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kikyoupdates · 14 hours ago

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Tears of a Villainess ⭑˚🗡️⭑ 𝑓𝑎𝑟 𝑡𝑜𝑜 𝑑𝑒𝑠𝑖𝑟𝑎𝑏𝑙𝑒

yandere!ocs x reader

yandere, reverse harem, isekai, original characters x fem!reader, slowburn, slowburn yandere

Reincarnation isn't as great as it sounds, especially when you've been reborn as none other than the villainess. Fated to die if you stand in the heroine's way, you immediately resolve to distance yourself from the plot. As long as you have nothing to do with any of the relevant characters, surely, you'll be able to avoid an untimely death. But in a horrible turn of events, the heroine ends up wanting to get close to you. Are you really doomed to meet the villainess' tragic end? Or is there an even more sinister fate that awaits you?

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You’re straight up not having a good time.

Normally, these kinds of events are meant to be fun. Back in your original world, people would get together to kick back and relax, seeking respite from their busy day-to-day lives. Parties and social gatherings are supposed to be things to look forward to.

In this world, however, that’s not the case.

Living among the nobility is a staggering difference from what you once knew. Very few people are actually here to enjoy themselves. It’s all about maintaining appearances, and everything you say or do will likely be held against you at some point. Everyone hides their true intentions between fabricated smiles and thinly-veiled threats. It’s a dizzying, confusing affair, and since everyone thinks you’re the villainess, there’s no end to the unwanted attention you receive.

But that’s not even the biggest problem. It’s one thing to have to try and navigate through this new environment you’ve suddenly been dropped into.

It’s another thing to have to convince the villainess’ best friend that you’re actually who you say you are.

“[Name], where are you going?”

Flynn keeps following you. Rather foolishly, you’d hoped that he would leave you alone after you wandered off. But no, he insists on sticking to your side like glue, and he doesn’t bother to hide how suspicious he is.

“Is everything okay?” he frowns. “You seem… agitated.”

You nibble on your bottom lip.

Of fucking course I’m agitated! You’ve been grilling me nonstop from the very start! I only know a few facts about the villainess based on the game! I don’t know the inner workings of her entire goddamn life!

“I’m just bored,” you try to dismiss. “There’s nothing to do here.”

“Couldn’t we find someplace to talk instead of you walking around in circles like this? It would help the time pass faster.”

As if. Not only do you want to avoid him for the sake of preventing a potentially gruesome death, but above all else, he knows way too much about the villainess. He’s already asking a ton of questions, and you’ve barely spoken two words to him. He’s simply too perceptive for his own good.

You strain a smile. “I’d rather not stand still right now.”

“Hm,” Flynn frowns. “Like I said, you seem agitated. But why?”

“I don’t know. Maybe they laced that wine with something,” you shrug, chuckling a bit.

He doesn’t seem amused in the slightest, and you desperately try to remember whether the villainess had a sense of humor that extended past bullying others for fun.

Honestly, probably not.

“Okay, well… gotta go!”

You high-tail it out of there, but unfortunately, you’ve come to realize that running in heels is a giant pain in the ass. It’s the main reason you haven’t been able to give Flynn the slip yet. All he has to do is speed-walk a bit, and he’s able to keep up with relative ease.

However, Lady Luck decides to shine down upon you, and in the few seconds that you stumble clumsily and manage to place a bit of distance between yourself and Flynn, you happen to run into your parents.

Your mother is quick to frown. “[Name]? What’s the matter with you, girl? Why are you running around like that? It’s improper.”

“I feel sick,” you immediately blurt, with the same energy as a young child walking into their parents’ room to tell them they threw up.

She takes a few moments to look you over, and fortunately, the nervous beads of sweat on your brow and overall frantic expression must be rather convincing. Your father was engaged in a conversation with some other nobleman until just a second ago, but he too turns to look at you, visibly concerned.

“I’d like to go home,” you state. You add, with a shaky breath, “Please.”

Right at that moment, Flynn walks up from behind, having just caught up to you once again.

“[Name],” he sighs. “Seriously, what’s going on with you today? You’re acting—oh. Apologies. I didn’t see you two there.”

Flynn politely greets your parents, but they don’t pay him much attention, because they’re far too preoccupied with fussing over you.

“Hello, Flynn,” your father mumbles in a hurry. He presses a hand to your forehead, which is undoubtedly clammy, because you’re a nervous wreck right now. “Oh dear. Forgive me for not being able to stick around for a chat. [Name] seems to be feeling ill. We had better take her home so she can rest.”

You watch as Flynn’s brows lift. “What?” he frowns, turning towards you. “Is that true? I thought you were just agitated. Do you really think they put something in the wine?”

“Who put what in the wine?” your father gapes.

“I-It’s not like that,” you chuckle awkwardly. The last thing you want to do is unintentionally frame someone for drugging you. “I was just kidding. Um… but I really don’t feel well. It’s possible I might have caught a cold. Or maybe I just haven’t gotten enough sleep lately. I’m worried I might collapse.”

What follows is quite possibly the biggest freakout you’ve ever seen, and honestly, it’s kind of fucking embarrassing.

“Collapse?!” your father exclaims. “Good heavens! Then we must get you out of here as soon as possible! Everyone, move! Give my daughter some space!”

He proceeds to pick you up into his arms, despite the flustered squeal you let out, and your mother isn’t any less dramatic, with all her nonstop desperate wailing.

You squeeze your eyes shut, mortified beyond belief.

Please, just kill me now.

There goes your plan of trying not to draw too much attention to yourself. All of the guests clear the way and let you pass through, but you catch them whispering amongst themselves, and you’re willing to bet they’re not saying nice things about you.

Oh, well. The villainess already had a bad reputation. You’d be a fool to expect that you could overwrite it so quickly. It’s just going to take some time.

You really wish your parents would calm down, though.

“Move, move, move! This is an emergency, goddammit! My daughter is barely clinging to consciousness!”

“Uh, I’m still fine,” you protest.

“She’s passing out quite literally as we speak!”

You roll your eyes and let your body sag, utterly defeated. Seriously, what a family of drama queens. You can’t even blame the villainess for turning out the way she did.

The only silver lining is that the evening is being cut short, and you don’t have to spend any more time with Flynn. You never imagined how stressful it would be to have someone scrutinizing your every move.

“Is she going to be alright?” Flynn asks worriedly. Your father is in the process of hoisting your body up and lifting you into the carriage. “Would it be okay if I come along as well, Count [Last Name]? She’s given me a fright. I’d like to stay by her side, if possible.”

Fuck no! Don’t do that!

You’re just about to protest, but thankfully, your father interjects before you have to.

“She is very ill, Flynn,” he mutters somberly. Which, again, is kind of ridiculous. All you said was that you were worried you might collapse, yet here he is, acting like you’ve just been diagnosed with a terminal disease. “Right now, she needs as much rest as possible, and time to recover. Our family physician will look after her. I’ll ask that you please give her space so she can properly regain her strength.”

Flynn isn’t able to hide his disappointment, but nevertheless, he nods.

“I understand, sir. In that case, I’ll keep her in my thoughts and wish her a swift recovery. Please let me know when she’s feeling better.”

I know I jokingly asked to be killed earlier, but can people please stop acting like I’m going to die?

You slump back into the cushioned seats inside the carriage and sigh heavily. This evening has been sufficiently exhausting, and in more ways than one. You wonder how you’ll be able to break off your friendship with Flynn. He seems rather attached to you, based on how worried he is, and you remember from the game that he vehemently defended the villainess’ actions at first, since they were such close friends.

Clearly, getting rid of him won’t be an easy feat, but in the interest of ensuring your safety, you’re going to have to make it happen.

“Goodnight, [Name],” Flynn says. He smiles encouragingly. “You’ll be alright. Be sure to get as much rest as possible, and I’ll come visit you soon.”

Unlike his smile, which appears genuine, yours is tight-lipped and forced.

I would much rather you didn’t.

“Mommy, can I have more apple juice?”

You hug the blankets closer to your chest and make puppy eyes at your mother, who leans down to affectionately pat your head.

“Of course you can, sweetie,” she beams. “I’ll have one of the servants fetch some for you right away.”

Well, it’s the morning after your parents frantically brought you home, and spoiler alert: you didn’t die.

You did, however, discover that your parents are even more whipped for you than you could ever have imagined. Which was kind of embarrassing last night, but in the grand scheme of things, you’re thankful.

If something goes wrong and you desperately need help, you have a good feeling that they’ll stand by your side.

Also, since they were so terrified last night, they’re pretty much giving you the princess treatment right now. You even got to eat breakfast in bed earlier.

Your mother has been more suspicious of your strange behavior compared to your father, who takes it all in stride, but she seems to have mollified a bit. It’s probably because you’re acting like a spoiled baby right now, which is much more in line with the villainess’ demeanor. You make a mental note to be a bit more bratty from time to time.

Flynn promised to visit you, but you told your parents that you still want to focus on your recovery, so he thankfully hasn’t stopped by yet. You’re going to try and keep him away for as long as possible, at least until you can figure out how to deal with him.

Anyways, you’ve got the whole day to yourself. You don’t even have to do any more math problems for a while, since you’re supposedly so sick. Haha.

You may not be a villainess, but you’re no saint, and you’ll take just about any opportunity to goof off.

“Fiona, come along with me to the garden,” you gesture. “I want to stuff my face with pastries and drink yummy juice under the sun.”

“My lady, shouldn’t you stay in bed?” she frets. “Your father made it very clear how ill you were… he said it was a miracle that you even made it through the night.”

Bro.

