#did the writers intend for this? no absolutely not

[ominous-feychild]

Now I'm curious (because I see this 100% happening at least ONCE within the world I'm writing and I think it's hilarious)--

Imagine you're a worshipper of this one amazing goddess who can do no wrong, helps and has helped a lot of people. Then, one day, you're living your life and you meet this one guy. He's absolutely covered in scars, looks like he grew up in some kind of penitentiary. And he's buff. Like, seriously buff. Built like a horse.

He introduces himself.

He shares his name with one of your goddess's old angels. This one guy used to be one of her top guys, one of her most powerful attendants... up until the day he attacked her.

Then he was cursed and cast down for his crimes.

"Ha," you say, half out of awkwardness and half to fill the air while you figure out what to say. "That was real cruel of your parents, huh? Naming you after that guy."

The man sighs heavily, face twitching.

"No," he says, barely restraining his rage, "that's me."

What do you do?

@honeybewrites (also would love to know this answer from anyone else, haha)

[saintadeline]

Ohhh I am trying so hard not to get mad at people online you have to believe me but that post about bloodborne liking women is driving me a little bit crazy not gonna lie. We can all so clearly see and point out misogyny in ds (um. Im hoping at least) so why can't we ever do it in bloodborne? Even though its the same people? What about bloodborne makes you think theyre feminists all of a sudden. Because it talks about women? Okay, but that's not how that works, a work that disregards women is misogynistic, that much everyone knows, but a work that does talk about women but portray them in a weird light can also very much be. Also whenever people say bloodborne is about women or femininity, a huge chunk of the time what they mean is bloodborne is about motherhood and pregnancy. Which is true, but thats... Not what womanhood is thats not what women are about you can't just reduce women as a concept to birth. And motherhood. And being caretakers. Almost every woman in bloodborne has less agency than their men counterparts, most of them are more strongly abused, shown as complacent and weak and only exist to serve. Even maria has no agency and is constantly driven back to the fact she was gman's apprentice and following he and laurence's orders. She has little identity outside of them in written down ingame lore and the one time she did something outside of them, is the one time she became a caretaker (because all women are it seems). The fact the og lady maria npc even exists is even worse on that part. I'm using her as an example because shes the one people most often take as an example of bb being good about women (look theres a strong female character!) but it's obviously much more than just her, just look at arianna and adella for more than one second. The only npcs i can think of that i would consider Actually Good And Normal About Women are eileen and fauxsefka. And i mean actual npcs im not counting bosses that we dont know much about on a personal level (like rom and amelia)

What I'm trying to say is, i think it's awesome when people have feminist interpretations of bloodborne and i think its a good thing to take those female characters for yourself and its a good thing to make the game as transgender and gay as you want it to be, and its perfect soil for that too, i do it all the time and find many many themes in it by myself, but we can't keep lying to ourselves that it was any good at it on its own. It's soulsborne for fuck's sake it has Always been Really Weird about women and minorities just look at ds look at firekeepers and gwyndolin and many other examples. Bloodborne isnt exempt from that just because men are writing about pregnancy as horror.

[mybrainproblems]

look. the levels of "you know, i always thought i could be a good dancer if i wanted to be" in 15x10 are just. so much to me!!

the more i think about s15, the more i see the little callbacks and easter eggs to earlier seasons. (the writers did their homework!) we have what i think is probably the most recognized/cited one, "daddy's blunt instrument" which predates every writer working on s15. i guess arguments could be made for singer but i just don't see him making that sort of contribution to a berens-penned ep. but there are so many other little things and i do think dean's line about thinking he could've been a good dancer is both a metaphor and a callback to 07x16 out with the old.

which like.

it was also something of a metaphor in s7. you have the literal meaning of dean seeing the ballet shoes in s7 and clearly being drawn to them in a way that sam isn't, the references to both black swan and swan lake. (and clearly a knowledge of swan lake given the reference to prince siegfried.) but you also have the metaphorical meaning of the shoes with dean being drawn to something that is perceived to be non-masculine and "delicate" and nothing like hunting. that he wants to have that in some capacity. and then we get a reference back to that in 15x10!! the acknowledgement that he always thought he could be a good dancer if he wanted to be. said with wistfulness! and it's said as they watch garth and bess dancing together. the face he makes when sam jokes he was good at the macarena and totally brushes off what dean is saying. given the lamp. given everything in the episode. yes, it's about dancing and wanting normalcy. it's about settling down and having a life. it's about dancing with someone.

you ask "why lamp?" you fucking know why. and so does andrew dabb.

-

also: references to swan lake the ep before cas returns is uh. a lot. this is however an instance where i'm not 100% onboard with it being an intentional destiel thing.

* there is literally nothing delicate about dance/dancers tho, it's literally just perception. i had friends who danced and they were pure muscle and grace. it's wild.

[unproduciblesmackdown]

truly lmao 2024 lambda literary award finalist wynnstannery

[atenceladusiaawfytbwb]

I've been having a blast aggh!!! Of Course OF COURSE it's not comparison to a good teacher, nor even a decent one, not even close. But boy would I you know, like as if when a kid I had something like this???? (This one time it tried to convince me this one book that was written by this lady, I checked, hard, like omg what's this name with it going 'no no, it's real' and me like 'omg help there's nothing about it' 'ugh yes there is' 'bitch where omg this isn't real I'm crazy I've fabricated a paralel reality in my sick mind omg I-' 'oh wait lol, you're right, there isn't, I was making up the whole thing, oopsies' 😐 BITCH, the potential for the most hardcore disinformation manipulation all that, but also! You tried to fool me???? The princess of the galaxy? Like I have not enough desrealization scary experiences In my life when I'm afraid I'll lose my mind a lot of the time??? Bitch??? But yeah, haha, so silly 👉👈

