any areas i feel need it.

Would you ever repurpose a fic into a completely original story? i...don't think so. mainly because the original fiction i read and would like to write for myself is predominantly fantasy, whereas the fanfic i write on my blog is usually non-idol, normal fics. 

What tropes do you love, and what tropes can’t you stand? im a SUCKER for enemies to lovers, royalty ofc, “and they were roommates”, and i think superhero aus are really cool but there isnt enough of them :( idol/you as member aus....not feeling her… also abo/werewolf/vampire aus….not feelin em

How much would you say audience feedback/engagement means to you? a LOT. a HUGE amount!! i said before how i like giving my readers somewhere where they can immerse themselves as an escape, even for a short while. hearing about how my work affected them, made them feel, makes me feel less insecure about what im writing and thus more confident to publish it.

What has been one of the biggest factors of your success (of any size)? i’d say reblogs. and also putting out more content. when i first uploaded candy jar i went to my one of my favourite writers (jaeminlore) and asked her if she'd be okay with reading it and giving feedback. to my surprise she loved it and her reblogging it to all her followers is literally what gave me a bunch of followers all of a sudden who loved what i’d written. to keep that momentum i created more and more content, and while i haven't uploaded as often as i've wanted to or written as much as i’d wanted to, i can say i have a good amount of work on my masterlist for people who are looking for more to read.

Do you think fanfic writers get unfairly judged? 100%. fanfic has an unfair reputation for just having bad writing and cringey fics (and i feel like this is because of the way society views the demographics who predominantly consume and create it), when in reality i feel like those who write fanfiction are extremely talented and selfless people. they're on the internet creating content for free for people to enjoy and like any other work of art they're putting time and effort into it. i think it should be respected. any form of art is going to have its good and bad sides.

Do you think art can be a medium for change? hmmm….yes. i feel it can be a way to reflect the thoughts of people and also be a way to inspire people to do more.

Do you ever feel there are times when you’re writing for others, rather than yourself? sometimes. sometimes i feel like i'm forcing myself to write because i feel like if i don't then people will forget about me or they’ll forget about my blog. while what i choose to write about is for me, i feel like the speed of my writing and what im writing isn't to the quality i want it to be cause i feel like i gotta get it out for people to read.

Do you ever feel like people have misunderstood you or your writing at times? i've never felt that way!

Do your offline friends/loved ones know you write for Tumblr? only 2 of my friends know, and i only told them like. a week ago!

What is one thing you wish you could tell your followers? i wish you guys would message me more! i'm quite a sociable person, and i’d love to have regular anons who talk to me 👉🏽👈🏽

Do you have any advice for aspiring writers who might be too scared to put themselves out there? i think one common thing amongst all writers is that we write what we want to read. so don't feel like nobody's gonna read your work, cause somebody will. you gotta act like your work is top tier even if someone says it isn't - always write the best you can, and just do it! like don't even give yourself time to overthink it, write that fic, make it look pretty, upload it onto tumblr and do not be afraid to ask your favourite fic writers to read your work once its up!! i’d be happy to read and give feedback for any fic writers as well so don't feel afraid! 

Are there any times when you regret joining Tumblr? ive been on here for 7 years….i grew up on this site lmfao. but i don't think i regret joining tumblr once.

Do you have any mutuals who have been particularly formative/supportive in your Tumblr journey? shes not very active anymore and i miss her very much but user hyuck-s was so supportive and i love her!!

Pick a quote to end your interview with:

she believed she could, so she did.

BONUS ROUND: K-POP CONFIDENTIAL 

[aion-rsa]

To Sleep In A Sea of Stars and the Importance of Optimism in Sci-Fi

https://ift.tt/eA8V8J

This article is sponsored by:

To Sleep in a Sea of Stars is Christopher Paolini’s first foray into science-fiction, and the first of potentially many stories in the Fractalverse. The story follows xenobiologist Kira Navárez as a chance encounter with an ancient, alien artifact propels her into an epic space adventure across the vast expanse of the galaxy, in a fight for the fate of humanity. We talk to the author about the writing process, his sci-fi influences, favorite shared universes, and writing hopeful science fiction.

Note: This interview has been edited for length and clarity.

Den of Geek: What is it about science fiction that made you want to create within that framework?

Christopher Paolini: I grew up reading as much science fiction as fantasy. So for me, it was a very natural transition. My dad was and is a huge science fiction fan. My mom was a fantasy reader, so I kind of got both genres from them. And I just love the possibilities of science fiction, and I love how a lot of science fiction talks about the future of humanity, especially as we may be moving off this planet and exploring the rest of the universe. And I was also wanting a change from fantasy after working on The Inheritance Cycle for about 12 years, from 15 to 26/27. That’s a large chunk of one’s life to be put into one project. So yeah, science fiction felt like a very natural fit.

Which came first for you, did you already have an idea that you wanted to write in science-fiction? Or did you have the idea of a whole story in one book, then decide that science fiction would fit with that idea in mind?

I had the idea for the story first and the idea first came about in 2006, 2007. At the time, I wasn’t sure if it was going to be a self contained story or series, but very early on, I decided that yes, it was going to be a one book story. That became increasingly important to me the longer I worked on The Inheritance Cycle, because I didn’t finish that series until the end of 2011, and then I was touring for it mid to late 2012. So when thinking about what I wanted to do next, was like, “Well, I’d rather write a self contained story and then move onto something new.” And also I wanted to get that experience for readers of not having to wait for years and years for the next volume. The ironic thing is that it actually didn’t really take me any less time to write To Sleep than if I had broken it up and just done two or three novels.

Were there any things that you maybe didn’t want to get rid of or cut to make the story fit into one tome that you had to get rid of? If so, how did you deal with that?

No, I told the story of what I wanted to tell. I actually had a unique experience with editing with this book where my editors at Tor, along with the other changes I was making, general revisions and copy edits… They actually had me add about 30,000 words of material to the book as I was revising, which I’ve never had that experience before. So no, everything I wanted to put in the story is in the story. It’s a book that is stuffed to the gills with stuff, and hopefully readers will enjoy all of that stuff. With that said, there is lots of material within the universe and within that setting that I want to write about and have plans for that isn’t in this book. But this book itself has what it needs to have.

Do you have plans for, not necessarily a sequel, but other stories that take place within the same connected universe?

Absolutely. I mean, if people… At least in the hardcover edition of the book, they’ll see there’s the logo for the Fractalverse, not only embossed the cover, but also printed on an inside page and the Fractalverse is a setting that I’ve been working on for quite a long time. The idea is that any stories that I want to tell that aren’t explicitly fantasy can fit within the Fractalverse. So it includes the real world, the far future, the distant past. And even though some of those stories might seem a little disconnected, they will all tie together in the end.

What do you think makes a really good connected or extended shared universe?

Part of it would be theme and tone. I think about Star Wars or Star Trek or Babylon 5 or any of these big franchises, and usually there’s a certain feel associated with that franchise. You know that when you’re going to go watch a James Bond film, for example, or you’re going to go watch a Star Trek film or show, you’re going to get a certain something. So I think theme and tone is a big thing. I’m kind of in the same camp as Sanderson for this one, finding ways to tie in characters, or thematic things, or world events so that things really are interconnected on a deep level. It may not make much of a difference for any one individual story, but when you step back and look at the whole edit sets, you can see how all the pieces fit together.

What are some of your favorite extended universes, across all mediums?

The Cosmere by Sanderson would certainly be up there. Also the Dark Tower series by Stephen King, and how that ties into his other works. I’m not actually a fan of horror. I think that there are enough difficult things in the world already, without putting more of that in my head, but I really appreciate how the Dark Tower sort of ties together his other books, characters cross pollinate between his various stories. I think that’s pretty cool.

If you could choose any character from To Sleep in a Sea of Stars to put into another universe that you didn’t create, which character would you put into that universe and why?

My answer probably won’t surprise you. Gregorovich.

And what universe would you put him in?

Oh geez. Almost anything, almost anything. I would love to see him in… Actually, this would make him deeply unhappy, but the way it tickles my storytelling brain, I would love to see him in Battlestar Galactica and see him grappling with divisions between the humans and the Cylons, and him being sort of an inter median between human and cyborg or even full on Android.

Were there any tropes or things you wanted to explicitly avoid in your writing for To Sleep in a Sea of Stars?

My general approach was to try to treat every character with dignity and respect the same way I would want to be treated or anyone else would want to be treated, to not make a big deal about people being the other, even if sometimes they feel like they’re the other. And also, the thing is, I’m sure there’s still going to be prejudice and discrimination and all sorts of other issues in the future. I mean, humans are humans, that’s unfortunately not going to go away. But there’s no reason to highlight that or make it a major point of your main story or character, unless that’s something you want to grapple with in a deep examination of “how can we do better?”

I wanted to know about the rules you set for To Sleep in a Sea of Stars where: you wanted it to be realistic science, you wanted it to not completely break physics, and you wanted to disallow time travel. What was the reason and the thought process behind that?

The main point for me was that I didn’t want my spaceships to be time machines. Because if you look at the physics of a lot of faster than light travel in a lot of popular franchises, the math says that the spaceships really should be capable of time travel, which, if your story’s not about time travel, having your most popular transportation method allowing for that kind of wrecks your story. So I really, really wanted to avoid that. I really wanted a technical answer that I could wrap my brain around, which would give me a really solid footing for whatever I want to write in the Fractalverse.

What was the process of figuring out how to both be very technical, but also making it where a lay person could just read To Sleep in a A Sea of Stars and actually be able to follow along?

Well, that was very important to me. Having written fantasy, I definitely ran into challenges of info dumping and, and not wanting to info dump, and how do you convey large amounts of information to your readers in a palatable fashion? I definitely learned things when working on The Inheritance Cycle and I tried to apply them in this book. So the goal was to naturally introduce readers to this universe without overloading them with technical information. If readers want that technical information it’s in the appendices at the back of the book. So in some ways it’s almost like science is to science fiction is what magic is to fantasy, it defines the rules of what is possible in that universe. And it’s important for me as the author to know all those rules, but I don’t have to dump out those on the reader all at once.

Were there any habits that you had to break in the transition from writing a fantasy series, then going into a completely different genre and a different world?

Absolutely tons. First of all, I had an established approach style in a society that I had been working with for so long that it was really second nature. So I had to work very hard to come up with a cleaner, more modern style for To Sleep in a Sea of Stars, which I enjoyed. It actually gave me a lot more freedom in terms of the tools I had to write the book. And then also just the pacing of the book is different because To Sleep is a complete story from start to finish. That was actually a little surprising to me, because when you write a series, you really get to know the characters in a way that you just can’t in one book, because you have thousands of pages to live with them. So the pacing was different and that was also a challenge to get used to. On top of that, the fact that a spaceship does not go in faster in an emergency, unlike horses or people, where if you need to get from point A to point B faster, you can just sort of spur the horses on a little more. You can run, you can push yourself harder. Spaceships don’t really do that. Machines don’t really do that. So that put some restrictions on the logistics of moving my characters around, it was a fun restriction.

Are there any common threads between your other series and this new one?

There is a fairly significant easter egg from The Inheritance Cycle in this book that I’ll leave for readers to discover. And then there are my usual obsessions as a writer on display. For example, I find myself continually drawn towards stories of personal transformation, both physical and mental, and that’s on full display here. And a lot of questions of how the individual relates to society. What is your responsibility to people in general if society stopped caring about you as a person? Despite the fact that it’s science fiction, there is a very real ethic and physics to the story, as it proceeds, that people who are fans of that in my fantasy novels will find the same here and will enjoy that also.

If you had to choose for To Sleep in a Sea of Stars to be respectfully adapted into either of the following, a TV mini series, a standalone film, or a AAA game title, which would you choose and why?

I don’t know if it’s one film, but my gut says, a film. Simply because I would love for people to experience the story in one go, that was my whole reason for putting it into one book. I mean, a miniseries or TV show could do a wonderful job of it. But the pacing is different in a TV show and the beats and the emotions are different. So yeah, my gut reaction would be a film.