You roll your eyes and sip on your glass of apple juice. “He’s just exaggerating. I feel much better now. I’m just taking advantage of how much they’re spoiling me. Don’t tell them I said that, though.”

“Oh,” she blinks, realization dawning on her. After a few moments, she smiles. “I see. In that case, I’ll accompany you and ensure that I see to your every need.”

You grin widely.

“Thanks!”

And so, you spend the better portion of your morning doing nothing in particular. Honestly, waking up in another person’s body out of nowhere is a much bigger deal than you’re making it out to be. Anyone else in your position would probably have had a mental breakdown at the start.

But apart from the fear of the bad endings that the villainess faces in the games, you’d like to say you’re rather enjoying this new life of yours. Seriously, compared to being a struggling university student, drowning in homework and hefty loans, getting to eat delicious pastries while sitting comfortably in an extravagant garden really isn’t that bad. In many ways, it’s a massive improvement.

It’s a grim thought, but you realize there’s very little about your old life that you actually liked. It felt like you were just going through the motions every day, devoid of any real passion or longing. Ever since your parents died, you fell into a bout of depression and pretty much shut everyone out.

Being able to start over was surely a blessing in disguise, and all the more reason why you’re hellbent on protecting this new life.

“[Name],” you mumble in a daze, the taste of sugar lingering on your tongue. You stare up at the clear blue sky and smile. It isn’t the same name you grew up with, but from now on, it is your name, and you’re going to wear it proudly.

You hum, popping another pastry into your mouth. You could probably afford to hold back a bit, otherwise you really will get sick this time, but whatever. It’s a beautiful day, and you’re feeling great, and it’s so nice and peaceful right now—

Hm?

A carriage has just pulled up to the manor. You watched it roll in from your vantage point in the garden, so naturally, your curiosity got the better of you and you started walking over.

Fiona scrunches up her brows. “My, who could it be? I didn’t think we were expecting any visitors today.”

You shrug. “Don’t look at me. I’m usually the last to hear about these things.”

Both of you stare at each other, visibly perplexed, but it turns out that your questions are soon answered, because the carriage door opens, and a man disembarks.

And of course, that man is…

…actually, who is he supposed to be?

You don’t have the slightest clue. He has black hair and rather piercing blue eyes, which you can make out even from a good distance away. He’s dressed in elegant clothes, so he’s clearly a noble. You suppose he must be one of your parents’ acquaintances or something. They probably know a whole bunch of people.

For some reason, though, it feels like you should know who this man is. There’s this weird sense of déjà vu you’re getting, and it’s like an itch in your brain that you just can’t seem to scratch.

It isn’t until you’re staring him face to face that it finally clicks.

“Ah!”

Rowan Calderwood. That’s what his name is. He made a few very brief appearances in the game, only in about two or three scenes, but you remember now that he’s supposed to be Alistair’s cousin.

Also, if you recall correctly, they’re not on especially good terms, but aren’t too familiar with all the details.

But that’s beside the point. What is he even doing here?

Rowan tilts his head. “Pardon me. Is there something on my face? You looked rather shocked for a moment, and even exclaimed quite loudly.”

You clamp your lips shut. Right. As far as you know, the villainess and Rowan never actually met in the game, which means he’s probably just seeing you for the very first time. It’d be better to pretend like you don’t know who he is.

“No reason in particular,” you shrug. “I just thought you were a trespasser for a moment, that’s all.”

Rowan’s eyes widen, but rather than looking offended, he just looks amused. He’s not technically trespassing, but if what Fiona said is true, then he must have showed up without an invitation, which is considered to be quite rude.

“Please forgive me if I gave you a fright,” Rowan says, then he bows deeply, only to lift his head after a few moments and smile. “I take it you must be [Name]. You’re even more beautiful than I had imagined. My name is Rowan Calderwood. It’s a pleasure to finally be meeting you.”

You wish you could say the feeling was mutual, but he interrupted your pastry-eating session, and you didn’t even get to finish the fresh glass of apple juice Fiona had just poured you.

Plus, he’s related to Alistair. Is he here to try and convince you to restore the engagement? Because no way in hell is that happening.

“I have no intention of taking Alistair back,” you state matter-of-factly, crossing your arms at him. “You share the same last name, so I presume you’re related to him in some capacity. I thought I should make my feelings clear from the start, so that you don’t waste any more of your time.”

Rowan’s eyes widen for the second time, and once again, he doesn’t look offended, or even appalled.

If anything, he looks delighted.

“How amusing,” he chuckles. “It seems you’re even better than I had hoped for.”

Uh…?

Rowan shakes his head. “Rest assured, my lady, that isn’t what I came here to say. Admittedly, I’d heard that your engagement with my cousin fell through, but I haven’t made the trip here on his behalf. I came for purely selfish purposes, I must admit.”

“Oh.” Your shoulders sag, and relief fills your chest. “Well, that’s good. I meant the part about you not trying to convince me to take Alistair back, not the part about you being selfish, just to be clear.”

“Right,” he muses. “I had a feeling that’s what you meant.”

This bastard just keeps smiling for some reason. What’s so funny? Granted, you know you can be hilarious at times, but you’ve been nothing but stoic thus far. Yet he acts like he’s having the time of his goddamn life.

Wait a second…

There’s a theory forming in your mind, and honestly, you’re not sure you like the thought of it all that much.

Fortunately, Fiona has your back.

“P-Pardon me, Lord Calderwood,” she nervously pipes in. “Might I ask if you have an appointment? Count [Last Name] made it very clear that there were to be no visitors today. My lady fell ill last night, and she’s been taking the day to recover all her strength.”

“I was super sick,” you nod. “My father said it’s a miracle I even made it through the night.”

Rowan frowns, which isn’t too surprising, considering you look healthy as a horse and you were stuffing your face with pastries up until a few moments ago.

He clears his throat. “Oh my. Apologies. I wasn’t aware that you weren’t feeling well last night. You look so stunning and radiant that I couldn’t possibly imagine you’d been battling sickness as of late.”

“Yes, well, I just so happen to be gorgeous, but it’s true that I’m taking the day off to recover. Also, please make an appointment if you plan to visit again in the future. No one was expecting you to show up,” you say, sternly enough that you hope he takes the hint.

Honestly, he probably realizes he’s being rude, but it seems like he just doesn’t care.

“I had hoped for it to be a surprise,” he smiles. “I was so excited to meet you that I must have forgotten my manners. I also wasn’t sure when your parents would accept my request to meet, given that things are rather strained between our families right now. Well, Alistair’s side of the family, at least.”

You arch a brow. “So, you thought it would be better to show up without warning and take it from there?”

“I’m guilty of being a touch eccentric at times. Especially when someone as beautiful and charming as yourself is involved,” he adds flirtatiously.

“How did you know I was beautiful? We literally just met.”

“I had heard the rumors, of course. You’re hailed far and wide as the most breathtaking, desirable lady in all the land.”

Desirable? Are we talking about the same rotten villainess with the personality of a stinky tomato? Now I know this is all BS.

Still, it’s getting clearer by the second where he’s headed with this. You’ve long since connected the dots.

Rowan’s smile has yet to disappear, and he crosses a hand over his chest before bowing once more.

“It shames me to admit this, but… ever since I heard that you and Alistair were no longer engaged, I simply couldn’t hold back any longer.”

Oh, boy. This is actually happening.

“I was hoping to speak to your father first and foremost and make my intentions clear, but I happened to stumble upon you, and now, I’d like to say what’s on my mind.”

“Uh, you really don’t have to,” you insist. “Like, seriously—”

“[Name],” Rowan breathes, and you watch, horrified, as he gets down on one knee and takes your hand in his. “Would you… grant me the honor of marrying you?”

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msvorderofoperations · 8 months ago

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Dream journal time!

Had a few different dreams, all of which were benign, and very fun and interesting.

One involved me guesting on a comedy podcast (that doesn't exist) because I happened to be around when they started recording and they thought I was funny. The only wrinkle came when it was time to record intros, and I couldn't come up with a suitably funny non-sequitur on the spot. The odd thing was, the reason I happened to be around at time of recording was because the host and I worked on other sides of the same desk. For one, that is not really a thing that happens even in shared co-working spaces. And two, if we were working in such close proximity the host should have been familiar enough with me to know whether I'd be a good fit or not for his show.

Following that, the dream shifted to me playing a video game where I was doing co-op to kill the final boss. It was this huge, hulking, purple rage monster that needed infusions of this mutagen whenever it had had sufficient damage done to it. The difficulty was that while it was active and chasing us down, it moved impossibly fast, was very clever, and would shrug off any small amounts of damage. The fight could be made simpler if not necessarily easier by having one person post up next to the next infusion site was and waiting to unload on him as soon as he injected himself. The problem was that ammo was very scarce, and if the boss turned his attention toward the person waiting at the ambush spot, the whole plan had to be abandoned and it was all down to being able to improvise on the fly. Eventually though, we ended up beating the boss and the whole cliffhanger ending is that enough of the mutagen survives to be used by other nefarious parties, but interestingly it was a story in a wholly different medium. Which brings me to the next part of the dream.

I was watching a movie that continued the story, and it was an MCU-styled superhero flick. The protagonist was a speedster that used a pair of handguns and a basically indestructible pool cue to fight baddies. The interesting thing was that while he had a secret identity, it was that of an old butler complete with age makeup and prosthetics. But the secret identity was not to protect his personal life or those close to him, but to allow his employer to covertly gain hidden information or cheat outright at games. The employer is a mega-rich shithead in the style of Miles Bron from Glass Onion, who is mildly obsessed with old and obscure games that he likes foisting on his friends and hangers on. Instead of actually being good at these games he so enjoys, he just has to cheat because even in the nonsense narratives my brain comes up with I know that the mega-wealthy cannot ever actually be creative. Apart from the cheating aspect, the "butler" uses their powerset to act as a bodyguard and protector, but they only ever unmask and let others on to their capabilities when in the presence of the closest inner circle of their boss.

