#gotta read more about it because it's very interesting

[wen-kexing-apologist]

LITBC Ep. 7-8: Gotta Love an Adaptation

Chiming in from @lurkingshan's book club post

On Episodes 7 and 8

So, I love adaptations. While I don’t always engage with every element of an adaptation (I have read zero of the BL books for the shows I’ve watched, for example) I am always interested to learn about how stories are transferred between mediums and people. 

Love in the Big City has been so fun to watch because I have really enjoyed seeing the ways in which the author of the book himself has decided to adjust his own story as the screenwriter for the show. The original creator being in charge of the story in another medium is rarer than it should be, and I am always more comforted by the changes made to plotlines when I know that the creator was responsible. 

Episodes 7 and 8 for example still followed a lot of Part Four, however it was had some of the strongest moments of divergence from original canon of any section of the series. A number of us have mentioned the T-ara’s as an example of this. I think the loneliness that we feel throughout the entirety of the book is countered in the show by the visual presence of the T-ara’s in all the important parts of Go Yeong’s life. And it is such an interesting thing because we don’t learn about them until Part Three of the book, but in learning of their existence we realize that Young has had people around him for all the shit he’s talked about in Parts One and Two. 

gif by @khunkinn

One of the biggest changes being the ending. In the book we end with Young wandering the streets alone, thinking about all the writing about love that he’s done. We end with the flashback to him and Gyu-Ho’s lantern burning. We end with the words: 

“In the end, I left just two syllables on the lantern.  Gyu Ho. My only wish.” 

In the show we still get the burning lantern, we get Gyu Ho, and we get a one-two punch of having the lantern physically say Gyu Ho (규호) on it in Korean, and the voiceover say “love” because fucking ouch. But we also get Go Yeong watching the fireworks with the T-ara’s, a scene that is very much not in the book. I know in talking with some people that they read that moment as taking away from the healing that Young has been doing, which is an entirely valid read, especially because we know how often Go Yeong fakes a smile to hide his pain. 

But for me, it didn’t feel like having the T-ara’s there with him was getting in the way of his healing. With the addition of the T-ara’s as a link between the story beats I really appreciated that Go Yeong ended the show with all of his single friends, watching this explosion of fireworks. I really loved that we end with some level of understanding that Go Yeong will have people in his life to support him whatever comes his way, who will drag him out of bed when he’s depressed, who will carry his mother’s coffin at her funeral, who will be there to watch his healing and to call out his poor taste in men. 

I loved the addition of Eun Su and the wedding and the way that Eun Su looked straight at Go Yeong when he was deciding whether to say yes or no to the proposal. I loved that we got this quiet moment of tragic helium consumption between Go Yeong and Eun Su in a moment of sobering calm, that we had a moment to let Eun Su cry realizing that he didn’t want to get married and that Go Yeong was there in all of that as a support. I know that Go Yeong doesn’t trust the T-ara’s enough to tell them about Kylie, but I have hope that one day he will. Just as he has been reflecting upon the fact that he loved Gyu Ho and regrets letting him get away. 

On the Adaptation as a Whole

Okay, on to the adaptation as a whole. I want to talk about the decision to use different directors every two episodes and why I think that was a brilliant choice. 

First of all, we know each section of the book is its own period of time, and centered around different relationships in Young’s life. The structure of the parts in the book is really interesting because the readers can realize how important Gyu Ho is in Young’s life in the fact that he interrupts the narrative with Habibi. While I think this show would have been elite if it had released two episodes a week for four weeks, I understand the urge to publish it all at once considering the push back it received in Korea. 

Regardless of that though, having different directors makes each of the four sections feel distinct. It is always really fun to watch shows that have different people behind the camera because you will always get something different. Each director has a different lens, a different style, a different performance they will draw out of the actors. And that is incredibly important in a story such as this one where the main character is changing over time. You can write and perform character growth, but I think each part comes with a change in physicality that- while not impossible -would be really difficult to draw out of a performer who is being directed by the same person throughout. 

In addition, because each part does focus on a different important relationship in Go Yeong’s life, having different people be in charge of directing those relationships creates fresher, more distinct chemistry between each pairing. The kind of relationship that Mi Ae has with Go Yeong is large and bright and loud. It’s full of light, and joy, and a deep connection built on authentic selves only the two of them understand. But look at how Go Yeong interacts with Mi Ae in Episodes 5-6. His relationship to her has changed and while the same director could have helped the actors navigate the changing relationship between them, I think to have a different person with a different visual style direct that scene adds an additional, juicy layer of complexity and separation that you wouldn’t necessarily get otherwise. 

As I and many others have surely noted before, different mediums have different benefits when it comes to conveying information. Books can provide intense description or skip over entire settings depending on their relevance, television must show you everything, the clothing the actors well tell you a lot about their characters, the food they eat, the things they drink, the places they live, all the little pieces of set dressing you might not get, that you don’t get from the book are all in there. Love in the Big City the novel gives you much deeper insight into Young’s psyche than you are going to get in the show. The book feels bleaker, more isolated, and more depressed at all stages of the story than what we get out of the show, for the simple fact that the entire story in the book is narrated. When we are first introduced to Go Yeong in the show we get the exterior version of him, the fakest version of him in so many ways. A version of Young we never get because of the structure of the book. 

But there is something I have been thinking about in terms of the visual progression of the stories with the directors that we get. The show itself gets darker and more introspective over time. In Episodes One and Two we are lured in to the story via quick, snappy, and chaotic vibes. The room we open with is full of light, Go Yeong is begging for sex, and then he’s running out the door because his sex partner’s boyfriend has returned on military leave. The club is bright, his time with Mi Ae is bright, the abortion clinic is bright, Mi Ae’s wedding is bright. Everything is bi and loud and distracting, because this is the point in Young’s life where he is the most detached from his own feelings. The biggest moments of visual darkness in Part One are all surrounding Kim Nam Gyu, they’re dates mostly happen in the dark. Their conversations in the car are in darkness, the date to the lock gate is in darkness, the karaoke place is dark, the exchange of apology marinated crab is in the dark. 

But Mi Ae is the more important and prominent relationship in Yeong’s life in the first two episodes and so darkness is drowned out and more disguised in the first two episodes as a result. 

gif by @themisconceptions

Part Two the darkness starts to take over more. Most of the dates with Hyung also take place in the dark, his apartment is scarcely lit, the light of day is on screen primarily through the windows of Hyung’s apartment, through the fake lighting of the hospital rooms. In times when Hyung and Yeong are out in daylight the sky is overcast and gray, better lit than his apartment to be sure, but still there is something dulled out about the sky when they are together. The brightest moments we really get to my recollection (which to be fair I refuse to go back and comb through the episodes to back up my claim) are Yeong waking up in the hospital after his suicide attempt, and Yeong sitting in the park with his mother’s head in his lap. 

Part Three has something really interesting in it to me in terms of how it plays with light. Go Yeong’s relationship to Gyu Ho starts primarily in the dark, meeting at the club, meeting in the coffee shop after the play, meeting on the steps after the last train. But we start to see more light in these episodes after Go Yeong tells Gyu Ho about Kylie. When he starts that conversation he begins it in the dark, and by the time that Gyu Ho has caught up to him to cry over the fact that Go Yeong is smiling through the pain the light has started to rise. Just thinking visually about this part I feel like we get a good mixture of light and dark, it feels balanced in a way the other parts haven’t, and I think that speaks to the fact that Gyu Ho is the person that Go Yeong actually loved. 

I am talking about the lighting here mostly because Part Four feels so distinctly dark. The curtains are drawn, there is very little light coming in. I think @solitaryandwandering is on to something when they are talking about the lighting feeling more ambient. All the light throughout feels muted somehow, like the camera isn’t picking up as much of it even when it’s there. Light does not exist around Habibi almost at all, his apartment is pretty dark, the stairwell where they do their chase scene feels washed out rather than bright, the hotel where Gyu Ho and Go Yeong have sex, the hotel room he has with Habibi where the curtains close all the way, versus the light that comes streaming through the gap in the curtains in his first hotel room with Gyu Ho. Once again the brightest sections of this part surround Gyu Ho, but even then compared to Part Three the way this director utilizes light feels more muted and reserved, just as Go Yeong spends a lot of his time in this part grappling with deep depression. 

