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doctor-ramen · 12 days ago

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Ok hi hiii!!! (Also oopsie if this doesn't end up on the right account,,)

First of all like,,, I played thru olba quite recently (like 4 months ago recent lol) and wracked up 80 hours on it,,, I was ADDICTED addicted and I was PLAGUED with thoughts...

Likee, I crave cute domestic life with this man AND LIKE IM USUALLY NOT INTO MARRIAGE BUT OHHH? THE DLC WAS ADORABLE???

ANYWAYS.

My like first instant thought was a sweet lil drabble of baby Cove (like,,, between step 2 step 3) where the poor boy realises he has a mega fat crush on you,,,, I loveeee how he's written as an autistic character and i see so much of myself in him so my heart melts <3

OH BUT ALSO.

THE FIRST NIGHT YOU TWO SLEEP IN THE SAME BED AND HIM BEING SUCH A NERVOUS DEAR,,, like, just imagine him being so flustered n facing away from you in bed,,, if u prefer fluffy then... cuddling up from him behind and feeling him go through the 5 stages of grief (he tenses up so much you think he's practising his best Plank Of Wood impression before melting into a big cuddly baby,,,) ORRRR if u want the smutty route,,,

Yknow what I'm just gonna write out a small tiny drabble I think it can sum up my exact thoughts on this;

Finally convincing Cove to share the bed with you… he climbs in so red faced and shaky. He can't even face you, he lays facing away from you and going completely silent.

He was too adorable not to take advantage of, and you watch with unabashed amusement as he tenses when you snake your arms around him. You press the flat of your palm over his stomach, sliding gently over the fabric of his pyjamas.

He whines when you poke fingers past the buttons, undoing a few of them as you pinched him lightly.

...

ITS SO OVER FOR ME (positive)

i like all of these but i'll start with the first one! you can send your other ideas as separate asks and i'll get to those too :3

i wasn't sure if i should use my own MC or not but i ended up doing that so i'd be able to be more specific :') i'm totally open to doing an unnamed MC though. if anyone wants that just give me a prompt for it!

♡︎fic below♡︎

2012.

Cove was never really the best with understanding his feelings.

To literally anyone in his life, this was no surprise. The boy was impulsive and even reckless as an outlet, even if he was very sweet. This only became more potent in his teenage years. He was vastly different at 14 as compared to 8-years-old—to outsiders, he'd changed. But to those who knew him, he was the same, only more and less at the same time.

At this moment, he was having a pretty usual Sunday. It was evening, and his best friend was over. Though the activity wasn't something they usually got up to.

"You should paint your nails," Syd had said on the phone earlier.

That had Cove confused. "Why?"

Cove could hear Syd shrug through the speaker. "I dunno. I'm bored. I got some new colors from Ma, but I'm not gonna use 'em."

He found that unsurprising. Syd only ever painted his nails black.

"So I wanna see if you like it. You can have them if you do."

And so the two made plans to hang out, and there they were. Sitting in Cove's room, reviewing all the little bottles Syd had brought over. He took them out of his bag one by one.

"There's lime green, white, red, orange... hey, this one kinda looks like you."

Syd held up a bottle sea-foam green nail polish. Cove looked at it, then looked at Syd. His eyes smiled behind his square glasses.

"Wanna try it?" Syd asked.

Cove shook his head. Syd continued to rifle through his new collection.

"Okay, then, what's your favorite color?"

He shrugged. "I dunno, you can just pick anything."

"Fine, be like that. I'll pick my favorite."

After placing down a deep blue, a soft yellow, and an olive green, Syd settled on a soft reddish-pink. He absentmindedly handed it to Cove.

"Oh, I don't..."

Syd looked up at him. Cove found himself distracted by his big, golden eyes. His big, confused golden eyes. Then it clicked.

"Oh, you haven't painted them before."

Cove smiled apologetically. "Yeah, sorry."

Syd brushed it off. "It's fine. I'll do it."

Before Cove could really comment, Syd opened the bottle with one quick twist and picked up Cove's hand.

The sensation of having his hand held wasn't an unusual one. Since they were kids, Syd would hold Cove's hand now and then. Especially as a means of comfort. But there was something about the delicacy with which Syd took his hand, the way he gently encouraged him to spread out his fingers. It made Cove squeak a little.