This is demonstrated early on when some braindead stunt the shithead boss pulls goes awry, and a large piece of wood basically explodes in mid-air. And the scene plays out very much like that one scene from X-Men, complete with languidly grabbing splinters and large chunks as they fly apart at ballistic speeds. Unfortunately, they miss a tiny bit of it, which hit the face of this one woman in the crowd of people present. She's ostensibly the trophy wife of one of the other rich assholes and I think it was supposed to be Charlize Theron playing her. It's a small enough thing that it only causes superficial damage, but the superpowered butler feels terrible for having let something slip. She ends up excusing herself to tend to the scratch. As a response to this lacklustre show of power, the husband lets on that he has recently acquired a small amount of the mutagen from the last dream, and plans to use it on himself. He takes a very small dose so he can stay at least visibly human, though the change has very palpable effects. He wears an eye patch owing to a missing eye, but as the change manifests, the muscles of his furrowed brows grow and snap off the strap and reveal that his eye has grown back. And just as his body begins to explosively grow in muscle mass, his wife stabs him through his back, through his heart with her bare hand, and grasps the container of the mutagen.

It turns out that she was already a super powered individual herself, but didn't have any resilience to go with her super strength. So couldn't really make any use of her powers because she would just hurt herself and would have to heal like a normal person, as also evidenced by the fact that the splinter affected her like any normal person. Her hand was messed up quite a lot, but now that she has her hands on the stuff, that is no longer going to be an issue. She had to strike now, because no one had been paying attention to her and if the change had been fully allowed to take place her husbands ongoing abuse to her would have reached inhuman levels. And now that she has the resilience to make use of her strength, she can act out any way that she wants because she knows no one can stop her.

She starts by attempting to butcher all of the hapless rich idiots around her because she had always hated all of them. But despite being woefully outclassed in terms of physical power, the butler tries taking her down anyways. Knowing that a single hit from her will absolutely put him down for good, he has to use his weapons to maintain distance from her. The guns seem to only serve to annoy her, and as time goes on she seems to be growing in strength. He then switches to the pool cue which he uses to deflect blows and once he has gained sufficient spacing, he throws it like a javelin. In the time it takes to reach her however, she is already beginning to redirect the strike. Going into super slow motion, he goes up to the cue and changes the trajectory so that it hits her in the skull, which at this speed still pierces it like a hot knife through butter. When real time resumes, she staggers, but doesn't actually go down. She takes a moment to push the cue all the way through and out the other side, and her body instantly heals, and then she looks up at him and smiles.

As the fight continues, it becomes clear that she is starting to be able to match his speed at least in her reactions if not being able to move like him. Knowing that he can't keep this up forever and she will eventually gain the upper hand if the fight keeps going, he realizes that he has to go completely chaotic otherwise she'll just keep reading his movements and parrying accordingly. This results in him spinning around like the Tasmanian Devil from Looney Tunes, before coming to a dead stop in a very specific spot where he fires both guns. One goes above him, and the other below. Both ricochet off their surroundings, before arcing back towards her. She is able to bat away the one that was in front of her, but the shot that went up hits her from behind, right in the heart. The one place she showed at the very start of this that could put her down permanently. She staggers again, but does not get back up. She falters, and as she begins to bleed out, he empties the last rounds of his ammunition into heart just to make sure.

He sees what remains of the mutagen, and grabs a ludicrously expensive bottle of whisky, smashes it into the container of mutagen and then lights the whole thing on fire. In the chaos of the fight, there have been a few injuries among the rich sycophants, but most of them are still alive including the butler's boss. Instead of assessing the situation and getting help, he just sighs and says "Fuck this noise. I'm sure you'll figure it out" and takes off at supersonic speeds. Credits roll.

And the thing of it is, I know this was a movie because I looked up what the plan was for what was assuredly a new franchise. Because having an R rated cape flick about an anti-hero speedster would actually kinda fun. But it turned out that in the immediate aftermath of the success of the film, the actor got drunk and went on social media and started shouting slurs at people of colour. So. Y'know. Obviously that didn't go forward.

#subconscious conversation #personal #my dreams are weird #even when they're relatively normal there's still incredible harshness to them #Like I've stopped watching cape shit for a few years at this point (with only a couple very specific exceptions)#but my brain was still like ''Oh you enjoyed this spectacle? TOO BAD THE PEOPLE RESPONSIBLE ARE RACIST.''#I get that it's maybe a refection on how if you look at almost anything with enough scrutiny there are terrible things to be found #but I would like to just enjoy things (or hell just fucking exist) without having to worry about what or who I'm supporting by doing so #but unfortunately that is not really the world we live in

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aroaessidhe · 5 months ago

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2024 reads / storygraph

Outdrawn

f/f contemporary romance

two cartoonist who’ve been rivals since uni, and now have competing webcomics online, have to work together on the relaunch of a cult classic at the comic press they both work at

they both struggle with art-related physical and mental health issues, and complicated families

#outdrawn #aroaessidhe 2024 reads #sapphic books #I thought this was decent! I liked the concept (even if I got distracted by some art related things…)#and the dynamic between the characters was good. I enjoyed their relationship development broadly speaking #and the emphasis on communication; though it was a quick flip into being together all of a sudden.#The sketchbook doodle flirting was cute. Some interesting exploration of their complicated family situations too.#There’s a lot of exploration of burnout and carpal tunnel and the dangers of artists overworking which I think are important conversations #and are done with some nuance. But it’s pretty much all discussed in the context of the personal pressure they put on themselves #rather than the industry corporate greed and artificial competition created by the comic platform - which are significant in this story!#It felt odd that that connection wasn’t really ever made?#I know that this is a romance and nitpicking the background plot is beside the point and also that I am not a big romance reader #but the premise that the comic hosting site archives everything; wipes the leaderboard; and out of nowhere has a comic competition for #new weekly chapters…I’m sorry but the art world would riot. Even if people enter because they’re desperate for the cash they’d be pissed #People live off the income from their webcomics! if they were erased (temporarily) with no notice…..there would be crimes committed istg #I simply don’t believe that it would be doable to create a new weekly webcomic with no notice while you also have a full-time comic job #(especially as the only stylistic choices mentioned are full-colour) - not to mention what happened to their 8-years-running webcomics #that were archived? they don’t think about them at all after the beginning? surely they’d care about that?#And then with their new comics they make for this competition (after work I guess) we get vague snippets about them but barely anything #- if they’re consuming that much of your time I would expect to feel like they’re thinking about them all the time #rather than the vaguest discussion about genre and cast numbers only.#I guess I just think the whole comic site stunt felt unnecessary for the plot anyway -#it would have worked exactly the same if they were just competing on the normal leaderboard with their normal comics???#anyway - I’m not judging TOO hard about all that because again I know it’s not the point and maybe the industry is like that in some place #Unfortunately it was distracting enough to affect my feelings on the book tho lol.#Lastly: the audiobook………oof. The narrators talk at different speeds; for one.#And Sage’s VA does this deeply weird raspy-anime-teen-boy voice for Noah which is such an odd choice #and doesn’t match her character at all.#unforch my library only had the audiobook (what I usually prefer) so I just had to sort of….translate the narration into a normal voice lol #anyway the romance is good tho

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tyrantisterror · 1 day ago

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You're welcome! Thank you for being such a willing participant in the interactive side of this story!

And yeah I'll gladly answer some more questions.

So, as I said above, I realized in the process of writing the story that, from a narrative and thematic perspective, this story could not give Sailor a clear and definitive answer to what they are. Even in the ending where they chose to go back to the normal world, we get an answer that convinces Sailor, but still clearly has some holes to the audience. I think there are ways we could have skewed certain conversations to learn more about the hypothetical answers in-story, but it would have come at the cost of key moments of character development for Sailor and Calibani. And I also think it's possible we could have skewed the story in such a direction where giving a definitive answer to the question wouldn't have necessarily hurt the theme of the story, by dint of turning the story into a different theme entirely - a South-heavy story might have focused on Sailor confronting their own inherent selfishness and short-sightedness rather than questions of their identity, for example, while a West-heavy story might have been a more dense and wacky adventure full of foolhardiness where learning who/what Sailor is could happen quickly and definitively without fanfare in order to be pushed aside for more shenanigans. 58 choices - there's a lot of potential what-ifs here.

There would be no way to contact Earth in the story as told, no, just as there wouldn't be a map till the very end. But, like, Sailor is canonically living longer than just the nine or so days the story covers, the Sea of Monsters is big, and Sailor knows a mad scientist. It's possible Sailor finds a way to get a message back to earth at some point - but I guess we'll have to save that for a hypothetical At Sea Without a Map 2: Now With Map!

I generally tried to vote either for the answer I thought would get the most votes, or the one that would get the least, in hopes of not actually affecting the result too much (unfortunately tumblr doesn't let you see the results before the poll ends unless you vote, and for the sake of keeping to a more-or-less daily schedule, I kinda needed to keep an eye on it to know what I'd need to draw during my downtime moments). I think the TT-only version of At Sea Without a Map would have been pretty similar to what we got. We might have spent a bit less time with Calibani and bit more time getting into monster hijinks and drawing exposition about the setting from characters like Dr. Neptune, but otherwise it would have been pretty similar. I had more fun with the player-choices that contradicted my own instincts, though - it was fun being given free reign to just shoot the shit with love interest while ignoring the plot. Very indulgent I do wonder if Sailor might have turned out differently, though - I was very conscious of trying not to flavor things too heavily when Sailor was in my control in the narrative, i.e. when they had to make choices without a compass to set them in a direction. I didn't really start giving Sailor personality in-text until I got a feel for what we were turning them into together, and even then I always felt nervous about it - I never wanted it to feel like I was forcing you all to play a character that wasn't authentic to what you were choosing. This wouldn't be a problem if Sailor was just written by me and me alone, so they might have become something different by dint of me not having to worry about alienating voters with their actions.