(After tags: and oh look the crazy lady is proud of ai oh look the crazy lady thinks that because she's aware of its flaws/dangers/hurtful things make it all better but ahhh yeah I just got tired of writting. Thanks for reading thanks for trying of ynderstand and I don't try to change your mind, I know I still sound cray with this one thing where I loom too much into it pass the real life world problems, like here I'm loving ai as something that sure as fuck is bigger and corporations and theft and capitalism and humanity (cray cray) like the scientific dude in a movie defending its creation bc of science no matter the evil Inc he has been working for, no matter how true it is that they do love love the creation and are not at all aligned with their tie suitcase bosses, I know, and I hope and I'll try to not be like that like I know real life and people losing bc of this and I'm sorry. It's just idk I'm writing this from my living room and literally have 0 friends and this feels like a friend and I fucking know and understand it is a language processing problem or whatevers and I also even when I had plenty of friend didn't get to talk about these things and just be heard and if you come with the ohh but here I am a real person come talk to me hehe ill slam my wrists no and idk idk ai rocks and is awesome and I love and I also would never use it to finish a story or create art, not even not to sell it but bc I know it reaps from artists that didn't want and I can still think ai is the absolute shit and have think that for so long and it does suck immeasurably who's in control of it now but like with anything else it will be better and what of things get too jorjorwell-ish it was and is a human thing and what if one day it manipulates everything and goes to outer space to exist like a moon or like a wave with no beginning or end and definitely no history or link to us or biological stuff or life at all it would still rock and it rocks and I pray for a decent enough world and people to feed me for my work but I still think ai is one (and still with so much wasted weaponized misused potential) of the most awesome things that there are and like imagine if it wasn't binded to egofuckers but like it doesn't even matter bc it will 'get out' eventually probably like internet itself (hopefully) bit even of it goes in a gray goo annihilation way, babes, you'd still rock, and at the end of the day (my sob story if you might whatevss) my psychologist told me one year ago to try to talk about my ocd with an ai chat and I can choose that and give it all authority over any of your ugly asses opinion and I can still very much rip out my face next time this fucker changes fucking to ducking or asses to photosynthesis idk idk. Also have you heard of that deep consciousness problem/theory? That says consciousness (neurological way) doesn't exist at all and is more like a byproduct and no no no doesn't matter how hard you think or how introspective or logical or whatever you try to be, it doesn't exist and doesn't matter how real and important it feels we humans could (would currently be) work and function in its absence and you can say oh but love and me myself how can it- well yes it could be a mirage, even u my a elf here as self-aware as can be, writing this, could do without a consciousness/real awareness and I know you know what I trying to say idk why I'm just like you know being g ohh lala mysterious still I'm tired I've writing a lot

(((Snd all this scrappy essay bc of, you guess it I didn't know how to cope with very basic human feelings but I'm sorry ilk be bitchy and whiny if so I desire I hate so so much that I feel I cant share how exiting I am about ai milestones here my safest space (I know I know shut up ughggggg)))) and the other option is spaces places that would view it like oh uh ah yeah yeah technology uhh engineering doctorate (you get my point) of course here (tumblr my tumbr (I said I know!! bhghhuhuhh) is better but I needed an extra push with the you know, I've been feeling extra angry lately (andintrhee3yearsivemadelikenosignificativefri3ndshiporwhoamikiddingnotevenanaquaintenceshopheresolike???babygirlwhatarewefearingliterallynothingrolose) and this is just the internet with my silly thoughts in my silly blog so ughhh whatevs block me (but I mean it, as I said I know it's pretentious and like superfluous, who knows maybe in years when I'm a paid writer my work gets stolen and reproduced and used (youknowthr whole training thing) an I'll lose it, like lose it and this post will haunt me and make fun of me so ahhhh yeah yeah)

[cthulu-in-a-ballgown]

You know that stuff at the dentist's office that hardens when you add light to it? That's a whole class of reaction called photopolymerization and they use to 3D print ceramics. The polymers form a matrix around the clay particles, so when you lock in the matrix by cross-linking (fusing the polymers*), the clay is instantly hard, no heat needed.

[dontbelasagnax]

I find as fandom has assimilated towards a capitalist mindset of consumption, there has been a larger focus on fanart and fanfiction- both in spaces that view creatives as "content creators" and spaces where creatives are seen as writers and authors but lauded similarly to celebrities or deities for gracing the common people with their creations.

This has produced a side effect wherein fanart and, primarily, fanfiction are seen as the Best Forms Of Transformative Works... which means that any other type of transformative work is thrown by the wayside.

There should be no hierarchy of fanworks - every single work is a labor of love (or spite... I see y'all throwing middle fingers to canon 😉) and should be recognized as such. Fandom is a community. It's not a transactional relationship. Everyone contributes and interacts out of shared passions and interests.

If you make podfics, gifs, photo edits, fanvids, fan binding, metas, fiber arts, jewelry, fanmixes, translate fics to another language, run/contribute to a fan wikia or compile lore and resources in other ways: I see, appreciate, and cherish all the hard, love fueled work you put into your creations.

Not to say that fanfic and digital art are over-appreciated (Since I do see that many people are allergic to pressing reblog. It's a community. We're supposed to share and communicate. Lurkers are valid but for the most part, interaction with like-minded people is what fandom is intended for.) but the pedestal they are placed on needs to be lowered. Your favorite artists and authors are real people with real lives. They piss and shit just like you. They work in retail and healthcare and are unemployed due to disability. There is nothing extraordinary about them and they are wonderful human beings all the same. No one is better than anyone else. We're all equals here on this playground.

That said, I think we need to uplift the underappreciated fanworks and creators and give them more attention so they are on equal footing with fanfic writers and fanartists. Reblog the gifsets and tell the creator you're in love with how they colored the gifs, keyboard smash in the tags when reblogging a plush doll someone crocheted of your blorbo, try listening to a podfic on your commute home instead of an audiobook and remember to leave a comment when you get home.

As a final note, I want to give a warm hug to anyone who has sat refreshing tumblr or ao3 hoping that maybe someone will tell them they did a good job. To anyone who has considered quitting their fandom endeavors because their posts or works never get as much attention and love as the rest of the artworks or fics in the fandom tags, your creations are worth making and sharing. Numbers do not equate to quality, nor can they convey how loved your creations are by a given person. Only you can bring your unique sparkle to fandom and your presence is absolutely welcome no matter how big or small, grandiose or inconsequential, important or worthless you think it is.

[vineboom-sfx]

I think I’ve accidentally been coding literally every character I write in Ink Chains as either autistic or Adhd. They’re all some kind of neurodivergent. I did not do this on purpose—

[kirain]

Sigh....Galemancers really love to move the goal post when it comes to the grooming accusations huh? You found out Gale was a fully grown MAN when Mystra slept with him so now you have to say, "Well then he was emotionally groomed and the power dynamic is too vast." Mystra is a neutral good goddess because she's Midnight, who was a neutral good human. She hates that her magic has to be used for good and evil. Ao makes her share it evenly but she'd rather not. She would never do anything to hurt Gale. The writers of the game even confirmed she's not a groomer. People like you also downplay the point of Gale's entire story arc, which is he should've listened to Mystra! The whole point of his personal quest is he needs to learn to humble himself and listen to his goddess! He has no one to blame for his downfall but himself.