Thankfully, Syd didn't seem to notice. He was focused on swirling the paint onto the little brush. Cove watched Syd's intent expression as he picked it up and held it towards Cove's fingers.

"Don't move. It'll mess me up."

Cove nodded.

The polish was cool against his nail. It felt like when you put lotion on your skin but you aren't prepared for it yet. Syd started with his index finger, covering the surface of the nail with pink in broad strokes. He worked quickly and smoothly. Cove wondered how many times he'd done it before. Though he did always see Syd with black nails...

Rather than moving on to the middle finger, Syd turned Cove's hand to have better view of his thumb. And he continued painting. When Syd showed affection, he was very sure of himself. As a kid, he'd drown Cove in hugs. These days, even when playfully punching him, he'd use a lot of force. Now, he was doing something that required care. He didn't grab his hand and grip it tightly like he always did. He held it carefully.

It made Cove's lips tighten into a straight line.

He didn't really register when Syd had moved back to the rest of his fingers. He already had the middle and ring finger done, and was on his little finger. Syd's expression radiated pure focus. His brows creased slightly, his eyes looking down intently. His lips were just a bit parted. He held his tongue between his teeth—a resting habit he'd had since they'd known each other.

Then Syd looked up at Cove. He had long, full eyelashes that curled upward.

It occurred to Cove that Syd had said something.

"Uh—sorry, what'd you say?"

"Don't use your hands for anything," Syd said. "It's gotta dry." Syd had let go of Cove, and his hand felt lonely now. Syd gestured for Cove to give him his other hand.

Cove's left hand had been sitting on his desk. When he finally paid attention to it, he realized it had been clenched in a fist. When he flattened it out, he felt a stinging in his palm. He'd been digging his nails into his skin.

Syd took Cove's hand off the surface of the desk and positioned it in front of him. Cove tried to figure out what to do with his now-painted hand as Syd got situated. Again, he felt that chilled sensation against his fingernail.

Cove's gaze was drawn to Syd's features again. His freckles weren't as present now as they were in summer. They were still visible, though. They made him think of little stars on his skin. How sometimes you couldn't really see them well, but in the right place, they would shine. Syd's mouth shifted, and he bit his lip as he worked. Cove felt him wipe something off his cuticle—he must have made a mistake. Cove's mind wasn't really concerned with that.

Syd had thicker lips than him. Biting down on the lower one was Syd's two front teeth. Cove thought of the time in elementary school when Syd had been pushed while at a water fountain, knocking his teeth into the metal. They weren't chipped, but one was discolored. It was still visible, years later. Cove knew Syd hated it.

He pursed his lips then. Cove's hand shifted in his as it was turned to be at a better angle for Syd to paint. He felt a brush against his lower leg, Syd leaning forward to feel more comfortable. Their knees grazed one another.

When Cove heard a sound, he momentarily thought something had happened outside. He quickly realized it was his own heart beating in his ears.

Before he had the chance to implode, Syd straightened up and smiled to himself.

"Done."

Cove made eye contact with his friend again.

"Seriously, don't let anything touch your nails. If they get messed up I'm gonna have to do them again."

Cove nodded. He knew he couldn't handle something like that anytime soon. Syd began putting all the little bottles away.

The two spent a while longer together. Initially, that time was spent trying to figure out what they could do without messing up Cove's nails, which Syd took as a fun challenge. Cove himself took it with utmost sincerity. Syd said not to get his nails messed up, so he didn't.

It wasn't too late when Syd went back home. Cove knew he had a more flexible curfew when it came to hanging out at Cove's, since they were across the street from each other. He was glad that Syd's moms weren't too strict on that.

Cove didn't often hear crickets, but they were out that night when he was laying in bed. They chirped to the sight of the moonlight streaming through Cove's window.

He stared up at his hands. Pink nails, delicately done. Smooth and seamless. He pressed the nail sides of his fingers to his mouth. The surface felt cool against his lips.

Cove wasn't sure why, but something made him think of school.

Neither him nor Syd were particularly popular. Cove was nice enough to people and people were nice enough to him. Most of the time. There were still those people who would go out of their way to make sure everyone had a terrible day. When family and friends commented on him and Syd's dynamic, it was fine. It was light teasing. When those kids called Cove "Syd's boyfriend", it was meant to be an insult.

Cove knew he'd be made fun of tomorrow.