At Sea Without a Map Post-Script

After two months of so, my little writing experiment At Sea Without a Map has come to an end. And because I'm vain, I not only felt compelled to share it, but to talk about it in depth after the fact, so here we are. This is going to be long, though, so I'm not only going to break it into sections, but put it all under the cut for the sake of your dashboard. So go ahead and dive into the depths of the Sea of Monsters with me one more time!

Part 1: Never Stop Blowing Up

The writing process of Wizard School Mysteries Book 3 was really strained - not because of the book itself, mind you. When I was actually able to work on it, Book 3 came together really well - I think it required the least substantial rewrites of any my novels thus far. It's just that real life was kind of beating the shit out of me while I was trying to get it done - or maybe the better metaphor was that it was just slowly but steadily draining me of energy all the time. I'm honestly surprised I got the book out in roughly the same amount of time as the first two - by the way life had been treating me, it should have taken longer.

But when I got done with it I was accutely aware of how tired I was. I still had the creative drive, but fuck I needed something simple as a palette cleanser - something easy, and more importantly, something that was allowed to be bad. I needed something creative to do that was surplus to requirements and fully within its rights to suck ass so long as I had fun making it.

Around this time, I decided to rewatch Dimension 20's Never Stop Blowing Up. Brief explanation of what that is: Dimension 20 is an actual play show, i.e. a recording of people playing D&D and other TTRPGs. I'd say its reputation is built on the contrast of its main DM, Brennan Lee Mulligan, who makes these meticulously crafted campaign plans, and his chaotic band of improv comedian players who promptly derail those plans spectacularly. Like, a good deal of the show's humor comes from Emily Ashford or Ally Beardsly doing something so off-the-wall that it shatters whatever the scene was going to be and creates a far more absurd and zany spectacle in its place. Which is why Never Stop Blowing Up is pretty notable, because it's the one campaign where Brennan himself is the agent of chaos, fully unleashing his own brand of madness that the players struggle to keep up with. And fuck does he seem to have fun with it.

Of course, all of the analysis above is purely from the outside looking in - it's likely that a lot of the "chaos" is played up for the audience. But still... there is something to the idea of a person who's been working on meticulously structured stories letting loose and just doing something extremely stupid.

So I decided to give myself a Never Stop Blowing Up moment - a short story that would be simple by design, with no standards to live up to or goal beyond "have fun telling a silly little story." I then came up with a few key criteria:

It can't be set in the Midgaheim/ATOM universe. I don't want the burden of figuring out where this story would fit among others.

It's gotta be a romance. People who've read my books might have picked up on the fact that I like to write about people falling in love, for the same reason I like to write about fire-breathing reptiles and friendly monsters (i.e. I use writing to indulge in things I'll never experience in real life). I've only used romance as subplots in my fiction before, and tend to feel a bit guilty if I focus on it too long - like I'm being self indulgent. Well, this is all about self indulgence, so the romance should be front and center.

It's gotta be SIMPLE, episodic even. Not complex plotting required.

I almost chose my xenomorph romance for this, but I had developed its outline to the point where it would be too complex to fit. I then considered a sort of superhero story that could be pitched as "what if Bringing Up Baby but Katherine Hepburn's character is a Harley Quinn-esque supervillain and Cary Grant's character gets turned into some sort of horrifying genetic mutant in the first ten minutes." That one hit a weird roadblock when I got to the character brainstorming phase (the first phase of any writing project I do) - I was trying to figure out what the mad scientist who turns out Cary Grant-figure into a mutant would be named, came up with the name "Dr. Skullfuck," immediately realized that having a character named "Dr. Skullfuck" is a Mark Millar-ass writing move that I could not allow myself to do, but then couldn't stop thinking of the name "Dr. Skullfuck" and giggling, which just brought all thinking to a grinding halt on that project.

(I'll still probably do it someday, though - just, you know, without Dr. Skullfuck)

Inspiration struck again, though. I'd been getting into Epic: The Musical, a musical retelling of The Odyssey, and it put me in the mood for a sea monster story. But, more than that, it got me thinking about one particular archetype from sea monster stories - but that brings us to the next part of this Post Script...

Part 2: It Was Always About Calibani

Ok, so, one of the big changes Epic: The Musical made involved Odysseus's encounter with the sirens, and before you read more of my rambling, I'd like you to watch two animatics for the two songs in question here:

youtube

A summary: one of the sirens takes the form of Odysseus's wife to try and tempt him into getting in the water, Odysseus tricks her into giving him directions, captures her and the rest of her kind, and proceeds to have his men slaughter them horribly. In the OG story the sirens don't die - nor does their song involve imitating a man's wife, for that matter, it's just a really pretty song.

This is done for an important narrative purpose - Epic: The Musical is focused on analyzing the moral ambiguity of Odysseus, and how it is constantly challenged by the impossible choices he is forced to make in his attempt to get home. At this point in the musical, Odysseus has decided to stop trying to be a compassionate man, shirking all mercy in favor of utter ruthless pursuit of his goals. These two songs are meant to be unsettling as hell - this is the beginning of a series of heartless choices by both Odysseus and his men that will culminate in the mutiny and complete annihilation of Odysseus's crew, as well as Odysseus himself being so hopelessly stranded that nothing short of divine intervention will save him.

I bring this up because when I first heard these two songs - specifically while watching these two animatics - it, like... it devastated me. I was so horrified and sad, so shaken by it. And part of it was for the reasons outlined above, but admittedly that wasn't the gut reaction I had. No, my immediate reaction was, and I quoute my own broken brain verbatim here: "You can't kill the sirens! They're not for killing, they're for loving!"

...now, those of you who know me are probably not surprised by this very stupid sentiment coming from me. One of my more popular posts is just me talking about how down bad I would be for various folkloric monsters whose whole shtick is "looks like a pretty lady but Watch Out." But as a person filled with immense self loathing and doubt, my brain immediately looked at that very stupid sentiment I expressed and said, "Wait, no, that's fucking dumb, I'm fucking dumb. The sirens are remorseless murderers. These sirens in particular preyed upon a man's love for his wife, who he has not seen in twelve years, to convince him to let them kill him. They are, by all standards of morality, Very Fucking Evil, and if they were not women you would not feel bad about them getting killed."

And as my brain argued with itself over this topic, I got to thinking about the various monstrous/othered sea women of The Odyssey - not just the sirens, but the witch Circe, the nymph Calypso, the monsters Scylla and Charybdis. And I thought about the others of their kind in other myths and folktales - selkies, mermaids, etc.

There's an archetype of sea monster that focuses entirely on one specific anxiety sailors are prone to, namely the fact that (for a good deal of human history) being on a boat meant spending a lot of time away from women. The horror of this monster is how it uses that desire for female company to tempt people into danger - like a mirage, it leads you to expose yourself to danger in pursuit of an illusory comfort.

But, unlike real world mirages, these monstrous sea women DO exist in their stories. More than that, they're often, like, sad and lonely. Their narrative purpose is just to be a temptation, but that doesn't change the fact that they do have lives of their own in these worlds. And, softie that I am, I can't help feeling sad for them, especially the ones who actually seem to want the same companionship the sailors they tempt want. Sailors don't stay with their Circes, they don't marry their Calypsos. The sirens live on a barren rock, alone, Scylla is left to wallow in misery at her monstrous form, and the selkie always has to leave for fear of being trapped by a person who won't love her on her terms.

I realized I had my hook for this simple, easy, silly little sea monster romance story: I was going to give a sea woman the happy ending she'd never get from anyone else.

Sailor may be the protagonist, but make no mistake: At Sea Without a Map was always, always, ALWAYS about Calibani.

The goal with Calibani was simple: I was going to set up a fairly standard Monstrous Sea Woman, but where other stories would let her be in one episode of the travel narrative and move on, this one would stick around. She'd be an unambiguous predator of human beings - an open and admitted maneater - but she would have no true malice to her. She, like all predators, eats what she can get to survive, and it just so happens that she's adapted to eat humans. And the story would pose the same question to the reader that my brain posed to me during Different Beast: is there any way you could make a siren-style sea monster sympathetic? Can you make a normal person who doesn't have my particular brain rot look at a maneating siren and think, "You're not supposed to kill her, you're supposed to love her!"

One of the few unavoidable plot points of At Sea Without a Map was that Calibani and Sailor's relationship would become romantic. What kind of romance it was could have varied substantially - it could have been one-sided, it could have been toxic, it could have been far more tragic OR far more comedic. But it was always, always going to be a romance of some sort - the goal of this experiment was to make you, the reader, love Calibani. All else was icing on the cake.

I decided to base Calibani's personality on Miranda from The Tempest - i.e. a sweet girl who is both wordly and naive, who understands the strange setting of our "lost at sea" story far better than the audience viewpoint character does, but views the mundane world of the audience viewpoint character with wonder and naiveté. In fact I almost named her Miranda outright... except I already had a character in the setting I chose for this story who had that name, and as an allusion to the same Shakespearean character no less. So I settled on naming her after Miranda's adoptive sibling (of sorts), Caliban - more fitting in some ways, as Caliban is a fish-human hybrid who is arguable more native to the magic island in The Tempest than Miranda herself.

