#but that doesn’t guarantee that that is what the writers are intending

[clairedelune-13]

The fact that saving Minrathous, which leads to a “Hardened” Lucanis, a lot of the most interesting outcomes to his storylines are just completely dropped. And considering the fact that EA sacked his writer (Mary Kirby) it adds insult to injury because you can’t even romance him.

The game treats Neve, who can also be “Hardened”, so much fairer than Lucanis and there’s clear favoritism being played and it’s just… not okay.

I mean, think about the fact that if Lucanis is Hardened, he never comes to terms with his possession. Sure, it’s brought up that he’s going to “find a way to separate himself”.

But… nothing happens? It just ends there. 

Either something got cut, which is probably what happened, or it wasn’t thought through fully. I doubt that’s the case, though.

Either way, as much as I love his romance, they still did him dirty. Kirby did a fantastic job writing him and therefore the handling of his character in the final product shouldn’t be so uneven, I can guarantee she did not intend for that to happen. Hell, even Varric’s treatment was questionable at times. (Also written by Kirby)

How did nobody mention his death?

The inquisitor? I mean for fucks sake, my Lavellan saw him as a father figure, and yet she doesn’t bring him up once.

Don’t blame the whole “Solas was using blood magic on your mind” because in this case, this should never have been overlooked.

It’s Anders all over again. He got done dirty too. And I will always be fucking salty about that shit.



[honorarybuckley]

..

[dcafanzine]

We’ve been getting a lot of asks about what the application process will look like and what to do, so here are a few tips that should help you out! (This is not required reading if you’re looking to apply, but it might help!)

When you’re applying for a spot on the DCA fanzine, we will be asking to see examples of your existing work. You might be wondering what would be considered a good fit, and which of your existing pieces to choose to show off in your contributor application.

NOTE: PLEASE do NOT create pieces you are intending to submit to be included in the zine itself as part of your application! Zine pieces are to be created by contributors in the three month period following their being selected to be on the zine. We cannot guarantee you a spot, so please don’t burn yourself out trying! There will be other chances!

(Oh, and please ensure viewing permissions are on when you’re sharing any links in your application, so we can see your work!)

Now on to the fine details …

For all applicants:

This zine is a celebration of our beloved celestial jester(s), the daycare attendant(s) - you will need to submit at least one example piece in your application (preferably more) that features these characters, with depictions of them in a canon-adjacent* form being a huge bonus.

Pieces submitted in your application should ideally be safe for work, as this will be a safe for work zine. This zine isn’t playing to a specific mood or genre, so feel free to go wild with depictions of fluff, angst, horror, etc. so long as these fit broadly under the PG-13 rating. Shipping ideally shouldn’t be the focus of every example provided either as this zine will not be specifically focused around romantic ships but more on the character(s) of the daycare attendant(s) themselves.

A limited number of AU spots will be available but in order to accept AU works as final pieces in this zine we request that you must either be the creator of the AU, or have express permission from the AU’s creator.

*Canon-adjacent here doesn’t mean the depiction has to be biblically accurate, just that the design should not differ so substantially from what would typically be recognised as the DCA to essentially be a separate character. This fandom is intensely creative and we love and applaud the originality of the many different variants of the DCA, but this zine aims to focus primarily on canon-adjacent depictions, with a limited number of slots for AU content as well. Having canon-adjacent depictions of the DCA will massively help round out your application for this zine!

For some positions, you will be asked to give 1-3 idea pitches, with at least one idea pitch being required. Pitches should summarise what you might be thinking of creating for the zine, showcasing your creativity and helping you brainstorm ideas for what to make if selected. Your pitch will be especially useful if you are hoping to write or illustrate any AU content, to give us an idea of what sort of thing you expect to contribute. Your pitch may be on the longer or shorter side depending on what you prefer, just as long as it illustrates the idea(s) you are aiming for. If you are selected, you will not be required to create the idea(s) you mentioned in your pitch, and will be able to change your mind on what you wish to create for the zine at a later point.

For writers:

We are looking for around 5 writers to join this zine. Upon being selected to be contributors, writers will write a short self-contained story (around 1.5-2k words) which will be illustrated by the spot artist they pair up with.

What we’ll be looking for in a writer application is readability (how well the example writing submitted for the application flows and how easy to follow it is), pacing, vividness of characters (characterisation of Sun and Moon in this fandom tends to vary a lot, so we’ll be looking more at consistency and imaginativeness here!), and how engaging the example writing is, as well as the ability to wrap up a short story. For this reason, while excerpts reaching around the 2k mark will be happily accepted, at least one of the examples should be a self-contained story or scene that fits within (or close to!) the word limit listed on the application form!

For page artists:

We are looking for around 23 page artists to contribute to this zine. Once selected as contributors, page artists will create a full page illustration featuring the daycare attendant(s) for the zine. A page illustration should fill the space on the page nicely and play to your strengths. This could be a coloured illustration depicting one or multiple characters with a background, a neat photograph of a sculpture or traditional piece you’ve made, or even a nice neat one-page comic! So long as it fits nicely on the page without compromising its quality, it will likely make a great fit for the zine!

What we will be looking for in a page artist application is composition (how elements in the example pictures submitted for the application like the background, props, characters, etc. work together), atmosphere (how the example pictures build a mood), creativity (unique and quirky representations and ideas!), and the level of polish the example pieces have (so overall how neat and nicely finished they look). At least one example provided will need to have a full background (so something containing complex background elements or designs or scenery, like a room or a scene).

For spot artists:

We are aiming to have around 5 spot artists for this zine. Spot artists will be paired up with writers, illustrating smaller scenes written for the zine. The mood of these pieces might vary greatly, but should match the tone and content of the writing.

What we’ll be looking for in a spot artist application is how well their example pieces convey a particular mood and/or feeling, as well as how well they present a scene in a smaller space. The example pieces submitted might not need to be as detailed or polished as those required by full page artists, but should be just as expressive!

For merch artists:

We will be looking for around 2-3 merch artists for this zine. Merch artists will design merch to go with the zine when it potentially hits certain sales targets. Prior experience making merch is greatly preferred for applicants applying for this role.

What we’ll be looking for in a merch artist application is the ability to make neat, simple designs that translate well as physical and digital merchandise.

Hopefully that clears a few things up - and please don’t be too daunted by all the details or feel you have to play perfectly to all of the ideas given above, every single one of us is different and the most unconventional of application pieces might be just the thing we need! This is just to make the application process a little clearer for anyone who’s nervous about what to submit. If anything is still a little unclear, please feel free to send us an ask on our Tumblr or CuriousCat!

[wingedblooms]

How do you interpret "A thing of secret, lovely beauty" in the bonus chapter? The first time azriel used it to describe the necklace. But the second time it was used to describe gwyn's happy smile.

Hello there! I feel like this is a trap. But as I’ve discussed before, readers interpret this differently and that’s wonderful. Interpretations can also evolve over time after rereads and new information. Mine has mostly remained the same (except for some specifics surrounding the second usage 😆). Part of my interpretation drifts into theory. As a reminder, theories are predictions of what might happen based on patterns of evidence in the text. No theory is guaranteed and it’s important to read any new books in the series with that in mind.

That said, Sarah is a fairly predictable and repetitive writer, so I try to pay close attention to her patterns. Many of my theories are based upon those patterns. For example, one of the most apparent patterns is that fate comes in threes. There are three faces of the Mother. Three sacred sister peaks that are barren and thrumming with power. Three stars that shine above Ramiel, the heart of the Night Court, each spring. Three blessed sisters who have been marked by fate and Made fae. Three winged males who found each other and are drawn to the three blessed sisters. There’s more evidence, but I think you get the idea. It can be helpful to use patterns to interpret and predict what Sarah has planned (e.g., the first and second sister have had their stories told, so it would follow that the third is next; there is also strong evidence that what she contributes to the narrative is needed next).