I love that even though we have four different directors I feel like we have a clear visual metaphor through the linear progression of lighting in this. We start out bright with the fakest version o fGo Yeong and we end dark with the realest version of Go Yeong we’ve had a chance to see. He’s still got a way to go, but I like how the directors are able to pull different performances and aesthetics out of the story while still making it feel like one cohesive unit. 

Also, I really wish I could pick Park Sang Young’s brain to learn if and how the last few years since he published this book have influenced his engagement with the source material and if and how that may have influenced any changes he made to the story we watched in the show. 

Also also, hugeee shout out to Nam Yoon Su, that dude fucking crushed his performance as Go Yeong, and I another reason I am glad that there were multiple directors on this is because I want that boy to stay as booked and busy and I think that gets a little easier when he has now shown his acting prowess off to four separate directors.

[babybluesquid]

Go read the Eberron wiki page for the Blades and tell me they’re not just Decepticons.

Like, come on! More (unstructured) noodling on the subject of warforged and Transformers under the read more.

“But if the Lord of Blades is Megatron where is Optimus Prime?" In an Eberron game, Optimus Prime is a role reserved for a player character! There are no Autobot equivalents in Eberron yet because that’s for the players to create!

Wow I wanna run a campaign with the Lord of Blades as the BBEG so bad. I've been considering a game where the party are trying to smuggle indentured warforged out of Thrane and Karrnath. The Lord of Blades recruits from those nations in particular, for pretty obvious "warforged there have the worst time of it" reasons. The party could be a force of good opposing the Lord of Blades.

Also, that would put them at odds with the governments of Thrane and Karrnath, and if we want to get international with it, the Blademarks of House Deneith could get involved. I love a campaign where there are enemies on either side of the party. They'd have to be very sneaky and rely on trusted allies of the cause.

I think it would be so much fun to draw some Transformers characters as warforged. While they're not really one-to-one story wise, there's enough parallels that it would be fun to reimagine those characters in Eberron. Like, Starscream in Eberron would be wild. Soundwave in Eberron? Soundwave with a warforged raptor, a steel defender, and two small warforged scouts! That'd be so nice. :)

The thing about that is that warforged tend to be much less colorful than Transformers. So the challenge is to make them recognizable without their bold paint colors. The fun part is that I'd get to design ghulras for them. My design process for ghulras is very impressionistic, since they're not meant to be representative of anything. Still, I can feel when a ghulra fits or doesn't fit a character, on a purely vibes-based level.

I do tend to draw on Megatron for the Lord of Blades' characterization, especially more sympathetic iterations of Megatron. To me, the Blades are interesting only if they're sympathetic on some level. Their grievances are valid but their response is evil. Becoming a war cult is uncool in any universe.

That being said, I don't think I'd place all the Decepticons in the Blades if I made warforged AU versions of them. Gotta consider all the possibilities.

Also it's a fun coincidence that the planet is made out of a god in both worlds. Cybertron being Primus and Eberron being, well, Eberron.

I think it's the fate of all people nerding out about two things at the same time to end up combining them.

[soft-pine]

1.14 nightmare // cn discussion of domestic violence and suicide

what an aptly named episode. this is one of the most upsetting episodes of the whole show for me. while it touches on themes that i love - what if the monster was family - the way it handles ms miller is deeply uncomfortable. and max's story is just downright awful.

i do find it interesting that this is the second time this season where dean is arguing that they have to stop someone even if they happen to be human. while sam is vehemently insisting that them being "human" means they have to take another approach.

the first is in faith:

DEAN: Sam the guys playing God, he's deciding who lives and who dies. That's a monster in my book. SAM: No. We're not going to kill a human being Dean. We do that we're no better than he is.

and then again here:

SAM: Dean. He's a person. We can talk to him. 

i've said and i'll say again that dean understands that monstrosity is the result of actions and choices not something intrinsic. i think sam sees monstrosity and humanity as more of an intrinsic dichotomy and that's one reason he struggles so much in season 2. anyway.

but really what i want to talk about is ms miller. and how clear it is that she is also a victim of domestic violence. i understand, deeply, why max is so angry with her and why he sees her as an extension and enabler of his abusers. but i simply cannot fathom a world where max is experiencing the torrential abuse he's suffering where those people are not also harming ms miller deeply.

max accuses her, "You didn't do anything. You didn't stop them, not once!" their old neighbor says, "the worst part was the stepmother. She'd just stand there, checked out, not lifting a finger to protect him." the neighbor's claim always strikes me as a remarkably cruel reading of someone who is clearly also suffering and likely dissociating. like idk man of course i think adults have responsibility in situations like this (and i do appreciate the nod to the cops being useless) but like... "the worst part" THE WORST PART was the stepmother. i kinda feel like the worst part was the abuse, no?

but the upshot of it all is that ms miller's implied abuse seems like it has no witnesses. and that's of interest to me because of some interactions we've already dealt with in season 1.

in 1.03, we get this exchange:

DEAN: ... all that anger, you can't keep it burning over the long haul. It's gonna kill you. You gotta have patience, man. SAM: How do you do it? How does Dad do it?

then this in 1.08:

SAM: Remind you of somebody? Dad? DEAN: Dad never treated us like that. SAM: Well, Dad never treated you like that. You were perfect. He was all over my case. You don't remember?

and at the end of 1.14, sam says:

SAM: Well I'll tell you one thing. We're lucky we had Dad. DEAN: Well I never thought I'd hear you say that. SAM: Well, it coulda gone a whole other way after Mom. I little more tequila and a little less demon hunting and we woulda had Max's childhood. All things considered, we turned out ok. Thanks to him.

listen, i would never argue that john winchester didn't abuse sam. but i think it's interesting that though sam is critical of john's parenting and though he has complaints about how john treated him, he doesn't seem to think john treated dean poorly.

which, we just simply know he did. we know it because john does it in 1.09, 1.12, 1.20, 1.21. and because we're told he did in 1.18, 1.22, 2.01, 4.19, 9.07, 14.11, 14.12, 15.20, i mean i could go on.

and not that i have to filter everything through season 14 episode 12 prophet and loss. but i will. because it very clearly lays out how 1. dean was forced into the role of keeping the peace and 2. john would treat dean badly in ways dean wasn't sure sam was witnessing.

DEAN: I know things got dicey… you know, with dad… the way he was. And I just… I didn’t always look out for you the way that I should’ve. I mean, I had my own stuff, you know. In order to keep the peace, it probably looked like I took his side quite a bit. Sometimes when I was… when I was away, you know it wasn’t ‘cause I just ran out, right? Dad would… he would send me away when I really pissed him off. I think you knew that.

the uncertainty behind, "i think you knew that." ough.

but bad boys goes even farther here:

SAM: Hey, Dean ... I mean, why didn't you just tell me you went to a boys' home? DEAN: I don't know. Uh, it was Dad's idea. And then it just – you know, the story became the story. I was 16.

john told dean to lie to sam about what was happening to him.

so what does this all mean in an episode where dean is somewhat mirrored to and protective of the allegedly bystanding stepmother?

that abuse is shitty, cruel, secretive, and protects itself by pitting its victims against each other.

i don't know i wish i had something a bit clearer to say than all this. but it's just sad.

[mo-nee-ta]

Vladimir Nabokov’s writings reveal an intense thinking about the irreversibility of time and the ways, if any, to resist this temporal irreversibility through art. Nabokov’s obsession with time and space is a well-known fact among literary historians from Anglo-American, European, and Russian critical traditions. Although these scholars explore Nabokov’s involvement with space and time in a variety of significant ways, in their discussions they tend to separate time from space. In doing so, they follow a tradition established by Henri Bergson, who influenced Nabokov’s conception of time, and bypass an important stylistic element of Nabokov’s fiction represented by certain narrative ways in which Nabokov visualizes time.

Source.

[volivolition]

suggestion do you have... any wants? like obviously you do but like? suggestion my guy my ourple boy. both the easiest and hardest to write. you need a skill to say something to move conversation along but it doesn't fit any skill in particular? about 80% of the time you can have suggestion say it and it will make sense. but like actually characterizing him... how do i define you dude... what makes your character tick... urgh. i dont get you yet. im trying to understand but you are difficult.