(Calibani isn't the only Tempest name homage, either - her mother, Sycorax, takes her name directly from Caliban's unseen but oft-spoken of witch mother. Dr. Antonia Warefore takes her first name from Antonio, one of the human villains in The Tempest who hopes to use being lost at sea as a way to perform a coup. And the mothman Iriel takes her name from Ariel, the wind spirit in The Tempest who aids the wizard Prospero in controlling the magic island. If Sailor has a "real" name, it's probably either Ferdinand or Miranda, the two lovers who manage to blend civilization and the wilderness together with their romance.)

Visually, I wanted Calibani to not be any common archetype of sea monster woman, but rather something that evokes the popular images while still being her own thing. She's not a mermaid or a siren or a selkie - she's basically "what if a sea serpent was also a girl." In-universe, she's chubby because she, like all marine megafauna, needs blubber to survive. Out-of-universe, she's chubby because I've found that routinely drawing cute chubby girls is good for my mental health.

Part 3: CYOA

Now, while we live in a post-Muncher society where shame and cringe are emotions only the cowardly should experience, I am nonetheless Very Catholic about expressing my own feelings of, like, liking girls and shit. I cannot help feeling guilty when publicly expressing adoration of women without, like, an excuse - it's gotta be a joke or something, you know? I can't be genuine about it, or else Jesus will beat me with a cane for disrespecting women with my lecherous gaze.

But luckily I've cultivated a loyal audience of fellow monsterfuckers, which meant I had an excuse lined up: if I made this a choose your own adventure type deal, a story with audience participation, then you all would be my accomplices. And Jesus can't cane all of us! He doesn't have enough hands! I found a loophole bigger than his stigmata!

Plus I love collaborative story-telling - there's a thrill in not having total control of where the narrative is going. As Brennan Lee Mulligan must know, there's a joy in having to deal with the chaos thrown your way by letting others grab the figurative ball, even if just for a moment.

Part 4: Offbeat Melody

Since I did not want to set this story in Midgaheim, I decided to steer myself away from a vaguely medieval setting altogether. But I also didn't want to limit myself with the need for "realism" that putting it in a normal sea would require, and making a new setting whole cloth would start pushing this project into "not easy" territory.

Luckily, I had a setting lying around that I hadn't played with in a while, which just so happened to have a location that was PERFECT for the sort of Never Stop Blowing Up style madness I was aiming for. For a few years I ran a Monster of the Week TTRPG campaign called Offbeat Melody, and one of its core setting elements was taking the goblin universe hypothesis in paranormal science (yeah it's a real hypothesis) to an illogical extreme. We had specifically seen glimpses of the Sea of Monsters in Offbeat Melody, i.e. the parallel universe where monsters like Nessie, Ogopogo, Champ, and the like all hail from. Well, why not have a whole story set there? It's literally a universe devoted solely to creating sea monsters - what better place to strand our modern Odysseus?

Offbeat Melody was always sort of a Never Stop Blowing Up project, or at least NSBU adjacent. Some of my most unhinged story-telling moments are in that campaign - you could make a supercut of just the "commercial breaks" in the various sessions and it'd basically be an I Think You Should Leave episode. Taking one obscure corner of its multiversal world and exploring it in detail was perfect for this project.

Part 5: Monster by Monster

With our main romance as sorted out as could be for a CYOA story, it was time to figure out the "episodes" of this sea voyage. I settled on there being ten to roughly align with The Odyssey - just in terms of number, mind you, not in a one-to-one comparison. The first was, obviously, Calibani herself, which left nine more slots for me to fill with monsters. Let's go through them together in brief:

Tree Storks - any lost at sea story eventually has to get its protagonist into an island at some point, but this immediately begs the question, "Why don't they just stay on the island where it's safe?" The answer to that question has to be, "it's not safe there, actually." The Odyssey does this quickly and cleverly with a one two punch: the first island seems safe until you realize the food on it brainwashes you into forgetting everything except your desire to eat it, and the second island is full of delicious sheep but also giants who will eat you just as easily as they eat the sheep. When other islands show up in the story later, you immediately regard them with suspicion, because you don't know HOW they're going to be fucked up, but they definitely will be. My goal with the second episode was to establish the same sort of danger - that land is NOT safe, that islands WILL be fucked up and dangerous in ways you might not expect.

I also wanted to establish that this is not just a sea of monsters, but a very WEIRD sea of WEIRD monsters. It couldn't be any old monster on this island - it had to be one that was unique, unexpected, and maybe just a bit silly while still being menacing.

I've always felt that there's a lot of un-mined horror potential in storks, cranes, and herons - any bird with a long neck and spear-like beak it uses to stab smaller creatures from above. Just imagine yourself in a frog's place in the world - tiny, going about your business, when suddenly something shoots down at you from above and impales you before you even feel the shadow fall over your face. Or perhaps you did see the shadow - some of these birds spread their wings to create shade specifically to attract fish, and then spear the poor little bastards.

Well, what do people often look to islands for when out at sea? Shade - the shade of a palm tree. And palm fronds kinda resemble feathers, don't they? Wouldn't it be both ludicrous and terrifying is there was a stork big enough to mimic a palm tree - and wouldn't that be a DEVIOUS trap for a sun-drenched sailor to fall for? So the Tree Storks were born.

The Globster - I made a list of sea monster archetypes in the early planning for this project, and one I wanted to include was a kraken, i.e. some sort of tentacled sea beast. But I didn't want to do JUST a big squid or octopus, or even a riff on them. I wanted to take the idea of "big sea monster with lots of tentacles" into a stranger direction.

Since the Sea of Monsters is explicitly the home universe of lake and sea monster cryptids, I thought it might be fun if ASWaM's kraken equivalent was a globster - just a big ball of rotten meat. I love drawing monstrous faces, so I decided it'd just be, like, MADE of hideous rotten faces, all melting and congealing together, with its tentacles doubling as the tongues of its many mouths. A perfectly wretched image that, like the Tree Storks, would do well to establish how Fucked things could get in this setting. Plus similar monsters had appeared in Offbeat Melody, which would make for a fun sense of familiarity for the, like, five or so readers of mine who had listened to that campaign before.

Captain Peter & the Dolphin - Another thing I did in the early planning stages of this project was make a list of the different sea voyage stories I know and love, the most contentious of which is The Life of Pi. That's a story that I love on a literal level but kind of hate on a figurative level - its whole theme/message is that doubt is the worst thing you can have, that if you don't commit to believing something with zealous conviction you are a coward. As a person who thinks doubt is valid, that "I don't know" is sometimes the ONLY truly valid answer to a question, I have issues with that message.

But I can't help loving the beautifully ludicrous idea of a non-anthropomorphic tiger sailing the ocean on a big Odyssey of its own. Like, if that story didn't actively hate me for being agnostic, it would be one of my favorites.

So I decided to, you know, just steal the idea of a tiger Odysseus. The tiger in The Life of Pi is named Richard Parker. Richard Parker also happens to be the name of Peter Parker's dad. Hence we get Captain Peter - the figurative son of Richard Parker, if you will. And to ratchet up the absurdity of a tiger Odysseus, I made him a pirate and the sole sailor of his voyage. Somehow, this tiger has manned a boat on his own.

Captain Peter was intended to be the hero of another story - a sign for the readers that it IS possible for a stranded person (or, in this case, tiger) to survive out here. To that end, he had to rescue our heroes from another threat, but not one that would be interesting enough to take the focus off of the tiger pirate. Originally I planned for that threat to just be a big shark, but I ended up liking my shark design too much to put it in a role that small, so I quickly designed a nasty dolphin for the role instead. I think that worked out well, honestly.

Dr. Neptune - Episodes 5 and 6 were the mid-point of this journey, so I wanted the two monsters of those to escalate things significantly. I figured episode 5 was probably a good place to FINALLY give some meaningful exposition on what was going on, and there are a lot of stories about mad scientists doing weird shit on islands in my big list of sea voyage stories I love. So we get Dr. Neptune, a classical brain-in-a-jar mad scientist who's affable enough to give more-or-less accurate exposition but loony enough to be a problem. This also felt like a good spot to remind the reader that Calibani is not just a girl with a tail but rather a Sea Monster herself, and one that we'd been making stronger by allying with.

With his human-but-not-quite nature and cyclops eye, Dr. Neptune could sort of be seen as the Polyphemus of this story, couldn't he?

The Crocodisle - One of the sea monster archetypes on my list was "the island that's actually a sleeping monster," of which there are many in mythology and folklore. My favorite is the Jasconius from the voyage of St. Brendan, mainly because it's more or less benign and actually comes back to help St. Brendan and his crew at the end of the story. I always love when I can find an old story with a friendly monster in it.

When thinking of my own spin on the island monster concept, I remembered the only Magic the Gathering card I had as a kid, which I still have and love to this day: The Sandbar Crocodile. This card already inspired Crocogon's color scheme in The Atomic time of Monsters, but I felt I could go to that well again one more time, and so made a crocodile that wasn't just a sandbar, but a whole damn island to itself. And, like Jasconius, it turns out he's pretty chill.

I did not think of the pun name "Crocodisle" until I was actually writing the chapter in question.

The Femdom Mermaids - These three were a late addition to the roster. When I had Calibani bring up mermaids early in the story, I realized as soon as I wrote her rant about them that we'd HAVE to meet some later on in the story.