You’re probably wondering how this relates to my interpretation of the phrase secret, lovely beauty. Before I connect it to another clear pattern, I want to put it in proper context. When we first see the phrase, it is used to describe the necklace Azriel gifts to Elain. The setting in which this occurs is romantic: faelights dimming to cast little pools of gold amid the deep shadow of the longest night of the year. Put plainly, this is Sarah setting the mood. 😂 Azriel, who feels lonely despite the company of his shadows, finds himself suddenly moving into the foyer and there she is:

The Faelights gilded Elain’s unbound hair, making her glow like the sun at dawn.

On the longest night of the year, Elain glows golden like the sun at dawn. Like a pool of gold amid the deep shadow. This description follows a pattern in their imagery together, and it is lovely.

Their interaction is also raw and vulnerable, and therefore distinct in this bonus. When they come together, Azriel allows himself to feel and those feelings run deep enough to question his people’s traditions later on. Unlike every other interaction in this bonus, he doesn’t feel the need to put on a show for Elain (i.e., a cold mask, fake smile, or lying repeatedly to avoid emotional topics). In other words, he is himself with Elain. They share a quiet understanding and powerful attraction.

Now that we have this context in mind, we can move onto the the necklace and its chaos-inducing phrase:

The golden necklace seemed ordinary—its chain unremarkable, the amulet tiny enough that it could be dismissed as an everyday charm. It was a small, flat rose fashioned of stained glass, designed so that when held to the light, the true depth of colors would become visible.

A thing of secret, lovely beauty.

“It’s beautiful,” she whispered, lifting it from the box. The golden faelight shone through the little glass facets, setting the charm glowing with hues of red and pink and white. Azriel let his shadows whisk away the box as she said softly, “Put it on me?”

Notice something interesting here? Both Elain and the necklace glow with their true depth of color—golden and rosy, like the dawn—when faelight shines upon them. Dawn is when first light appears (pun definitely intended) and the world reawakens. Elain is linked to the rose amulet, and that follows a pattern of imagery she has already established in the text. This is the pattern I mean:

“I painted flowers for Elain on her drawer,” I said, sawing and sawing. “Little roses and begonias and irises.” (acomaf)

She was a rose bloom in a mud field. Filled with galloping horses. (acowar)

Even in the middle of winter, she was a bloom of color and sunshine. (acofas)

She plucked another figurine from the mantel: a rose carved from a dark sort of wood. She held it in her palm, its solid weight surprising, and traced a finger over one of the petals. “He made this one for Elain. Since it was winter and she missed the flowers.” (acosf)

Her gaze shifted to the carved wooden rose she’d placed upon the mantel, half-hidden in the shadows beside a figurine of a supple-bodied female, her upraised arms clasping a full moon between them. Some sort of primal goddess—perhaps even the Mother herself. Nesta hadn’t let herself dwell on why she’d felt the need to set the rose there. Why she hadn’t just thrown it in a drawer. (acosf)

This gift not only reinforces the pattern, but it also holds a secret message that has become central to Elain’s arc: the rose (like Elain) has hidden depths. The Feysand bonus echoes this theme. Elain’s outburst stunned her family and Rhys suggests there is more to her than they’ve seen thus far.

“I think she’s kind, and I’ll take kindness over nastiness any day. But I also think we haven’t yet seen all she has to offer.” A corner of his mouth tugged upward. “Don’t forget that gardening often results in something pretty, but it involves getting one’s hands dirty along the way.” (Feysand)

Feysand then agree to help Elain after Nesta, which is Sarah’s way of reinforcing the other pattern she put in place (fate comes in threes—first Feyre, then Nesta, and now Elain).

With Elain’s character arc in mind (and the fact that she herself has suggested she doesn’t feel seen), Azriel’s gift is actually incredibly insightful. He gave her something that says, I do see you, and he knew she’d be able to appreciate its meaning. Even the words that describe her gift—secret, lovely beauty—refer to specific things we learn about Elain in the text.

Secret: Feyre compares Elain’s ability to learn and keep secrets to Azriel’s own secrecy (one of many parallels). She is a seer, after all. What other secrets might she know and keep hidden from others?

Before Feyre could reply, Azriel said, “What about Mor?”

Feyre smiled. “Elain was the only one who guessed. She caught me vomiting two mornings in a row.” She nodded toward Azriel. “I think she’s got you beat for secret-keeping.” (acosf)

Lovely beauty: We learn from Nesta that their mother predicted Elain would marry for love and beauty, which I think @juusworld5728 observed sounds a lot like lovely beauty:

My Nesta. Elain shall wed for love and beauty, but you, my cunning little queen…You shall wed for conquest. (acosf)

This last phrase, love and beauty, is connected to the rose Papa Archeron carved for Elain. It is a symbol of love and beauty and goodness in the world, and for such a simple carving, it has unexpected weight just like the rose amulet has unexpected depth (Sarah hit this theme hard).

Her father had died for her, with love in his heart, and Nesta held love in her own heart as she pulled the small, carved rose from her pocket and set it upon the gravestone. A permanent marker of the beauty and good he’d tried to bring into the world. (acosf)

Why does this little rose matter? It is also linked to Wyrd. In acosf, Nesta felt the need to place Elain’s rose next to a figurine of what we now know is farseeing and benevolent Wyrd. Wyrd, the higher force of the universe, found Elain so lovely that she gifted her such powers and purrs like a kitten in her presence. They even share the same blooming imagery. Over time, Wyrd became known as a goddess (probably because she uses female forms as vessels, if I had to guess based on the evidence), but she is in fact a force, a mother to all, a cauldron brimming with creation. Now, where have we heard those terms before?

Gwyn huffed a soft laugh. “In part. We honor the Mother, and the Cauldron, and the Forces That Be. We have a service at dawn and at dusk, and on every holy day.” (acosf)

Gwyn’s words nearly echo the Under-King’s in hosab and hofas. The priestesses worship Wyrd. Let’s look at the description of their worship:

The music was pure, ancient, by turns whispering and bold, one moment like a tendril of mist, the next like a gilded ray of light. It finished, and Merrill spoke about the Mother and the Cauldron and the land and sun and water. She spoke of blessings and dreams and hope. Of mercy and love and growth. (acosf)

Elain’s strength lies in finding beauty even in dark chapters. She is a rose bloom in a mud field—the embodiment of blessings and dreams and hope and mercy and love and growth. The priestesses, including Gwyn, honor that benevolent force and seek to bring it into the world with their services. They are the voice of the Cauldron. And in this world, we know like calls to like. Now that we’ve read hofas, it’s highly likely that the ancient, spell-like music the priestesses perform is ancient summoning magic, which is magnified by the properties of the cavern (ahem, witch glass) in which they sing. So, is it a surprise that Azriel had every intention to return Elain’s rose amulet, a symbol of love and beauty, and found himself at the library during their worship of such things instead? No, it actually makes a lot of sense.

Azriel expressed no forethought in giving the necklace to Clotho for Gwyn. He did not select it for her and did not intend it to be a romantic gesture, which is why he tells Clotho to give it to Gwyn or any other priestess who might appreciate it. The setting and interactions in this part of the bonus are not described romantically because they are not intended to be romantic.

Clotho, who is observant like Elain, can see the shadowsinger’s sadness despite his deflection and offers him comfort in a dark moment:

Clotho’s pen moved once more. She deserves something as beautiful as this. I thank you for the joy it shall bring to her.