What are some of your favorite stories specifically set in space across all mediums— book, TV, film, comics, video games?

Well, video games. It would be the Mass Effect series, specifically if you’re playing with Commander Shepard, who is voiced by the amazing Jennifer Hale, who we were fortunate to get to read the audiobook. And she did an absolutely fantastic job with that. The Halo series, Babylon 5, Battlestar Galactica, old school Star Trek, the Hyperion series by Dan Simmons. Dune by Frank Herbert, including the David Lynch film, which I have a soft spot in my heart for. Wild Seed by Octavia Butler. I know that’s science fiction, that’s not in space. I think those would be some of the big ones. Oh, a lot of Iain Banks’ sci-fi novels.

What job do you think you would have, in the To Sleep in a Sea of Stars universe?

Well, given that the To Sleep in a Sea of Stars universe includes the real universe, I have a feeling I’d have the exact job I have now, writing epic stories that people would hopefully enjoy.

If you could bring one thing from the To Sleep in a Sea of Stars universe into our real modern day, present day, what would it be and why?

If I had to pick one piece of human technology to bring, it would actually be the fusion drives from the spaceship, because that would allow us to access the rest of the solar system in a way that we can’t, and really start spreading. I mean, the solar system we have is huge. So that alone would really provide an enormous boost for us as a species.

If you had to convey what To Sleep in a Sea of Stars is about to someone or something that doesn’t communicate with language as we understand it, what vibes would you want to give off or what feeling would you try to express?

I love this question. Oh, I’m so glad you asked that. I would want to convey the same feeling that inspired me to write this book in the first place. And it would be a feeling of… A tingle down your spine, of awe and wonder, both horrible and beautiful at our place within the universe. At the fact that the universe even exists and that we exist, in a bittersweet ache, that things are never perfect, but we still have accomplished all we can. And there’s hope for the future.

That’s a really hard thing to combine into one word or one sentence. But I literally wrote this entire book to try and convey that feeling and hopefully to convey it in the very last scene, in the very last line of the book.

This is a really good time for this book, I was surprised at how delicate and hopeful it was.

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I want to write optimistic fiction, ultimately. I never wanted to leave my readers depressed when they finish one of my books. I’ve heard so many people over the years where Eragon got them into reading, or one of the books helped them, helped a person through a difficult time in their life. And it makes me think that, well, if they’d read the wrong book and the wrong time, it might’ve made life a lot harder for them. So I think it will be unlikely that you’ll ever catch me writing a grim dark fantasy or science fiction.

To Sleep in a Sea of Stars is out now.

The post To Sleep In A Sea of Stars and the Importance of Optimism in Sci-Fi appeared first on Den of Geek.

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[notmoreflippingelves]

This or That: Fanfiction Edition

I was tagged by @likeacoma AGES AGO. I have a short attention span so this took me literal weeks. 

Tagging anyone who wants to do this.

Slow burn or love at first sight?:  Depends on the pairing. I think I’d meet in the middle and say “mutual attraction at first sight but because everything is so *repressed,* it still ends up being an impossibly slow burn.”

Fake dating or secretly dating?: Both are so good. But I am absolutely weak for fake dating, especially in cases where it’s an “undercover as lovers” scenario.

“Oh no, there’s only one bed” or long distance correspondence. Listen, bed-sharing is like THE trope for me. It doesn’t even matter if it’s totally platonic or if it’s UST shipping fodder. I’m weak for it.

Hurt/comfort or amnesia: Hurt/comfort may very well be my favorite fic genre. Shut up, it’s not projection/coping mechanism. Also, in my experience, amnesia is seldom handled accurately or well, even in canon.

Enemies to lovers or best friends to lovers:  Enemies to friends to lovers. I like there to be tension in my UST, but then I also love my ship to bond in ways that are not directly related to them as a potential couple, which is easier to do when there’s a middle-ground friendship or even close acquaintances phase.

Mutual pining or domestic bliss:  Depends on the pairing. For pairings with angsty canons, I prefer domestic bliss cause it’s nice to imagine some version of reality where my ship is happy and safe and fluffy together. But mutual pining is always good too. And if the pairing isn’t angsty in canon, my brain loves finding ways of making them suffer. 

Smut or fluff: Depends on the pairing, but most often smut, because most of my pairings are either rare pairs and/or tiny fandoms without much content so finding good smut for them can be extremely difficult.

Fantasy au or modern au:  I’m not super into AUs that break the established rules of the canon reality too much, with a few exceptions. But considering that most of my fandoms are set in the present or the recent past, “modern AUs” seem kind of pointless for the most part. Historical AUs would I guess be the equivalent for them, but they are still essentially very different things.

Alternative universe or future fic: Depends on the pairing, especially given that “AU” can pretty much cover anything from “everyone “drives” to work on a dragon-drawn covered wagon now” to “Everything is the Same except Character X never existed.” Like those are both alternate universes. I guess future fic is my preference for characters who have a bittersweet ending in canon with some hope of a resolution afterwards (ex: Malcom/Nicola, Hathocent) but that obviously doesn’t apply to everyone. 

Kid fic or road trip fic: Depends on the pairing. Some pairings I absolutely cannot see wanting and/or having kids. But for the ones that I can see this for, I absolutely adore kid!fic. I recognize that this probably makes me a bad feminist. (Though to be fair, the kid doesn’t have to be the pairing’s biological offspring for good kid!fic. It can be a younger sibling or niece/nephew or a neighbor. Or if it’s “their” kid, it could be an adopted kid as well/instead.)

Road trip fic is another one that is highly dependent on the pairing/context. I like it when there is high potential for drama and/or comedy, so certain pairings work better than others. 

Canon compliant/missing scenes or fix-it: Depends on pairing. I tend to go for more canon compliant “missing or expanded scenes that don’t directly contradict canon” moreso, but sometimes canon just gets me so down that I want to read something that obliterates or completely disregards it. 

Reincarnation or character death:  Depends on the pairing. As much as I claim to hate character death, I’m also an angsty little b*tch who lives for the drama and heartbreak. But I am also fond of the “in any/another version of reality, we will find each other” romantic drama. 

Time travel or isolated together:  I feel a little weird picking this one given all that is going on in the world right now. But still, I’m not massively into time travel, unless it’s the kind of thing that is supported by the canon material. (Like I don’t read a ton of Doctor Who fic, but obviously time-travel is a major part of the canon.) However, I’d still prefer isolated together, as it provides a lot of potential for one-on-one conversation and bonding.

High school romance or middle aged romance: Most of my ships have a least a little bit of an age gap (which makes unlikely that they would’ve been in high school at the same time). And I do tend to ship a fair amount of older pairings anyway.

Arranged marriage or accidental marriage: Both are so good. I live for both of these tropes when they are done well. But overall, I think I have to go with a perfectly-arranged marriage. The intimacy mixed with the uncertainty and the reticance and the gradually-changing nature of the relationship. It’s just... it’s excellent. 

Sci-fi au or magic au:  Again,  neither is really my favorite. But overall, I have to pick magic. With a few exceptions (Star Wars, Doctor Who, Jules Verne), I’m not particularly interested in or knowledgeable about most sci fi (and I am so exhausted with Star Wars at this point that it barely counts either). 

Also, the advantage of a magic au is that it doesn’t have to be as immersive as some others. Maybe it’s just a few things that are “magic.” Maybe it’s a magical realism scenario where the magic touches are treated as totally mundane. I feel like it interrupts the established canon less often and doesn’t necessarily require the same “hard technical knowledge” that sci fi aus do. 

Neighbours or roomates: oh my god, they were roommates.  Serious answer, I prefer when the ship is able to have their own separate spaces and lives--at least early on the relationship. That way, it’s easier for them to have alone time if they need it and the relationship is able to develop at a more gradual (and to my mind)  comfortable pace. Neighbors is also a good middle-ground scenario because there is a huge range to how close you can be with a neighbor. Some might be your close friends, some might be acquaintances. Some might even be a rival (the inherent foe yay potential of homeowner’s associations is so seldom explored.)  

Body swap or gender-bend:  Neither is really my cup of tea to be honest, but body swaps if done well can be good comedy opportunity. I do have some scraps of a Malcola body swap fic that has been a very tentative WIP for literal years.

Angst or crack: Depends on the pairing. As a good portion of my ships would be considered “crack” by modern fandom standards, I’m almost tempted to say crack, because it would mean that the pairing is actually getting fic written about it in the first place--which is rare enough for most of my pairings. But then, I am also a messy b*tch who lives for angst and the angstier the better. 

Apocalyptic or mundane: Even were we not in the circumstances that we are now in, I would still say mundane. I scare pretty easily and so things like zombies/natural disasters/panic-induced mob mentality give me anxiety just reading/watching/thinking about. Just give me normalcy (or at least normalcy relative to the respective fictional universe).

[skonnaris]

50 books read in High School Worth Revisiting

The Great Gatsby by F. Scott Fitzgerald: High school students who go on to college can quite easily nurture a firsthand understanding of the self-serving hedonism found at the center of this beloved classic. And then they’ll either despise it even more or relate all too well.

Beowulf by unknown: Pick up the popular Old English epic after forgetting the seemingly endless lectures and settle in to a thoroughly enjoyable adventure tale.

The Catcher in the Rye by J.D. Salinger: Depending on one’s circumstances when first picking up The Catcher in the Rye, protagonist Holden Caulfield is either a counterculture revelation or a whiny, pretentious brat. Revisiting him later in life will inevitably shift perceptions to some degree, be it major or minor.

Their Eyes Were Watching God by Zora Neale Hurston: Some high school students may scoff at the soapier elements found on Zora Neale Hurston’s Harlem Renaissance essential, but older adults are more likely to see and admire the strength, courage and resolve of heroine Janie Crawford.

Romeo and Juliet by William Shakespeare: The real tragedy of Romeo and Juliet isn’t their mistaken, needless deaths. It’s their staggering myopia and selfishness.

One Flew Over the Cuckoo’s Nest by Ken Kesey: Anyone who has ever personally suffered from a psychiatric disorder — or loves someone who does — might find the marginalization of the mentally ill in this undeniable classic both disturbing and tragically accurate. It may take some time and experience between high school and the next read for such bitter facts to really seize hold.

Les Miserables by Victor Hugo: Les Miserables is huge. When reading it in English class, deadlines might preclude many students from really picking up on the book’s myriad juicy nuances. Revisiting it later offers far more time to sit and ponder everything Hugo wanted audiences to see.

War and Peace by Leo Tolstoy: As with Les Miserables, time constraints and other academic obligations make it difficult to really become absorbed in War and Peace. When picking it up and reading on a more personal schedule, visitors are more likely to forge a far more solid grasp of the material.

Ceremony by Leslie Marmon Silko: More sensitive high school students may find protagonist Tayo’s spiritual, emotional and physical healing process too intense for their tastes. But as they age and gain more life experience, Ceremony could very well prove exactly what they need one day.

Things Fall Apart by Chinua Achebe: As long as there are nations battling it out over land and squashing indigenous cultures beneath their boots, postcolonial literature will always be relevant. Chances are, anyone reading Things Fall Apartas a high school student will probably be able to apply many of its tenets to current events. When they re-read it as adults, they might find themselves sadly noting how little things have changed.

The Jungle by Upton Sinclair: Both at the turn of the 20th Century and on into today, most readers (even teachers) tend to emphasize Upton Sinclair’s visceral descriptions of unsanitary food production — especially since it directly spawned hefty legislation. In reality, though, he wanted it to shed light on the plight of exploited workers. Give his classic another visit later in life and see how the story changes when reading it with this in mind.

Beloved by Toni Morrison: Toni Morrison deliberately left many elements of her celebrated novel ambiguous, so any subsequent readings will inevitably churn up new perspectives, details and interpretations.