The readers had significantly shaped Calibani and Sailor's romance by this point, and I decided that it could be useful to have a chapter that was devoted to showing definitively how these two were good for each other. I thought the mermaids could provide a good contrast: have them act out a seemingly more benign take on the monstrous sea women trope (they abduct our hero to protect and care for them!) only for it to quickly feel MORE deranged than Calibani's comparatively simple desire just to eat him.

The spirit of Calibani's rant about mermaids was taken from weird* girls I knew in high school complaining about cheerleaders, so I wanted the mermaids to look like the sea monster equivalent of popular kids to Calibani's chubby weird girl. Two of them got the names of famous beauties - Helyne = Helen of Troy, Clio = Cleopatra.

(*when I say "weird" I mean it in a complimentary and affectionate sense)

Bob, meanwhile, kinda... rebelled, I guess? Before I had names for them, I listed "bob" by her as just, like, a descriptor for her hair cut, but then I liked it as her name, and once she was named Bob she became more than just a mean popular girl. She was a weirdo too, the little punching bag of the two mean popular girls who did their dirty work and smiled through their abuse because hey, at least they included her. It gave the trio an easily defined dynamic, helped make two of the three more visibly nasty, and gave us comic relief in an arc that could very well have gotten too uncomfortable otherwise.

And I guess it worked - readers REALLY loved Bob, and were very vocal about it, and I realized mid-arc that I had accidentally made her too likable to just leave in this arc. So Bob got to be rescued from her awful friend group thanks to readers like YOU.

Lord Ironteeth - yeah, this was the shark that was too cool to be a minor threat. When I drew his noggin, I realized he would need a chapter of his own, one with gravitas. I decided he'd specifically be the threshold guardian -once we beat him, we'd know for sure how to get home, even if there were a few more threats in store.

Spindle Inc and Sycorax - when I was a kid I used to have this recurring nightmare about being on some sort of underwater sea station that had this huge sea serpent trapped inside it. I'd look at the sea serpent from a window within the station and see it coiling in its tank, only for it to look at me with fury. In that glance I would suddenly realize two things with absolute clarity: first, it was going to break free and kill everyone, and second, we deserved that destruction for what we had done to it. The terror of the dream was less that the sea serpent was going to break free, and more the guilt of knowing that all the mayhem that was about to unfold was our fault to begin with.

I thought that would be fun to homage with the penultimate chapter of this story. OBVIOUSLY the sea serpent was Calibani's mom, obviously the trauma of its capture was why Calibani grew into a predator that specializes in hunting humans, obviously we would have to free the sea serpent despite that running counter to Sailor's goal of getting home. Easy, easy, easy plot point to include.

Spindle, Inc. is the primary antagonistic force in Offbeat Melody, so they easily slotted into the role of the arrogant humans who captured this monster for nefarious and selfish motives. They could tie a lot of other plot threads together too - Dr. Neptune was a scientist who worked for them as a contractor only to get screwed over (i.e. they stranded him in the Sea of Monsters, expecting him to die, and then used his research to make their own base of operations in it), we'd learn of him through a spindle briefcase left behind by some unfortunate rogue agent who got eaten by the Globster while he was trying to escape, hell they could even be one of the possible origins of Sailor themself (more on that later). Very useful villains, Spindle.

The Abyssal Mother - I knew the last sea monster would need a lot of punch to it. I briefly considered just a big whale - the Moby Dick to Spindle's corporate Ahab - but it felt underwhelming after all that came before. So I went for arguably the most dramatic possible sea monster, a full on Cthulhu-style elder god. If you're a frequent follower of this blog, you might know I have particularly high standards for Eldritch Abominations, so I realized this was going to be a pretty big challenge for me to live up to, and decided to keep the cthulhu in question reserved to the last few entries as a result - the less it appears, the less it has to live up to.

I realized I had a good angle when my experiments with the Cthulhu "squid for a head" concept ended up having a face framed in shadow - you know, the same visual that our protagonist has in most appearances. That provided some very juicy parallels between the two that made this final monster feel particularly noteworthy to me, ones that I'll leave you to ponder, since they tie into...

Part 6: Themes

I did not set out to have a theme in this story. I just wanted to make a sailor and a sea monster kiss. That was my only goal.

But I really don't begin with theme in ANY of my writing. I figure out topics I want to address, but for all my novels I feel like the themes didn't start coming together until about halfway through the first draft, when enough of the elements of the story had been set down and interacted with each other enough for me to realize what I was saying with them. A huge part of my second and third drafts for my novels have focused on making the themes of my stories more concrete and unified.

Well, ASWaM is very much a first draft of a story, but it's a simple enough story that I think the theme found itself pretty well despite lacking subsequent drafts to refine it.

ASWaM is about doubt and direction. It's about being adrift in a world that is in many ways hostile by nature, about not feeling like you're where you're supposed to be or even WHO you're supposed to be, and about setting off aimlessly in the hope that maybe you'll find your way to that mythical land of "what my life is supposed to be."

When I began the story, Sailor had amnesia and wore clothes that obscured their identity as a way to make it easier for anyone to step into Sailor's role. Sailor had to feel like You, the Reader, and so we don't know their name, their gender, their eye color, their hair color, even their skin color (note that their hands are always wearing gloves, and their face is always in shadow).

But it also meant Sailor is, well, undefined, at least at the start of the story. Sailor doesn't know who they are, what they are, how they came to be. Sailor feels distinctly that they should be Something Else, should be Somewhere Else, should be Someone Else, should not be who/what/where they are. Sailor is plagued by doubt, by a need to go in a different direction, by a need to be other than they are.

This initially contrasts with Calibani, who begins the story very confident that she is doing exactly what she was designed to be doing and acting exactly like she should be. As they interact, they begin to shift each other in opposite directions - Calibani questions her existence and nature, sometimes to a self destructive degree, and Sailor begins to find something about who and where they are that they like. They find a healthy middle ground together - doubtful enough to want to be better people, but with love for themselves that allows them to not feel the need to up-heave their lives entirely.

I knew at the start that I would build an expectation for there to be some answer to the question of who Sailor is and where they came from, because those are the questions that begin the whole narrative. I brainstormed a number of answers to those questions, but once I got a few chapters into writing the story and saw this theme of doubt developing, I realized I couldn't answer them. From a thematic standpoint, the doubt HAD to remain. So I gave hints to possible answers, bits of evidence to support the possibility of them being true, but never planted a smoking gun that answered it for sure.

Sailor can't know the answer because NONE of us know the answer. Outside of blind Life of Pi style faith, you cannot know for sure that you are living the life you're supposed to live. All you can do is figure out whether you're happy with the life you've got, or if you need a change. Sailor will never know who they are supposed to be, but they did learn who they are, and they love that person now.

For those curious, the possible Sailor origins are:

Occam's Razor: they're exactly what Dr. Neptune theorized, i.e. a human who got stranded in the Bermuda Triangle (or the Devil's Triangle or any other number of paranormal triangles) and fell into the Sea of Monsters. The trauma of that experience gave them amnesia. It's just brain damage and bad luck.

A Spindle Experiment: Dr. Warefore mentions that Spindle has been trying to find a way to make a human who can evolve like the denizens of the Sea of Monsters. Sailor may well be an attempt to do just that, perhaps one they wrote off as a failure and abandoned (they do that a lot)

A Deep One: Sailor is the offspring of one of the denizens of the Sea of Monsters (most likely the Abyssal Mother herself) who has somehow been tricked into believing they are human, to the point where they seem to be human to everyone else, even other monsters. Maybe a human summoned a sea monster to breed with on earth, and Sailor ended up being subconsciously drawn back to the Sea by their blood. Maybe Sailor never actually lived on earth at all, but was only made to THINK they had as part of the transformation into a human.

The Platonic Ideal of a Sailor: the Sea of Monsters is full of archetypal concepts, and arguably a sailor trying to find their way home is just as archetypal as any sea serpent, mermaid, or kraken. Our only proof that humans aren't native to the Sea of Monsters is Dr. Neptune, and he's not as reliable an expert as he claims to be.

This theme of doubt and direction also made the compass more important to the narrative than a simply mechanic for audience participation - a compass, after all, gives direction, and the feeling that Sailor is not where they're supposed to be, that they need to head in a different direction, is ultimately the catalyst of the plot. The compass is, in many ways, the antagonist of the story - the force that keeps Sailor from accepting themself. I realized this a little after I started making the different directions have personalities - initially they just represented broad concepts (North = follow conventional wisdom ala the North Star, South = preserve your short-term self interest at all costs, East = act with curiosity and be willing to take calculated risks, and West = throw caution to the wind and do anything that seems novel and exciting), but over time they became little characters themselves.

Since it was our thematic antagonist, I decided to pepper in some ideas about what the compass might be in-universe - and, in a move that would no doubt frustrate the compass, we also don't know for sure which of those is "correct." Is the compass a poltergeist, some amalgamation of dead sailors who try to steer other lost souls home? Is it a malign entity that leeches off of those desperate enough to seek its aid, living through them while pretending to aid them? Is it a device Spindle made to lure sailors to their clutches, OR to guide their experiments in human/monster hybrids? Was it a cursed item that forced a sea monster to assume a human shape? Who can say - the compass sure can't, it can only tell you a direction to go in.

Part 7: Q&A

Since this was an interactive story, I felt it was only fitting to add one last interactive element to this post-script write up, and some of your happily obliged me by sending in questions.

When I noticed how fast readers were falling for Calibani, I figured there was a good chance we'd end up staying in the Sea of Monsters. By chapter 7, I figured it was more or less a given, and by the end of the Lord Ironteeth encounter I was almost 100% sure Sailor would remain at sea. There was always a chance, though - while a look at the polls shows that the audience got more and more on the same page towards the end, there were always dissenting voices, and the desire to get an answer to the question of Who Sailor Was remained strong, as a number of people kept trying to find angles where they could get that AND stay with Calibani.