[samfoxreblogs]

man i dont know why (i have theories but hold on) but the fandoms Ive been in on the internet have been a little meaner these last few years. like i dont get nice comments on my fics anymore. i get ones with no reading comprehension or i get angry ones or i get ones that are enthusiastic and delighted but instead of any decorum they are like. aggressive in their delight. usually just a demand for more content. something has definitely changed in how people in fandoms interact with one another. my theories are just like. younger generations more comfortable with the internet not being as polite as older people on the internet are combined with quarantine kinda ruining a lot of peoples ability to interact socially (mine was ruined too to be fair). but like lately ive been in search of a fandom thats not the markiplier fandom that is nice to me and not aggressively-enthusiastic-weird (but i might take this too) and its kinda hard to find one. i dont know if i just dont have interests that align with happy communities, or what.

[soyoursoulisgreen]

15 and 32

15. Do you prefer writing one-shots or multi-chapter fics?

I tend to prefer writing one-shots! I love to read multi-chapter fics, but I always get so worried that I'll lose motivation and just, never come back to it :') My first fic on AO3 is loosely a multi-chapter, in the sense that I've left it open to return to someday, but haven't had any interest to pick it back up in years lol. There's something very punchy about one-shots as well - I have a pretty solid split between short and long one-shots, but it's so satisfying when I Finally have a long one finished!

I also like making connected one-shots, or sequential one-shots, but letting them stand on their own so?

32. What’s a fic you’d love to write, but probably never will?

I think I had a Vargas fic idea at one point that I so badly wanted to read but didn't want to write, and made some concept sketches and an outline for and everything lol - something with the Jake/Edgar/Scriabin dynamic ♥ I do know that someone made a missing scene-fic about Scriabin and Jake's first interaction that I've been quietly making eyes at - next time I'm into Vargas for sure 👀

As for love to write, hm... Probably this overly-convoluted Osmosis Jones NTR fic that I've had in my back pocket for way too long honestly lol - ever since I learned about netorare they were my first and only choice but it's so all-hurt-no-comfort and kinda dark and sad and while it sounds really fun, the self-consciousness monster in the back of my head is like "Really? The White Blood Cell Movie? For that?" lol

[tardiswithadrivethrough]

i keep seeing screenrant articles and stuff (most recently) that are all "*gasp!* the toymaker has fixed continuity in doctor who by saying that actually it's all a mash up of different timelines!" and every time i'm just like yeah???? that isn't new that's literally the entire show

[social-mockingbird]

It is late enough that I am willing to argue that when Oberon put the love potion on Titania’s eyes he turned her into a succubus no I will not explain myself

[sysig]

Your Weekly TV Guide

On Monday you can expect:

2:30 PM: Star Control II - Helix

And Tuesday:

2:30 PM: SCII - Helix

Wednesday:

2:30 PM: SCII - Helix

Thursday:

2:30 PM: SCII - Helix

Friday:

2:30 PM: SCII - Helix

Saturday:

2:30 PM: SCII - Helix (blood warning)

Sunday:

2:30 PM: SCII - Helix

Thanks for tuning in! (Patreon)

[kalims]

pop !

giving them a balloon with a confession in it and running away,

premise. out of confession ideas? sick of the pile of stupid papers crumpled up on the leg of your desk? or perhaps you're just in the 'you only live life once' mindset. since the school year is ending, why not get rid of the annoying feeling of him tingling your mind? (in the form of a balloon, you never said you were gonna stick around!)

characters. all sorted by dorm

content. mc runs away after giving it, based on a tiktok I stumbled across approximately a year ago... mentions of marriage (one sign and some were speeding through the future)

note. savanaclaws part hmmm yummy

heartslabyul

unsurprisingly, riddle gets a lot of bizarre things from students and professors alike. confessions are one thing but having one in this... circular, red, full of helium balloon is certainly a surprise. creative, he'll give them that. if anything he's just confused with it in his arms as you just sort of, shove it in his arms and run away. he recognizes you easily but once cater plucks it out of his grip and shows him the message he just turns red.

trey is the type of guy to accept whatever you give him, honestly. it doesn't matter if you give him the most random of items, he'll take it without a single word of query (unless it's really questionable.) you could hand him a bottle of mustard in class, trey'll just blink and hold onto it patiently. a pair of batteries? thanks he guesses. a red, inflated balloon? he spares you a questioning glance but you're already collecting dust with how fast you ran away so he turns it and resists a smile. clearly spotting the bold letters.

the opposite of clover, cater just doesn't take anything from you unless it piques his interest or is just a casual 'hold onto this for a few' like water or something. things bordering past unusual is what he'd hesitate to take, though less given he trusts you. sometimes he doesn't take it all together simply cause he doesn't feel like it. caters probably updated on everything so when you shove the balloon in his arms and beeline he's pulling out his phone ready to scream his ass off in his dump account. (also gotta magicam this, duh.)

will most likely just dump it on the ground without another thought. or hand it back to you. ace does not care about balloons, he might even pop it in your face. that is, if you stayed for more than a second. he feels more inclined to peer further cause you ran away so fast. you looked embarrassed, and he finds out quickly why you'd proceed to never show up to his face for the following week when he spots it. stares at it dumbly for like, a minute before taking off after you... be scared ig.

added to the top ten best moments of his life note on his phone. deuce silently highlights your name on it with the same angry, red bump on his forehead because he accidentally ran into a pole midst trying to find you around the campus. he had the same idea as ace (twins) which is finding you immediately except once he read the confession he promptly lost all his braincells in the process. so he's very excited, slash embarrassed, slash shy? and can't conjure any logic cause it's just your face.

savanaclaw

jokes on you. you think he's gonna make an effort to catch your stupid balloon? leona just watches it drop to the floor. the effort is only exerted when he's absolutely sure you've run away on your slow legs, he's not bashful—not at all. maybe that's just denial speaking though. he takes one look at the balloon, and pops it with a single dig of his nail. the stare is so brief that you'd doubt if he ever read it at all, when the evidence of your apparent love is now non-existent in the physical world, very much still lingering inside him. leona comes to the predicament that he can't seem to sleep days after.

ruggie is all too familiar with the lack of appreciation some folks hold towards cheaper material gifts. like a luxury jewel, a big, shiny lil' thing ultimately rotting in the closet of some soul cause its the 'price' that counts. he spots the words easily, discerning the black ink. not entirely formed with straight lines, the keen eyes of his spots the wriggles some hold. as though whoever wrote was nervous and he bores an impish grin. (and some back corner of his closet holds no big, pricey jewel, but the deflated balloon is worth all the more to him.)

more likely to leave it on accident. after falling victim to the annoying pranks his other first year 'friends' like to do, with him as the victim apparently. he's more suspicious of it than anything, jack does not want a face full of whipped cream once again. he stares at it like it's an alien and only goes for the initiative to take it into his hands when it rolls and showcases the very bold text, highlighted and straight to the point. jack inevitably ends up accidentally popping it due to the fear that some other person probably saw it, he did not mean to wreck it. atleast not with a messy chain of thoughts, but hey. atleast he got the message...

octavinelle

well versed in catching you in a gentle manner, if you ever slipped (he definitely did not practice.) so azul's reflexes respond quick enough to capture the red little thing with ease. he recognizes it as one of your antics, and he rarely doesn't humor them since it was harmless ones that don't really get under his skin, unlike that of the tweels... the curiosity of looking forward to whatever you had far outweighed any annoyance, and great sevens he might actually combust. ("JADE PREPARE THE LOUNGE—") <- absolutely ready to initiate the plans he had detailed through a script ages ago if this were to ever happen, with a red face. ha, ha.

either clueless, or already got an idea based entirely on the adorably stiff look on your face. jade easily puts two and two together, it's quite funny because he picks it up and doesn't spare a single look. stalking off to find you immediately, and only then does he take a peek as to whatever made the balloon special, right in front of you cause apparently he's gotta witness your raw embarrassment in the flesh?