Her words spark hope in him and for whatever reason, he is able to picture Gwyn’s eyes lighting upon the rose amulet in his mind. The vision is a thing of secret, lovely beauty.

Some interpret this moment, a vision of Gwyn described as a thing of secret, lovely beauty, as an indication of Sarah shifting romantic pairings. I think this interpretation falls short of the full context, especially since days (in acosf) and months later (in hofas), Azriel is still upset and refuses to even discuss the topic of mates.

Rather, I think that—like the sister caverns, which are linked in song and dreaming—Elain and the priestesses (especially Gwyn) are also connected. They are part of the solution to the problem that was introduced in the first half of this bonus as well as the overarching plot. Like @silverdreamscapes, @silverlinedeyes, @offtorivendell, @willowmeres, and others I’m sure, I believe Elain—a seer chosen by Wyrd—will work with the priestesses that worship her (the most logical partnership in the series, when you think about their respective powers). It wouldn’t surprise me if a dawn service, especially if it involves groundings, helps Elain push the limitations of her powers like the dusk service did for Nesta.

I also agree with many (notably @silverlinedeyes and @merymoonbeam) who think Gwyn’s voice holds magic and, depending on what we learn, relates to being a lightsinger. That is likely the hidden depth (a thing of secret, lovely beauty) that was hinted at in the image since her eyes light upon Elain’s rose amulet. I believe @silverdreamscapes and @silverlinedeyes have suggested her voice, which summons and pierces during the dusk service, could clear mist and shadow in a vision if needed. I also think it is interesting that Gwyn is the first to sever the Valkyrie ribbon, a string tied not to a rib, but a post. Perhaps she and the priestesses could help Elain sever an unwanted bond and weave a different fate for herself, one that binds her to someone she loves? That would be the most epic end to the near-constant arguments over ships.

[psychic-refugee]

Wenclair as a ship in itself I understand. It can be fun, and interpretation is up to the fan content creator. Wyler, Wenvier, Enjax, Wenclay and AroAce Wednesday I think are all equally valid interpretations. Just as any other combination.

Shipping non canon relationships is a choice made by personal preference.

I less understand the expectations of Wenclair being actually possible to become canon. I feel like it’s only possible in the sense that “anything is possible” because no one can ever truly predict the future.

However,

Tim Burton does not have a history of producing LGBTQ+ focused projects. There are barely any background characters that are prominently and explicitly queer in his long CV.

The Ottingers are outliers and background characters with a second of screentime. I have doubts we’ll ever see them again, and honestly, they are the farthest I think Burton is willing to go.

Millar also doesn’t have a history of writing main cast LGBTQ+. He and Gough only reference the relationship between Enid and Wednesday as “friendship” and “sisterhood” when confronted with the idea of Wenclair. (NME, 24 Dec 2023).

Netflix has a documented poor history of treatment of shows with prominent lesbian leads (First Kill, I Am Not OK With This, and Warrior Nun).

Given all of that, I’m also not in the writers’ room, so time will ultimately tell if my skepticism is warranted.

Nonetheless, there is overwhelming evidence that Wenclairs have detrimentally affected Jenna and Emma. I don’t see them wanting Wenclair to happen and they certainly aren’t entertaining the mere possibility of it any longer.

Jenna has not mentioned Wenclair in a positive light since that one interview in Teen Vogue, 9 Dec 2022. It’s been over a year since; a lot of stuff has happened. Plenty of reasons for Jenna to have changed her mind.  

Emma made a non-committal comment about “how anything is possible” when it comes to S2 and Wenclair. (Variety, 30 Jan 2023)  But, again, that was over a year ago and a lot of toxic behaviour has happened since then.

Just as with Jenna, Emma has a lot of motivation now to not support Wenclair becoming canon.

Emma also pushed off the possibility of Wenclair beyond S2, she gave the excuse of Wednesday needing a “season of singleness.” Id. Wednesday WAS single in S1, she never claimed anyone as an SO. It sounds more like Emma was a hostage trying to appease her kidnappers by telling them what they wanted to hear. She pushed off the idea of Wenclair to a season that’s not guaranteed to materialize. That’s called passing the buck. If S3 never happens, then she’s not responsible for adhering to an implied promise of Wenclair being possible at all.

Now, Emma has made it a point to stress that shipping is fine as long as it doesn’t cross over into real people. (NME, 27 June 2024).

Wenclairs failed to do that in a spectacular fashion.

Emma admits that Wenclair was a joke they told amongst themselves when it first became apparent it was a popular ship. Id. Wenclair is “funny” to them because they never intended for it to be a ship, but fans choose to interpret it that way.

People ran with Jenna’s comments, but I believe she was supporting it in jest in the way Emma reported in June. Jenna even framed Wenclair only happening in “a perfect world.” (9 Dec 2022) She said it would only happen in an impossible circumstance. I don’t get how people took that to mean she was trying behind the scenes to make it happen, or that it was a secret interpretation fans were meant to figure out on their own.

I think if she knew how much her “fans” would sexually harass her and Emma with the idea of Wenclair, she would not have said it at all. I think with how careful Jenna is with what she posts now, she knows better to say things off the cuff or in jest.

Wenclairs have taught her harsh lessons on how to interact with social media and interviews.

I think it says a lot that Jenna has only been photographed with her stylist in the past several years. She has had plenty of opportunities to do pictures with the cast since filming started, specifically Emma and yet…

Wenclairs have been so rabid and hostile to anyone challenging their fantasy that she only feels safe being seen with Enrique Melendez, her employee, or her family. That’s not normal.

I think there’s a reason why Wenclairs hyperfocus on Jenna making the ship happen and not Emma.

Jenna clearly doesn’t mind doing roles that involve sapphic elements (Miller’s Girl and The Fallout). The same cannot be said about Emma. Wenclairs are so quick to jump on Jenna’s CV of “kissing women” and pointing to that as proof of her queerness. By THEIR same logic, what does it mean if Emma has not done any role where she kisses women?

Jenna’s a great actress and I think could have chemistry and a rapport with a tree if the script called for it. I think she didn’t mind the idea of Wenclair at the time (regardless of how farfetched the possibility was or that it was never originally or seriously considered), but I don’t think she ever intended for people to interpret her characterization of Wednesday that way.

I think both Jenna and Emma regret implying or joking about the possibility of Wenclair as the fans started to sexually harass them on IG with comments on how they are for sure lesbians (neither have stated so) under their posts that have nothing to do with the other as well as everywhere else. Neither can celebrate their own separate accomplishments without Wenclairs mentioning the ship or obnoxiously asking “Where’s Jenna/Emma?”

Wenclairs also post explicit art of Jenna and Emma’s likeness in public forums such as Twitter/IG (and tag them or send it to them directly), and harass male coworkers Jenna has romantic scenes with (Finest Kind). Emma’s male co-star in AGGGTM has also experienced harassment.  

Jenna has outright said she quit Twitter because she was sent explicit AI art of herself right after Wednesday took off.

I 100% believe it was sent by a Wenclair account and it was sexual Wenclair art, given the timing and their appalling behaviour to date.

“I ended up deleting [Twitter] about two, three years ago because of the influx after [Wednesday] had come out, these absurd images and photos, and I already was in a confused state that I just deleted it…It was disgusting, and it made me feel bad. It made me feel uncomfortable” (Entertainment Weekly, 25 Aug 2024) (emphasis added).