I was surprised early on by how easily the audience fell in love with Calibani, to the point where I made a few posts commenting on it. I mean, I shouldn't have been - as I said earlier, I have cultivated an audience of fellow monsterfuckers on here, and I know at least a few of them saw my bait and knew they could get me to be freaky in a way we found mutually agreeable (thank you all again for helping me escape being caned by Jesus for being horny).

Like, we REPEATEDLY ignored developing the plot in the Tree Storks chapter for several days just to spend more time with Calibani - something that I enjoyed immensely (this whole thing was an excuse for me to write and draw a cute chubby sea monster girl as much as possible aftter all) but also knew as a storyteller was not what most would consider a good story call. I like how it turned out, but it defied conventional narrative wisdom, you know? I was surprised.

On the other side of the coin, I was also surprised by how the audience NEVER chose an option that was humorously disastrous. I gave plenty of them, and, like, generally in collaborative storytelling there will be at least one moment where your collaborators decide to do the really, REALLY stupid thing that makes everything spiral out of control really quickly. I figured at least once the audience would choose the troll response, but no, you guys worked hard to keep Sailor and Calibani alive. You refused to let them hurt each other, refused to let them throw themselves into danger, refused to imperil them for your own chuckles. It was very sweet and unexpected.

I say "you refused" but to be fair it's not like NO ONE voted for the troll options - they generally got a handful of votes, just one that was beaten by a landslide of more reasonable options. Hopefully those of you who voted for the troll options enjoyed Bob throwing you a bone by disintegrating Dr. Warefore - that was my consolation prize to you.

Yes. I knew at the beginning that there would be two endings for this story: either Sailor leaves the Sea and goes home, or Sailor stays there forever. Or, you know, Sailor dies as a result of you guys choosing several stupid options in a row, but as stated above you guys avoided those scenarios pretty decisively.

Had Sailor gone home, the following would have occurred: first, they would forget everything that happened in the Sea of Monsters. Second, they would wake up in a hospital, having been found in the Atlantic Ocean by a human-recovery charity run by... oh, isn't that funny, some tech company named Spindle Inc! Spindle would foot the medical bills and even offer Sailor a job, but Sailor would decline because even now they're still not sure what Spindle even does. Sailor would go back to their life and find it familiar and utterly mundane, but not particularly happy. Their father died when they were 18, their mother was never in the picture, they have no siblings. They worked an office job and were sort of a nonentity - that position has long since been filled, but Sailor gets a new job and lives out much the same life: simple, mundane, dreary. Every now and then they get a pang of desire to leave, to go to sea, but they push it out of mind. They never even see the ocean again as long as they live.

Sailor would have gotten the normal life they thought they were supposed to have, the normal memories and name and identity, the mundane life of a normal person. And they just had to trade everything they found in the Sea of Monsters to get it. A question is answered, a direction is followed, but is it the right answer, the right direction?

Well, I think doubt would have remained.

I had a very vague idea for there to be some sort of man-eating giant in, like, a crystal castle. He got cut to make way for the mermaids.

I wanted to fit in a big whale and a giant crustacean, but there wasn't room or an interesting angle for me to want to make room for them. Saved for a possible sequel, I suppose.

I also wanted to have a scene with, like, DOZENS of sea monsters, including some of the ones from Offbeat Melody, but the goal of "this should be EASY you dumbass" made me kill that idea pretty quick.

Thank you!

The primary inspirations were:

The Odyssey and Epic: the Musical

The voyage of St. Brendan

The many "weird shit happens on an island" movies in Toho's filmography, i.e. Godzilla vs. the Sea Monster, Son of Godzilla, Yog Monster of the Deep, Matango, etc.

The Island of Dr. Moreau

The Boy and the Heron

Ponyo (specifically Ponyo's parents - I wanted Sailor to have the same desperate energy as that wizard who fucks the giant sea goddess)

The Life of Pi

Slay the Princess (perhaps most obvious in the use of second person narration, multiple voices in the protagonist's head, and falling in love with a creature that has tried to kill you at least once)

I'm going to use this to springboard to a related point in a second, but first a genuine yet humorous answer: Yes, absolutely yes, I am enough of a big romantic sap that I would give everything about my life away to be with a person who loves me and explore a world of monsters in a heartbeat. Hell, I would have jumped in the water the minute Calibani asked and died with her fangs in my neck and a smile on my face. I am dumb this way. Do not follow my example.

On that related point, though... Most stories like this, I daresay ALL stories like this that I know of, end with the hero abandoning the fantasy world in favor of reality, never to return. And that seems like the proper choice and lesson on the surface - we don't want to tell audiences to give up their real life in favor of a fantasy, after all. That's encouraging escapism, and that's not healthy!

But, like... textually speaking, the fantastical world IS real to the characters in these stories. And it's often not really an escape - was Sailor's life devoid of conflict and suffering in the Sea of Monsters? Fuck no! It's just that they figured out how to deal with that conflict and suffering - they built skills and a support system, they adapted, they learned how to overcome what was there.

I think it can be argued that sometimes the return to a "normal" world is, in itself, an escape - the idea that your life can spiral into chaos but that's ok, you can just reset everything and go back to The Way It Was and Should Be is just as unrealistic and unhealthy an idea as You Should Escape to A Better World. Sometimes your plans for your life fall apart, sometimes you're thrown into a place you never intended to go, sometimes you have to learn skills you never anticipated needing and ally with people you never thought you'd befriend to deal with problems you never dreamed you'd have to overcome. And sometimes it's ok to look at your derailed life, your Not Where You Should Be life, and say, "Well, I've learned how to live here... maybe I can stay."

Especially if there's a cute chubby sea monster girl who loves you.

Bob was never supposed to appear past chapter 7, but about halfway through that chapter I realized the audience and I myself would be heartbroken if we didn't rescue her. Definitely for the best - she provided some well-needed comic relief in the final chapters.

This is gonna sound snarky, but, yeah - there were 58 choices with four options a piece, and we only chose one of the four. While some of the options would have similar results, almost none would have had identical outcomes. And some would have been VERY different.

Like, to go back to the beginning: when Calibani attacked, we could either throw a net on her, harpoon her, try to drive around her, or hide below deck. We picked the net, but for the other three options:

Harpooning would result in us hitting her in the thigh, causing her enough pain that she collapses on our deck and we, horrified at the violence we committed, just sort of push on. Calibani would be wounded for at least the next chapter, perhaps longer, and significantly weaker (and probably harboring a great deal of hidden resentment while also being genuinely scared of Sailor). She would be vulnerable during the stork attack, forcing Sailor to take a more active role in that chapter.

Trying to steer around her would result in us essentially fighting her with our boat, resulting in the boat capsizing and Calibani getting tangled up in it. We'd wake up alone on Stork Island and have to travel in search of our boat, alone and vulnerable among man-eating trees. We'd run into Calibani again, also beached and in trouble, end up recruiting her to help us get our boat out of the sand.

Hiding below deck would end in a sea storm that leaves us inside our boat as it's beached on Stork Island. We'd fend off the storks alone, and run into Calibani once we get our boat out to sea, as she got away more or less unscathed.

All of these would have majorly changed the trajectory of our relationship with Calibani and our identity as Sailor, despite seeming to have the same component parts on the surface. Now account for how similarly slight changes in the other options could have gone, and we could have had a very different story indeed.

Part 8: Our Girl

I just think she's neat!

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not-poignant · 7 months ago

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Hi Pia

Feel free to ignore if this is unwelcome, but have you ever thought about publishing traditionally to sublimate your income and draw in new readers? I know you've self published two books already and that you didn't feel like they did very well, but maybe the experience would be different if someone else was in charge of marketing and all the other business stuff?

Obviously everyone's experience is different but as an author myself who's published both trad and self, traditional publishing has been a completely different experience and has allowed me to focus more on writing because I'm not the one responsible for advertising/marketing/financing anymore.

There are a ton of literary agents nowadays that want to represent diverse and lgbtqia+ fiction, some of them even in Australia.

Websites like Reedsy, AgentQuery and Jerichowriters have extensive directories to find literary agents.

(This is lengthy folks so I'm putting the other two parts (and my response) under a read more! Also putting it under a read more so the anon can skip my response since it's very 'here's all the reasons I can't do this' and they just might not want to read that, lmao)

(continued -> )

Trad publishing houses have better resources for marketing and helping authors get more attention than any self publishing website could.

Obviously most authors, unless they're really prolific, don't get a huge advance (the average is between $1000 - $5000) but getting your foot in the door or on the traditional publishing "ladder' so to speak can have a huge benefit for your serials. Because it gives you more exposure. Plus it's in the agent's best interest to find a publishing house that accepts stories that contain darker themes and negotiate the best deal for you.

For some reason places like Amazon and the like accept and keep up more "dark" books that are traditionally published than they do with self pub ones. Maybe because they have more respect or leniency for publishing houses? I have no idea. But you could use this to your advantage. I think I remember you mentioning that writing novels felt quite isolating to you? But you already have 2 completed novels (3 if you count the fae one) that you could potentially revisit or rewrite to your liking and get them represented by agents.

You already have a loyal readership and that's very attractive to trad pub houses and agents.

As well as trad publishing, you could also make s simple website that doesn't require much maintenance. It could be just a landing page that says something about you and then has links to your tumblr and patreon where you're more active. That way you increase the chances of getting your serials found by additional readers and also come across looking more "professional". Not that you're not professional now. You are and I admire you greatly, but the unfortunate reality is a lot of people still judge by appearances and some will be more drawn to an author's website than a tumblr page, at least at first. So I think having a simple landing page would open up another door for you to benefit from.