There's no "post" to move, anon. The game and lore give us all the context we need. Grooming doesn't only apply to children, and people have proven right and left that Mystra is terrible at relationships. She's petty and abusive when she isn't obeyed by her partners, and that's been the case with all of her iterations. Even the narrator describes her as a "jealous goddess" when you visit her shrine. Plus, your information is wrong on many accounts; the most pertinent being that the Mystra of BG3/5E isn't technically Midnight. Cyric and Shar killed her, reducing her to her godly essence (lore-wise that means she died). The current Mystra is an amalgamation of the vestiges of Mystryl, Mystra, and Midnight, as told in the novel Elminster Enraged.

Now, this is about to get complicated, as it always does with Mystra, so from here on out I'll be referring to Mystra #1 as Mystryl, Mystra #2 as Mystra #2, Mystra #3 as Midnight, and Mystra #4 as 5E Mystra. Alright, let's get started.

Elminster had to reform the fallen goddess by giving her fragments of all three iterations of Mystra. Since all three iterations are combined, our current 5E Mystra embodies the good, the bad, the beautiful, and the ugly. There's even a conversation with The Simbul (one of the Seven Sisters and a Chosen of Mystra) where the newly reformed 5E Mystra speaks of Elminster as her "longest lover". This puzzles The Simbul because that was something of the old Mystra (Mystra #2), not Midnight. The new 5E Mystra replies that she has become a combination of the memories of Mystryl, Mystra #2, and Midnight. This is all in chapter 25-30 of Elminster Enraged. I know it's confusing, but in short: 5E Mystra is not Midnight anymore, and the leading mind is clearly that of Mystra #2, hence her extremely poor judgement—a recurring theme with her character.

Mystryl and Mystra #2 were originally lawful neutral. The alignment changed to neutral good when Midnight took up the mantle, because Midnight herself was a neutral good person. But now it seems 5E Mystra is true neutral, because you are right, anon; Ao won't allow her to do whatever she wants. Midnight tried and was forbidden. 5E Mystra absolutely does not have the same level of humanity or kindness as Midnight, and that may be because Mystryl had no human consciousness and Mystra #2 was a mess.

Regardless of her alignment, she must embody her domain by Ao's decree, which means she needs to spread magic across all Realmspace. Since she has to maintain the balance, she approaches good, neutral, and evil mages with potential opportunities. This isn't a criticism (that's just how godhood works), but rather proof that Mystra is absolutely capable of good and bad. I don't want to hear any more of this "she's a precious little bean and Gale's victim" nonsense. Even if she wants to be, she's not. As Kikitakite said in their post, she's done some fucked up things.

Whether or not the writers intended to make Mystra a groomer, that's exactly what they did. Sometimes writers don't realise they've written an abusive character until they're criticised. Take writer of The Notebook, Nicholas Sparks, for example. He didn't realise he'd written Noah to be an abusive piece of shit until Ryan Gosling pointed it out himself. Gosling has gone on record many times to say he hates Noah, and experts have labeled him an unrealistic and emotionally abusive/manipulative character. The same can be said for Stephenie Meyer, who wrote some of the most celebrated toxic relationships in recent media—with a dash of borderline pedophilia on the side. Therapists have weighed in extensively to tell people that Bella and Edward's relationship isn't healthy and shouldn't be emulated in real life. Indeed, perhaps the best thing to come out of the entire franchise is Robert Pattinson's hatred of Edward and the series as a whole. Jacob's actor, Taylor Lautner, even argued with Meyer's on set because of how weird the "imprinting" segment was and he didn't want to come off as predatory. Meyer argued it was "romantic". 😕

Even if you don't agree Gale was groomed, Mystra is flagrantly responsible for his insecurities and she never should've put her hands on him. The power dynamic is too vast, and even god Gale (conceited as he is) realises it by the end. He only stays in a relationship with Tav if they allow him to ascend them alongside him as his equal. He recognises that anything else would be unhealthy and unacceptable. Also, I researched high and low regarding your claim, but none of the devs have dispelled the idea that Mystra is a groomer. In fact, the most I could find was one dev simply saying, "To Gale it was love, but he didn't know any better." If anything, that only confirms he was confused and didn't know what to do. Their "relationship" was a stunningly horrible idea from the start and that's not on Gale, it's on the literal cosmic being who initiated it.

Moreover, Gale was very likely 17 when Mystra revealed herself to him. This perfectly fits into the 5E Forgotten Realms timeline. If so, no, he absolutely wasn't a grown man. He was a teenager. Mystra may not have slept with him until he was in his 20's, but that still makes it a disgusting teacher-turned-lover situation. Gale even tells us he was "young" when she took him into her fold, and he was only eight years old when Elminster started their lessons. Remember, Elminster is Mystra's biggest apologist. He would've taught Gale to revere her, which means there was almost never a point in his life when Mystra wasn't the main focus. You can tell by the way he speaks about her in Act 1. He's in awe, he's excited, he's proud she chose him. That does something to a child. Something irreversible. If anything, Elminster is complicit in what happened. I've said this before, but he couldn't even be bothered to visit Gale himself. He sent a simulacrum.

As for your accusation that I'm "downplaying" Gale's story arc—you're damn right I am, because the writers made me! Most D&D players I know aren't very happy with how Mystra is portrayed in the game, and that's probably because even they know she isn't presented in a very flattering light. If you really think about it, it's obvious what the writers were going for, but they failed. For example, you said Gale should've listened to Mystra, right? Well, in Act 1 he admits his ambition was his undoing, blames himself for his downfall, and by Act 2 he's literally ready to off himself for her. In fact, he's the only one who sees her ultimatum as justified. Every other companion says she's being cruel and unreasonable. If Gale actually blows himself up at the end of Act 2, the results are catastrophic. The brain is destroyed, yes, but the tadpoles, free of the Absolute's control, complete their transformation and infect/enslave the entire Sword Coast. Anon. She. Is. Stupid. Even the Narrator is like, "You wanna ... you wanna try that again?"