The Joy Luck Club by Amy Tan: Because family stands as this classic’s core theme, The Joy Luck Club never goes out of style. Whenever issues with parents arise, refer back to it for solace and insight.

The Color Purple by Alice Walker: When life grows too overwhelming, timeless heroine Celie provides inspiration to press on — no matter what sort of adversity and cruelty stonewalls happiness and stability.

The Adventures of Huckleberry Finn by Mark Twain: The sociopolitical elements driving this famous narrative are incredibly important to understanding it as a whole, but focusing too much on them — as one would in an English class — glosses over the comparatively more lighthearted adventure elements.

Frankenstein by Mary Shelley: Understandably, many first-time Frankensteinreaders dive into the novel expecting a green-skinned simpleton with bolts in his neck — and find themselves shocked when encountering something completely different. Give it a re-read and see what may have been missed when consciously or subconsciously making comparisons with the iconic movie.

The Old Man and the Sea by Ernest Hemingway: High school students sigh over this leisurely-paced classic, but older adults seeking something more philosophical than frenetic might find it exactly what they want.

Death of a Salesman by Arthur Miller: Hopefully, picking up the searing Death of a Salesman at just the right time will prevent many students and adults from falling into the same lifestyle traps as tragic Willy Loman.

The Stranger by Albert Camus: Existentialism probably seems intense and somewhat inaccessible to many high schoolers, but one of the philosophy’s cornerstones warrants further consideration once they pack on more life experiences.

Heart of Darkness by Joseph Conrad: Puncturing through allegory after allegory after allegory grows tiresome after a while, and a fair amount of individuals might enjoy Heart of Darkness far more if they didn’t have to so painstakingly dissect every word.

I Know Why the Caged Bird Sings by Maya Angelou: Maya Angelou’s poetic autobiography is at once heartbreaking and inspiring — an ultimately uplifting tale perfect for anyone needing a dash or two of courage.

Slaughterhouse-Five by Kurt Vonnegut: An American treasure, Kurt Vonnegut may not necessarily appeal to harried high schoolers lacking the time to really sit and think about his statements regarding society, religion and politics. Approaching him with the proper time frame and mindset will make Slaughterhouse-Five and his other works burst with life and lessons.

The Metamorphosis by Franz Kafka: "Monstrous vermin" Gregor Samsa serves as a viable literary outlet for anyone, anywhere feeling as if the world treads all over their stability and happiness. Reading about the horrific abuses his family heaps upon him provides a strange, comforting sense of solidarity.

Wuthering Heights by Emily Bronte-: Though fiction, Wuthering Heights makes for one of the most prominent lessons in how mentally and emotionally abusive relationships operate – something women and men alike absolutely need to know if they hope to keep themselves safe.

Of Mice and Men by John Steinbeck: Most of Steinbeck’s oeuvre deserves multiple reads, but his story of a developmentally disabled man and his devoted caretaker remains one of the most heart-wrenching American novels ever printed. And one whose tragic ending merits a wealth of conversations.

Don Quixote by Miguel de Cervantes Saavedra: Because Don Quixotepossesses such a rich history and left an indelible mark on popular culture, bibliophiles of all ages find themselves coming back again and again to enjoy the adventures of the eponymous dreamer.

The Bell Jar by Sylvia Plath: This semi-autobiographical novel sheds considerable light on a life wracked with mental illness — a somber, realistic lesson every adult must understand. The Bell Jar also serves as a reminder that anyone emotionally struggling doesn’t always do so alone.

A Clockwork Orange by Anthony Burgess: Readers who don’t understand Russian or cockney slang (aka most of them) need to read this warped dystopian novel multiple times to understand what in God’s name the characters are even saying.

A Doll’s House by Henrik Ibsen: Written before the feminist movement rose up and fought for women’s equality, one of Henrik Ibsen’s most popular plays toyed with the scandalous notion that some housewives may pine for a life outside their husbands, homes and kids.

The Awakening by Kate Chopin: Another recommended read for the liberated woman and the men who appreciate them, though many fans of this book find themselves divided over whether or not they fully agree with the central figure’s actions.

Gulliver’s Travels by Jonathan Swift: English classes spend so much time zeroing in on the wealth of social, political and religious commentary found in Gulliver’s Travels, they oftentimes forget to address just how much fun the book actually is.

Invisible Man by Ralph Ellison: Dense and intense, Ralph Ellison’s brutal analysis of pre-Civil Rights race relations is required reading for any students and adults hoping to end bigotry in all its twisted, ugly guises.

Maus by Art Spiegelman: Maus currently holds the honor of being the only Pulitzer-winning graphic novel, a status that rightfully earned it a place on many a syllabus. Despite its grim content — Art Spiegelman’s very real talks with his father about his Holocaust experiences — the valuable lessons about family and history remain timeless.

Inferno by Dante Alighieri: All three portions of Dante Alighieri’s epic poetry trilogy The Divine Comedy are required reading, but his bizarre, highly detailed depiction of hell holds the most influence over the literary world today — not to mention pop culture as a whole.

1984 by George Orwell: No literary history aficionados will argue that George Orwell’s terrifying totalitarian dystopia birthed the entire genre, but it certainly left the biggest impact. Political pundits enjoy trotting out parallels to 1984 when discussing administrations they hate. Citizens familiarizing themselves with the novel’s tenets and context can tell whether or not they have a real point or are just resorting to paranoid fearmongering.

Nectar in a Sieve by Kamala Markandaya: Despite the many hardships heaped upon protagonist Rukmani, hers is a story of strength and perseverance that many students and adults may want to consult when seeking comfort in times of trouble.

Cry, the Beloved Country by Alan Paton: Though apartheid may have ended, its legacy of intolerance and discord provides future generations with the tools to identify and stop such practices before they even have a chance to start.

Catch-22 by Joseph Heller: Readers of all ages with a particular affinity for absurdity and political commentary — especially as it relates to wartime — keep coming back to this novel again and again for laughs and truth bombs.

The House on Mango Street by Sandra Cisneros: Bibliophiles looking for a great bildungsroman to read over and over again have plenty to love about and explore with this compelling story about a young Chicana and her life in an impoverished Chicago neighborhood.

A Good Man is Hard to Find and Other Stories by Flannery O’Connor: Though an obviously subjective statement, many consider Flannery O’Connor one of the best American short story writers of all time. In such a confined space, she thrived with some incredibly provocative, influential narratives well worth reconsideration.

Night by Elie Wiesel: In his autobiography, Elie Wiesel recounts his gruesome experiences in Auschwitz and Buchenwald with the hopes of educating the world about the Holocaust’s horrors. Giving Night more than one look helps drive home its major historical themes, imbuing readers with the knowledge needed to better recognize hate and genocide.

Persepolis by Marjane Satrapi: This new classic is at once hilarious and heartbreaking. Through deceptively simple art, writer and cartoonist Marjane Satrapi recounts her childhood during the Islamic Revolution in Iran and the different set of prejudices faced as an expatriate in Europe.

Gravity’s Rainbow by Thomas Pynchon: Gravity’s Rainbow necessitates multiple reads because it involves over 400 characters embroiled in increasingly absurdist, surreal situations. Anyone who says they understand everything in one read is probably lying just to seem smart. Punch him or her in the face.

A Separate Peace by John Knowles: The comparatively cushy lives of private school students in New England are juxtaposed with young men forced to the front lines of World War II, with a strange and interesting friendship right in the center.

A Confederacy of Dunces by John Kennedy Toole: Not only is it a provocative read — especially when one factors in author John Kennedy Toole’s tragic life — this posthumous Pulitzer winner also happens to be one of the most hilarious novels ever published.

A Tale of Two Cities by Charles Dickens: Charles Dickens attracts such a massive audience, most of his oeuvre could’ve easily made this list. A Tale of Two Cities oftentimes bores high school students, but as they grow older they may come to love its history and memorable characters.

Flatland by Edwin A. Abbott: Aside from the fact that this novel exists as one of the greatest satires ever written in English, it also warrants multiple reads for the sheer originality and imagination.

A Room of One’s Own by Virginia Woolf: In her book-length essay A Room of One’s Own, Virginia Woolf opines on feminism, sexuality (most especially lesbianism) and the importance of financial autonomy and personal space for writers.

Interpreter of Maladies by Jhumpa Lahiri: Short stories of Indians and Indian-Americans intertwine thematically, raising some excellent questions about multiculturalism, family, relationships and plenty of other subjects bibliophiles delight in discussing.

Siddhartha by Hermann Hesse: Both the spiritually-minded and those adhering to no religious credos at all appreciate this reflective classic and turn to it for meditative advice.

[less-than-hash]

A Lot to Process

I haven’t been making games lately, but that doesn’t mean I’ve not been writing. I took off at the beginning of the year to work on my prose fiction, finished drafting a novel provisionally titled These Subtle Games back in March, and finished revising it and began querying it last month. It’s a contemporary occult fantasy set in Boston, following a nonbinary game developer investigating the untimely and mysterious demise of her mentor, only to find herself drawn into a morass of conspiratorial cabals, mystical mobsters, and misogynist massholes - not to mention a sprawling hidden ARG that may or may not contain the secrets of New England cunning magic.

It’s basically autobiography.

In the meantime, I’ve begun writing a new novel, an industrial fantasy set in a world of sprawling empires both challenged and propped up by powerful mercantile houses and an aggressively expansionist church ruled by wizards. I found that the process I stumbled through in developing and writing These Subtle Games - a process that, despite the differences in media, grew out of my experience creating games - worked really well for me, so I’ve been following a more refined version for the new novel with similarly positive results. Furthermore, I’ve already begun applying it to a potential sequel to TSG. With Novelember coming up, I figured I’d share a little of that process with you.

The goals of my writing process are twofold: 

To apply some level of organization to my work, lest it follow in the footsteps of my first novel, which was basically “write until you’re done writing, and now you’ve got 141,000 words of experimental weirdness.”

To allow a lot of flexibility, preventing said organization from stifling my creativity. 

Details below the cut.

PRE-PRODUCTION, aka Background, Research, and Planning

I spend a lot of time with the concept for a novel (or a conversation in a game) before I begin writing anything that’ll make it into even the rough draft. Note that I didn’t use the “before I put pen to paper” metaphor here, because I do a lot of writing at this stage. Much of this is simple note-taking, whether on research or on ideas. I do a fair amount of this in an actual notebook, often because I’m off somewhere away from my computer.

Because this phase generally overlaps with the late phases of a previous project, and when I’m actually at my computer I’m generally working on the older piece. I was in this phase for Hidden Sanctum while recording VO for Seeker, Slayer, Survivor, for example, and for These Subtle Games while wrapping up my work on the Deadfire expansions.

I like to overlap projects like this for a few reasons:

It allows me to move smoothly from active work on one project to the next.

It engages a different part of my mind than drafting prose, keeping me fresh.

Because I spend a lot of time exploring an idea, it helps me determine whether or not I think the idea’s strong enough to sustain me through a project.

Things I do while planning:

Read extensively. I read work in the same vein or genre as the work I’m intending to write. In preparation for Deadfire, for example, I read The Gentleman Bastards books by Scott Lynch, Uprooted by Naomi Novik, and Kings of the Wyld by Nicholas Eames. Prior to starting work on These Subtle Games I read  Procession of the Dead by Darren Shan, War in Heaven by Charles Williams, Hardboiled Wonderland and the End of the World by Haruki Murakami, Our Lady of Darkness by Fritz Lieber, Conversion by Katherine Howe, the Atlanta Burns books by Chuck Wendig,  A Discovery of Witches by Deborah Harkness, and Himself by Jess Kidd, among others. Before beginning the current novel, I read Shadow and Bone by Leigh Bardugo, The Incorruptibles by John Horner Jacobs, Prince of Thieves by Chuck Hogan, and Perdido Street Station by China Miéville, among other works. These are books I read specifically because I planned to do work in similar spaces. I approach these books analytically to get a sense of what’s been done before, as well as what might and might not work from a structural or stylistic standpoint. What I want to do and what I want to avoid.  Nor do I limit myself to books. As part of my pre-production for my current project I watched Fullmetal Alchemist: Brotherhood, Les Miserable, L’Empereur de Paris, The Age of Innocence, and Carnival Row, as well as replaying parts of the Dishonored games. I also made myself a music playlist, the heart of which is Postmodern Jukebox’s cover of “Welcome to the Black Parade.”