He looked at his nails. He thought of Syd. His smile, his eyes and the feeling of his hand in Cove's. Cove felt heat rise to his face.

He couldn't avoid admitting it to himself. He knew how he felt about his friend. His neighbor. The kid who'd been there when there was nobody else in the world.

Cove's hands clasped together. He couldn't think of doing anything about it. It wouldn't... It would be bad. And Cove knew how he was. He didn't want to ruin it. What they had.

Maybe someday he could understand these things. He could change. And getting his nails painted wouldn't give him a heart attack anymore.

#olba #our life #our life beginnings & always #olba fic #cove holden #dont know how to tag this :'3 #i hope this is good enough...

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thosewickedlovelies · 6 months ago

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A guide to writing fics set in museums / with a museum worker character

Hey hi hello it’s your local museum worker here, offering you some insight and tips to writing museum-related fics! This is primarily organized as a list of different jobs you could have in a museum and what their duties entail. This post might also be useful to you if you’re considering working in museums and want to know What Goes On In There. Let’s go!

For simplicity/fic-writing purposes, I would divide museums into 2 very rough groups: large national or city museums that Have Money (think the Smithsonian or British Museums, or the Chicago Field Museum or the Royal Armouries Museum in Leeds); and smaller local museums. These could be local industry and culture/history-of-our town museums, historic houses, or really niche subject museums run by One Person With A Passion.

Big national museums have a fuckton of staff and money (museums can never have enough money. But these places are very well-off compared to somewhere small that might always be hustling and writing grant applications). If you work here you’re likely to have a specific role in a particular department, and you probably won’t do much outside this role (ex., if you work in collections management, you probably won’t also design exhibits)

The smaller the museum, the more varied your workload will be/the more likely you are to be doing a little bit of everything. You’re probably organizing collections storage, manning the front desk, and desperately running fundraising efforts, all at once.

To this end, smaller museums are more likely to be closed one or two days a week- you’ll be there, probably cleaning displays or managing storage, but visitors won’t be.

A lot of (most?) universities also have museums, so a college town setting is also doable. But the same big vs small museum disparity is still possible! At Penn State University, for example, the Palmer Art Museum is its own (recently redone iirc) building in the center of campus with a lovely plaza out front, while the Matson Museum of Anthropology is uhhhhh a couple classrooms in the Anthropology Department (which they’re currently rebuilding tbf, so we’ll see what they’ve done with it in 2025).

Types of Jobs

Curator

The one museum job that everyone can name. Nominally the person in charge. Probably laments that their job is way more admin than fun hands-on stuff now.

Actually this is the role I have the least knowledge of, but I think that’s partially because this job might vary the most from place to place? Structural organization can vary a lot between institutions, but I think the higher up you get in any field, the more your job tends to consist of meetings/overseeing, designating, and ~liaising~

A list of things a curator might do:

Planning or approving events and fundraisers, schmoozing with donors and members at said events, approving or designing a schedule of exhibits, publish outreach/advertising or research materials, oversee hiring, approve new object acquisitions (or de-acquisitions), generally make sure that the museum is working within the scope of its mission and if necessary, change or refine their mission

The curator might not necessarily control a museum’s funds; in this case they’ll liaise with the people who do, likely a Board of Executives or Board of Trustees. Once they get the money from these people, though, they could potentially redistribute it as they see fit.

If you work in a fuckoff museum like the BM, you could also be the curator of a specific department, arranged by overarching subject, geographic area, time period, or even object type (eg Curator of Archaeobotany, Curator of Korean Collections, curator of coins from the medieval period). These categories can be more or less specific depending on what kind of holdings your museum has. I think these types of curators would still be able to do interesting things, as they aren’t the ones who Oversee The Whole Place.

You can also be an assistant or associate curator, like being an assistant manager.

Education/Engagement

These are the people who design fun extra activities (esp for kids) in the galleries or relevant events/workshops/lectures the public can attend. They might be called Engagement/Education Officer or Events Manager or anything similar

Again, the bigger the museum you work at, the more specific your role is likely to be. You might focus on web content/outreach and social media, manage the ‘friends/members of the museum’ program, or engage with shareholders, etc

Or you might do things like develop content and events to engage adult audiences. Workshops or lectures connected to new exhibits, after-hours visits. These people are also probably the ones with an eye on accessibility- you’ve probably seen advertisements for museums’ early or late hours for older visitors, or ‘quiet hours’ for people who might be overstimulated by normal museum hubbub, or tactile workshops designed for visually impaired folks.