I think Jenna coming out and specifically saying there would be no romance for Wednesday (Digital Spy, 8 June 2023) after the December 2022 article is another direct consequence of Wenclair harassment. She changed her tune very explicitly and Netflix has not contradicted her, nor have the showrunners, writers, or Burton ever shown committed support for Wenclair. At most it’s “we’re open to it,” and that was before the harassment got as bad as it is.

Jenna’s playfulness is completely absent in all these interviews since Wenclairs started to harass her. Whatever they were “open to,” the Wenclairs shut it violently.

I wasn’t aware until recently that the Wenclairs were so creepy, invasive, and lacking even the barest of social graces that they were also harassing Jenna’s family.

Here is Aliyah, Jenna’s sister, scoffing and clearly exasperated by the shipping. I highly doubt this frustration comes from being asked just once, she’s probably fielded this question way too many times. She no longer follows Emma on IG.

There are also reports of other IG Lives by Aliyah outright stating that the shipping was out of control and detrimental to their family. Of course Wenclairs are completely crickets about this.

It’s bad enough Wenclairs shove their personal fantasies in Jenna and Emma’s face, but they do it to their siblings? Likely when the siblings were minors or barely adults as Aliyah is only 20.

Emma in the Variety, 30 Jan 2023 article also says her sister would show her stuff, meaning her family was also getting exposed to it.

The latest Vanity Fair article states that Jenna won’t ever make any romantic relationship public. (6 August 2024). She states that her relationships are “hers” and that her fans can’t separate the real her and the celebrity they have built up in her head. Id.

She makes an effort to use gender neutral terms when it comes to a romantic partner. I respect that she doesn’t want to come out as either heterosexual, homosexual, or anywhere in between or outside of the binary. That is her choice, I think there’s a vast difference between keeping things private and being in the closet. Either way it’s also NONE OF ANYONE’S BUSINESS.

But I think it’s undeniable that even though she would get a lot of support if she were queer, Wenclairs have made it so unbearable that she won’t reveal a partner or come out at all.

Wenclairs have made it unsafe and hostile for her to acknowledge her own sexuality publicly, much less a partner.

I think it’s too late for Wenclairs to back off, it looks like they already ruined the friendship or at best drove it underground if the total lack of social media content of them together is indicative of anything.

If they are still friends, then they don’t trust Wenclairs with knowing about it and don’t want to share it with them. It looks like Jenna doesn’t want to share any friendship publicly anymore.

Unless it’s to promo movies or a brand deal, she rarely posts pictures on social media anymore. It’s very rare she posts personal pictures of herself doing non-work outings. She’s keeping her personal life extremely close to her chest.

How exactly do Wenclairs expect a friendship to survive constant, sexual harassment? How can they hang out together when everything they do together is sexualized? Why would anyone think the actresses would encourage a storyline that would invite more?

How do they expect Jenna to support Wenclair to become canon if it means her future male coworkers will be harassed? If it means any romantic partner who isn’t Emma in the future will be harassed? If it means that if she were indeed involved with Emma, that there would probably be a bigger explosion of porn that is shoved in their face?

How do they expect Jenna or Emma to support Wenclair if their families are being harassed about it?

Wenclair has been a curse upon them, and I wouldn’t wish it on anyone.

[extasiswings]

i don't understand how some people see this as the death of buddie romance like this is literally the first step to buddie...you gotta have at least one of them show interest in men. they're not doing this for shits and giggles, they're doing this because they absolutely intend make buddie canon.

No fr it’s an absolutely batshit take that doesn’t make any sense and I honestly think it boils down to homophobia/biphobia and purity culture. These people claim they want Buddie, but what they actually want is a super sanitized version where Buck and Eddie are each other’s one true loves and therefore can’t possibly experience attraction for anyone else because god forbid they aren’t each other’s first and only. God forbid they be sexual and not just domestic soft boys, and if they must be sexual well okay fine maybe that’s okay sometimes but ONLY with each other because wanting or having sex with anyone other than whoever you’re spending the rest of your life with is sinful and bad and wrong, ESPECIALLY if it’s *gasp* queer sex—

🙄🙄🙄🙄🙄 anyway, I grew up with that shit and have no patience for it anymore. People are people. Most people date and experience attraction and have sex. Most people do those things with more than one person in their lifetimes, hell, many people fall in love with more than one person in their lifetimes. That’s life. Idk if the people clutching pearls in my inbox are purity-culture-poisoned or ignorant or what, but shockingly enough people can and do date other people while having feelings for someone else all the damn time. I’ve certainly done it!

It’s also just extremely bad media literacy. They have spent years telling this love story for Buck and Eddie. Years. The audience knows them, the audience loves them. The writers would be the biggest fools on the planet to throw away their own hard work like that. Tommy isn’t going to be an endgame LI for the same reason that none of these other random women were endgame LIs—because in order to get the audience on board for that in the face of such a long and developed arc with Buck and Eddie, it’s a huge lift that requires them to be SUPER well-developed in their own right, and the writers haven’t shown any interest in even attempting to make that effort. And furthermore, the complaints about making Tommy a carbon-copy of Eddie are like…that’s the point? Buck likes those things about Eddie. Buck is attracted to those things about Eddie. But Buck is too close to this situation to figure it out—he needs to have his queer awakening with someone else to be able to see what is right in front of him, namely that he’s been in love with his bff for years, which is an experience that has afflicted countless bi people before him, including myself. You don’t have to be a genius to see the vision, you just have to stop approaching the subject with the absolute most bad faith imaginable, and also stop assuming the writers are approaching the subject with the most bad faith imaginable.

Because I guarantee you, even if it’s for the purely selfish reason of wanting their names to be attached to the love story that made tv history, the writers are not going to throw years of storytelling in the garbage for no reason.

[the-cryptographer]

As a disclaimer: This is very deep in the DA2 approval lore. And this is a very buggy game and I can in no way guarantee that this wasn’t just a programming mistake. And beyond that I think many of the approval point calculations in DA2 were poorly considered, and I would totally be brushing this as one of them if it was about any other two characters. But I’m going to let myself indulge this one and feed my merders agenda m’kay.

Very obsessed with the change in Anders approval rates between the first and second passes on giving Merrill the Arulin’holm. And I really do wonder if it was on purpose and what, if anything, the writers intended to say here.

Without, like, installing the new EA app on my dying laptop and running off to get the screenshots as proof, iirc the first pass happens right after Marethari has given Hawke the Arulin’holm. Merrill is at that point breathing a sigh of relief that Marethari has relinquished it in the first place, and largely taking for granted that Hawke will hand it over.

It’s after that first pass that Merrill realises she has to make a rhetorical claim to the artefact. And her argument is basically this isn’t Hawke’s decision to make and she knows what she’s doing.

And Anders doesn’t have any dialogue here between these two choices but I am intrigued by the possibility that he did find that argument at least partly convincing. Note you do still get +10 approval for refusing to hand it over, so he’s def not broken up about whether Merrill actually gets what she wants here or not. But I like the idea that for a moment he recognises part of himself in Merrill. Like, he may not support what she’s doing or approve of giving her the Arulin’holm, but maybe he approves of the fact that Hawke is deferring to another mage’s decisions and expertise. They are living in a time when the general consensus is that mages shouldn’t be allowed to be in charge of their own lives, in a time when Anders himself is constantly dealing with others’ judgement about the choices he’s made with Justice and the Underground and the sacrifices he’s made with his time and health to sustain them. So maybe Hawke understanding that and responding in defense of mages’ right to those choices is as important in his eyes as whether Hawke agrees with his feelings about the actual choices themselves.