Research broadly. I’m less of the school that one should write what they know than that they should know what they write. I generally write fantastic works, but without an understanding of matters related to the fantasy, the product feels hollow. This can include research into the history of sail and piracy, for example, or military technology, or fashion. For These Subtle Games I read numerous books on New England folklore and cunning folk, as well as on witch trials, both in Salem and globally. I read a lot about Harvard’s study of psychedelics, including Michael Pollan’s How to Change Your Mind. I also did a tremendous amount of deeply unpleasant research into online harassment. At this point in the process, I try to prioritize the forest for the trees (hence “broadly” above). I don’t need to know every maritime term to plot content set on a sailing vessel, I just need to know the broad strokes of how ships work, how the crew lives, and how that might impact someone living on the sea. My current project required a fair amount of exploration of subjects as diverse as industrial era mill towns, the history of the American and French revolutions, and dinosaurs. While doing this research, I keep an eye out for things I find interesting that can inform my plot. I’d never heard of the Triangle Shirtwaist Factory Fire, for example, but reading about it inspired a plot point in the current project. That said, I don’t feel like I need to be an expert at this stage on anything I hope to write about. I’m almost certainly going to discard ideas and discover new ones as I go along, and I’ll have to dig deep into things like boot styles and fishing vessels (to pick two subjects from yesterday’s writing) as I go.

Figure out what I want to say. Here I work to nail down the broadest themes I want to explore in a work. These usually arise from a combination of my research and reflecting on the things I find interesting about whatever I’m making the subject of my project. Initially These Subtle Games was titled The Quiet Game (a title already claimed by a murder mystery set in Massachusetts) because of its interest in secrets (as reflected in the secret societies of Boston, the NDAs of the games industry, and the arcana of ARGs like the Jejune Institute). The new novel examines colonialism, capitalism, and power, as well as what actions are justified when resisting an overwhelming force. The three DLC for Deadfire interrogate the relationships between the gods of Eora and their followers, the Watcher included. Defining this helps guide all of the work to come, providing a benchmark by which to judge the effectiveness of an idea, plot point, or piece of writing.

Build out the world. These Subtle Games is set in modern Boston and Deadfire in Eora, both worlds that were well-defined long before I began creating fiction set in them. But that doesn’t mean I didn’t spend time fleshing out the corners of those worlds I intended to work within. TSG required that I determine the form of a fictionalized Boston games industry, as well as the shape of the secret cultures that inform the action of the novel. For Deadfire, each piece of content, each world map event, and each DLC island is a little world of its own, with its own story that feeds back into the larger ideas of the game. (Of course, I wasn’t working in a vacuum, nor alone.)  The current project, set in a new fantasy world, required the creation of a rough geography and history, populated with peoples, nations, and faiths. I designed these not merely to have verisimilitude, but to feed into the goals of the work. In the case of the new project, that meant huge colonial powers jockeying for the dwindling unclaimed territories and their resources, vast trade companies conspiring to wrest power from the entrenched nobility, a clergy focused on enforcing the rule of the gods over every nation of the world, and several species of magically-crafted servitors provided curtailed rights when they’re afforded any freedom at all. Here, again, I prefer to take a diffuse approach. I can get by with the broad strokes, and leaving things undefined offers me more room to maneuver as I write. I personally also find it useful to gather art references at this stage. I have a folder of illustrations that suggest the mood and style of the world of the new project, for example. For These Subtle Games, I commissioned an illustration of my protagonist from the fantastic Katorius (below).

Sketch out the major characters. Generally by this point I’ve got ideas for at least a few of the characters, but before I start writing I want to have a strong sense of who each of those characters is. I generally write a few pages about the major players, their background, their attitudes, their role in the plot. This is worldbuilding, albeit with a narrowed focus, so the rules above apply: I try to keep things vague and flexible. I knew at this stage, for example, that These Subtle Games protagonist Laurie’s best work friend Meri grew up in California, and that if she lost her job, she might move back. That she was a surfer and played ska were details that came out in the writing. She also grew from being only moral support to providing occasional practical aid to Laurie, as well as coming to rely on Laurie in turn. Similarly, in the current project, the six characters the novel focuses on, something of a band of scoundrels, shifted over the course of development from their sketches. The relationship between two characters who are fugitives from the imperial government, for example, changed dramatically. Whereas they had been initially written as an inseparable pair, I found it much more interesting if they were on the outs after years of traveling and working together, adding (another) fracture in the crew’s interpersonal dynamics. I’ve talked before about how Vatnir went from being a charming con-artist to a grumpy reluctant messiah after I saw concept art for him. Similarly, I knew from my first moments with Serafen that he possesses no qualms about employing violence in the course of his work; the delineations, though, that he creates for himself regarding when violence is appropriate was something developed over the course of writing him.

Identify big tentpole moments. Here’s the first bit of actual plot work. At this point I’ve likely got ideas of notes I absolutely want to hit. I knew, for example, that I wanted Laurie, the protagonist of These Subtle Games, to discover an object late in the novel that redefines her relationship to her uncle and her understanding of his role in the mystery she’s unraveling. Inspired by the Triangle Shirtwaist Factory Fire, I knew I wanted the crew in the new project to be party to the inadvertent destruction of a textile mill, one made all the worse for its owners having locked the workers within. In both cases, these moments speak directly to the ideas I’m exploring in the work. Once I’ve identified a few of my tentpoles, I order them in a way that makes dramatic sense to me, and that gives me not an outline, exactly, but guideposts for the narrative. As mentioned so many times above, the goal is to provide myself guidance, not to hem myself in or nail down every plot point.

Once I’m relatively comfortable with my sense of where I’m taking a work, I begin writing what I call my “plot doc.”

PRE-ALPHA, aka The Plot Doc

I don’t generally outline my work. I go from the extremely rough tentpole step mentioned above into a kind of extremely rough draft I call my plot doc. These provide the skeleton and heart of the novel onto which I can layer the muscle and flesh of actual writing. The plot doc is pretty long - the one for These Subtle Games was 49,000 words, about half the length of the finished novel. The plot doc for the current project weighs in at 31,000 words. 

Almost none of these words will end up in the actual book as-is. 

I care very little about the state of the writing at this step. Here I’m exploring the plot and the characters, drafting out how they go from tentpole to tentpole, figuring out what in the narrative works and hopefully identifying what doesn’t. I find where I’ve failed to establish needed details in my worldbuilding and further define my characters.

This step actually developed directly from my work in narrative design. Generally I (like many of the narrative designers I know) stub out a branching conversation before writing it, creating a kind of detailed outline (where everything is written with the same lack of polish as the LRs pictured in my post about interjections). This lets us establish the flow of the conversation, plot its structure without having to worry too much about details of style, and hopefully locate any holes or major bugs prior to fleshing out the file. Generally the text in stubs would be difficult to mistake for shippable writing. 

I personally find stubbing out conversations useful because I think differently during the mechanical work of structuring files than I do during the artistic work of crafting dialog and prose. I’ve found a similar division of labor incredibly useful when crafting plot. It relieves a lot of the pressure of writing, too. I don’t have to worry about both building a functional plot and writing enticing prose. Because I’m going to be the only person ever reading the plot doc.

(Unless, of course, I do something ridiculous like share pieces of it on my tumblr.)

Here’s an excerpt from the plot doc for These Subtle Games, which I’ll contrast with later versions below:

A car awaits her in Gloucester, and it brings her to Matthias’s house. It’s a sizable home, stone, and old, somewhat decrepit, even. Ivy climbs the turrets, and the copper roof has gone to streaked verdigris. He stands in the open door as she approaches, and she hugs him, grateful for the familiar, and he returns the gesture stiffly, patting her lightly on the back. He’s tall and rail thin, built much as she is, with a well-kept beard and receding hair. He feels old-fashioned to her, in a dressing gown and pajamas with warm, soft house shoes.

Hello, niece, he says.

Hello, uncle.

He offers her food, which she declines, and takes her to her room, just off the main room.

Ouch. It’s little more than stream of consciousness, just me getting the ideas out onto the page. Or 200 pages, in the case of this project.

ALPHA, aka The Rough Draft

Once I’ve completed the plot doc, I begin actually writing. I do this in a new file, referring to the plot doc for guidance as I go along. Often I do this a little inconsistently, letting myself write until I hit a lull before returning to the plot doc. That way the plot doc serves not merely a guiding role, but a motivating function.

The rough draft is the first actual composition I’m doing on the work, and much of it actually ends up in the finished version. I take significantly more time on each scene, on each sentence, trying to craft prose that breathes and dialog that feels real.

I also tend to be a bit loose and experimental at this stage. I play around, writing things that I find interesting to read. If I find myself weighing style against readability, I generally err on the side of style. I can clean shit up later.

Here’s the scene from before, taken from the rough draft:

The car Matthias hired lets Laurie off at the gate, which creaks opens on hydraulic pistons as she leaves her tip.

The driver nods towards the tree-lined darkness. “Hop back in, and I’ll run you up. Real door to door service. If you’d like.”

Having relaxed at an exponential rate with each mile she put between herself and the city, Laurie shakes her head with a faint smile. “I could use the walk.”

“You don’t think you’re fat, do you?” His gaze flits the length of her from knees to shoulders, efficiently dispelling the enchantment worked by the commuter rail ride through the dense New England night.

“What? No.”

“Because you’re a beanpole. Almost too skinny, if you ask me.”

She hadn’t. “That’s not what I meant. Just, I want to clear my head, thanks.”

He leaves her to it, and she walks up the curling drive towards the old stone Victorian. The curtained windows glow faintly from within, and warm lamps jut from the quoins. Sprawling ivy climbs the turrets, and rooftop copper has long given way to white-streaked verdigris. Matthias’s is a stately home, but aging, much like the man himself. He meets her at the door in a dressing gown over fine silk pajamas and plush slippers. Her uncle stands as long and lanky as Laurie, with high cheekbones, a higher forehead, and a well-trimmed beard.

She greets him with a hug. She keeps it gentler than she might like, given his age. He’s never appeared frail, exactly, but his features profess a wary delicateness, as if he’d been crafted of pudding cloth and porcelain.

“Niece,” he says quietly, squeezing her shoulder.

“Uncle,” she answers. It’s an old ritual, and with it Laurie’s remaining fear falls away, abandoning her to her exhaustion.

He admits her to the house, the pair padding silently across polished marble past floor-to-ceiling mirrors. Matthias’s home gives the impression of being larger on the inside than the out, a space out of time, populated by statues of stone and painted ceramic. A grand piano dominates one corner, the instrument on which Esme had performed several family recitals during Thanksgiving gatherings past. At thirteen, Laurie’d lugged her hollow-bodied electric through two airports and two more trains to her uncle’s house. After Esme played, Laurie’d produced the guitar and performed a show of her own, all barre and power chords joined to lyrics roundly condemning the evils of industrial capitalism and hypocrisy of American evangelism in terms both suggestive and explicit. The gathered family had clapped politely enough, but she later overheard her father’s sister thank him for leaving the amplifier back in Carrboro.

Esme had told Laurie she’d loved it.

“Are you hungry?” Uncle Matthias asks her as they pass the sliding double doors to the dining room and the kitchen beyond.

She shakes her head. “I’m very full of food, but thank you.”

The scene’s significantly longer now, and I’ve further defined the driver, detailed the house, and defined aspects of Laurie’s relationship to it and her family. And hey, now it’s got quotation marks! 

Once I finish the rough draft, I celebrate a bit. Hey, I wrote a fucking novel! 