floyd is likely not interested in the ball in the first place, he thinks you want to play catch so he runs after you with a laugh that... makes you a lot more concerned. he flings it uselessly to the face of some poor soul before he sprint after you, probably traumatizing them when they spot the 'I like you' on it, and when they realize they got it from the resident terrorist whose definition of 'I like you' is 'you're entertaining, I'm gonna keep on playing with you'. (only blinks when you tell him about it, seeing as he isn't close to releasing you anytime soon from his arms.) caught you!

scarabia

sparkles, around the sun... too bright... kalim's blinding everyone else with his obvious joy. almost immediately turns it and it's clear he saw something he really liked cause he has one of those grins, really wide, showing off his teeth and his face scrunches up to the point where you could barely spot the red irises of his eyes. his lips are wobbly too! and he thought the notion was simply too cute... (so much he just had to send it back, so you could feel what he felt too!) except it comes in a hundred times balloons inside your home.

really confused. is this supposed to be a new form of comfort in the era that he hasn't caught up with yet? jamil does nothing much to stop you from running away, yeah. that's your choice but it did strike an inkling of suspicion in him. with the way you aggressively shoved the balloon in his arms before you ran away makes him think it's contents are supposed to be for him only. seeing as you collected dust with that sprint, so he brings it home. and damn, thank god he did because seven forbid if anyone else actually saw the flicker of bashfullness in his expression, hopefully not his warming ears either.

pomefiore

you try to fool him by not rushing up to him, shoving it and then speeding away for once. but instead calmly placing it in his arms and then walking away like it might be the last time yall have a friendship haha (👀) vil sees right through you either way. dare I say he thinks the whole execution is strange, he means, you could literally just walk up to him and say the exact same thing written on the balloon and he would've loved it either way but eh, atleast you got it out!

don't walk into his room cause you will probably the very prominent place the balloon has in his room. rook surprisingly did not put it on a pedestal which is tame for his nature, but it does have a place in the corner of stuff he absolutely adores. you'd think you'd spared yourself from the embarrassment of seeing his reaction cause c'mon, that was a confession. it's nerve-wracking! but NO cause you spy him outside the window of your class and suffer a heart attack (3rd floor btw)

wherever he read that, epel's jaw drops. people would mistake him as someone who escaped from a mental asylum from the way he's gaping at a balloon like he just got told vil schoenheit got canceled on magicam for some controversy (he in fact, did not.) spends so much time staring at it, and the following where he's managed to snap out of it is spent also staring off into the distance *wedding bells ringing*

ignihyde

uuuuhhhhh... either send it to him digitally or shove it inside his room and dip?? if we're going with the latter, idia doesn't even notice until like, a day after cause he's been playing for. and it isn't even him who notices!! it's ortho!!! even if he did find it he would've ignored it, but behold, ortho, who reads the text in a hilariously flat tone. idia thought his brother was professing his love until the boy reveals it was from you. (nearly falls off the chair, then actually falls when he realizes it's been a day. imagine getting ghosted irl haha)

ortho could be the delivery boy if you're too embarrassed lmao. will help you in constructing a more poetic way with words but honestly the "YOU'RE CUTE LETS DATE" gets it done. boy probably doesn't understand why you don't wanna do it yourself, and records the entire thing, reaction of the person? forwarded to you until he leaves. but now you're suffering through wanting to watch, and not because you're too pussy to actually do it.

diasomnia

what... malleus is the equivalent of '???' like he's seen a few of these unique, forms but he never got the purpose of them. so he assumes it's like, some nice gift of human traditions question mark. so he appreciates it either way, he looks content honestly which is funny cause the terrifying wizard looks kinda silly holding that balloon like it's a child. actually you should've just gave him a blank balloon cause once he spots the confession, oh honey. are you fine with early marriage?

if you can't find lilia might as well yeet the balloon in the ceiling. chances are, he's there and he's gonna catch it. there's already a cheeky smile quirking up the ends of his lips, usually he'd have some sort of retaliation on the personal attack you inflicted on his heart but oh dear, it's strangely blank. he's humming, the round thing upside down as he rubs his chin in contemplation. everyone's just scared at the echoing giggles of the already dark hallway.

an attack? AN ATTACK! unlike lilia who knows how to use the figurative words youth joke about all the time, sebek is... hilariously serious about most things, if not so much that it strikes just a teeny tiny concern in your mind. honestly you didn't take much into account, not the fact that he might consider it as an assault or something because you're already speeding away. apparently not having gotten too far cause he catches up easily and holds you up by the back of your collar like a cat. (you'd most likely have to mention the words cause all he registered was the apparent attack, when he does check he goes redder in the face and accidentally drops you. nows your chance to run!!)

*angelic voice singing* silver, my boo boo, I mean what...? felt something soft being squeezed into his arms, he knew it was you but assumed it was a pillow so he just?? used it as a pillow?? under his head now?? most folks would be confused at the sight of the sleepy guy laying on a balloon cause, one, it might pop and startle everyone in vicinity, two, there's words scribbled on it. although cut off since his head is blocking the way, but the 'LIKE YOU' is really obvious. so he wakes up, glances at it and goes back to sleep, except he couldn't cause the balloon actually popped comically the same time he absorbed it in.

[street-smarts00]

in omnia paratus

Spencer Reid x fem!reader

Summary: Spencer's been on the fence with his feelings for you. Due to his past traumas he’s decided to keep his feelings hidden. Until you’re caught in a dangerous situation at work

WC: 3.5 k

A/N: I am SO SORRY this took so long. I’ve been sitting on this for two months because I was being a perfectionist and had writer's block. Thank you so much to the person who requested this idea and I hope ya’ll like it! beta read by @whats-yesterday00

Tags: Hurt/Comfort, Angst, Fluff, Protective!spencer, Friends to lovers, age gap (25 and idk 33 or 34), during season 9 (sadly no post prison Reid, I refuse to watch the show after Derek & Hotch leave), Maeve is implied 

Warnings!: mentions of murder, stalking, gunshot wounds, hostage situation and incorrect info about hostage situation cause Idk I'm not in the FBI

Everyone knew Spencer Reid had a soft spot for you. Well, everyone except for you. 

Since the moment you met you’ve been on his mind. 

“Do you know how old she is?” 

“No, how old is she?” 

“25!” Penelope squeaked before being shushed by Rossi. 

“Wow, she’s gotta be the youngest person to ever be in the BAU. Well, second to genius over here,” JJ commented while pointing to Reid. 

“That’s if she gets the job,” Morgan added. 

They were all crowded around the desks in front of Hotch’s office. The blinds were cracked and they could just barely make out the woman seated across from their boss for an interview. 

Due to the increase in caseload after Alex joined, Hotch made the request to add an additional member of the team. After interviewing a few people that didn’t pan out, he heard quite a bit about you from your supervisor saying how well you’ve done with the FBI and you’d be an exceptional fit for the team.

Then of course Penelope looked up everyone who was interviewing with Hotch. You being her most recent victim. 

“How long has she been with the FBI?” Alex questioned. 

“Three years,” Penelope answered 

“What? Did she join right after college?” 

“Not right away. She graduated early and got experience with law enforcement first.” 

Spencer sat at his desk quietly while everyone was peering into Hotch’s office. Not to say he wasn’t nosy as well. You were already behind the blinds when he arrived for work. 

“Oh they’re shaking hands! That has to be a good sign,” Penelope cheered. 

Morgan turned to the window, “It’s definitely not a bad one.” 

Her eyes widened before loudly whispering, “Oh no they’re leaving. Disperse.” 

She scurried off in her heels towards Derek’s desk while he followed behind with a grin. JJ, and Rossi averted their eyes from Hotch’s office and found Alex’s desk far more interesting. 

All while Spencer’s attention was brought to the woman led down the stairs by his boss. It felt like his heart stopped beating when he saw how beautiful you were. He was brought back to earth as Hotch introduced you to the rest of the team. 

“This is Dr. Spencer Reid,” he gestured to the man sitting at his desk. 

You offered him a small wave and a kind smile, “Nice to meet you.” 

It became quite obvious you two would get along very well. From very early on conversation flowed incredibly well between the two of you. There were very few people that he felt were easy to talk to because of his niche interests and the way he would ramble spitting facts left and right. 

But he never had to worry about saying the wrong thing or talking too much with you. You often were a content listener or you would even match his passion on certain subjects. Most were topics Spencer already knew about. 