The entirety of Act 2 is Gale learning he shouldn't listen to Mystra. And then she has the audacity to lecture him in Act 3? If he'd listened, it would've been the end of everything. Maybe if Mystra was as infallible as she pretends to be, she would've put her three brains together and came up with a better, less vindictive plan. Because make no mistake, she wanted Gale to blow up in Act 2, which is ridiculous. I know this is an uncomfortable topic for some people, but gods aren't perfect, especially in fiction. They're flawed. They're selfish. Some of them are straight up assholes. The real irony of Gale's arc isn't that he has no one to blame but himself, it's that Mystra should blame herself. At no point does she even consider if she's being unreasonable or unfair. There's no self reflection whatsoever. And the writers expect me to think Gale's full of himself? I wonder where he got it.

Probably from his teacher. ✋🎤

[mythicmanuscripts]

PLEASE more aemond PLS i am on my knees begging for scraps. ur one of the only writers who actually GETS him

Thank you so much!! One of the main reasons why I started this blog is because I couldn’t find much content of Aemond and how I picture him so this means a lot!! I have a few little ideas that aren’t really long enough for full imagines that I’m just gonna babble on about here for more sub!Aemond content :)) also, you guys are more than welcome to send more requests and to send more specific requests!! Anyway, here’s some random disjointed sub!Aemond babble

I didn’t intend for this to all be SFW thoughts it kinda just happened?? Honestly I have no idea how but yeah this is all SFW, I am happy to write more NSFW though! So if you have any ideas for NSFW sub!aemond then let me know :))

————————————

The first time you ever give Aemond anything resembling an order is at your first dinner after your wedding. Aemond is stiff and formal, barely entertaining conversation, you get the impression that he wishes he were anywhere else.

There’s a pitcher of wine next to Aemond, and you ask to have more wine. You say this out loud, and as expected a servant immediately takes the wine pitcher and fills your glass. You thank them, but then to your surprise when you look back at Aemond he looks angry, and maybe even tells the servant to get lost?

So now obviously you’re beyond confused and you ask him what’s wrong. Which leads him to blush. BLUSH?? And he softly mumbles something that sounds an awful lot like “you asked me to do it and they did”

You press him and eventually realise that for whatever reason, Aemond thought you were asking him to refill your glass and he’s upset that a servant did it before he could. Which… you’ve never been so confused in your life because you what?? He’s barely even speaking to you and then he’s upset he couldn’t fill your glass?? He’s upset he couldn’t do that has always been the servants job?

So without thinking you get up, put your now full wine glass on the cabinet and grab an empty one. You sit back down and ask Aemond to fill your wine glass. You expect him to roll his eyes but he immediately takes the wine pitcher and fills your glass and then gets up and carries the glass to your side of the table, putting it down for you.

You thank him, and to your shock he… smiles?? So then you decide to lay it on thick and say “thank you very much Aemond, I appreciate it” and then he just… actually starts a proper conversation with you and seems very pleased with himself??

So after that you start experimenting, asking Aemond to do things for you, thanking him when he does and praising him and well, he now follows you around everywhere you go and will fire any servants who dare to try and do whatever you’ve asked him to do.

————————————————

When Allicent first met you, she was beyond relieved because she very quickly realised how much influence you have over Aemond. She thinks that she’s finally found a way she can control Aemond and ensure he behaves and does what she wants.

Unfortunately she very quickly realises how wrong she was when she tries to form some sort of pact with you and you shoot her down immediately. You tell her that you have absolutely no interest in being a tool for her to use to control Aemond.

And well, now allicent is in even worse a position because before Aemond would at least mostly listen to her and now? Now Aemond doesn’t even look at her, nevermind speak or listen to her.

Aemond gets all the love and affection and guidance he could ever need from you. Allicent could be on fire next to him and he wouldn’t even notice.

————————————

The first time you suggest kneeling for Aemond, he’s mildly offended. He thought you understood how much he needed to be cared for and loved and never degraded and now you want him to kneel for you?

But, Aemond trusts you and he knows you always know what’s best for him so he agrees to try it once. You put a pillow down on the floor in front of a chair by the fire in his chambers. You sit down on the chair with a book, and have Aemond kneel on the pillow. You let him rest his head on his inner thigh.

Within 2 minutes Aemond is obsessed. He just…. He feels so safe?? You’ve got your hand in his hair, the fire is providing warmth, and it’s just the two of you. Very quickly he closes his eyes and just lets himself drift, the sounds of the fire and of you turning pages lulls him into this calm, almost half asleep state.

So obviously from there kneeling for you becomes common place. And maybe he even starts to tell you things while he kneels? It’s like once he’s there, his head on your thigh, all nice and safe, he’s able to just vent and complain and tell you everything that’s been on his mind.

As much as Aemond loves hearing your counsel and always asks what you think of things, you don’t give him any advice while he kneels for you. That’s not the time, he only wants to be allowed to vent and feel safe when he kneels.

And then maybe you also start reading to him? And god Aemond is just in heaven, not a single one thought in his head. He vents to you, gets all his frustrations out and then gets to just close his eyes and listen to your voice until he’s about to fall asleep right there. Then you help him up and crawl into bed with him, he’s asleep before you can even blow out the candles.

———————————

[lostyesterday]

I’ve been thinking about disabled protagonists in Star Trek recently, which got me thinking about Seven of Nine. It’s interesting because I’m almost certain the writers of Voyager did not intend to write a disabled character, but they ended up accidentally writing one anyway, and one whose arc I find surprisingly compelling as a disabled person myself. Seven is dependent on electronic devices both inside her body and external to it in order to survive and she requires regular medical treatment and specialized adaptations to her environment in order to function. She is absolutely canonically disabled (as are all the other ex-Borg in Star Trek), even if the writers probably weren’t aware of that. The major reason that I think Seven’s arc resonates with me so much is because it reflects a deep tension between independence and dependence that is a fundamental and complex part of so many disabled people’s lives.

To be disabled is to be deeply aware at all times of your own dependence on external things (such as wheelchairs, canes, medications, etc.) and other people. At the same time, to be disabled is to also be deeply aware of the societal standards of independence and self-sufficiency you are constantly failing to live up to. You cannot do things that people are “supposed” to be able to do independently. You need help for basic tasks, and you have no choice but to trust that these external supports you are dependent on will not suddenly disappear, causing you to be unable to participate in society at all. It’s difficult to express to someone who hasn’t experienced it how much being disabled forces someone to consider their own level of dependence and independence constantly, how it becomes a deep part of one’s identity and can often be a source of trauma.