But I don’t share. I know I’m not happy with the work yet. I’m sure it’s riddled with grammatical errors. It’s probably got some questionable shifts in verb tense. It likely sports an inconsistency or six. I know I can do better, so I set out to do so.

BETA, aka The First and Second Revision

Here’s where the hard work of revision begins. I read the book, taking notes on things I’d like to change, then go through carefully, making both the changes I’d noted and performing close editing. I try to polish overwritten lines and clarify confusing sentences. I look for inconsistencies, especially when moving scenes around. 

Were this a conversation in a game, this would be the point I marked it for review by a lead or solicit feedback from QA and my fellow designers. Having done a revision or two on a book, I’m feeling pretty confident in what I’ve made, so I give it to any beta readers I’ve enlisted, that they might remind me that I do, in fact, have a long-ass way to go before it’s good. 

GOLD, aka The “Finished” Product

Once I’ve got feedback from my readers (and have perhaps let the book sit for a bit to work on pre-production for an upcoming project - or just played a shit-ton of Final Fantasy XIV...), I return to the novel or conversation to polish it further. 

At this point I’m looking to flesh out details, to make sure each sentence serves a purpose. To chop off unnecessary phrases and to make sure each interaction is bringing out the characters’ personalities. 

Here’s the fourth (and currently final) revision of the scene from above:

Matthias’s hired car deposits Laurie at his gate, a break in the thick stone wall that separates the street from her uncle’s plot of dense, quiet woods. Hickories and pines obscure the sky, swaying gently on a salted breeze off of the Atlantic. As Laurie tips the driver, a pair of heavy, wrought iron hinges creak open with the low hiss of hydraulic pistons.

The man nods towards the tree-lined darkness, his gray hair half-circumscribing his bald pate. “Hop back in, and I’ll run you up. Real door to door service. If you’d like.”

Having relaxed exponentially with each mile she put between herself and the city—a charm cast by the long commuter rail ride through the dense New England night—Laurie shakes her head. “I could use the walk.”

“You don’t think you’re fat, do you?” His gaze flits the length of her, from knees to shoulders, efficiently dispelling the enchantment.

“What? No.”

“Because you’re a beanpole. Almost too skinny, if you ask me.”

“I didn’t.” Her fingernails bite her palms.

“Sure, suit yourself.” His window whispers back into place.

He pulls away, and she waits for his taillights to withdraw around the bend before walking the curled drive towards the old stone Victorian. The curtained windows glow faintly from within, and warm lamps jut from the quoins. Sprawling ivy climbs the turret, and rooftop copper has long given way to white-streaked verdigris. Matthias’s is a stately home but aging, not unlike the man himself. He meets her at the door in a dressing gown over fine silk pajamas and plush slippers. As long and lanky as his niece, Laurie’s uncle’s features add high cheekbones to a higher forehead and a well-trimmed beard.

She greets him with a gentle hug—gentler than she’d prefer, what with his age. He’s never struck her as frail, exactly, but his features profess a wary delicateness, as if he’d been crafted of pudding cloth and porcelain.

“Niece,” he says quietly, squeezing her shoulder.

“Uncle,” she answers. It’s an old ritual, and with it Laurie’s lingering fear falls away, abandoning her to her exhaustion. Her trapezius slackens beneath her uncle’s hand, her scapulae sinking as her frustration flows down her arms and through her twitching fingers. They flick the remnants away.

The pair pad silently across polished marble tiles past floor-to-ceiling mirrors. Matthias’s home gives the impression of being larger on the inside than the out, a space out of time, populated by statues of horses, deer, and dryads in stone and painted ceramic. A grand piano dominates one corner, an instrument on which Esme had performed a series of recitals following Thanksgiving dinners past. At thirteen, Laurie’d lugged her hollow-bodied electric through two airports and two more trains to her uncle’s house. After Esme played, Laurie’d produced the guitar and performed a show of her own, joining steely barre and power chords to lyrics condemning the evils of industrial capitalism and hypocrisy of American evangelism—in terms both suggestive and explicit. The family had clapped politely enough, but later she overheard her father’s sister thank him for leaving the amplifier back in Carrboro.

Esme, of course, had told Laurie she’d loved it. “Maybe my favorite song ever,” she’d said, the liar.

“Are you hungry?” Uncle Matthias asks her as they pass the sliding double doors to the dining room and the kitchen beyond.

Having stopped into a pizza joint on her way to North Station and walked out with a distended Styrofoam clamshell heavy with waffle fries drenched in cheese studded with olives, tomatoes, and jalapenos, she shakes her head. “I’m very full of food, but thank you.”

It’s not hugely different from the rough draft, but there’s a lot more detail, and the weaker phrases have been excised. Matthias no longer “admits her to the house,” for example, because it’s implied that she’s come in by the action. The details at the end about the waffle fries fill an inconsistency in the rough draft: originally Laurie’d eaten nothing that day, so why was she full here? (Deeply interesting, I know.) 

Laurie’s decision to snap back at the driver about his unasked for critique of her appearance was a result of beta reader feedback. The additional details about the decor in Matthias’s house subtly ties him to the locations of secret societies Laurie visits later in the book, details I’d not developed until the prior draft. The use of anatomical language to describe Laurie’s body reflects the character’s distance from it. She views it as something of an animate corpse she happens to inhabit rather than a core aspect of her self. Finally, Esme’s response is presented in dialog now, injecting her character into the scene and allowing the prose narration to reflect Laurie’s personality.

Nothing’s really done though. There are more hands for it to go through. Just as a game conversation undergoes changes suggested by QA, shifts in the recording booth, and may end up trimmed or entirely cut due to schedule and budget constraints or even to fix a nasty bug, a novel goes through several hands between the point where the author’s ready to query it and a publisher’s willing to put it on a shelf. But eventually you have to make the decision to be done with a piece, to mark it complete in JIRA and push it down the pipeline. 

Then you get to move on to whatever’s next. 

Cheers, <#

[olivieblake]

More Erotica for everyone.

Should be prescribed by the Doctor, really.

You’re touching a very dear topic of mine, that I had wanted to discuss for a very long time, but as it never seems a topic that put at ease people, in general, I always refrain from sharing it. Mainly because people do not take it ‘seriously’, mainly they laugh at you, they just think you’re horny.

What strikes me badly is the shame/guilt women, especially young women, feel regarding such a topic. Having grown up in Italy, where the religion had dictated the common rules and etiquette for a very long while in the past centuries, I have found my difficulties in sharing this massive passion I have grown to have for written erotica. The simple use of words describing the action is to me, ten times better than any movies and/or music video. There is no comparison. But it’s not only that; as an incorrigible romantic I like to have my ‘true’ share of content in a book, otherwise, it feels very dull to me and the book itself loses a lot of its potential in narrating the whole story (That does not applied to all the romantic book, btw). Now I currently live in London, a very open-minded city, which presents a huge variety of people and beliefs where pretty much anything is welcomed and accepted and yet I don’t share such passion with others, especially book-readers friends, because I simply do not want to deal with their stares and wide eyes (and subtle judgement).

However, I think we couldn’t live on a better time in history to put aside shame and guilt and finally address sex and pleasuring themselves for what it is. A component of our life.

So here it goes.

First of all, I am extremely happy to see a person like you, publicly known, going out so openly about such a topic. Thank you.

Also, yes, please do write more about it, as I said earlier, more erotica for everyone! And please, keep on having girls with an open mind as characters of your stories, because, truth be told, those guys that know-it-all did not get the knowledge of ‘how-to & Not-to’ on their own, or amongst boys (there are exceptions, as for everything in life, of course). And we all know how those girls are addressed by society more often than necessary, and I believe, strongly, we shall all stop it. Man and women, boys and girls shouldn’t be judged for their sexuality and sexual life. Full stop. No further but.

So I wanted to understand what you think about erotica in books. Mainly how publisher and bookstore approach such genre. I personally feel like it is still addressed with a certain degree of ‘censure’.

Website for book readers, general reviews, general apps for book suggestions seems to be oblivious to the whole genre. I have to dig into the depth of people’s reviews to understand if the book I am looking for has explicit contents (like I am some kind of pervert who’s trying to get around illegal stuff). These apps are so well organised, yet, (god forbid) if there is an ‘erotica’ or ‘sexual content’ tag in the lengthy list they constructed.

Let’s not even start with bookstores. Went, freshly, last week on one of the biggest Foyles in central London, a four-floor store, filled with all the books you wished for, a true earthly heaven for book readers, and I have stumbled across the ‘erotica’ section: The most dreadful book-section a book lover could ever find himself wandering around. A two shelves section, stuck between ‘romance’ and ‘based on history’ department, well hidden behind walls and walls of other books of a completely different genre. Fifty shades of grey the most presentable book-cover amongst them. I felt really sad.

So I have wondered if the genre itself was not even a thing for bookstore and publishers. If really all the erotica you can find had to be confined in a meagre amount of few published books with the most ridiculous covers that you’d never EVER dare open in public, let along during the rush hours in the tube.

And I thought, what a shame.

I do believe writing erotica stories is an art as much as writing a good fiction story; perhaps it might be even more difficult to accomplish!

No wonder fanfiction websites are FULL with it. Where would we find this content otherwise, right?

I really believe it could be transformed into a successful way to inform and teach simultaneously younger generations of what sexuality is, even though through fiction stories. (I mean, if I would have to believe certain FF stories I have read, man, I should orgasm at the mere stare of a man, I should come 5 times in a row and faint every single time I come and should feel impaled all the way to my lungs every time I am having sex, otherwise, the size is not even acceptable, I mean it’s funny if you think about it, but not a tiny little bit close to reality)

Last but not least, it should be accepted as a respectable genre as much as crimes and cookbooks are, don’t you think so?

So I wanted to share with you my thoughts as you are so open to discuss it in every single detail of it and have written yourself some very good erotica stories, but more importantly I’d like to know what you think about it, and if perhaps, if you find there is a different approach in the U.S. than here in Europe.

Thank you so much for your time!

answered in this video! (well, in every video, but also this one)

[emilymooremedia]

Music Video Analysis: Rose-Coloured Boy - Paramore

Camera

This narrative/ performative music video begins with a medium close up of the lead singer of the band - there is no music in this shot, only the diegetic sound of the artist breathing, as she looks uncomfortable, which draws an immediate audience focus on her right from the start. This shot is also successful in revealing to the audience that the video is set in the 80s as it shows costume and makeup, as well as setting the tone for the rest of the video, a tone created by the narrative which follows the 'hosts', who feel a lot of stress and pressure from their job. The camera is used in a certain way during the opening title sequence for the fictional talk show 'Wake Up! Roseville' (a link to the title of the song through 'Rose-Coloured'), so it makes it look more authentic through the panning and zooms, along with being able to introduce the other members of the band. At 0:24 we see a close up of a man who, assuming from the headphones and pointed finger, is the director and this, again, sets the tone of the video as it indicates that the hosts (the artists) are under pressure from the bosses to perform well on their talk show. During the parts of the video which are supposed to be showing the talk show, a static, medium close up is used with thick black borders going vertically down the sides, which is the same as these types of shows appear in real life, which again adds to the authenticity of the show. A panning, medium long shot shot is used at 0:46 as the artists move from one set to another, where the lead singer throws her papers on the floor, and the audience are yet again given a strong impression that the characters are fed up with their jobs. At 1:03, the long shot cuts to a close up of the lead singer on the talk show smiling, as she sings the lyrics "just let me cry a little bit longer", which strongly emphasises the way in which they feel pressured to act a certain way, to get the highest ratings on their talk show - this could also be a reflection of the way the artists really feel about the music industry, and how they feel confined and pressured by it. A fast zoom is used at 2:17 on an ominous character in a long cloak and hat as the lead singer stumbles towards them, but quickly zooms back out again once the artist realises that it is just a coat stand after pulling on its shoulder - these zooms add to the impression that she is confused and stressed as the audience are quickly drawn forwards and backwards. During the middle of the music video the music stops, and a turning point in the host's (lead singers) day is shown - here both long shots and close ups are used to emphasise her distress; in the long shots we see multiple TV screens surrounding her, all telling her to do different things and pretend to be someone she’s not, while the close ups allow the audience to see her reaction to this, see her expressions of confusion and panic. After this part of the video, the tone changes and the hosts seem to rebel against the talk show and its bosses; the audience can see this tone chanage through the different uses of the camera - before the camera movements had been subtle, whereas now they are a lot more obvious, with quick panning and fast zooms and slides, as well as now being a hand-held camera, making the video appear more chaotic. However, the music video ends with the same close up shot of the lead singer smiling at the beginning of the video, creating a circular narrative, showing that despite the hosts acting out they still continue the show the following day.