When you first met Spencer you didn’t know the Dr in his name meant he held 3 PhD’s or that he was quite literally a genius. 

So you were often telling stories or facts you found interesting that he already knew. In fact, almost every “fun fact” you brought up, he knew about already.  

But he never interrupted you. He always was listening intently to what you had to say. Like he was hearing about it for the first time. 

At some point you learned of his eidetic memory and how vast his knowledge was. It was during a case where you found out and mentioned it to him. 

“Reid, remember when we were at the harbor and I mentioned that thing about sharks?” You hesitated, “did you know that already?”

“Yes,” he guiltily admitted. 

You partially deflated suddenly feeling that the whole tangent you went on was pointless. “Why did you let me go on and on if you already knew?” 

His eyes softened, “because I wanted to hear you talk about it.” 

That was when his feelings started to peek through. As the months went on it only grew and grew. And you were none the wiser.

To the average person, it might not seem like much. Perhaps you were just good friends. But to a team of profilers (and best friends) it was painfully obvious. 

It was almost painful the way he looked at you with a longing in his eyes. Or when his gaze immediately turned to you to catch your reaction or smile. 

It was obvious by the way he found any excuse to bring you up in conversation. Or how in conversation with you he would mirror your mannerisms and lean closer to you. 

As well as the things he remembered about you or the little things he did for you. Like the countless coffee cups he bought for you from his favorite coffee shop before work. And when he saw you struggling to find something or open something he was always right there to help. 

Spencer Reid had feelings for you. Feelings so deep that he couldn’t pull the roots out even if he tried. 

He didn’t know what to do with his feelings exactly. He hadn’t felt this strongly for someone since … well for a while. He was terrified of history repeating itself. 

He couldn't lose you. He’d seen first hand what this job did to him, what it did to Hotch. Their loved ones ripped away from them too soon.

So for now at least, he kept his feelings to himself. 

Well, until your last case. 

The BAU was called in on a case that just turned serial. They found the unsub to be a man named Mark, who started killing because his girlfriend cheated on him. The first two victims reminded him of the man she cheated with. When that didn’t satisfy him, he hunted down and killed the other man. 

Now the team and SWAT was stationed outside a bus that Mark was holding hostage. He stalked his ex-girlfriend and tracked down the new city bus she took. 

The officers couldn’t get a clear shot of him because of where he was standing and he kept using the passengers as shields. Rossi was currently on the phone with him trying to make negotiation terms and get some of the people off the bus. Mark however was incredibly stubborn and didn’t want to let his leverage go. 

So Rossi asked about the children on the bus and if Mark would be willing to let them off. They were met with silence on the other end of the phone, contrary to his previous behavior where he loved to hear himself talk. 

After a short pause the phone spoke. “I’ll only send out the kids if you send in an agent.” 

Rossi shifted his weight and crossed his arms. “Are there any other circumstances you’re willing to send out the children for?” he asked. 

“Nope,” he said with a pop at the end of the word. 

A look of concern was quickly exchanged between Rossi and Hotch. While their faces didn’t reveal much, their eyes spoke volumes. 

“How about this,” the unsub continued. “I’ll send out their moms too.” 

Rossi’s eyebrows furrowed slightly at the eagerness to comply from the criminal. “You’ll send out the children and their mothers if we send in one of our agents?” 

“I promise.”��

Rossi returned his eyes to Hotch who stood rigid and tall with his arms folded. He was met with an approving nod before returning to the call. 

“Alright, we can agree to those terms.” 

“Oh and agent Rossi?” Mark perked. 

“Yes?”

“Send in a girl.”

There was a tension that quietly branched out between the agents listening to the phone call. 

“Why do you want a woman?” Rossi asked, clearly changing the dialogue used.

“I’m losing too many ladies sending out these moms. I want one back,” he replied with a cockiness to his voice. 

Ross confirmed they could send in a female agent. Almost immediately after the unsub hung up, you volunteered to be the agent going on the bus.  

“I’ll do it.”

Spencer’s head shot in your direction. “No you're not.” His voice was laced with concern and a hint of demand.  

“Reid-”

“He specifically asked for a woman. We don’t know what he’s planning, he’s devolving.”

“And I’m willing to take that risk to make sure those kids are safe,” You defended yourself. 

You turned to your boss waiting for his thoughts. Hotch knew you’d been exposed to enough high tension scenarios to know what you were doing. But just like any member of his team, he silently hesitated, worrying for your safety. 

He took a breath before meeting your eyes again. “Send her in.” 

Right before you were led to the bus, Hotch took off the holster on his ankle and handed it to you. “Some extra protection in case something happens.” You couldn’t hear the concern in his voice, but you saw it clear as day in his eyes. 

You made your way to the bus and saw through the window Mark holding a gun to the driver and telling him to open the door. You stepped on and the doors closed quickly behind you. The unsub took a long look at you, panning up and down. 

“Well how about that. Aren’t you a beauty? He said with a cheeky grin. 

You tried your hardest not to look disgusted with him. Instead you kept your composure and spoke with courage and a confident demeanor. 

“You this flirty with all your hostages?” you asked plainly.

As he gazed down at your legs his eyebrows furrowed and lips pursed. He bent down and with the gun in his hand, pushed away the bottom of your pants leg. When he saw the gun in the holster, he tsked. 

“You always carry this much dead weight on you?” 

He stood back up and put his hand out, “hand it over, I told them no weapons.” 

You reluctantly took off Hotch’s holster and placed it in the unsubs hand. Your one line of defense was gone. 

The longer you were on the bus, the more anxious Spencer got. He knew you were an exceptional profiler, and you had enough experience and skill to handle yourself in situations like this. 

But that couldn’t stop the ache in his stomach or the fact that his heart rate could power a car by now. 

He stood closer to the bus now to get a clearer view of the windows. They managed to successfully get the children and moms off and to safety, but you weren’t safe. Spencer figured you were trying to negotiate with the unsub, but that was going nowhere. This was confirmed when Rossi tried calling him again but every call was ignored. 

This unsub was stubborn as hell. He knows he trapped himself, but didn’t want to back down. At least he didn’t want to go quietly. 

Spencer was talking with the rest of the team trying to devise a plan when the gunshots were fired. The team immediately ran back to the cacophony on the bus. 

More shots were fired, he didn’t know where from. He didn’t care. 

He just needed to get to you. 

When he got a decent view through one of the windows that hadn’t shattered he saw you. Your hand over arm in pain but still standing in front of the civilians to protect them. The unsub stalking over to you, gun in hand and smacking you over the head with it. You slammed against the chairs and fell to the floor. 

Spencer's face paled. He swore he was going to throw up. 

Through the fog of his mind Spencer saw Morgan escorting Mark off the bus, his hands now behind his back in cuffs. 

He rushed past them, clambering through the door and up the stairs to get to you, calling your name. 

“Reid?” he heard your small tired voice through the crowd. 

He followed it to you, laying on the ground struggling to open your eyes and clutching your left arm. 

He crouched down to your level with a gentle hand on your uninjured arm. 

“Hey, I’m here. I’m right here,” he comforted. 

“My head hurts,” you mumbled.

His eyes softened, “I know. I think you might have a concussion, you need to go to the hospital.” 

You slowly started to fade out of consciousness. Spencer’s heart dropped and his hand moved from your arm to your face. 

“No no no no stay with me okay?” he caressed your cheek with his thumb.

“Stay with me sweetheart,” he consoled.

Your eyes stopped struggling to stay open and finally made their close. His other hand rushed to your pulse point as he called for a medic.

Time seemed to stand still while Spencer sat next to your hospital bed waiting for you to wake up. He couldn’t leave your side. He didn’t want to. 

You were okay. You were laying in the bed in front of him. But of course in his mind he ran through all the possible scenarios of how things could’ve gone worse, how things could’ve gone better. What would’ve happened if you didn’t have your gun taken away, or if the unsub got angry that you tried to bring a gun in. What if he didn’t lose his cool and start firing. What if you never went inside in the first place. 

And with all of those possible scenarios, the same thought plagued him. 

He was wrong. 

Before he was too scarred from past traumas to reveal just how much you meant to him. Not wanting to repeat the past and lose yet another person he loved cared for. 