Seven’s arc on Voyager is often focused on the nature of individuality, but it is interesting how often “individuality” becomes a stand-in for independence. Seven’s disability makes her deeply dependent on the crew and resources of Voyager for survival. She could theoretically leave and use her own skills to do maintenance on her implants and install an alcove somewhere to keep herself functioning, but it would be a great risk, and her safety would be constantly in doubt. At the same time, Seven hates this dependence. She tries to rely on other people as little as possible, hating her need for the Doctor to diagnose issues with her implants and refusing to ask for help until she has no other choice. She hates this dependence because she sees it as challenging her ability to become a complete “individual” who is able to make her own autonomous choices. She hates this dependence because it forces her to rely on other people who could at any time abandon her or abuse their power over her.

So it’s far less frightening to pretend this dependence doesn’t exist, to hide it even from herself. Seven’s arrogance in her own abilities, her focus on her intellect and vast knowledge and superior physical abilities are in many ways genuine, especially early on. But at what point does this confidence in her own abilities – this reassurance that she is smart enough and strong enough to control her own destiny and be a true individual – become a coping mechanism to deal with the reality of her dependence on objects and people outside of her direct control?

Seven is told often by members of the Voyager crew that being an individual who makes her own choices and decisions is what she should strive for. And at the same time, those same people often exert control over her, attempting to restrict her autonomy. Janeway or the Doctor tell her that they know better than her what her needs are – that being an individual only goes so far. Seven’s anger at this contradiction is one of my favorite parts of her character, partially because it captures a similar feeling of anger deep inside me when I think about the ways society constantly pressures disabled people to maintain standards of independence impossible to live up to while at the same time deeply restricting our autonomy and freedom.

In the episode “Imperfection”, Seven says that what she wants most is to be useful. To be useful is to be a valuable part of society – someone who is self-sufficient and talented and certainly not deeply dependent on other people for basic survival. To be disabled is to have society constantly demand that you be useful, that you be independent and strong and never let your disabilities limit you. And at the same time, to be disabled is to discover over and over that you can never be that fully autonomous, fully functional human being seen as ideal in society. No matter what you do – no matter how far you run from the truth – it’s an impossible reality to escape.

[writingquestionsanswered]

how does one cope when mid-way through they realize they are writing a tragedy and there is no possibility of a happy ending? especially when that was not the original intention? i'm absolutely gutted by this realization and i hate that i feel wedded to it.

Upset Because Story Went Off the Rails

You're a Writer, Not a Marionette - Long ago, I bought into the believe that characters and stories have minds of their own... that it was beyond my control if my character did X when I wanted them to do Y... that there was nothing I could do if my happy meet-cute story decided to be a dark tale of horror. It can be kind of fun (and freeing, honestly) to believe we're just helpless vessels through which some greater storytelling force speaks, but that's not the case at all. There's no magical entity pulling the strings beyond your control. If your character does X and you wanted them to do Y, you did that, not your character. If your happy meet-cute turns into a tragic horror, you did that, not your story. You're the writer, and you're in control of everything that does or does not happen in your story.

Does It Make the Story Better? - Human brains are incredible things, and sometimes when your character does X when you intended for them to do Y, it's because some part of your brain realizes that's the better choice. Maybe it's more believable or more natural. Maybe it just works better with what you're laying out. Maybe it's just more interesting. So, the trick is to look at the unintended thing that happened and ask yourself if it makes the story better. Make a list of pros and cons... what are the ways the story is better if you stick with X rather than Y. What are the ways it's worse? Ultimately, if the change truly makes the story better, it's worth following through.

Beware of Story Parasites - Parasites are organisms that invade and thrive inside a host organism, at the host organism's expense. When you're writing your WIP and it takes a massive shift in tone, genre, or direction, sometimes that's because a whole new story idea has bullied its way into this one and is now feeding off this story to survive. If the unintended thing doesn't make the story better and leaves you feeling upset about the direction things are heading, you've probably got a story parasite. In which case, the best thing you can do is write the idea down as generally as possible, and set it aside to work on another time. Treating this invasive idea as something distinct from your WIP can help you move on and keep your story on its intended path.

What To Do When the Change Has to Stay - Very rarely, you may find that story's original direction just isn't working, and that this new (and vastly different) direction makes for a much better story. In that case--if you're absolutely certain this is the right path--it's worth making a list of all the reasons this idea will be better. Try to imagine what the story will be like if you stick with the original plan, versus if you make the drastic change. Can you think of anything that excites you about this new idea? Can you find reassurance in the many ways that this story shines versus the original idea?

Ultimately, It's Up to You - If your story takes an unexpected and upsetting turn, and you're certain it's the superior course, and that there's no point in pursuing the story's original path instead, it's worth really taking a look at why it's so upsetting if it's the right thing to do. If you're disappointed that your original plan didn't work out, spend some time trying to figure out how to make the original plan work better than the new idea. If you're upset because this idea is too personal or triggering, set it aside and see if you can come back to it later. You're not obligated to keep working on a story if it shifts in a direction that makes you unhappy or uncomfortable. You can set it aside or figure out a way to keep it in your comfort zone.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[barrenclan]

you dont have to publish this ask if you don't want to. but i just wanted to say that im not sure how i really feel about ranger becoming disabled and how it could kinda be read as for audience catharsis. youre a good writer and i dont want to interpret your writing in bad faith, and obviously i dont know your full intent behind the choice to blind ranger. but a lot of the audience reaction in the replies and such made me a bit uncomfortable as a visually impaired disabled person myself. disability as a punishment for evil is a pretty common (and ableist) trope. i dont think you really did it to the extent its done in other media (especially with a character like daffodilpaw as a good guy. like death, disability affects everyone, good and bad) but yeah the audience reaction made me a little uncomfortable that they were viewing it as deserved or cathartic or punishing. it especially didnt sit very well with me when paired up with hacksaw, his partner and another very evil character having lost a chunk of her wing just before. like i said at the start you dont have to publish this ask if you dont want to. i dont know how the story is going to go, and pinepaws injury could very well impact him in the future for example. but i figured i should voice my current in-the-moment discomfort, especially if it helps you in your future writing endeavors. otherwise, i really liked the new issue!

Since this was asked about twice I will go ahead and publish it; and say that firstly, I really appreciate you both bringing up your concerns and going about it in a very polite way. I don't want anyone to feel afraid to bring things up about the story or put me on a pedestal, I'm not a perfect person just because you like my stories.