Editing

The first cut we see in this music video is a cut on the beat, straight as the music starts after a couple of seconds of silence where we are shown the lead singer looking in the mirror - I think that this cut is very effective at drawing in the audiences’ focus right from the beginning. After this, the editing is used to make the talk show seem authentic and it is done successfully through using transitions that would’ve actually been used for a show like that during the 80s; for example, the freeze of the scenes in the title sequence, with the hosts in action before sliding between the shots. Another way in which the editing is effective in creating the talk show’s authenticity is through the layering of the opening sequence and the special effects added on, like the city and sunrise behind the hosts at the start, followed by the kite, rainbow and hot air balloon, as well as the hosts being in little boxes with stars behind them. The roses that have been edited onto the scene in this opening sequence are a reference to the title of the song, 'Rose-Coloured Boy'. While the talk show is being presented, special effects are used to show images of what the hosts are talking about appearing next to them, along with the weather map (linking to the lyrics 'just hang with me and my weather'), which furthermore adds to the authenticity of the show, along with the fact that a filter is used to emphasise to the audience that they are watching 80s TV. The most common transition between shots in this music video is a basic cut, which is never really on the beat (and even the very few times it is it is not obvious). During slower parts of the song, like the shot that begins at 1:44, the shots are left longer so that it matches the pace of the song (which is a common aspect of music videos). A fade is used at 2:23 to transition between scenes, to portray the artist's distress as the two different locations and actions seem to merge together - her distress is further shown after this shot, and after the little girl speaks to her, when there are fast paced cuts to black and then back again while she shakes her head. During the section of the video where the hosts are 'rebelling' against the show, the cuts are fast paced to match the chaotic energy of the scene, before returning to the 'Wake Up! Roseville' opening sequence with the authentic 80s show editing, again showing this circular structure of the video.

Mise-en-scene

A contrast of colours is used in this music video, perhaps to reflect the opposing parts of the hosts' lives; vibrant colours, like red and blue, are used during the parts of the video that show the TV show, while, when the 'talk show cameras' are off, the colours, as well as the lighting used, are more dark and dull - they are putting on brighter, happier versions of themselves on camera when compared to real life, which is more dull and stressful; maybe this could be applied to the artists' real lives also, as they have to put out a certain image of themselves as a result of being a part of the music industry with a huge amount of fans who expect certain things from them.

The costume worn by the band and extras in the video are typical, smart outfits that newsreaders would've worn during the 80s, like the red skirt and blazer, the lead singer's hairstyle and the suits, again adding to the authentic feel of the talk show. The makeup used is very much an 80s style and a lot of it is used, again emphasising the fact that she is hosting the talk show, as presenters on TV shows often use a lot of makeup. However, towards the end of the video, when the hosts begin to rebel, the costume becomes more messy, with the singer's dress sleeve being torn off, and the other band members no longer wearing their blazers, one even with his tie wrapped around his head - this adds to the tonal shift, from the character seemingly feeling lost to now a more chaotic headspace. The middle of the video in which the artist feels lost is portrayed to the audience through the mis-en-scene; for example, the space around her is completely black, with only the rectangular mirror with the bright lightbulbs, but even that moves into the background so she is left alone in the dark, which has connotations of being lost.

The props used throughout this music video are relevant to the talk show, yet again making 'Wake Up! Roseville' appear as 'real' as possible - for example, the props used right at the start of the video are typical to that of a dressing room; make up brushes, a bag, a mirror. Then, the props that are placed on the news desk are conventional of the scene, with a mug, microphone and papers. Furthermore, we see multiple other props that are suited to a studio, like the cameras, the lights, even the headphones worn by a director.

The artists' performances are vital in making the music video seem as believable as possible, especially the lead singer, as she appears to be the main character of the narrative. I think that she is very successful in conveying the range of emotions her character feels throughout, especially during the part where she is alone, surrounded by the TV screens telling her what to do - at 2:58 she gives a small smile to the little girl, who we can assume is her younger self (as she is also called Hailey), which perhaps gives the sense that she feels nostalgic of being young with no responsibilities, of the fact that she wanted to be a journalist since she was young and now it just causes her distress. I also like the lead singer's performance during the parts of the video which are supposed to be the talk show, as although she is miming the words, she is using the typical facial expressions of a host, with the tilted head and smile.

Genre

The genre of this music video is pop and I think that this is signified through the use of bright colours and a strong narrative mixed with performance, which are common features of pop music videos. I also think that, because pop is obviously a very popular and current genre, that the narrative used is effective in relating to the young target audience of this particular genre, as it deals with current issues, like the stress of work and the pressures felt through everyday life; it could even be argued that the music video deals with the pressures the band feel from the music industry, and it is reflected through the scenario of a talk show, and the treatment of artists by the industry is another current topic.

Paramore producing this genre of pop music may be a surprise to fans who have listened to their previous albums, which tended to be more pop-punk, and the pop influence on this music video may create mixed reactions within the old and new fanbase.

Intertextuality

In this music video I can spot two intertextual references; the first reference exists within the band's own music - a talk show guest holds up a book with the title 'Real Happy' which could be seen as deliberate, referencing another song from their album called 'Fake Happy'. The other reference would be more noticeable for the wider audience who have perhaps not listened to other songs from the band; the constant stress that the 'hosts' are under as a result of the executives of the talk show, made obvious through the lead singer's performance, comes to a head towards the end of the video and at 3:35 she finally snaps, matching the lyrics "I ain't gon' smile if I don't want to". The intertextual reference is created when she yells "F*** it! We'll do it live", just like the outtake from political commentator Bill O'Reilly did when told a clip from Sting would play them out.

These intertextual references act as little easter eggs for the fans (the reference to another song through the book) but also attract a wider audience, and portray the band as current and possibly 'quirky' as they can link their videos to specific real life events.

Audience Reception

Using Stuart Hall's Reception theory, and assuming that the audience members adopted the position of preferred reading, I think that the audience would've decoded the producer's encoded message of the video, this message being one that portrays the stresses of everyday life and the pressure everyone feels from around them. I also think that the producer was trying to take this message further, by trying to portray the poor treatment of artists by the music industry and the way in which they feel pressure, although this may not be decoded by the audience. I think that the most effective aspect of this video when trying to portray this message is through the performance of the lead singer, who throughout the music video conveys the emotions of the main character successfully, along with the part in the middle of the video without the track, where a close up shot is used so that we can just see her face surrounded by the dark, which is very effective in creating a tonal shift, where the audience can see more of the message the producer is trying to portray, of strong stress and the loneliness it can cause.

The audience will most likely watch this music video for the simple reason that they enjoyed listening to the song, whether they are an old fan, new, or not one at all. As the band has been producing music for many years now, it has a very wide and large fan base, and so many dedicated fans would want to watch the music video as they will be interested in the band as actual people - the fact that the band have been going for a while may make people who are no longer fans watch the video even if they do not like their music anymore, just through curiosity of what the artists are like now and to see what they're now creating.

Andrew Goodwin's Thoery

There are many ways in which this music video applies to Andrew Goodwin's theory, the first way being that it demonstrates pop genre characteristics, through the bright colour, as well as narrative mixed with performance. Although there are not many literal links between the lyrics and the visuals, there are some more subtle ones - for example the line "I ain't gon' smile if I don't want to" becomes more apparent towards the end of the video when the 'hosts' become fed up of working on the show and lash out; this could mean that this video uses amplification of some of the lyrics to create visuals. There are also not many links between the music and the visuals, however, when the music begins to get slower, the shots become longer with camera movement becoming slower; for example, at 1:45. Another part of Goodwin's theory that this music video follows, is the point in which he says that the demands of the record label will include the need for lots of close ups of the artists and we see plenty of close ups of the members of the band throughout the video. A similar visual style is created throughout many of the  band's music videos from their new album - it is one of 'quirky' graphics; for example, in this video the opening sequence at the start for the talk show is fairly unexpected, similar to another of their music videos called 'Caught in The Middle' which features many unusual graphics. I think that this motif of 'quirky' graphics makes the band seem more fun and relevant, therefore attracting a wider target audience. Perhaps the most obvious link to Goodwin's theory is the frequent reference to the notion of looking throughout this video - as the talk show is located on the set of a talk show, there are constant cameras and TV screens being shown. However, I do not think that there is any voyeuristic treatment of the female body in this music video, which is quite unusual for the pop genre. In this video, as mentioned previously, there are intertextual references, with a reference to another one of the band's songs, as well as a reference to another talk show moment.

Laura Mulvey's Theory

I do not think that this music video conforms to Laura Mulvey's theory of the Male Gaze, as the camera does not seem to linger on the curves of the female body, doesn't seem to objectify women, or portray the woman through the virgin/ whore dichotomy. However, there is only one main woman in this video, being the lead singer, although there is a female extra. Perhaps the lack of the Male Gaze in this music video is due to the fact that the lead singer is a woman, and could maybe have played a major role in the creation of the video, meaning she had a say in how to act, although many female artist are portrayed in the way Mulvey states so this point could be invalid. I like that this video does not seem to conform to the Male Gaze as I think that it is unusual for a pop music video to do this.

Levi Strauss' Theory

I do not think that there are many obvious examples of Levi Strauss' theory of Binary Oppositions in this music video. It could be argued that there is a binary opposition between the 'hosts' of the talk show (the band) and the executives and directors of it - perhaps conveying 'good vs. evil'. Maybe you could also say that there is an opposition within the characters themselves; the side of them that wants to behave and act positively so they can have a successful talk show, and then the other, stressful side of them that hates their job and wants to cause chaos. An opposition within the music video itself could be the tonal shift from the start of the video compared to towards the end (despite the circular narrative); the start of the video shows the 'hosts' smiling out of the supposed TV screen, seemingly calm and composed, in comparison to near the end, when everything turns to red, and the 'hosts' are causing chaos.

[brynwrites]

Conveying Worldbuilding Without Exposition!

(As requested by both an anon and @my-words-are-light​)

One of the hardest parts of writing speculative fiction is presenting readers with a world that’s interesting and different from our own in a way that’s both immersive and understandable at the same time. 

Thankfully, there are a few techniques that can help you present worldbuilding information to your readers in a natural way, as well as many tricks to tweaking the presentation until it’s just right.

Four basic techniques:

1. The ignorant character. 

By introducing a character who doesn’t know about the aspects of the world building you’re trying to convey, you can let the ignorant character voice the questions the reader naturally wants to ask. Traditionally, this is seen when the protagonist or (another character) is brought into a new world, society, organization. In cases where that’s the natural outcome of the plot, and the character has a purpose in the story outside of simply asking questions, it can be pulled off just fine. But there’s another aspect to this which writers don’t often consider: 

Every character is your ignorant character. 

In a realistic world, no person knows everything. Someone will be behind on the news. Someone won’t know all the facts. Many, many someones won’t have studied a common part of their society simply because they aren’t large part of that fraction or don’t have the time for it.

Instead of inserting an ignorant character and creating a stiff and annoying piece of expository dialogue, find the character already existing in the story who doesn’t know about the thing being learned.

2. Conflicting opinions.

A fantastic way to convey detailed world building concepts is to have characters with conflicting viewpoints discuss or argue about them. Unless you’re working with a brainwashed society, every character should hold their own set of religious, political, and social beliefs. 