But now, after seeing you in danger right in front of him, now he was terrified at the thought of you never knowing. He was now more scared you would never know how much he loved the way your nose crinkled when you smiled. How he thought the sound of your voice could cure any ailment he had. How he admired your strength and desire to protect others. How you could light up anyone's mood by just being you. How he could listen to you for hours, even if you were lecturing him on things he’d known like the back of his hand.

To him it was a whole new experience hearing it from you. 

Spencer was pulled from his thoughts as you stirred awake. He saw your eyes adjust to the bright fluorescent lights ahead. He quickly got up to dim the lights for you. 

When he returned to his seat you smiled at him, “hi.” 

“Hi,” he smiled back.  

“How are you feeling?” 

You sighed. “Like shit,” you complained with a hint of humor. 

“The doctor said you have a minor head injury, bruised ribs, and the shot to your arm thankfully didn’t break any bones.” 

“Fun,” you said sarcastically. 

A moment of silence passes between you two. He doesn’t exactly know what to say. How do you casually tell your friend and coworker you have a crush on them? 

There is no casual way. 

“You called me sweetheart,” you broke the silence. 

He furrowed his eyebrows, “What?” 

You fidget with the blanket, “earlier, when I passed out on the bus. You called me sweetheart.”

He searches his mind for the memories of the day. When he finds the memory he realizes in the heat of the moment the term of endearment slipped out. 

He wasn’t aware you heard it. 

“I did,” he confirmed as his ears flushed.

“Why?” you asked curiously. 

He didn’t know how to tell you that he’s wanted to call you that for weeks now. So instead he settled with-

“It just … felt right.” 

“Oh,” you replied quietly.

Spencer tensed up at your response. 

“If I crossed the line-“ 

“No. Of course not,” you interrupted with a comforting voice. 

The corners of your mouth lifted and cheeks dusted pink. “I thought it was sweet. You don’t normally say stuff like that.”  

His heart warmed at your confession and a smile spread on his face. 

“You thought me calling you sweetheart was sweet?” he lightly teased.

“Shut up,” you chuckled, rolling your eyes. “You know what I mean.” 

Your laughter was cut short by a sharp pain in your abdomen. You bit down on your lip and gripped the side of the bed in pain. 

The reality that you were injured on the job was rushing back to him. 

He licked his lips, his nervous unconscious habit. 

“I was really worried about you.”

“I know.”

“No, you don’t,” he interjected. 

“The entire time you were on that bus I was sick to my stomach. Terrified that something bad was gonna happen and it did,” he started to ramble. 

You leaned closer to him. ”But I’m okay Reid.”

“You still got hurt. He shot you for christ sake!” his voice raising in pitch and volume. 

“Reid-”

“He lashed out at you! You could’ve died!” 

“Spencer,” you said firmly, pulling his attention towards you. 

He never heard you say his name before. No matter how many times he said you could call him Spencer, you still called him Reid. Hearing his name fall from your lips was like the consistency of honey.

You placed your hands on his face caressing his cheek. His golden eyes meet yours. 

“I’m alright. I’m still here,” you consoled. 

“But if-“

“Spencer.”

“Please,” he pleaded. “It’s important.” 

You nodded your head, signaling for him to continue. He gently grabbed your wrists and brought your hands in his. He took a deep breath before he decided to spill the thing that had been eating away at his heart. 

“I have feelings for you. I have for a long time. Almost as long as you’ve been at the BAU,” he started. 

With your hands in his he started tracing his thumb over your knuckles. 

“If we don’t have work I count down the days until I can see you again. When I do see you I desperately want to see you smile, see you happy. And if I’m the one that causes that smile, it makes my whole day. That’s why I never interrupted when you talked about something I already knew. The way your face lit up when you talked with such passion was the highlight of my day.” 

“For months I was scared of my feelings and I kept them to myself. I was too scared to admit how much I liked you because I-” his hold on your hands tightened.

“I know what it feels like to lose someone. This job takes so much from us; I never wanted it to take you.” 

Spencer let out a breath he didn’t know he was holding in. 

“Today I realized it would be more painful if I went the rest of my life not telling you, than having even a fraction of a moment with you.”

A moment of silence danced between you two. Your head reeling from his confession, heart beating so hard you could feel it in your bones. Your palms sweaty from holding onto Spencers, but still neither of you let go. 

The silence was deafening, plaguing him. 

“Please … say something,” he begged. 

Your lash line was collecting tears that you simultaneously tried blinking away. Your eyes found his tie less intimidating than his gaze.

“I never thought you would like me back,” you said with a soft tone. 

Spencer's cheeks turned red as his heart started melting. “I do.” 

You brought your eyes back to his. That precious smile on his face was infectious. 

“Listen,” you squeezed his hands. “I’m not going anywhere. So you have as much time with me as you want.” 

Spencer's eyes softened at your words. He raised your hands and placed a loving kiss on your knuckles. 

The two of you were too lost in eachother to notice the footsteps towards the room. 

“Hey, I found some Jello for her if she-” Alex abruptly stopped once she noticed what she walked into. 

You both awkwardly pulled your hands away from each other; you fiddling with the hospital blanket, him rubbing his palms on his slacks. 

“So, feeling better?” she asked hesitantly. 

“Much,” you answered, still a bit flustered. 

“Good, good to hear,” She tried not to sound too smug, but the small smile on her face said otherwise. 

She raised and shook the jello container in her hand. 

“I’m gonna leave this here,” she placed it on the table. “I’ll be back in a bit.” 

“Thanks Blake,” you thanked as she left. 

Once she was gone you quietly giggled and mumbled “oh my god,” under your breath. 

“You know, she kept teasing me asking when I was going to ask you out. And don’t even get me started on Morgan,” he chuckled, shaking his head. 

Your jaw dropped and eyes furrowed. “Did everyone else know but me?” 

He pressed his lips in a thin line, “pretty much.” 

“I must be a shitty profiler,” you half joked.

“Absolutely not,” he said in the most comforting voice. He brushed the hair that had fallen in front of your face behind your ear. 

“You’re an amazing profiler.” 

You smiled that smile he loved so much. The one where you couldn’t hide your joy and your nose crinkled. 

“So, how do you think you’ll spend all those moments with me?” you inquired with a bit of a teasing tone. 

“Doing anything sweetheart,” he answered seriously. He looked at you with awe written all over your face. “I'm ready for anything with you.” 

“in omnia paratus” - ready for anything

Tag asks: @adrienneleclerc @ladybirdbeetle7

[taylor-titmouse]

hey i want to talk about how you should be promoting your work as an erotic author/illustrator

i'm writing this up because the marketing aspect of my work as an erotic author/illustrator is a science to me, and also because i'm the guy who gets unreasonably annoyed when i see other creators not properly advertising their work. you presumably want to make money off your work. this post will be written under the assumption you want to make money off your work but are doing a bad job at it. it will be very confrontational. if you read this and feel attacked you're right and i am attacking you.

this is geared toward selling erotic comics/writing/books/art as products. i will probably write more than one post about this subject so if i didn't touch on something you want to know more about, comment/send me an ask and i'll keep it in mind for the next one.

i will start with my first and least specific but most important point:

DON'T GET FUCKING CUTE

hi are you paying attention. i'm gripping you by the sides of your face. do not get fucking cute with what you are trying to sell. you are not a big enough property to get cute, nobody LIKES it when big properties get cute, and you are selling porn. you have to own this. you have to be up front about this. don't be tongue in cheek, don't be all teehee i wonder what this could be~, don't be secretive. you are selling a product. you have to fucking act like it. you are an adult selling pornography to other adults. i am GRIPPING your HEAD you NEED to understand this.

and to be clear when i say 'cute' i mean coy. i don't mean cutesy, as in the aesthetic. you can be as hello kitty pastel ten emojis a post uwu as you like when you're building your audience and generating hype. but when you start trying to sell, don't be vague, don't be sarcastic, don't mislabel your work as a joke and assume everyone is on it. because they're not.

you must always assume 75% of the people seeing the thing you are advertising have no fucking idea who you are. and that includes a huge chunk of the people who already follow you. they do not know who you are or what you've been working on for two months or why they should care about it. they just got here. somebody just reposted it. they are seeing it for the first time. most people are only looking at social media for a tiny chunk of their day. they are not keeping up with you. you cannot get cute about what you are trying to sell because nobody knows what it is until you tell them.

okay are you still with me. we are going to talk about clarity now.