I think most places would try to have someone specific for kids activities at the very least. They’ll be designing little activities or dress-up stations for the galleries, kiddie mascots or scavenger hunt trail kind of things, as well as, potentially, activities for any digital elements in the museum. They probably also coordinate school visits and act as a tour guide for classes, and will lead the kids in specific workshops or lessons in classrooms attached to the museum.

As a note on technology- some people would probably say that integrating digital elements into exhibits is the ~next big thing~, that museums have to get with the times in this regard, but opinions vary. Big science and technology museums are the most likely to have the most digital and techy elements in their exhibits, so if this is your setting, your character could also be a generic “tech person”. I would go so far as to say the smaller/more local the museum, the less technology you’re likely to have, but smaller museums are able to get grants, some of them potentially for specifically this type of thing, so it’s totally possibly that they have a few tablets with integrated activities, or some other Digital/Screen Thing.

Engagement Officers are probably the most likely people to be drafted for out-of-hours events, so that’s a potentially fun thing for your character to do. Some museums, particularly bigger ones, have event spaces attached that anybody can rent out, for weddings, galas, markets, etc, so they might also take care of these bookings as well.

Exhibit Design

This role has a lot of nebulous terms: exhibit coordinator, design constructor, exhibit programmer- but these are the people who design the exhibits. They’ll come up with a theme or narrative, a design scheme, choose the objects, write the text. They’ll probably come up with some marketing material as well, that matches the design scheme, or they’ll liaise with the marketing people who will.

These people might not be as familiar with the collections as the collections management folk (below), depending on how strictly divided your roles are, so they’ll likely consult with the collections people on choosing objects for a particular exhibit or theme (they say that good exhibit design builds an exhibit from the objects up, but I digress).

These people will also direct and participate in the install and deinstall (the actual terms) of exhibits- putting the objects on the right plinths/stands and arranging everything just so in the cases. Genuinely there’s a lot of psychology behind exhibit design- colors, lighting, the way you might design an exhibit to be navigated vs the path people will actually take through the gallery, people’s sight lines and where their eyes go first, how the display of any given object affects people’s perception of the importance of that object. Fascinating stuff, many books on the subject.

There are also a lot of accessibility concerns to be considered here- how bright is the gallery, how large is your display text, at what height is the central eyeline of your cases?

Museums often loan objects to and from each other’s collections, so if you’re building an exhibit and you’d really like to include X type of object but your museum doesn’t have any, you can borrow some from another museum (this isn’t necessarily a guarantee- museums are allowed to say no to these requests, but I think manners would dictate that they should have a good reason)

Museums sometimes tour whole exhibitions as well- the objects, the text placards, maybe even the stands for super special or fragile items- and exhibit coordinator people are the ones who would handle those arrangements.

Potentially good opportunities for angst stories here- wow things come to life at your museum, you fall in love with a statue but oh no it’s only at your museum for three months

Collections Care

People who work in Collections Management have the most direct contact with the museum objects themselves. You probably work here if you prefer objects to people. When a museum gets new material, these are the people involved. They might not always initiate acquisitions, and the final approval is probably down to the relevant curator, but 98% of the time they’d be consulted (I hope).

A mind-boggling statistic is that most museums only have like 10% of their collections on display at any given time. Yeah. Forreal lol. But collections folk will know where the other 90% is and what’s in it (particularly the longer they’ve been there).

There’s usually a head Collections Manager. Other workers might be a Collection Assistant/Associate, Collections Officer (we like calling people Officers for some reason), Registrar, or some variant of these depending on the specific flavor of your duties.

Main job duties can be divided amongst documentation and database work, organization and storage of objects, and lite conservation. Just how much/how technical the conservation work depends on your own training, but also on the size/funding of your museum. The more money, the more likely your museum is to have its own lab with people specifically trained as conservators. More on them later.

Here’s what happens when a museum gets new stuff!:

Ideally, it goes to a ‘quarantine zone’ first. This is a separate space or room where the objects can relax for a few weeks to a few months (ultimate best practice is actually a year, but, you know. that’s a long time) to ensure that they’re not harboring anything icky (bugs, mold, etc) that will infect the rest of the collections. It’s ideally super-sealed and climate-controlled, but the primary feature should be that it’s away from the main collections store.