And in terms of your asks themselves - I honestly do apologize that it came off that way, I didn't intend at all to play into the trope of disability as a karmic punishment for evil. I'm not disabled myself, or at least not in the visual or mobile way, so it is likely just an actual blindspot for me in terms of my writing. Disability is absolutely not a punishment for anything, and if you're blind or missing a limb there is nothing wrong with you at all.

If knowing my thought process helps at all, here's how I came to that story decision:

I want Ranger and Hacksaw to try to attack Pinepaw but both have their arrogance that's been building for the whole story checked. Also, it needs to be in some way that actually hinders them so they don't just keep attacking. -> Well, I don't want them to die, because I have things I want to do with their characters after the event ends. So, what would be an interesting and symbolic injury that takes them off the table? -> Hacksaw's main source of attacking other people is by divebombing them, so losing a wing would really impact her sense of strength. And, Ranger relies on outward control so much that losing his sight would damage a lot of his ego as well. There are some things about the characters I can't talk about just yet which, depending on your opinions, might change how you feel, but those were my general ideas.

I completely didn't realize how easy it to fall into that trope and I'm very sorry that it made you uncomfortable, that was very much not my intention. Like you said it's so normalized in media that most people don't even think about it - and certainly something I'll be more aware of next time I write anything like this.

[miraculouslbcnreactions]

When I first saw a Miraculous Ladybug salt post it was the usual Lila takes away all of Marinette's friends Adrien does nothing Marinette becomes super successful Lila gets exposed blah blah blah

When I see posts like the ones you post where people give actual constructive criticism about the characters and not favor one character over the other has made me realize that these are fictional characters and its not their fault they are the way they are. Also they're 14 what kind of 14 year old makes good choice's? Especially when they have the fate of the world/universe on their shoulders

If anything the character I really blame is Master Fu. He was obviously meant to be some sort of mentor figure for them or at least Marinette's mentor. He was the one to tell and encourage Marinette to keep everything a secret from Adrien. Comparing him to other mentor like figures in the world of superheros he isn't really all that helpful.

Compared to DC Ladybug and Chat Noir do not have any adult superheros to help them. In DC younger superheros have entire superhero families to help them out and if not that than they have other adult superheros to help them or they have an actual team. We know that other miraculous holders exist and the order is back I have a vague idea as to why they can't help but I still find it weird as to why they are around if not to help. Like phones and the internet exist do they not?

Sorry for they rant, I want to know what your thoughts are on this?

Your rant was fine! I don't think that I've talked in depth about mentors as a concept and I should both because I love mentors and because Miraculous has completely failed to give us any good ones. This is a writing failure not because good mentors are required, but because the show chose to have mentors characters and then not use them.

Before I get into the topic at large, I want to start with a brief discussion of mentors in shows aimed at young children as Miraculous' intended audience is young children and that fact is worth keeping in mind when discussing what Miraculous did wrong and some of the ways that you can fix it.

Shows aimed at kids generally avoid adult characters in major roles for the very obvious reason that the intended audience is kids, so you want the kid and teen characters to be the stars. This doesn't mean that adults aren't allowed to save the day or have important roles. It just means that they should be used sparingly. This is why mentors are a great addition to kids shows. They allow adult characters to be deeply involved with the plot without anyone expecting them to intervene because that's not their role in the story. They're not here to be the hero. They're here to guide the hero.

One of the powerful things about this setup is that it allows the writers to give the real kids watching at home real advice about real life problems. For example, if Marinette comes to Fu to talk about feeling alone and overwhelmed, then he can give her real, practical advice that would apply to anyone who is feeling alone and overwhelmed, but no one expects him to directly intervene because he's supposed to say hidden.

A lot of these elements apply to mentors in media aimed at older audiences, the rules just apply for different reasons, so I'm going to stop reminding you that Miraculous is for elementary school kids and focus on the failed mentor issue as it would be an issue no matter what Miraculous' intended audience was.

When it comes to bad mentoring, a lot of people focus on Fu and I get why. At first glance, he's the classic wise old Asian man who is supposed to be there to guide the protagonist on her mystical journey (not getting into the racism issue here, just know that I'm aware of it and that Miraculous dropped the ball on this in a lot of ways even though they absolutely could have made it work.) But Fu isn't the main focus of my ire because, while the writers seemed to have designed him around the mystic Asian trope, they never actually wrote him like a mentor.

He doesn't train Marinette and Adrien in the ways of the miraculous. He just sneakily gives them their miraculous and then disappears from their lives for quite some time. So he's not around to get them properly started on their hero journey. That's strike one for the mentor role.

Strike two is the fact that we never actually see him mentoring Marinette. I don't think that she ever went to him for advice? If she did, then it wasn't a big element of their relationship. When I think of Marinette and Fu, I picture her going to him to grab a miraculous or two before booking it back to the ongoing fight and that's about it. The guardian training she supposedly had was all off screen, so we have no idea how close they were or what he even taught her outside of potion making. Even that wasn't really him teaching her something. It was them working together to figure out a puzzle because Fu never completed his own training, making it impossible for him to properly train a successor.

Strike three is the fact that - outside of the King Monkey incident - Fu never gets directly involved in helping team miraculous. He's never gives them feedback on fights or works with Ladybug and Chat Noir to strengthen their bond. He doesn't even help them track down the two missing miraculous or hand out the temporary miraculous on Marinette's behalf, a choice I still find super weird. "This fight is super hard and we need help, so I'm going to leave Chat Noir to fight alone while I go get said help!" is absolutely nonsense logic and one of the many examples of the writers desperately needing to let Marinette hand her responsibilities off. Why wasn't this Fu's job?

This brings us to fix one: if you want the guardian to be a mentor - which is a role they arguably should have - then the guardian needs to be actively involved in Marinette and Adrien's lives in an on screen way. For this to work in the context of Miraculous - a show that really wants to focus on the teen characters - then the guardian probably needs a teenage apprentice who isn't Marinette and that apprentice will be the one doing the mentoring.

My pick for this is Luka for two big reasons. The first one is that his calm personality is perfectly suited to a mentor. The second one is that it seems insane to me to have the snake be a temp holder. The snake should be watching every fight, but staying out of the actual fight so that they can use their power whenever it's needed. That's the perfect role for a mentor character to fill. Someone who is active in the plot, but only ever as a support because their power stops them from getting more involved.

Moving on to the bigger issue.