YOU GOTTA TELL ME WHAT IT IS

good lord the amount of times i have gone to buy somebody's comic or book and had no idea what's actually in it or what it's about. who are the characters? why should i care about them? what do they do in it? what is the premise of this thing you want me to spend $5 on? why would you not tell me? i'm shaking you again. please i have to know what i'm buying i only have so much money to spend on porn.

porn, arguably more than any other genre, relies on knowing exactly what is in it. you do not want to surprise your readers with a kink they were unaware of! and on the flip side, you do not want to miss out on your target audience! if your book contains a hot spider babe laying eggs in an elf, you have to say so. not just so people who don't want to read about eggs know it isn't for them, but so the people who are egg crazy can see that and go "oh fuck YES i love EGGS here is my $5 and an extra $2 tip for catering to me specifically". a contents/features list is as much an advertisement as it is a warning!

as for re: who the characters are and why should i care, i'm sorry but you need to learn how to write sales copy. you have to write blurbs. you have to get good at the shit that goes on the back of a book. we all hate it but we have to do it. i want to know who the characters are and what the context is. i, personally, am not interested in contemporary stories as much as fantasy and historical. please tell me what genre this porn exists in so i know if it aesthetically appeals to me. pull some books off your shelves and see how they do it. hell man go look at mine.

while you're there, note that every single book of mine has a sample of what's in it. this feels like such a no-brainer to me but again! the amount of times i have gone to buy somebody's work and they don't show me what their work looks like! you gotta give me the first page or two! just enough that i know if i like the way your writing sounds, or the way you draw your comics! i don't know you! i am not going to trust that you're good at what you do just based on a cover. the cover is to get me to this step, it is not the only step. you have to show me that you're worth spending my money on!

to put it less cynically, you want to catch my interest. you want me to go 'oh i want to see more of this', you want me to go 'ahh i want to know where this goes!' you need to get me invested and craving more. earn my $5!!!

YOU HAVE TO MAKE IT EASY TO GIVE YOU MONEY

hey go look at your bio right now. go look at your pinned post. do you have a link to your patreon there? do you have a link to your itchio/gumroad/whatever? do i have to click more than once to get to the places you want me to go to give you money? why? why are you making me click twice? have we learned nothing from every website making you click an extra time when they make some stupid UI update and how much it pisses us off? i have already given up, i have forgotten you, i am not giving you my $5 today. put your links in the easiest places to get to them.

god literally as i was writing this post i went to go find somebody's itchio to see how they described their work and it was not anywhere on their profile. grabbing you and shaking you PUT THE LINK WHERE I CAN FIND IT. don't make it hard! make it easy! i am a dickhead sitting on the toilet scrolling, saw your post, and was interested enough to read further. but you made me go to your bio to find your linktree and oops i have already gone back to my timeline to look at the boobies in the next post. stop wasting precious bio space on DNIs and put your fuckin links there!!!

this is more for the twitter people, but: just put the link in the damn post. just say the word commission. just say it's for patreon. "wuh wuh the algorithm" it is not the damn algorithm it's that everybody hates advertising and nobody wants to retweet ads. putting slashes in the words doesn't do anything and you look like a fool. i have posted so much art that says it's 'a commission for ___" and it did exactly as good as any other art despite having the word commission in it. and by doing the slashes you just made it impossible for anybody to search your account for your commission information (which should be at the VERY LEAST in a post under your pinned tweet if you're not actively posting about them being open).

okay that went on a tangent i'm going to back to the point of putting the link in the tweet. put it in the first post. not in the first reply. don't tell them to go to your bio. put it in the post people are actually going to share. it's fine to put more information in the thread but people are only ever going to share the first post. so put the link there. you have to make it easy. putting links in tweets can hurt you algorithmically, even in the replies. so you're better off having it in the post that actually gets seen and shared. i don't want to open the tweet and scroll to get to your sales page where i ASSUME you will have put all the information anyway. put it in the tweet that just got retweeted by itself onto my dash!

also you have to share it a ton of times. i repost my shit every few hours when i'm trying to push a new product. as i said before people are not 24/7 looking at their timelines. they missed it the first time. they missed it the second time. they didn't get paid yet that week but they were after the eighth time and you reminded them again so they finally bought it. that i will still get sales every time i repost a book ad weeks after release says there are always people who missed it, or who only just showed up.

abandon your pride and shill. shills pay their bills. anyone who gets annoyed about it isn't giving you money in the first place. don't worry about looking like a sell out. don't apologize for plugging your own work. post about it often, post about it in different ways. post about it. post about it. you are not going to make money if people don't know you have something to sell them. if you want to make a career out of it, you need to act like it.

I DON'T HAVE A FOURTH POINT

kisses your forehead. i'm sorry for yelling at you. i've been making and publishing and selling adult art for the past two-three years and have got myself to the point where it pays my rent, and i got there by paying attention to what does and does not work.

please do your best to make money. i want you to make money.

as i said above i plan to write more posts on this subject, such as cover design, how to actually write sales copy, and best practices with running a patreon, but if there's things you would want to hear more about leave a comment or send an ask! i will probably be less aggressive on future topics. these are just things that have grinded my gears for a grip.

[idontknowiknow]

I think something else I might have preferred is if god in hdm was still god as expected. Having him be some angel on a throne of lies kind of muddies the waters imo on why killing him is a good thing to do? Like asriel was clearly anti god as the creator and still wanted to kill him before it turned out god wasn't actually the creator. I guess it's something about orthodoxy and religious powers just setting themselves up as the source of goodness and truth and everything without ever actually being that for real, but it makes me wonder what would have happened if they WERE that for real and God genuinely made everything but was still saying consciousness is something to be controlled and feared and asriel still wanted to kill him about it. What if the world had an inherent moral schema baked in but you still disagreed and wanted revolution. I just want it all, basically!!

[steddielations]

Steve acts on instinct.

There’s this guy in all black walking in front of him, he’s too busy looking down at his phone to notice, but Steve doesn’t trust that lamppost. He’s been going for daily runs, he likes to keep it simple during the off-season, and that post has been getting more rickety every day. Now it’s swaying dangerously in the wind and he knows it’s about to tumble.

There’s no time to call out to the guy, so Steve just plows forward and tackles him out of the way.

They fall in a messy heap and Steve unfortunately lands heavily on top.

“Holy shit! What the— ugh!” The guy heaves in pain and Steve hurries to scramble off of him.

“Sorry, that post was about to fall on you, man. You alright?”

Pieces of grass stick to the guy’s long hair as he takes stock of Steve and what happened. With a labored breath, he surprisingly jokes, “Guess I’m lucky the best football tackler alive happened to be right behind me.”

It’s sarcastic as shit but Steve smiles with a tug of amusement as he offers his hand. “Baseball, actually.”

“You’re in the wrong league, man,” he lets Steve pull him to his feet and groans on the way up. “Well, nice to meet you, Baseball, you pack a hell of a first impression. I’m Eddie.”

Steve would appreciate his ability to joke so soon after taking a hit, but people are starting to gather around. There’s already phones pointed at them that probably caught the whole thing on camera. Steve’s used to public attention by now, knows the press is going to have a field day with this and he hates causing a scene, but he wants to make sure Eddie is okay.

“Just Steve is good. You wanna…? This way,” he gestures toward the sidewalk and thankfully, Eddie seems just as eager to get out of there too, shuffling next to Steve as they round the corner.

He’s wearing so much metal jewelry, it’s like a costume, the jingle jangle of his every step accentuating how shaken up he seems. They get far enough behind a building and Steve stops to have a real look at him and… well he’s interesting to look at.

It’s like he hopped off the album cover of an 80s rock band, or one of Steve’s Bon Jovi posters that he hid under his bed in high school. Way too much leather and way too much hair for the California sun, all disheveled with grass and dirt.