(And all that being said, Marethari handing an ancient Elvhen artefact to a human, knowing Merrill would do anything to get it, knowing Merrill is isolated in an environment when Hawke holds clear social privilege over her, is fucked up in ways Anders won’t even begin to understand. So, yeah, this post isn’t trying to erase any of the ways he’s still being awful in this scene as much as trying to examine the specific nature of how.)

[maybeitsalivescribbles]

VH - The Notice

(TW: the worst, lamest knifeplay you’ve ever read)

Villain was angry, disappointed, and most of all, confused. Fortunately, nothing can clear the ideas up like a good notice. Unfortunately, this was the one they were reading:

Congratulations for your new purchase of the All-Cutting Tool™ ! The All-Cutting Tool™ combines the ancestral knowledge of mankind and the new * cutting edge * technologies by combining an elegant, comfortable, ergonomic wooden handle with a sharp stainless steel blade at the end. Simple and easy to use, the All-Cutting Tool™ will remind you that a problem with no solution doesn’t exist...as long as you have the right tool by your side ! In the comfort of your own home, connect with your ancestors by cutting your belongings with your own hands , and feel the life force you have taken from a piece of wood, a steak, a mighty carrot or your own foes !

“Yeah, yeah, a lot of meaningless stuff, what I want to know is how to deal with problems with the product – cutting objects, cutting food, cutting remarks – ah there we go, cutting your foes, section D.”

Caution ! This usage is widely considered illegal. The All-Cutting Tool™ Company does not condone acts of violence. As such you won’t be refunded in case of misuse.

“Aw man, of course the guarantee won’t work. They count on it, the bastards.”

Warning ! Most people are reluctant at the idea of being cut up. Before beginning, if your victim is alive, make sure it’s tied up for your own security. You risk to be severely injured if it can move. For more security, think to add a gag or even a blindfold (see our other products on our website).

The process is similar to cutting meat, as it is more or less the same fabric. The main difference is that if the victim is alive, it’s likely to be squeakier and twitchier. For a precise cut, secure the place you want to stab. (See 1b, 1c, 1d). Maybe write an x on the skin or something. We don’t judge. If you want to hit a lethal part of the body, stab these parts (see 2a, b, c, d).

Warning ! If you hit a lethal part, your victim won’t be able to move or to make a sound anymore (except the occasional aaaargh, maybe). This action can’t be reversed and should be reserved for experienced users. Think wisely. Also it’s illegal (for related problems, contact our lawyers).

To cut your victim, take your All-Cutting Tool™ by the handle. Take a deep breath. Look at the body part you want to aim. Think of fun One-Liners to say at this moment (for ideas, you can consult the forum on our website). Then strike (use your shoulder muscles, not your wrist so you don’t damage your joints). The pointy part of the tool should interact with the meaty part of the victim with enough strength to pierce the skin. Bleeding should ensue. If not, repeat the same movement at the same place until the expected result.

“Yeah, but that’s the problem, assholes ! The expected result is...never mind. Let’s try one more time, shall we ?”

Hero shrugged as much as a proper tied-up foe could shrug. Villain carefully put the notice away, took their shining new tool in their hand, and then, their lips pursed in concentration, recited:

“So, the pointy end towards the victim... I aim at a fun body part, let’s say kidneys...the impulse is coming from the shoulder and here goes nothing -”

They struck with all their strength in a move that would have made any notice writer proud, except the result. The blade did hit the skin as intended, but then it bounced, making a sound like this:

“Zdiiiiiiiingbonnng”

“Aw, come on !”

They shook the blade to no effect. With a skilled tongue movement that would have made many an eyebrow arch, Hero could finally get rid of his gag with which he was struggling since a while, and said:

“May I explain ?”

“I’d rather you’d bled.”

“Yeah, but it won’t happen.”

“But why ? This All-Cutting Tool™ is new !”

Hero slipped a hand out of his bonds to rub the bridge of his nose.

“It’s a knife. It’s literally a knife. Listen, my deal is that I’m actually a vampire. Hypnotism, super strength, super durability, the whole package.”

“Okay, but -”

“I’m supposed to pass myself as a victim so I can see how you act.”

“Right - “

“I swear that usually I’m smooth. But then I told you to get the notice for the knife – a fucking knife – and it was supposed to be banter, you know -”

“Uh-uh -”

“-But then you’ve actually read it out loud with a straight face -”

“Yeah -”

“-And then I’ve lost all hope about this mission. So here’s the deal: I’m going to bring you down, you will not resist and I won’t tell anyone what happened.”

“Fine. Fair enough.”

*

Vampire Hero is now a recurring character. His job is to troll current villains. Check the Vampire Hero Masterlist or Tag for more snippets with him.

Or back to Hero x Villain Masterlist.

[fatalism-and-villainy]

Okay, further rumination on the topic of ao3 comments and why they’re a less-than-satisfactory form of communication for me, because I have been rotating this topic in my mind and it is now smooth as a river stone (thanks @Hannibal watch buddy for that turn of phrase) -

I think part of what feels so foreign to me about ao3 comments is that I’ve just… very rarely felt the urge to talk to an author of a work of fiction that I’ve enjoyed. It’s not a natural impulse for me. When I have felt that urge, it’s usually been in response to theory and other such academic nonfiction, because part of the point of that stuff is to open a conversation. It’s a foundation that invites others to build upon it, in a way that includes the author. Fictional texts are also always open to more criticism, and when they’re really good they’re like a constant ever-expanding interpretive universe unto themselves. But with fiction, the author isn’t a part of that interpretive process, and in fact it’s detrimental for them to be.

So when I’m compelled to write up a reaction to a piece of media, it’s usually not an “author-friendly” form of engagement - either because it’s critical in some way (and it’s very rare that I have absolutely no quibbles with any piece of media, even if I like it and agree with what it’s doing interpretatively), or because it’s authoritative in such a way as to be overbearing and presumptuous when presented to the author themself. Or, to explain that second point more - most analytical points I might make would come together to form a “reading”, a claim on my part as to what a story is doing. And that doesn’t seem appropriate to me in author-reader interaction. So I often feel stifled when trying to share my thoughts on a story, particularly in a formal commenting context.

Another option for interaction with authors would be asking authors what their interpretation is, or what they were trying to get across, or whether they intended to evoke what I took away from the story. But the problem with that is that those feel more suited to a work that is still in progress, and ao3 isn’t a writers’ workshop. The fics are either already finished, or they’re ongoing, but readers aren’t a part of that writing and editing process.

And the other thing is that I’m just… very uncomfortable with intense displays of emotion. Even if I loved a story and was powerfully moved by it, it’s very difficult for me to express that enthusiasm in text form - it feels affected and stilted and unnatural. (And I also get uncomfortable seeing others’ unbridled enthusiasm in ao3 comments, when it’s presented in the form of “squeeing” - you know, with a lot of exclamation marks or keyboard smashes and whatnot. There’s nothing wrong with form of self-expression, but it’s not my thing and it’s not a cultural aspect of the site that I feel comfortable engaging in.)

So, my question to myself is: when and in what way does it feel natural to me to engage with fic writers on ao3 via comments, or to have readers engage with my fic?

And the answer to that, I think, is indicative of how academia shapes my approach to fandom. Because given the adaptational quality of fanfic, and the fact that it’s arising from shared contextual knowledge of the source material, my instinct and what I’m most comfortable with is to take the conference approach, and use the specific fic I’m reading or that I’ve written as a starting point to discuss the canon itself. And while some ao3 comment exchanges are centered on discussing and coming to a richer understanding of the source material, it’s far from guaranteed.