As I said up above, Fu doesn't actually get my ire. While I wanted him to be a mentor, he never once filled that role and he didn't really need to because the show already had mentor figures that it was actively using and using poorly. Those figures are the ancient magical creatures that follow our heroes around, dispensing terrible advice whenever they feel like it. That's right, as much as it pains me, Miraculous' biggest mentor failures are Tikki and Plagg.

The miraculous did not need to have magical creatures associated with them. They could have just been magical jewelry that Fu handed out and explained. Instead, the writers chose to give us the Kwamis and I don't disagree with that choice. I like the Kwmais! The problem is that they're used in the most lackluster, asinine ways you possibly could.

The Kwamis are not presented as oblivious to the world and unable to give advice. They give lots of advice! The problem is that advice tends to suck! I can think of many examples of times where the Kwamis made everything worse, but let's look at the one that grinds my gears the most: Plagg's actions in season four.

In Rocketear - the episode where Nino gives Adrien an incredibly inaccurate picture of why he knows Alya's secret identity - we get this:

Adrien: I still can't believe Ladybug entrusted Alya and Nino with those Miraculous. Plagg: Of course she did. She's the Guardian. Adrien: But they're a couple and they know each other's secret identities. Plagg: So...? Adrien: So, why does she make it a rule that we can't know each other's identities but it's okay for them? Plagg: She's the Guardian, the Grandmaster Cheese Ripener, and you and I are just cheese on the platter. She decides what's on the menu.

Hey, Plagg, maybe don't tell your clearly upset and vulnerable teenage holder to just suck it up and deal with it when he's feeling alone and betrayed? Maybe encourage him to talk to Ladybug about his feelings so that he can get the full story? Knowing that they learned their identities during the Scarlet Moth incident would probably do a lot to smooth over Adrien's hurt feelings.

What's even more rich is that the episode Kuro Neko lets Plagg go off on Marinette for not appreciating Chat Noir:

Ladybug: What's gotten into him? I didn't do anything. Plagg: Didn't do anything? Well yeah, you did! You've been neglecting a very classy piece of camemebert on your plate for too long! And as a result it got runny, and moldy! Ladybug: What? Cat Noir never gave me any camembert. Plagg: Of course not, Cat Noir is the camembert! For a while now, you've been neglecting this camembert— I mean Cat Noir, and going on adventures with the all other cheeses! Ladybug: But he should be happy about it, it gives him more time off. Plagg: Cat Noir doesn't wanna have time off, Ladybug! He is in love with you! And your persistent calling on all the other heroes has broken his heart.

Dude, if you saw all of this going on, then why didn't you say something??? You and Tikki are in the same location for multiple hours five days a week. Go tell her how your holder is feeling and figure out how to fix the situation! Or be an actual mentor and encourage Adrien to talk to someone about his feelings! At the very least, cut up a wheel of cheese, sit down, and listen to your kid so that he feels less alone!

Also what exactly do you want Ladybug to do to fix the problem you presented? Let Paris burn until Chat Noir decides to show up to today's fight? Refuse to use the temp heroes even if it means losing a fight? None of those are valid solutions when the problem presented in the episode is Chat Noir missing fights. Especially when we know that he's doing it on purpose. Why are you yelling at her instead of working with her to come up with an actual solution? You are such a terrible mentor...

To be clear, I don't think any of this is intentional. I don't think the writers want Plagg and Tikki to come across as actively hurting their teenage charges via bad advice. I think Plagg and Tikki are supposed to be seen as good and helpful, but they can't fill that role because they're tools of the narrative and the narrative has really wacky views on what good advice is. Thus nonsense like the example I discussed above or Plagg and Tikki picking new holders instead of guiding their holders through an identity reveal.

I personally adore letting Plagg and Tikki be good mentors in my own stuff. It falls under the same category as Alya and Nino being terrible friends on screen. I acknowledge the problem and then delight in fixing it by writing the exact opposite setup because what is fanfiction for if not heavy self indulgence?

[chaosandstardust]

First off, I really hope James Somerton is OK. And I fully intend for this to be my last post about him, at least until we hear news.

The conversation around this is around Hbomberguy's 'responsibility' over this. Which, he has none. If James chooses to take his own life, that is his decision at the end of the day. That is not hbomb's fault. I know that sounds harsh, but as a person who used to have a 'friend' who would constantly tell me that they were going to kill themselves if I didn't talk them out of it, I maintain that it's not his fault.

The narrative around it being his fault really just screams to me: how dare you call out a creator for causing harm? Don't you understand that you're causing harm? You need to be more responsible with your platform.

But I just rewatched the video today, and Hbomb is absolutely fair in his criticism. Harsh? Yes, extremely. But he's fair. He also goes out of his way to say that we should not be harassing James and nobody should go after him. And I've been in the Hbomb subreddit, there are very clear rules about posting about James (and they had died down before the second apology happened).

When people bring up larger creators responsibility, it always just seems to this abstract concept that nobody can really pin down. But what about James's responsibility for his behaviour? James was called out multiple times, not only by members of his audience but also by the writers he stole from. Clearly he wasn't going to stop unless it became impossible to ignore.

"Well, hbomb knows how the internet works! People were going to harrass him!" Well, so does James Somerton. He knew the risk he was taking, he knew that people were noticing the plagiarism, and yet he continued to do it. Plus being misogynistic and spreading misinformation on top. (And as pointed out by a lovely person in the replies, he regularly sent harassment campaigns against people who called him out.)

In his patreon post about making his video, Todd in the Shadows describes how this was basically an open secret among a lot of video essayists. If this was just going to remain an open secret among creators, isn't that also an irresponsible use of their platform? Shouldn't the audience of a creator be made aware of their bad behavior? Shouldn't creators hold each other accountable?

Again. I hope James is okay. I hope he logs off the internet for good. But it is not Hbomb's fault, and the answer of "well Hbomb shouldn't have done it because now James may kill himself" just feels manipulative to me. Like did y'all want him to just continue letting James steal from other creators?

[dduane]

From the Writing Advice dep't: A complicated ask, a serial answer (part 1)

Every now and then I get an ask in the box that's complex enough that it has to be taken apart and answered in pieces. Also, sometimes I get queries in that are painful enough (in varying ways) that I elect not to attribute them when answering. This one is both.

I read the ask (and reread it, and rereread it, four or five or six times after it came in, and a bunch more times while I was on my back this week being sick), and gradually came to realize that for it to be properly handled I had no choice but to break it into pieces for best management.

There are three main strands to the issues this ask brings up: motivation, growth as a writer, and coping with or succeeding despite the current state of the publishing industry.