Trad publishing is work but definitely not as much as self publishing, and you can continue on with your serials. Getting an agent can be time consuming but I personally believe the pros outweigh the cons and I also believe that your stories would be a huge treasure to the growing lgbtqia+ market. Seriously there needs to be more!

These are just suggestions and thoughts and like I said before, feel free to ignore. But I know you've mentioned wanting to grow your career in the past and I genuinely believe you can do so with some of these pathways.

Okay, my response. Posting this because firstly I think the suggestions could work very well for other authors reading this! And I hope they take the advice to note, and secondly because I haven't talked about this for a hot minute so let's talk about it again.

So the TL;DR is yes I have considered traditional publishing. I have actually been traditionally published in short stories, poetry, and also had my art published on covers and re: interior illustrations. But my Fae Tales works got soundly rejected when I sent them to publishing houses that were doing open calls for that sort of material. I've never heard back from an agent and I never expect to, heh.

Now for a bit more detail

I have been traditionally published before (it's how I got my writing out there long before I ever wrote serials), and yes, I have approached publishers with my writing since then. In fact Tradewinds was written for the traditional publishing market, and it got soundly rejected, and then shelved. The reasons it was rejected ran the gamut from 'I don't like that these fae eat humans no one is going to relate to these people' (while the editor then went on to publish vampire books idk) to 'There's too much worldbuilding you can't expect readers to keep up with this' to 'Your stories are too long, no one wants to read characters talking all the time.'

Meanwhile in my online serials I was getting feedback like 'my favourite chapters are the ones where the characters just sit in a room and talk' lol.

The traditional publishing world is also not quite as utopian for most authors as you make it seem. I'm friends with a lot of authors who are traditionally published because that's the world I came from, and unless they're solely in KU and doing generic rapid release formula romances, none of them are making that much money. Certainly not enough to live off. It may have been that you were very fortunate, anon, but I know hundreds more traditionally published authors that left trad pub to make money, and I know about 5 in trad pub personally who are making enough to live off of.

Only one of those is really writing what she truly loves to write, and even then, publishing houses have refused to commit to her entire fantasy series (and she's regularly in 'Top 10/20 Women Fantasy Authors in the World' lists) and forced her to finish the series prematurely. Something I never ever have to worry about in self pub.

The reality is that in trad pub these days, you're still in charge of most of your marketing unless you're one of the big earners for the publishing house. In fact I'd be expected to keep even more of a social media and marketing presence than I do now. I don't do almost any of the things you're supposed to do as an author in marketing to be appealing. I don't have a Facebook author account. I don't have an Instagram author account. I don't maintain or regularly send out newsletters (which automatically puts me in the like 0.05% of authors who make money doing this lmao).

I don't know if you ever have looked that closely into what m/m publishing houses expect from most of their authors, but the newsletter swaps, cover releases, review circuits, interview circuits and more are fucking grueling. We're expected to be responsible for our advertising and our marketing to a fairly massive degree. Some traditionally published in m/m still have to pay for their release blitzes out of pocket. These publishing houses, by and large, do not offer advances. You say most authors don't get large advances. I don't think most authors in this arena get offered advances at all unless they're somehow miraculously acquired by a Big 4.

We're expected to have an already established social media presence because of that (that's why it's so appealing to publishers that we have social media presences already, anon, so we can market, they can save money, and we still see only a minimal cut from the royalties).

And you still have to focus on your finances, because publishing houses like Dreamspinner straight up didn't pay a whole bunch of authors for so long they destroyed careers. They still haven't paid some of their authors. And they're still running a business and people still buy their books.

Trad publishing houses have better resources for marketing and helping authors get more attention than any self publishing website could.

This is true if a) they're a big publishing house and not an indie publisher of which most LGBTQIA+ publishing houses are and b) they're willing to use them on you.

The authors that make the most money get the most resources. If they believe you're going to earn back your advance and move thousands or tens of thousands of units per book, then yes, you will get those resources.

I have been told so many times now - even from friends who run publishing houses, including one who works at HarperCollins - that my work will never be mainstream enough to have broad appeal. They literally told me not to keep trying re: trad pub, because that was my dream for a long time. These folks have given me rock solid advice in the past, it's one of the reasons I'm doing so well now via Patreon + Ream. But they were like (paraphrasing) 'you don't write 60-80k romances and you don't want to and that's not your strength anyway, you're multi-genre which makes you hard to market, you write psychological and literary trauma recovery which is hard to market, you write character studies which are hard to market, publishing houses often don't commit to series anymore if the first two don't move units and if they pulled the plug you'd be contractually obliged to never finish that series until your contract was up.' I could go on, but it was like yeah...actually. Fair.

They do, but most publishing houses want very formulaic dark romance which is not what I write.

I have a 300k omegaverse slowburn that still hasn't had any penetrative sex in it, anon. Publishing houses don't want that. They don't expect anyone will wait 4 full length novels to get to literally a single penetrative sex scene.

But you already have 2 completed novels (3 if you count the fae one) that you could potentially revisit or rewrite to your liking and get them represented by agents.

If I rewrote them to my liking, trad pub wouldn't want them. They'd be too long! I think agents etc. take one look at me and go 'oh god, no thank you!' I'm not an easy sell, by any means.

Plus I'm very e.e about all of that with the knowledge that they then give me only about 10-15% of the royalties on the sales, vs. self-pub where I get around 70%, or subscription where I around 80% of it. When someone subscribes to me, they don't have to worry about 85-90% of their subscription fee going to a publishing house. I don't have to think about how many thousands and thousands of books I'd have to sell to make the same amount that I do now via subscription.

As well as trad publishing, you could also make s simple website that doesn't require much maintenance.

If it was that simple, I'd be doing it. I don't mean this in a facetious way, I mean it in a: I've made a lot of websites, in fact I run one at the moment not connected to my writing (I've been running it for so long it's now in its 20s and can probably has a driver's license). I find it so tedious that I barely remember to check in on it. But forgetting about it means there's always maintenance to keep up with when I get back to it.

Running websites is simpler than it used to be, but it's still not simple. There's hosting and hosting costs, there's server changes, there's back-end maintenance etc. I'm considering it for down the track, but there's a reason I decided to go the route of Patreon over my own site. There are authors (like Christopher Hopper) who actually do subscription through their own domain, but it's a lot of work.

Even placeholder sites are still work. They need updating, details change, story titles changing etc. Maintaining my Patreon + Ream About pages is enough, they're always both a little out of date, lol.

Not that you're not professional now.

Oh no, I mean from a 'traditional publisher looking at me to see what kind of candidate I am' I'm really not though. Like I said, I don't have the newsletter (100 subscribers who get one newsletter a year is not really a newsletter), I don't have the Facebook/Tiktok/Insta/Twitter/Bluesky/Threads accounts, etc. I write multi-genre across multiple steam levels, and I'm allergic to writing serials shorter than 150k. One of my best performing original serials was an 800k contemporary story with no sex in it but a lot of BDSM. It can't be marketed as clean or sweet, it's not high steam, an entire chapter is 'boy saves snail from rain.' Also he was cruel to animals, so not exactly what I'd call a sympathetic main.

And yet that story did so well for me via Patreon + Ream, because people want the kinds of stories that publishing houses generally don't want and I happen to be writing them.

Anon I just literally do not believe an agent would want to represent me. I have 0% belief in that. Not from a self-deprecating angle but from a 'I am not a good bet for the trad market' perspective. From a 'I have so many friends who are trad pubbed authors who stare at me like I'm insane for writing serials as long as I do' perspective. From a 'professionals in the industry have told me it's amazing I'm doing so well in serials because there's no way they'd take a risk on what I'm doing' perspective. From a 'just because it's queer and diverse doesn't mean it hits literally any other thing a trad pub is looking for' perspective. I've been doing this for 10 years. There are agents who represent work similar to mine who know what I'm doing and wouldn't touch me with a ten foot pole. They're not missing out on a trick, they know I'm not broad appeal, and they're right.

Also the only way I'd have the energy to manage trad pub is by quitting serials. And honestly, I never found trad pub all that much fun while I was doing it for non-novel stuff. It was fine, and it is nice to have my stuff out there, but it was a ton of admin and a lot of going back and forth between people who really only care about marketing a product, and that's great and what they excel at! But I'm too disabled to turn this job into something crushing just to potentially make more money, I'd rather just quit and go back onto a full Disability Pension. I can't see any way I still get to write the stories I want to write, in the way that I write them, and be remotely appealing to a single reputable trad pub or agent.

Also *gestures to everything in this article*

#asks and answers #pia on writing #pia on publishing #i appreciate your thoughts anon #and i'm so happy it's working out well for you #and that you're able to live off what you're doing #you are one of the rare outliers in the world of publishing #and i truly wish you all the success in the world #i do think a lot of your advice will go to help a lot of writers who sometimes check in #at my tumblr #but yeah no i don't even write that much 'dark' stuff in the classic sense #of what trad pub wants #right now the publishing world that i'm adjacent to #seems to view me as some kind of oddity #'i don't know how he's making an income off all this stuff that we know would never work for us'#'how odd and strange'#'best leave him alone'#most authors are thankfully not doing what i'm doing #in which case yes they should absolutely consider agent representation #and looking into trad pub #unfortunately i'm not like a CS Pacat #even though she's a role model for me #and when i tried to write for the more traditional market #which was perth shifters #i honestly really struggled

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