And on top of that, the comment culture on ao3 doesn’t have a lot of back-and-forth, or space or invitation to expand on your thoughts or build off each other. There’s no room for discussion to evolve. Everything you want to say has to be contained in one single comment - so if you don’t already know the author, it’s hard to gauge what kind of discussion they would even be open to. So frankly, I feel that the culture there incentivizes bland, form-letter comments and shallow discussion.

I feel a lot of these points from the author side of things, too. Sometimes I’ll get comments where people are interpreting or emotionally responding to my stories in a manner pretty distinct from my intention - and that’s inevitable! That’s what fiction does! Everybody takes away something different, and stories gain new life when they’re liberated from their creators’ meddling. But it makes me faintly uncomfortable, because I just… don’t know what to do with comments like that. It feels against my principles to correct people about their interpretation of fiction, because of, well, pretty much the entire ideology re: fiction and interpretation that I’ve laid out here. It’s different from meta, where it feels not only appropriate but the entire point of the format to engage with people’s interpretations of what you’re saying, and to say, “I actually interpret that differently” or “that’s not quite what I meant there”. But with fic… if I can’t discuss my own ideas and interpretations, as the author, I’d honestly rather not know what people think and feel. Or at least, I’d be open to a conversation about that, between fellow fans who are using my fic as a starting off point for discussion about the source material. But I’d much rather do that on discord, or some other platform that feels like it engenders actual conversations, rather than the one-two punch of “[compliment][gratitude]”.

And honestly, the reason I started writing fic at all, back in 2020, was because I wanted to retreat into my own world. I was weary of meta, and having to explain and justify my responses to the text. I still love meta, and it’s still the primary point of doing fandom at all for me. But sometimes, I do need a break from that, and need to be able to ensconce myself in my feelings about the text in a format that people can’t as easily poke holes in. So that’s partly why I’m considering turning off comments on ao3, at least just as an experiment, and having conversations about my fic on other platforms.

That, and perhaps I just need to start posting more meta to ao3. :)

[chrkrose]

Hey, firstly I really like your blog and opinions on ASOIAF. I wanted to talk about the fandom perception of Jaime and Cersei, especially Cersei and how weird it is lol. I was on another blog and the person was talking about 'overly/unfairly hated female characters due to sexism and misogyny' and there list included Shiv Roy, Skyler White, Alicent, Catelyn....and then Cersei. And I was just ???? I saw another person say this but, I think a lot of ASOIAF fans are not willing or are incapable to meeting GRRM where he is at with some of his plot points or characterizations. People will say 'ohhh the fandom claims that Jaime and Tyrion are less worse than Cersei and that is misogyny' and I just want to be like, is it misogyny or just...a correct reading of the text lol? Like, you can argue that it's problematic that GRRM made Cersei the most evil out of her siblings, who are male, but that doesn't change canon? That is still his authorial intent lol. Like, she killed her friend at the age of 11, she murdered literal babies, threatened Mya's life, sent women to be tortured, etc. like she's written to be an evil sociopath the criticism and 'hate' for her is warranted lol.

Not to defend Robert, but people constantly using him as a shield for Cersei when she literally murdered his children and threatened to murder Mya when he wanted to bring her to KL?? Like, I know fandom refuses to acknowledge this, but I guarantee GRRM considers Robert a better person than Cersei, not like that's saying much. I think GRRM telling us Cersei aborted Robert's babies is not like some.....Feminist Girl Boss move....Martin literally wants us to be disgusted by her actions, yet I've seen metas applauding this for taking her AgEnCy lmaoooooo? Like you're literally applauding sociopathic behavior that the author intended to be sociopathic and evil LMAOOOO????

I feel like people want to point out valid sexism against female characters but have over corrected to the point that female characters like Cersei, that are meant to be hated and make our skin crawl, are now being defended because *checks notes* some shallow reading of feminism meaning you have to support every female no matter how gross her actions? I just don't really get it and this twisting of canon to fit the 'Cersei is actually a victim not a villain you guys and if you disagree you are SeXIsT' is so bizarre. Just say you don't agree with the characterization by GRRM and go, instead of trying to re-write characters to fit an agenda.

100% everything you say. I’ll repeat what I said about HoTD writers and their girlbossifying of Rhaenyra: we have several female characters to represent several archetypes in the main saga, why do we need to whitewash/justify/girlbossify Cersei to fit her into one of those archetypes? Why can’t a female character be a villain and be written as such? Why do we have to always give some sort of “motherly” background to a female character so her actions can be justified under the guise of feminism? Why can we have complex male villains who are discussed and have engaged metas written about them but we can’t have the same for female villains because that’s “anti feminism” if you don’t find some sort of justification that puts her into a box of “actually she’s not bad she’s just a victim of patriarchy and that made her like this, she’s just a mother in pain”. Like do they think THAT is more of a feminist take? That’s D&D level of feminism analysis that’s what. Denying cersei the agency of being both a victim of patriarchy while also being an abuser just makes her so one note. It’s much more interesting and complex to analyze and empathize with her under the lens of how she doesn’t have to be perfect, or even GOOD, to be a victim, that her abuser might actually even be a better “person” than her in terms of their inner thoughts and feelings and still doesn’t make it right what she went through, while also showing how she can be evil by nature and do horrible things because that’s who she is, and she doesn’t need excuses or justifications or be labeled a “mother in pain” for doing those acts and being an abuser herself.

[arthurdrakoni]

Hover Car Racer might be aimed at kids, but don’t let that dissuade you. It is a high-octane thrill ride that can be enjoyed by all ages. This is my review.

Hover Car Racer takes place in the not too distant future where transportation has been revolutionized thanks to magneto hover drives which draw power from the Earth’s magnetic field. The sports of racing has also been revolutionized by hover technology, and hover car racing draws millions of viewers and captivates countless nations. The book follows a fourteen-year-old hover car racer from Australia named Jason Chaser. Jason has just lost one of the biggest races of his life, but he’s also attracted the attention of former racing champion Scott Syracuse. Before long Jason and his little brother Bug are whisked away to the International Race School in Hobart, Tasmania. Jason and Bug are about to be in for the ride of their lives.

Yeah, if you’re thinking that this book kind of sounds like Harry Potter meets Speed Racer, you wouldn’t be too far off. That having been said, it doesn’t make the book any less enjoyable. What makes Matthew Reilly such a talented writer is the way that he is takes concepts that seem cliché and manages to make them feel fresh and exciting. He may write books that are primarily intended to be fun and entertaining, but it’s clear that he puts a lot of hard work and effort into his books.

This book had been on my to-read list for a while, and I’m certainly glad that I finally got around to it. If you’re sick of books that spend too much time on filler, padding and introspection then you’ll enjoy this book. Everything that happens has some significance in advancing the plot. The plot and action moved by like a speeding hover car, but it never felt rushed or poorly paced. This was a really fun book, pure and uncut fun. Blame it on all of the Mario Cart I used to play, but I’ve always had a soft spot for racing stories.

What I liked about Jason wasn’t so much what he was as what he wasn’t. A lot of people’s complaint with Speed Racer is that Speed is a boring invincible hero who is guaranteed to win no matter what, but that’s not the case with Jason. He has to actually work for his victories, and there are just as many times that he fails as when he succeeds. This makes all of the races genuinely suspenseful sense there’s no guarantee that Jason will come out on top. It also makes his hard work and victories feel genuinely satisfying.

There’s a ton of references to classical works scattered throughout the novel. For example, we’ve got a hero named Jason who pilots The Argonaut, flies through two clashing icebergs and towards the end of the novel he retrieves a Golden Fleece as part of the final race. Jason falls in love with a girl named Dido who ultimately proves to be a distraction on his quest. Later we see a Greek racer who pilots a car called the Arion, after the horse of Heracles, and there’s a few other references as well. You don’t have to catch any of these references to enjoy the novel, but it gives you a little something extra.