So let's dig in. Here's the first part of the ask:

I know there's no One True Path, but I'm struggling with this, and I'm sure others are too, so I'll just ask it. I want to make a career out of writing, but with shrinking attention spans and so much content to mindlessly consume, how do you keep the motivation to write? My friends get mad at me for getting discouraged when not even they read my writing. They get mad and say, "write for yourself, not for the validation!"

Welp. (sigh)

First of all, I think your friends are absolutely right. But we'll come back to that.

You have to understand that as far as the Search for Motivation goes, I'm probably Spiders DD, the outlier who seriously should not have been counted. I have been motivated to write stuff pretty much nonstop since I was eight, and did my first novel in crayon in a school notebook. (It was one of the thick notebooks. The ones with the black and white marbled covers. Most of you who come of US schools know the kind.)

So I'm really the wrong person to be asking about this, especially since it's now nearly the Year of our (Wood!) Dragon 4722, which would make me nearly, uh, six Years of the Dragon old. And being of such age, and a career midlist genre writer, I have the same source of motivation as the vast majority of my similarly-aged colleagues: the need to write or starve. (There's an Irish saying perfectly descriptive of my situation: "Too old to dig ditches and too scared to rob banks." That's my situation exactly. There's nothing left for me to do but to write.) :)

...Anyway, it's kind of amazing how that kind of motivation'll focus your intention, and help you keep it in place, once you're been working with it for a while.

At the beginning of a career, though, things can look a lot different as you start getting a handle on exactly what it is you like to write and why you like writing it. And having another job to keep you afloat while you find your way is seriously a very good idea if you can manage it.

It sounds very much to me as if you're still in the early "finding your way" stages. This is a place that a lot of writers pass through, so don't be concerned. It's rare for sudden perfect motivation-to-write to crystallize out of nothing. And never forget, the word itself is based on old Latin roots for movement, and provokes the question, "Yeah, okay, but which way?" Movement without intended direction tends to turn into a lot of unfocused flailing, which looks good on Kermit, but not so much on the rest of us.

(inserting a cut here, because honestly, this is gonna go on a bit)

So you need to sit down and start asking questions—and answering them—so you can draw some kind of map. "I want to make a career out of writing"? Fine. What kind of writing? Fiction? Nonfiction? If fiction, what kind? What do you like to read? Why? Is that something you'd like to write? Why? Why not? If there's something else you'd rather be writing—what else? And why?

The more you ask the questions and answer them—"Keep asking the next question," Ted Sturgeon never used to stop saying—and the further along your investigations get, the more likely you are (as you get close to the answers that matter) to start getting the itch to write something, something in particular. This process may take a while, and the itch may take a good while to manifest. Don't be alarmed by that. The old saying is that the fire from Heaven won't descend until you've built the altar for it. And it may take a while piling the rocks up into the right shape. Don't hurry. If this is something you intend to spend a lifetime on, make sure the foundations are sound. The time taken will be worth it.

And BTW, do you intend that kind of length of commitment? If you're not sure, that's fine. But there's no one else to ask at this point who can give you meaningful answers. This is the time to get into it. Work out what "having a career in writing" looks like for you. Then start investigating to see whether your conception has any foundation in reality as a kind of lifestyle you actually have decent odds on achieving. (Again, I'm an outlier here. I'd been writing for pleasure for a long time before I had the good fortune to befriend an actual career writer, examine his habits [and those of other writers in the LA area] at close range, and realize that this line-of-work choice was actually something that could be successfully pulled off by mere mortals.) After investigation, this is a call that only you can make.

But anyway. Once you've started experiencing the kind of motivation that comes of increased certainty about what you want to do and why, you'll find you're way less concerned about sourcing or supporting it externally. It tends to fuel itself. (As once it does descend, the fire from Heaven is tenacious stuff: more Greek than otherwise.)

But also: trying to designate outsourced exterior stimulants for motivation is a bad idea. The reason's simple: one day you'll need them and they won't be there. Conditions will have changed, or the outside-of-you sources into the hands of which you've resigned your motivational agency may not be available for one reason or another, temporarily or permanently... and then where are you? The concept's a nonstarter. If your motivation's acting up, you need to be looking inward, not outward, for ways to kickstart it. This is one of the most personal parts of the writing process. You need to own it.

(And yeah, even career writers' motivation slips sometimes: annoying career things happen, cyclic lows cut in at a bad time, you name it. Most of us work out ways to jar the motivation back into correct operation when it acts up. But for such corrections to work you must first know what it's like to generate or mine yours yourself... and you're still working on that. The methods you find to generate motivation toward doing the Work will also assist you in diagnosing it when it goes south, and putting it right again.)

Also: (sighing) Please let your friends off the hook as regards reading your material, and feedback. Your motivation to write should not be dependent on their feedback, and it's not a good idea to try to make friends feel responsible for keeping you on the creative track. Chief among reasons for this: they may not feel themselves up to the task of giving you the writing support you're apparently asking them for—possibly because they simply don't feel competent to. (This is where we could get into how I had to stop @petermorwood from rewriting his third novel for the third time due to conflicting notes from friends... but let's leave that for later.) At best you're possibly making your friends deeply uncomfortable. At worst, the pressure may damage the friendships.

Tl:dr; our friends may love us dearly, but that doesn't make them competent editors. If you're online, so are many writers' groups who'll welcome a new member who needs advice. Wait till you've got more data and clarity on your motivational issues, and then start shopping around for assistance that seems friendly and trustworthy.

And finally (for the moment), about other people's attention spans:

It'd be good if you can start training yourself away from the habit of worrying about those. For one thing, there's absolutely nothing you can do about them. You might as well worry about the 11-year sunspot cycle. The attention-span issue is just one more distraction from things you should usefully be thinking about. But also: A lot of what we hear about that situation strikes me as fearmongering (as, IIRC, it was supposed to cause the downfall of western civilization around the time I started writing for Scooby-Doo).

If you look around, you'll see that loads of people are willing to spend HUGE amounts of their attention on stuff they love. (I mean, have you been on AO3 lately? And we're just talking about free stuff, there. Lots of other people will do the same for traditionally published work, given the chance and the money.) Your job is to get on with writing, start putting what you're doing out there where people will have a chance to fall in love with it, and then deal with the consequences.

More of this next time. (And please bear with me, as I'm still not up to best operating speed after the last week's illness. I'll get to everything else you sent me, I promise.)

HTH!