Collections folk do the paperwork. They’ll give each individual object a unique number (following their preexisting system that will allow it to be identified distinct from all the other objects in the collection). They’ll create a ‘collections record’ for the object- documentation containing any and all information about the object. This includes the accession paperwork (everything that says ‘we legally own this now’); provenance info (all previous owners and everywhere else the object has been in its life); measurements and description (in painful detail); and conservation history and concerns (ie ‘there’s a crack in the side so pick up with care’, ‘this was repaired in the 70s so that glue is gonna fall apart any day now’).

(I'll say as a fic writer that this would be an great time to wax poetic over a beautiful statue or painting; you can’t write “This golden crown deserved to be worn by a great king, or maybe by that broody Roman general in the painting in Gallery B” in the collections paperwork, but you can think it.)

For fiction’s sake, your collections records could be either paper or digital, but in an ideal world a museum would have both setups, for security’s sake. So you’d fill out some long forms and/or input all the information to the digital collections management system (‘the CMS’, or referred to by your specific software’s name, as there are many out there). The CMS is not a static archive, but rather a living register that’s updated every time an object is interacted with. The object records also include where an object is at any given time (‘normally in Case E in the Fancypants Gallery, currently in Conservation Lab A for repairs’).

Once the objects are done in quarantine, they’ll go to storage. If they’re being displayed immediately, they’ll probably go to some interim storage space/shelf with other objects for the same exhibit and in that case only get a temporary setting. Every object will get labeled with their object number (directly on them, with a special pen that’s safe for this. Or if it’s really tiny, like a coin or jewelry, then their own tiny box will get the label). Small or fragile items, or items grouped together, will go in their own boxes (made of acid- and lignin-free cardboard or polyethylene plastic, like Rubbermaid totes; lined with polyethylene foam and then acid-free tissue paper). Stable ceramic vessels might sit directly on lined shelving, particularly if they’re very large or heavy, like many stone objects.

Listen, every type of object has a particular way(s) of storing that’s best for them, you’re gonna have to look that up yourself or consult someone if you need that level of detail

Ideally, before being stored away, objects are also photographed. This could be part of the Collection Officer’s duty, and/or your museum could have a photographer on staff. (say it with me:) This is more likely if your museum is really huge and/or has a backlog of unphotographed collections and has hired someone specifically, even if temporarily, to improve its collections documentation.

I would say a collections person, or anyone with a museum studies degree, should have some minimum amount of conservation knowledge that includes basic storage standards for different object materials, how to spot potential preservation problems (like if your bronze axe head is actively oxidizing or if that green spot looks the same as it always has since starting and pausing decaying), and maybe how to give objects a basic clean or deal with certain types of problems. But the nitty-gritty science is more the realm of Conservators, someone with a degree that ends in -Sci or who’s done some other certification course.

The general collections store should always be dark, slightly too cool for prolonged human comfort, and labeled to high heaven. Objects will most likely be grouped by material- ceramics/pottery, metals, precious metals and stones (jewelry or beads), stone, glass, wood, bone/ivory/other organic material like feathers or teeth or anything that can be decorative, textiles, paintings. A museum often has some paper material/documents, usually part of or related to a group of objects they acquired, but generally paper and photographic material is the realm of archives and archivists. Yet again, the bigger/more well-funded the museum, the more likely it to have a separate archive department, so your character could also work as an archivist in a museum.

Another thing the collections care folk probably do is ship objects. Remember how I said that museums loan objects and exhibitions to each other? The stuff’s gotta travel somehow! If things are being shipped internationally, they’ll go in big wooden crates, with specifically dimensioned partitions inside. Then it will be lined with our favorite foam and tissue paper, cut so the objects sit snugly inside. I haven’t personally worked anywhere with a possibility of local shipments, so I can’t say where the threshold might be as to when a museum would just pay an employee to drive the objects over vs ship them with a shipping company. But the preparations would be similar, minus the big wooden crate but with extra-careful packing (and paperwork and insurance etc)

Conservation

Conservators are the people who work in labs with fancy equipment. Not every museum will have a formal conservator or a lab of any kind; sometimes the collections care person fills this role, or if something urgently needs care beyond the abilities of the museum’s equipment, they might send it away to a lab elsewhere, the same way you can send your old VHS home videos to a professional archive to be digitized.