“You sure you’re okay? Here, you got a little…” Steve’s hand hovers until Eddie nods that it’s okay from him to pluck the grass from his hair and lightly brush the dust from his shoulders. Eddie watches him the whole time, his eyes big and dark, an intensity in them that Steve can’t quite read but he can feel. “Didn’t hit your head or anything, did you?”

Steve lowers his hands, stepping back a little when he realizes how close they are. Eddie’s eyes follow him, a slight quirk to his lips that makes Steve feel the heat of the sun a little warmer on his face.

“I’m touched by your concern, sweetheart, but my brain has been through worse damage than a little bump.”

Steve frowns at the ladder, but the first bit definitely makes him feel the heat. He’s admittedly a bit out of practice but he can still recognize a come on. One that he definitely invited with all the touching and indulgent looks.

Then Eddie starts profusely thanking him for the whole ordeal, asking to treat him somewhere nearby for lunch. It’s not that Steve doesn’t want to, he’s very interested actually, and thankful that out of all the jewelry Eddie’s sporting, there’s no wedding ring. That’s why he’s reluctant because he’s all sweaty at the moment. Not to mention, he didn’t finish his run yet.

“Surely saving my life was enough cardio,” Eddie jokes lightly and Steve snorts.

“I saved you from a minor concussion, maybe,” and okay he’s gotta accept now.

The place is small and unassuming, burgers and sodas type joint. Steve’s likely to be recognized there, which he doesn’t mind meeting fans in public just preferably not now, it might be jarring for Eddie.

He heads for the booth tucked in the back corner, the most private looking spot that Steve had his eyes on too. They get a round of sodas from the waitress and right away, Eddie starts thanking him again.

“I noticed that lamppost wobbling days ago,” Steve sparks a conversation instead of accepting any more thanks, “I was planning to let it fall on me so I could sue the shit out of the city.”

He’s pleasantly startled by the big cackle that gets out of Eddie, “Any chance to stick it to the man. I admire that.”

“‘Course I would’ve really stuck it to ‘em and donated it back to the community,” Steve adds.

“Giving the people’s money back to the people, imagine Big Brother’s horror. Noble guy.”

Eddie seems to bubble with contagious delight that doesn’t match his whole leather and chains thing at all, but it fits into the somewhat magic of him. It's a wonder to Steve.

“Do I know you from somewhere?” Eddie ventures, a glint of recognition in his eyes that Steve’s seen a thousand times. He doesn’t ping Eddie as much of a sports guy and he’s not vain enough to assume everyone knows who he is. Eddie’s probably seen him while flipping the channel past ESPN or something. Or maybe an ad for that Netflix thing he did documenting last year’s season.

“I think I’d definitely remember you.”

Steve didn’t mean it as a come-on, just that Eddie’s appearance really isn’t forgettable, but he can tell by the wicked little grin Eddie sports that it was taken as one. Steve likes that even better.

“Have you ever modeled, or anything? You’ve got the looks for it.”

Biting back a smile of his own, Steve shakes his head. “I bet you say that to everyone who saves your life.”

“None of them were half as good looking." That sounds concerning but Steve’s distracted by Eddie swirling his straw in his drink, regarding him with a long look. “Really though, I just feel like I’ve seen you before.”

Steve’s done a few covers of Sports Illustrated, but he doubts Eddie has ever picked up a copy of that, so he shrugs. “Must’ve been in your dreams.”

Eddie laughs softer this time. “You trying to sweep me off my feet or something?”

“Already did.” Steve leans back, enjoying the way Eddie’s eyes follow him.

Conversation sparks and it never really dies out. Eddie just grabs topics out of thin air, talking about the city and what they like to do and movies and his amazement that Steve knows all about D&D because he’s a nerd magnet. Eddie’s personality spills through everything he says like it can’t be contained. He’s talkative in a good way, not to a point where Steve can’t get a word in. He listens intently, has a way of putting all his attention onto Steve like he’s the most interesting person he’s ever spoken to.

It’s surprisingly easy to relax. Not because Eddie has a super calming presence or anything, his energy is just all-encompassing, it’s hard for Steve not to get sucked in and hang on to every word he says. It’s one of the rare times in public that he’s not hyper-aware of everyone around him and too paranoid of having a photo snapped and taken out of context to even enjoy himself.

That happens a lot, being one of the only professional athletes who’s open about his sexuality. The media is extremely invasive with his private life. If he’s seen with any guy friend, there’s a whole press storm about Steve Harrington’s “secret beau” within the hour. It’s ridiculous and he tries so hard to keep his lovelife under wraps that maybe he’s been neglecting it entirely, at least that’s what Robin says.

Of course, that’s when his phone lights up with a message from her. His heart sinks a little when he sees the title of the article she sent to him. He quickly shoots her a text and locks his phone without reading it.

“Everything alright?” Eddie notices the shift in Steve’s mood right away.

“Yeah just,” he sighs, bracing for the inevitable part when Eddie realizes Steve isn’t worth the hassle of all this, “Someone filmed us earlier and now it’s all over the press. I’m really sorry, I totally get it if—”

“Nah, don’t worry about it, it’s fine. I figured that would happen,” Eddie brushes it off, but Steve shakes his head.

“I don’t think you understand, it’s—”

“Wanna bet?” Eddie smirks for some reason, “I’m fine with it, I promise.”

He tosses a chip into his mouth and picks right back up with the story he was telling.

Steve is stunned for a moment, wary that maybe Eddie doesn’t fully grasp how deep this goes. But he stays there with Steve, seemingly thrilled to keep talking with him even when a family comes in and keeps staring their way, obviously building up the courage to come over and ask for a picture. Eddie’s acting like Steve’s the only person in the room and that’s enough to assure Steve that he’s really fine with it.

He’s so locked into Eddie, he barely registers when the older son from the family’s table finally wanders over and asks for a picture.

Steve is in the middle of wiping his face with a napkin, about to greet him when suddenly, Eddie pops up and asks Steve to excuse him for a minute.

“C’mon little man, let’s do it,” he says and much to Steve’s confusion, the teen excitedly goes with Eddie to his family’s table.

Steve watches, utterly baffled, as they start snapping photos and expressing what big fans they are and Eddie takes it with such bravado, laughing and chatting like he’s with a group of friends.

What the— Steve grabs his phone, opening the article Robin sent him at lightning speed.

At first, he wonders how the press was able to find out Eddie’s full name so quickly, then he sees the words "troubled rockstar" and "recovering star" so many times, it becomes abundantly clear.

Oh.

He’s not so worried about the troubled part, everyone has their shit and he doesn’t read into any of it. Those are Eddie’s stories to tell Steve if he chooses, not some tabloid. But the rockstar part connects a lot of dots that have come up in the last couple of hours since meeting Eddie and—

Yeah, just. Oh.

Part 2

[open-sketchbook]

an interesting thing that has happened to me the more i read is like

that whole 'people were just as smart in the past as they are now' thing is... it's useful to avoid thinking about the past as being being the domain of a universally inferior Other, but also like

i don't think people really appreciate the ways in which a lot of people living right now are way, way healthier than a lot of the people living in the past, in ways that have enormous effects on people's ability to think about stuff

the effect of iodized salt alone! and we don't put lead in everything anymore!

i'm saying this because its important to understand that a much much larger proportion of people in the past were regularly struggling with illnesses and deficiencies that today we think of as health emergencies

that's gonna affect things even before we get to questions of social technologies for learning and experimentation...

so like every once in a while when i see some shit in a history book and i'm like 'wait seriously' i remember the people they're talking about are largely illiterate, most of them experienced childhood malnutrition of some kind, and intellectual curiosity largely wasn't useful because in many cases answers better than 'idk ghosts' did not yet exist.

like, even the stuff they were experts on they still understood primarily through just-so stories because their society just straight up lacked the tools to examine the causes and effects more closely, right? if you don't know what nitrogen is but you do know what four-crop rotation is, you have to make up a story to explain it.

and if you believe that story is true, you might make decisions based on that story that go very poorly for you.

so like, people in the past weren't stupid, yes. but it's also important to recognize how people here in the future are smarter in ways you might not realize, and you gotta temper your despair about The State Of Misinformation Today or whatever with the recognition that we are, by and large, much much better equipped, physically socially and technologically, to deal with misinformation and find the truth than the majority of our ancestors