There is an audiobook version narrated by Sean Mangan. Initially I wasn’t quite sure if it would work out, since Sean is American and Jason is Australian. However, I’m happy to report that Sean more than delivers. He really does a great job bringing all of the characters to life. I guess it makes sense that the producers didn’t go with an Australian, given that Jason and his family are pretty much the only Australians in the entire book.

All in all, Hover Car Racer is a high-octane thrill ride powered by Rule of Fun and Rule of Cool. If you’re looking for a science fiction take on racing, this novel can’t be beat.

Have you read Hover Car Racer? If so, what did you think?

Link to the full review on my blog: https://drakoniandgriffalco.blogspot.com/2017/02/book-review-hover-car-racer-by-mathew.html?m=1

[marketingprofitmedia]

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HeyBooks Review: OTO’s And Pricing

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Check Out My Previous Reviews: MailPal Review, Visionary AI Review, EbookFusion AI Review, and Niche Profit Secrets Review.

Thank for reading my HeyBooks Review till the end. Hope it will help you to make purchase decision perfectly.

[munsons-maiden]

Hey Kiks! I had sent this to someone else about the book, but I thought I’d send this to you as well, since I know you have some feelings about it, and maybe it could make you or some of your followers feel a bit better?

It’s basically adding context for those who may not understand licensing when it comes to the ST books. Licensing, for anyone who doesn’t know, is basically when you acquire the rights for a certain amount of time to use the intellectual property of company to create media and/or products for a specific project. For Ex Hello Kitty/Sanrio. Your company wants to make notebooks using Hello Kitty characters but you don’t own the copyright, so you license the rights from Sanrio to specifically make notebooks. Same with movies based on video games, they license the rights from video game companies to make those movies. Same with the ST books, the publishers don’t own the rights, so they license the name and likeness of characters owned by Stranger things/Netflix to write their own stories. From this point on, the books can be about anything, but from what I’ve seen of the ST books, they try to not interfere too much with canon(though the various books tend to both contradict each other and the show). At the end of the day, the purpose of licensing in this way is essentially to generate extra income and as a form of cross-promotion/to increase visibility.

There seems to be some confusion around this, since the staff writer contributed to the writing for S4 and Eddie to some capacity. I think some people may be a belief that this book was handled a different way than the other, but it was licensed by the publisher the same way the other novels are, it wasn’t a special partnership of any sort. And staff writers have been involved with the creation of the other books, for example Hoppers book. That author worked with Paul Dichter, a staff writer, for the creation of it. While no one from the ST team has made statements on Eddies book, it’s been stated that some of the books(rebel robin and Lucas’s book for example) aren’t considered canon.

Additionally in terms of Paige, I actually liked Paige’s character and felt for her, but people were confused about what a small role she ended up playing. it’s possible that a romantic interest was something that was not originally planned for but was at some point required from those that are higher up to include in the novel, to appeal to a YA audience. Not saying this is was what happened, but it’s possible. If this was the case it could be that those involved in the creation of the book tried to include Paige in the least intrusive way possible romantically so as to not put off readers. Or maybe Paige was intended to be a romantic interest in the beginning. The point is, especially with a more commercial project like one, where Eddie’s likeness and popularity is being capitalized to generate profit, the process isn’t straightforward, it’s guaranteed that there were many changes in the process and hands in the pot. From someone who is in the profession - there zero chance the writer thought of a plot and then saw that original plot through more or less unchanged to the end, without copious amounts of“feedback” from higher ups/stakeholders etc.

I think for those that want to fold the content of the book into their own HC and lore, the book has plenty to offer and had very background stories. But if thinking of licensed projects from more of a business perspective helps those that want a bit of mental separation, maybe this would help. Think of movies based off video games - any characters, plot points, etc those movies might add, aren’t typically considered canon. Viewing of FOI as a multiverse version of Eddie is totally valid :)

Thank you so, so much for shedding some light on the matter of canon! It definitely helps to understand the process of creation of this kind of project 😅 And it's nice to know that both perspectives on whether it's canon or not are equally valid.

[gaysindistress]

LOVED the bucky imagine with them having a secret crush on each other, and y/n confessing before her date❤️ But there was WAY TOO LITTLE GROVELING😭 I need Bucky to be begging her for forgiveness after all he made her go through. I mean, SHE WAS HAVING PANIC ATTACKS FOR GOD SAKE. If you make a part 2, please include some grovelling for my sanity❤️

Hey babes,

It’s time we have a discussion about the expectations surrounding requests.

I’m very grateful and appreciative of the ones that I’ve received as well as all of the new people and support. With this influx, I’ve noticed a few things that I feel need to be addressed when it comes to requests. Id like to acknowledge that the overwhelming majority of people have been very kind and understanding. I’d also like to say that this is not meant to be negative or an attack on anyone and I was already planning on adding a similar note to my guidelines. Moving right along…

First and foremost, requests are not a guarantee.

I do my best to write all of them however I can’t guarantee that I will as not everything will work with my muse. I don’t think it’s fair to post a fic that isn’t up to my personal standards simply because it’s a request. I want everything on my blog to reflect the love and respect I have for writing which means I’ll only post what I feel is good quality. I’m also not going to force myself to write something just because someone asked me to. Again it goes against my quality over quantity rule (which applies my non requested fics as well).

Secondly, writing is a hobby for me.

As much as I would love to get paid to write and post, I don’t. This is all done simply because i want to. I have a very busy life outside of tumblr so my free time is limited and there’s even less to devote to my blog. I also started posting as a form of self care and in order to keep it that way, I give myself limits on how much time I devote to writing and working on my blog. Obviously I’m more active some days than others or not at all and that is okay. Personally I would much rather see a writer go MIA for a few weeks so they can recoup than watch them lose their passion entirely and disappear.

Third and finally, remember to always be kind and have empathy.

It’s easy to forget that there is person behind the username and profile picture. Even though our words may be typed, they still have an effect on people and we have to be mindful of that.

In regard to this particular ask, I truly believe that this person only meant to give feedback and did not intend to insult me. However the fact still remains that I was genuinely hurt by it and even cried when I first read it. Now that I’ve had the day to reflect, I understand what they were trying to say despite the poor word choice which leads me to my next point.

While I don’t believe it wasn’t meant to be hurtful, this is a backhanded compliment and not how you give appropriate feedback. Giving feedback can be very complicated because it’s easy to say and mean one thing but it comes across the complete opposite way.

If you’re going to give someone feedback, always make sure to say something positive it is important to let people know what they are doing well addition to what needs improvement. It doesn’t have to be an elaborate essay where their usage of tone words is analyzed. It can be as simple as commenting on how well they described the setting.

Second; be specific about what needs improvement. If you’re making food and ask someone to taste it because something isn’t right, you wouldn’t want them to just say “yeah it’s missing something.” You would want to be told exactly what is missing and how much to add. The same thing applies to writing. Tell the writer exactly what needs improvement and be prepared to explain your thoughts. In this case, “add more groveling” is the “yeah it’s missing something.” There aren’t specifics for me to focus on and brainstorm for. Making specific recommendations like “I would like to see more of the panic attacks so the audience gets a better feel for how deeply his behavior affected her” are going to give a writer more to work with and thus produce better results.

And lastly a writer is not required to accept feedback. I feel like this is pretty self explanatory; feedback is someone’s opinion and no one is required to listen to it.

All in all, I’m not trying to bash this anon and I hope that if they read this, they don’t see it that way. Had this not been an anon, I would have addressed it privately and just added something simple to my guidelines like I said in the beginning.