If an object is actively deteriorating in a way that could harm itself or other objects (as opposed to like, at risk of fading bc the lighting is wrong, which is a straightforward fix related to the environment), that’s when a conservator would intervene.

Some methods/machinery by which you can analyze objects:

Ultraviolet (UV) and infrared (IR) light - Different materials absorb and react to light differently, which you can use to identify them. Useful for seeing things like the different layers of paintings

Stereo-microscopy (microscopes, of varying strengths)

At magnifications of x5-x100 you can see things like tool marks from an object’s manufacture, traces from wear, deposits, and coatings

At x50-x500, with a thin sliver of a sample, you can see (and hopefully identify) fibers, layers, particles, metallographic structures

You can get information from objects without taking samples, but samples are usually worth the information.

energy dispersive x-ray fluorescence spectrometry (EDXRF) - EDXRF allows you to identify the elemental composition of the surface layer of an object. So it might tell you what a tool is made of, and also the composition of the objects it was used on, if they left traces

scanning electron microscopy (SEM) - an SEM uses a focused beam of electrons to produce a magnified, high-resolution image of the surface of an object

X-radiography, both film and digital - X-rayy are beneficial for objects that might be covered by dirt or corrosion and can show you details of an object’s construction or hidden structural weaknesses

I’m not a conservator, so if you want more hard science-based info, ask one of them lol

Listen to me. If you take nothing else away from this post, let it be this:

Once an object is in a museum, it is never seeing natural daylight again. Sunlight is the ultimate enemy of every object’s lifespan. If you need to see an object in the sun or moon light for ~magical spell reasons~, you will straight up be stealing that object to smuggle it outside.

Okay. That being said, you do hear (and could probably google) stories about museum employees stealing things from their museums on purpose to prove a point about security or insurance to their higher-ups, so like. Depending on your type of museum, it might not be impossible to steal from lmao. (Don’t tell anyone I said that.)

Possibly the most useful advice for you to keep in mind when writing your conservator or collections care characters would be that touching objects hurts them. It might not hurt them now, it might not even hurt them in ten years, but every time you handle an object, there’s a risk that you’ll damage it. Not on purpose, obviously, but to err is human. The simplest, most effective advice my conservation professor ever gave us was “don’t handle an object if you don’t have to.” That means don’t move an object without a plan and a place to put it, first examination should always be visual, not tactile, etc. Unfortunately, that means that your character cannot walk around lovingly handling and caressing their favorite objects (unless this is a Night at the Museum situation where the objects are caressing them back, ykwim)

Museum Technician

These people probably have a lot of different names, but basically, technicians are the background muscle of the museum. They do the technical construction of bigger pieces of exhibition material, up to and including the exhibition cases themselves.

So they wouldn’t deal with the small mount that the object rests on, but they might build the big plinth that the mount sits on. They’ll help move things around the building, particularly big heavy things, hang big framed works, assist with exhibit installs, and generally do most things which might involve power tools/equipment or heavy lifting

I worked in a big museum that hired a third party company to supply their technicians; I interviewed at another place that hired their own. If you’re a small museum, you might just have a freelance person that comes in once or twice a week to help move things.

Other

Other miscellaneous roles one could have in a museum: researcher (for exhibits and/or collections), gift shop or cafe worker, security guard, room attendant, translator, archaeologist, consultant

Honestly, TL;DR? Just have your character be a consultant of some kind. “Oh no, I don’t work here, I’m Y’s friend. They called me in to provide some expertise on X subject that they’re doing an exhibit on.” This could work for literally any subject- history/archaeology/anthropology, art, transportation, science and technology, anything you might find pictures of in an archive, idk. This could get you into an office or meeting room of some kind in the ‘employee only’ space of the museum, or potentially all the way into the collections store if you’re giving them information they were missing about some objects. Otherwise you’d probably (hopefully) need a key or some other kind of security clearance to get into the collections store.

Whew, that was a ride, huh? I hope this guide was useful to someone! I’m always open to answering questions if you think I forgot something or if anyone wants more details <3

#hopefully this is useful to people as Gladiator II comes out <3 #i dont really know how to tag this lol #museums #fic advice #writing advice #reference #writing resources

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