Examples of this kind of dialogue:

“The goddess Irelle would never ask for such a sacrifice! That’s a blasphemous addition to the sacred texts that only a damned cultist would propose.”

“The new lamps in the cockpit might give off a funny light, but they’re entirely recyclable! Think of all the dumps we wouldn’t need back on Earth if everyone would just switch over. If we’re ever going to successfully repopulate the planet, we need to stop polluting it further!”

“This is a peaceful country, yes, but one build on blood and stolen land! If you left your worthless barn more often, you would see that. The rest of the empire is not as placated as you think.”

And as a nice bonus, the reader gets to learn something about the characters beliefs, how they communicate, and how open-minded (or stubborn) they are.

3. Historically and culturally significant places and objects.

Characters bringing up worldbuilding topics out of the blue can feel forced and disruptive, but giving them a reason to talk about a specific topic helps soften the blow. Strategically places buildings and objects can ease the conversation into historical, religious, scientific, or political discussions. Things like:

Religion: Temples, holy books, idols, imagery, religious leaders out for a walk, worshipers praying or singing.

History: Monuments, statues, ancient buildings, historical artifacts (likely replicas), culturally significant designs that arose from mythology, historical fiction novels. 

Science: New inventions being installed or tested out, academic buildings, seminar announcements, advertisements, hospitals.

Politics: Propaganda, reminders to vote, new laws being put into practice, angry citizens, protests, war preparations. 

(Note that many of these things could also be applied to magic systems!)

4. Ignore explanations entirely.

Sometimes the best way to convey how a world works is just to dive straight in. Let the reader learn about the world by watching the main character interact with it.

This method is also a great way to start out writing your first draft, because there will always be time to adjust and add in stronger explanations for things in later drafts.

Alternately, you could go for the opposite first draft method, and write exposition for everything during your first draft, and then cut it down the the bare necessities once you start editing and rewriting.

** Scroll up to point one to check for an update!

A long list of things to remember:

- Dialogue is better than internal monologue. Whenever possible, let your characters talk about something instead of thinking it through. This eliminates daunting chunks of text and allows the reader to learn more about the other character(s) in the conversation, and the character’s relationship(s) with each other.

- Sometimes you still need internal monologue. Don’t be afraid to slap in some extra sentences of explanation when the PoV character is in a position where they’d naturally think about such things. You can always take them out if readers say they understood without the addition.

- Not everything must be known upfront. Don’t force any concepts on your reader unless the reader absolutely needs to know in order to understand the current chapter.  

- Build your worldbuilding. Each concept and piece of information should build off what you’ve already establish. This means you give the very simplest concepts first, and develop them further as the story progresses.

- Use linguistics in your favor. To help your readers remember new names and terms, try giving related objects, places, ranks, etc, similar sounding words or an otherwise consistent naming scheme. 

- Keep the first chapter pure. Little to no exposition should be included in the first chapter, whenever possible. That being said, readers who were immersed in the first chapter and are eagerly starting the second are now much more likely to sit through exposition because they’re already connected with the story and characters.

- Immersion is good. (Drowning is bad.) Set your first chapter somewhere the read gets a decent view of what sort of world this is at its foundation. A lone character walking through the forest could live nearly anywhere, in any era, in any type of world, with any number (or lack) of friends of family. A character and their sibling leaving a steampunk pseudo-Japanese theater pressed up against the same forest says a lot more. 

But remember: not everything must be known upfront. Don’t try to introduce so much of the world that it becomes overwhelming.

- Little details say a lot. Things like architecture, curses and slang, styles of dress, typical food, even the objects a normal person carries with them, can all give major hints towards the worldbuilding, and they serve to make the world feel more real and immersive.

- Emotion is everything. How does your character feel about the world? 

How to they describe the parts of it they love? The parts they hate? 

What do they find scary about it? 

Are they intrigued by advances in technology and society, or do they cling to the old ways? 

Are they attracted to old toppling buildings with historic significance, or to new, beautiful constructs? 

Do they sneak past the market eagerly searching for imports from distant countries, or do they make a beeline for the family owned business that’s sold homecooked pies on that street corner for seven generations?

- Different genre, different expectations. Every genre has a different ‘norm’ for how much detail (and exposition) is acceptable in the worldbuilding. Hard science fiction and adult fantasy tends to involve huge amounts of lengthy explanations, where as young adult fantasy and soft sci fi are far more immersive, occasionally to such a point that you can get away with underdeveloped worlds. Know what’s expected in your genre (though don’t necessarily feel the need to follow it.)

- Unique isn’t always better. In spec fic there’s a myth the most unique and original worldbuilding will be the most successful. But the truth is that, while you should certainly include original concepts, the more of them you have and the more original they are, the harder it will be to make the reader understand them. Readers will try to relate every piece of worldbuilding to something they already know. If they can’t find anything else similar enough, they’re likely to either never understand it, or contort it to better match something they do understand.

- If your PoV character doesn’t need to know it, neither do the readers. This doesn’t mean you should never include information your PoV character doesn’t need to know, but rather that you shouldn’t try to shove in a detail about the world just because you have it written in your notes. If it’s not necessary and it don’t come up naturally, don’t force it. 

- The PoV character is the center of the world. Each character will see the world you created differently. The things they focus on, the opinions they hold about it, and the emotions it makes them feel will all be unique to that character. They aren’t simply a person living in a vast place you know a lot about, but rather a filter through which to put all the worldbuilding information through.

- Critique will save you. Worldbuilding is hard, and it will never be conveyed perfectly the first time. When you let people read your work, be sure to ask them specific questions about the worldbuilding. Having a reader describe your world in their own words will tell you a lot about whether or not you succeeded in immersing them in an understandable world. 

For more writing tips from Bryn, view the archive catalog or the complete tag.

Purchase Bryn’s debut novel, Our Bloody Pearl, today!

[chetworthy7761-blog]

Highsnobiety Music

As hip-hop continues to evolve as a style, categorizing sub genres by sound or location is changing into a increasingly tough process. Amateur musicians can compose or carry out music for their very own pleasure, and derive their revenue elsewhere. Skilled musicians are employed by a range of establishments and organisations, together with armed forces (in marching bands , live performance bands and fashionable music groups), church buildings and synagogues, symphony orchestras, broadcasting or movie manufacturing firms, and music faculties Professional musicians generally work as freelancers or session musicians , looking for contracts and engagements in a wide range of settings. There are sometimes many hyperlinks between novice and professional musicians. Starting amateur musicians take classes with professional musicians. In community settings, advanced beginner musicians carry out with skilled musicians in a wide range of ensembles reminiscent of community live performance bands and community orchestras.

Thanks MagicKat. A variety of ladies do say they've encountered important amounts of sexism and harassment within the rock music scene, which may clarify why some ladies could have felt they needed to be more masculine to fit in. However I agree that's not necessarily each lady's expertise. Nonetheless perceptions count for a lot. If ladies consider the rock music scene might be hostile to them, they could be wary of getting into it to begin with. Fewer feminine artists may then imply fewer female followers. Digital music legend Isao Tomita's debut album "Snowflakes are Dancing" reaches the highest 50 of the pop charts and receives four Grammy nominations. Tomita is named the Wendy Carlos of Japan, famous for synthesizing classical works. Some simple insights can still be taken. Hip-Hop is means ahead of the other genres (d'oh). Folk comes in second however since there is just one folks artist (Bob Dylan) in the analysis it's not consultant at all. Pop is the genre with essentially the most number of musicians and its common vocabulary measurement (2464 words) is near the average vocabulary size throughout all artists (2677 phrases). Similar thing applies to the Rock style as well. Starting within the late Sixties, digital music loved an explosion of creativity, technological advancement, and recognition. This period of advancement would in many ways mirror the technological developments in other branches of expertise like personal computer systems and video video games. After relocating to Germany, the Italian born musician Giorgio Moroder became a deeply influential proponent of what would become digital dance music, in particular the subgenre known as Italo disco. Germany was a scorching mattress of musical experimentalism throughout the late Nineteen Sixties and early Seventies, particularly in the discipline of electronic music. Teams like Kraftwerk, Tangerine Dream, and Can used synthesizers and other electronic devices to rework rock music into new forms, inspiring many individuals across the world to experiment with digital music.

My favourite music genre would, indubitably, be nation. I've grown up surrounded by country music due to my mother and father and the rest of my household take heed to it rather a lot. I've also been to lots of concerts and I believe nation artists and bands put on the perfect shows of any style of music. One factor I like about country music is that there are country songs for every emotion and every event. Nation music pertains to a never ending record of individuals and that's why I love it so much. Music is one thing particular that means something totally different to everyone. Music is like a memory, a type of art that was completely positioned in our lives, at totally different time limits, to make us really feel more than we thought we might, expertise a range of feelings , evoked by an artist or band, in addition to train us what we like and love. On her fifth album , Mitski hasn't figured every part out. Her asymmetrical songs are still making an attempt to make sense of lust, love, life as a performer and numerous contradictory impulses. But she has grown ever bolder musically, transferring effectively past the confines of indie rock and chamber pop to try synthesizers, disco beats, country and more, while savoring the sweep of her voice. On her larger canvas, her dilemmas just sound more rapid. My favourite music is Rock and Roll. This is my favourite genre as a result of it always calms me down when I'm in a bad temper. I also kind of like Techno music. It sounds enjoyable to me. One of the most standard genres in Southern Africa, house is mostly influenced by artists from neighbouring South Africa. Arguably the first house album to be launched in Swaziland was back in 2006 - The Swazi Pride: House Tradition Vol. 1 by DJ Mixmash & Foster. The album was wholly produced by the DJ duo and pioneered the early days of the Swazi home motion. Quantity 2 was released in 2009.

This style boasts excessive power tracks. This genre of music that makes you want to mosh or dance! The beats are huge and fashionable like in EDM tracks, but the arrangements are extra aggressive and progressive like in rock and metallic music. Instruments use dwell appears like guitars and synth components like wobbles bass and noticed waves. This genre usually hasmultiple genres of EDM like electro, dubstep, trap, and www.audio-transcoder.com others in one track. Vocals can have rapping verses or singing hooks. See Also Celldweller, Blue Stahli, Linkin Park, Enter Shikari, Starset, & The Maniac Agenda.

Celtic music is a broad grouping of musical genres that advanced out of the folks musical traditions of the Celtic peoples of Western Europe. Most sometimes, the term Celtic music is utilized to the music of Eire and Scotland, because both places have produced effectively-recognized distinctive types which actually have real commonality and clear mutual influences. The music of Wales, Cornwall, Isle of Man, Brittany, Northumbria and Galicia are additionally continuously thought-about part of Celtic music, the Celtic tradition being notably sturdy in Brittany, the place Celtic festivals large and small take place all year long. Lastly, the music of ethnically Celtic peoples overseas are also thought of, especially in Canada and the United States.The blues presents a broad canvas on which to color one's musical ideas. There is extra time (measures) to develop thematic concepts. There's additionally extra time between the chord modifications of the essential harmonic progression. As a result of number of harmonic substitutions and passing chords that have change into part of the fashionable jazz lexicon, there are various more scale and be aware decisions out there to stipulate the harmony of the second. Usually, these harmonic substitutions aren't performed by observant rhythm sections until they are first implied by the soloist. It requires a thorough information of jazz theory and a keen ear to benefit from the ever-altering harmonic context that may occur within the blues. It has been mentioned that there aren't any fallacious notes" when improvising on the blues. This is considerably of a fiction, for within the blues there are all the time higher" notes with their implied harmonic substitutions obtainable at any given time.

[badger-s-moved]

*+:｡.｡fifty questions tag｡.｡:+*

1. What takes up too much of your time?

— all 1935783921 projects i have going on all the time sksksksks but also i guess daydreaming???