Once again thank you for all of the support and encouragement. It means so much more than I can ever say 💕

Love,

Rose 🌹

[news-ld]

the program so you don't miss anything from the annual video game "festival"

The Summer time Game Fest is a web based competition devoted to video video games. SUMMER GAME FEST The (more and more unlikely) return of the Digital Leisure Expo (E3)? It is nonetheless not for this 12 months! Essentially the most well-known video game honest, a should since 1995 and in issue since the Covid-19 pandemic, has once more been deprogrammed this 12 months, onerous hit by the lack of assist from the giants of the sector. Since this disappearance, the traditional June conferences of impartial publishers and builders have taken place in the wake of the Summer time Game Fest, a promotional night launched in 2020 by Canadian host Geoff Keighley and broadcast on the Twitch video platform. If this collection of summer time conferences thus technically started yesterday with the Guerrilla Collective On-line Showcase, it's certainly tonight's occasion that can kick off what guarantees to be a busy week for video game information. . Here's a information to seek out your approach round the fifteen occasions that punctuate it.

June 8

- Opening of the Summer time Game Fest - Future Video games Present Summer time Showcase - Xbox Video games Showcase + Starfield Direct “Starfield” is an motion role-playing video game slated for launch on September 6. Airs at 7 p.m. on Twitch and YouTube. Right here is the second essential course of this collection of conferences, after the Summer time Game Fest. The eyes of players will probably be notably riveted on the bulletins of the subsequent Xbox exclusives, nonetheless uncommon for 2023 and 2024, in addition to on the house role-playing game Starfield from Bethesda, the flagship launch of the 12 months for Microsoft's gaming division. Airs at 10 p.m. on Twitch and YouTube. gaming laptopthe British journal of reference for PC gaming, returns with a web based occasion that always shines with its revelations regarding demanding or cutting-edge video games, but in addition with a number of bulletins about pc {hardware}.

June 12

Airs at 7 p.m. on Twitch and YouTube. The French writer is touring to Los Angeles for its main convention of the 12 months. To seduce, Ubisoft intends to depend on two blockbusters: Murderer's Creed Mirage And Avatar: Frontiers of Pandora. Making an excellent impression is essential for the firm, lately shaken by a disappointing monetary outcomes, the postponement of the exit of Cranium and Bones and the obvious medical loss of life of the undertaking Past Good and Evil 2. Airs at 11:59 p.m. on Twitch and YouTube After the surge road fighter 6 and the uppercut from the remake of Resident Evil 4, the Japanese Capcom doesn't intend to take a break in the locker room. A thirty-six-minute convention was introduced at the final second by the studio, which is at the moment getting ready Dragon's Dogma 2 and an augmented actuality undertaking in the universe of monster hunter.

June 14

Broadcast at 8 p.m. on YouTube and on the IGN web site. So as to not be crushed by the bulletins of "AAA", the massive finances video video games that entice all eyes, the technique of the VR professionals is easy: arrive first, like the Meta Quest Gaming Showcase of the 1er June, or shut the festivities, like this convention of the American web site UploadVR.

June 16

Airing at 5 a.m. on Twitch and YouTube. Ryu ga Gotoku (RGG) is the Sega studio chargeable for licensing Like a Dragonbeforehand generally known as Yakuza. A convention geared toward a small viewers of followers, on the lookout particularly for unseen sequences of Like a Dragon Gaiden: The Man Who Erased His Titleanticipated this 12 months, or Like a Dragon 8scheduled for 2024. Pierre Discovered Source link Read the full article

[caroldantops]

hi nonnie! i think that you bring up some fair questions but you’re missing a few important bits to this one specific scenario

1) motts and i are friends! we talk about stuff! she just assumed i might write those things so she didn’t wanna step on my toes and do the same thing - i’ve had these convos before with her and other writers bc i personally like to let them know like hey, I’m writing something that might be kind of similar to something of yours just a heads up! and usually they don’t care! but i like to anyway, gives me peace of mind and also in case people accuse me of taking someone’s idea, I’ll be like hey :) dw we chatted already

2) maybe motts doesn’t want to write those things and was just directing people who might want to still see those things to someone who is or has written them, like she said! it can literally be as simple as that. she didn’t even like, say anything about copying me, she just said she thought i was gonna write them

3) this is kind of a point just from my personal preferences when choosing fics to write: maybe I’m not worried about copying and just wanna write something different 🤷‍♀️ for instance i love and adore vampire and werewolf fics but they’re pretty common so i try to seek out other ideas, not bc I’m worried about copying those but just because i wanna do a new take on characters

(also i got a little bit ranty with this next bit and it is completely on me so don’t y’all come bitching to motts about what i say, come to my blog and bitch to me.)

and may i just say, from my perspective, you seem like, way more hung up on the fact that someone trying to offer a polite courtesy to their friend or just a fellow author might affect your requests getting filled rather than worrying about writers being scared to write something for fear of copying.

“why even ask if you’re gonna do this?”

because we like interacting with our readers? because we like getting ideas from y’all even though we might not use them? because we wanna know what our readers will enjoy reading? just because someone happens to decide to not do something doesn’t mean them like, gauging ideas is pointless because guess what, we’re writing it so we get the final say, and we wanna write something we’ll enjoy writing.

writers don’t have a legally binding obligation to write every single request they get. they can literally say no for any reason, whether it be “my friend is doing something similar rn!” or just flat out “i don’t want to write this”, we can say no to it and you just have to accept that because guess what? you’re not paying for a service.

this is the reason i say i take suggestions and not requests. the entitlement of some people is far too great and i’d rather not come to hate my hobby.

idk, maybe you didn’t intend it to come out that way so if you didn’t, that’s my bad for interpreting it this way, and i apologize for scolding you about it but that’s genuinely how I’m reading into this message.

it gives a very similar energy to a common tumblr writer pet peeve of like, the same person sending the exact same request to a bunch of blogs to like try to guarantee someone will write what they want, which i know for me and maaaany others, makes us just feel like machines for y’all’s entertainment rather than what fandom is supposed to be about which is collaboration! coming up with ideas together! making beautiful little worlds for all of us to be delusional in!!

https://www.tumblr.com/caroldantops/728219616857473024/succubus-or-ghostnatasha-ofc-some-smut-if

does it really matter for this if someone you know is doing the same thing? lots of ppl come up with these same concepts, and plus it’s a request/idea that y’all writers are asking for ideas from us readers… but don’t write it just bc someone you know is doing it? I’ve seen hundreds of fic’s with similar requests/plot ideas and each is a different writing style it doesn’t matter if you know someone who is going to write it, it’s two completely separate blogs and writers. And the request also mentioned smut, nothing about it being sad or anything. Like y’all aren’t copying one another.

Genuinely don’t get it? Why even ask for ideas to help with y’alls writing if you’re just gonna do this? /gq

This is… really deep thought for something that boils down to being as simple as I personally don’t want to write the same things my friend is for the same event? 😅

Just because writers ask for ideas doesn’t mean we have to take them, write them, etc. Me saying that Silver is doing it is just me politely saying no, but directing that person to where they can get the content they want.

Kinktober in itself is a smutty event so yes it’d be smutty, Silver saying her ghost nat fic was sad was because it was; she posted it last year and it was sad, but that didn’t affect me doing it or not doing it.

I don’t consider it copying, I just don’t want to do it right now. And if you look at my original post about kinktober this year, I specifically said I’m not taking requests, I just wanted to see what types of Nat fics my followers might want to see, not guaranteeing that I’m writing any Nat fic at all.