2. What makes your day better?

— @bfjeno​ , my pets, music, warmer weather, daydreaming

3. What’s the best thing to happen to you today?

— i got this super cute skirt that i look adorable in and !!!! i also got mr. toad’s wild ride socks and they make me so happy uwu

4. What fictional place would you like to go to?

— not o be that bitch and say hogwarts but uhh. hogwarts (also any of Miyazaki’s setting for his ghibli films!!!)

5. Are you good at giving advice?

— most of the time yeah (i give a lot of unsolicited advice but people don’t seem to mind all that often)

6. Do you have a mental illness?

— nothing diagnosed but there have been talks of anxiety, ADD/ADHD and maybe a couple othr things

7. Have you ever experienced sleep paralysis?

— nope!! and i pray to the gods that it stays that way

8. What musician(s) inspired you the most?

—  jonghyun, gerard way, frank iero, jongdae, taemin

9. Have you ever fallen in love?

— yep

10. What’s your dream date?

— DANCE HALL DANCE HALL or like. there’s this one cafe down in denver that does live big band music and dance lessons so that would be fun O R going paranormal researching or antique hunting.

11. What do others notice about you?

— prolly my hair or my loud ass voice sksksksks, also people talk about my posture a lot bc i really like having good posture when i sit ??

12. What’s an annoying habit you have?

— i rip at the skin on my hands all the time

13. Do you still talk to your first love?

— yes

14. How many exes do you have?

— 2

15. How many songs are in you playlist?

— probably upwards of 5000 when it’s all put together

16. What instruments can you play?

— trumpet, piano, a little bit of flute, guitar, and uke

17. What do you have the most pictures of?

— jongdae or my trip to china

18. Where would you like to go before you die?

— every country i can tbh, but if we’re to be specific i really wanna go to all the wonders of the world and as many archaeological sites that i can

19. What’s your zodiac?

— leo sun

20. Do you relate to it?

— i used to hate it, but since i’ve gotten more into astrology i’ve become a bit more partial to it

21. What is happiness to you?

— being able to live comfortably and without too many worries; being able to spend an equal amount of time with friends and loved ones as i am working

22. Are you going through anything right now?

— just some personal issues and school stress

23. What’s the worst decision you’ve ever made?

— not giving myself a voice for the first 14 years of my life

24. What’s your favorite store?

— any sort of antique or book store, i also really like uniqlo for clothes and this store called attic salt that’s in park meadows in denver

25. What’s your opinion on abortions?

— it’s not my body, it’s not my choice. i think people should be able to do what they think is best for themselves, and that better education on the topic of sex, abortion and forms of contraception should be developed and implemented rather than the underdeveloped curriculum that is being used now.

26. Do you keep a bucket list?

— yes

27. Do you have a favorite album?

— i have more than i can count but if i have to pick one either revenge or danger days by my chem

28. What do you want for your birthday?

— some cute stationery, maybe some stuffed animals, some new language textbooks, maybe some good foreign candy ??? 

29. What are most peoples first impressions of you?

— a lot of people say that i’m intimidating (fun fact my best friend didn’t talk to me for 3 months when she first met me bc she said i was terrifying lmao), but like once they start talking to me i’ve been told i’m really approachable

30. What age do you seem according to most people?

— 18-20

31. Where do you keep your phone when you sleep?

— on my bed next to me playing my asmr playlist

32. What word do you say the most?

— i’m not including swear words so uhh: mood, love/babe, listen

33. What’s the oldest age you would date?

— 18/19

34. What’s the youngest you would date?

— 15

35. What job/career do most people say would suit you?

— teaching, languages or history

36. What’s your favorite music genre?

— indie, (punk) rock, 80′s pop, pop punk

37. If you could live in any country in the world, where would it be?

— China/Taiwan, South Korea, Austrailia/ New Zealand

38. What’s your current favorite song?

— Do You Believe In Magic - The Lovin’ Spoonful, Inevitable - Starkid (from tgwdlm), Savannah - Relient K

39. How long have you had this blog?

— I’ve had this blog since like. January 2015 i think ?? so like 4 years babiey

40. What are you excited for?

— @bfjeno maybe visiting me over the summer !!!! going to an East Asian religions class with my sister, applying for college

41. Are you a better talker or listener?

— i’m good at listening but not at comforting, but like i’m also a huge chatter box when i want to be sksksksks

42. What is the last productive thing you did?

— i bought a gift for my mom and i started working on some moodboards for a starkid thing

43. What do you want for Christmas?

— see my birthday list plus: maybe a couple kpop albums, maybe the money to buy a decoden case, /maybe/ a nice camera or some vintage clothes

44. What class do you get the best grades in?

— chinese & english/humanities

45. On a scale of 1-10 how are you feeling right now?

— i’m prolly at a solid 7 or 8

46. What can you see yourself doing in ten years?

— if life goes the way i have it planned right now, i’ll be living in either china or south korea working either as an interpreter, english teacher or as a translator on archaeological dig sites

47. When did you experience your first heartbreak?

— i’m not counting this romantically so the day my grandfather died

48. What age do you want to get married?

— if i’m going to get married before my 30′s preferably but like. i’m not overly picky about it

49. What career did you want to have as a child?

— author, archaeologist, forensic toxicologist

50. What do you crave right now?

— i would love some authentic chinese food rn

                         ・‥…━━━━━━━☆☆━━━━━━━…‥���

shoutout to both @bfjeno and @bxngchan for tagging me!!!

i tag: @yourdailydoseofnct @markheehee @cosmicxwoobear and anyone else if yall wanna do it uwu

[nomadicism]

If you watch the Afterbuzz review (with LM and JDS as guests) it really seems that there won't be any kind of redemption for Lotor, which makes me a little sad, because it means that there's no thing as "more to the story" that Romelle told us.

Hi there! Thank you for the Ask!

My apologies in taking a little while to respond. I feel you on this, and I have A LOT to say about it. I drafted my answer several times as I am trying to exercise some brevity and tone down the salt. I failed. Your Ask touches on a serious issue that I’ve been slowly working on a separate post about, so expect a follow-up to this! 

First, some context to get where I’m coming from: 

They (in these interviews) are back-filling story gaps faster than J.K. Rowling can say “Dumbledore was gay.”

Seriously. 

There is so much back-filling going on (even before S6 and S5), that it appears as though many details got left on the cutting-room floor, which is to be expected with something this complex (Lotor and associated characters + arc/backstory/etc) being squished into 26 episodes where there are already many plot threads being followed that involve many different characters. And of course, some of what is said during these interviews, podcasts, tweets, etc has to be said carefully either due to spoilers or NDA, so there is some understandable misdirection that is likely happening.

However, all of this interview chatter from the show-runners (from S3 onward) about Lotor’s motivations and how hard and traumatizing Lotor’s existence was, the abuse he suffered, how he really loved Allura and was genuine, and how it was healing for her, and that his past actions were merely “skewed”, and that they [heroes] will see that Lotor was right in the end, etc; is unnecessary on their part, and comes across as “the authors doth protest too much”. 

If the story (e.g. writing) cannot adequately and clearly convey these concepts about Lotor without creator meta-input, then there is a problem with the writing or the narrative scope (e.g. over-reach). Hence, back-filling gaps in the story that may have been a part of the concept phase, but didn’t (or won’t) make it into the writing of the episodes and are not clear enough to be inferred from the writing. (I’ll get back to this further below)

(Either this, or they are lying, which is a degree of negativity and cynicism that I don’t care to entertain.)

So what does this mean?

It means that (to answer your Ask)—regardless of redemption (and does Lotor really need one?)—that any explanation will not be forthcoming, or will otherwise be minimal and won’t happen until near the end of the series. That is why they are back-filling the gaps ahead of time (again, assuming the positive/benign here). Additionally, the lack of clarity or details is affecting the perception of the character and author intent.

It seems odd that there wouldn’t be more explanation, but if there is, then it probably would not be from Romelle or from her PoV. Other than a flashback sequence in which Lotor may appear, it seems that it any explanation will more likely come from Acxa…(assuming that the generals survived being out in space without ships while the Castleship was exploding the reality tears shut). Given the Galra death count in the show, it is possible that the generals are dead or just not coming back. Lotor’s arc is over (as they’ve said), so it’s Honerva’s turn now, and that ends things (or greatly reduces scope) for secondary characters that were a part of his story (I would love to be wrong).

Since Lotor’s arc is over, does it really matter if there is no more explanation? Other than being very—and understandably—unsatisfying for many fans, I’d personally rather not revisit it as I find what they did in S6 to be thoroughly disgusting. As for redemption, I’m generally in the “villains don’t need redemption arcs” camp, but in terms of tropes/concepts as they apply to Lotor: Beautiful quasi-supernatural hybrid immortals that cross the moral event horizon (regardless of reason) are only redeemed through noble sacrifice/death (assuming they survive long enough to do so). That said, there is a case to be made that Lotor doesn’t need to be redeemed due to what I’m calling the “double standard setting” that exists in VLD: Hellscape with punishing choices for the antagonists vs easy mode with few consequences for the protagonists. (this will be the topic of my follow-up post)

Returning to back-filling:

As a designer (mostly UX/UI these days but my career has crossed many domains of design)—it is a huge problem if my audience comes out with two or more widely different interpretations of what is supposed to be the same coherent message (or user interface for the applications that I design). It is the foundation of design practice to clearly communicate a message, regardless of domain or application of design.

I cannot give interviews or answer questions in panels that explain what is “really going on”, or adding additional information that the design itself either does not explicitly convey—OR—does not convey well enough that most viewers/users are in agreement (or at least similar agreement) with what that message is or was.

In VLD, the back-filling of story gaps coincides with an essential problem with the characterization of Lotor and his arc as a whole: that his story and who he is is not clearly expressed and that has yielded at least three very different reads/interpretations that have very little overlap.

In application development terms: the widely differing interpretations of Lotor in VLD is not a feature, it is a bug—and this is not the fault of viewers/fans (for some this is a fun bug, and that’s fine). It is not on the fans to expend high amounts of energy and take on a cynical mindset/view (which can be bad for some people) to ferret out hidden meanings or unclear/inconsistent characterization in a Y7 show of this particular genre. Just as it is not the fault of my users if they do not understand the purpose of a component within the UI that I design, or if they experience high friction when attempting to complete a complex form. That’s on me.

I am not saying that every interpretation of a character must be perfectly aligned. Many stories benefit from contrasting interpretations (even widely differing ones, looking at you David 8). I am not convinced that VLD is one of those, and people will see what they see regardless of author intent, which is fine. My point is that the majority of the intent should be clear and should not require clarification outside of the story unless it is a story that was designed/intended to “have a manual,” or is otherwise of a genre where such things are expected.

I get that when it comes to writing, people can and should write whatever and however they want, and that’s great, but if one has to keep explaining their intent or characterization, then the message/writing wasn’t clear enough to begin with. I see that as an undesirable thing, some fans may not, and that’s fine. Also, the story isn’t over yet, so one does need to be patient. Still, I would prefer that they not say anything at all rather than continuing to talk up a message, or interpretation that is not clearly found or held, or worse, providing an explanation* outside of the story in such a way that the characters within the story never have to be faced with it.

Finally—since it happened on the heels of that Afterbuzz review—bless AJ for this tweet:

What a wonderful human, but AJ shouldn’t have to say this. 

The story should speak for itself, and right now, it isn’t.

*Outside of Story Explanation: Den of Geek has the explanation in the form of this fucked up business about Lotor’s upbringing as the cause of his downfall. [X] Cool message team, I certainly got that loud-and-clear without further explanation, as I (and others who can relate even more) have endured that tired-and-predictable message through countless pieces of fiction, including seeing this done in the 6 previous iterations of Voltron.

Way to perpetuate some damaging myths about abuse. There are people who endure terrible upbringings without a support system and manage to escape it without becoming mass murderers with god complexes.

Meanwhile, there are people who have every privilege in the world that are actively causing harm to society right now through their abuse of power. There are people who have had every advantage, including loving-and-supportive parents, who end up committing mass shootings in schools. Why don’t we start making them the monsters in the stories that we tell to children instead?