#i’ve read a single book published this year all year long

[lexalovesbooks]

what's ur favorite book u read this year? and any that ur looking forward to read next year?

Not to be a broken record but the memory of souls aka acod book 3 honestly rewired my brain in a way I have yet to recover from—the high of finally having all the main characters in the room together + the resulting drama + all the history and lore we finally start learning about the world had me on the moon, and then the midway point knocked me back to earth so hard there was a me-shaped crater in the ground where my body hit. And I don’t even know how to describe what the second half and ending did to me except that I didn’t know whether I wanted to cry or like. find some way to give a book a thousand stars on goodreads (still my official rating + review for that book btw) (and side note, but I finished that book a little after midnight, quite literally two minutes before the clock ticked over to my birthday. Hell of a birthday present)

For the sake of variety, I’ll also say that I loved an unkindness of ghosts by rivers soloman, which I read a bit earlier in the summer, and was so good that it managed to break through the reading slump I’d been dealing with for months. It’s a story about a generation spaceship heading away from earth in search of a new planet to call home, and I’d call it a bit horror, sci-fi, mystery and historical all at once. It’s a rough read at times (there’s a heavy focus on the type of slavery that was popular in the American south and all the racism and horrible things that it came with) but the main character is so compelling and the ending is a mix of horrible and hopeful… it’s a really good book. I’d absolutely recommend to anyone who thinks they’re in the right headspace to read it

[tkingfisher]

So I write all sorts of things (fiction, fanfic, screenplays) and my mind is cluttered garden of flowers and weeds and shiny ideas, and I'm wondering how to form a writing practice to clear it into tidy rows? Is it possible to shepherd untamed ideas into order?

How do you manage all your wonderful worlds, characters and inspiration and not feel haunted by the story bits and pieces in your head? Any practical tips beyond dark magic?

Thank you, you are such a constant inspiration for me, both prose and just your presence. <3

*laugh* Oh god, Nonny, if I ever find out, I’ll tell you! When you read books, you’re getting the Instagram-filtered view of a writer’s brain, all the flowers that grew out of the compost heap, carefully composed and shot in optimal lighting. The real inside of my skull is a magpie nest of Neat Shit I Read/Saw/Thought Up While Lying Awake At 2 AM. There are characters and ideas in there that I’ve been trying to get into a manuscript since I was twelve and typing on an Amiga 500.

But, that said…really, I think it’s okay. Creativity is inherently untidy. The compost heap can be corralled into a very pretty box made of sustainably harvested materials, hand-stained by traditional artisans being paid a living wage by an employee-owned company, but as soon as you lift the lid, it’s all worms and coffee grounds and old potting soil and cow shit and the vegetables you swore you were gonna eat this time before they went bad. That’s what compost is.

Nevertheless, having been in the business for…uh…fifteen years now? (@dduane is snickering at me, I can feel it) and having written nearly forty books, I can offer three bits of something less than advice. It’s what I do. It may not work for anyone else, but it’s what I do.

Un-Advice The First: If you get a shiny idea and you are super excited by it? Go ahead and chase it. Pull up a new page in Word or whatever and slap down a couple thousand words while it’s exciting. I know that this absolutely flies in the face of common wisdom, but quite frankly, my enthusiasm is a much rarer commodity than my time, so if I’m excited about something, I write it down until I’ve taken the edge off.

Then I usually save it into a big folder called “Fragments” and go back to work on whatever I’ve got a deadline on. (Usually. Sometimes the edge doesn’t wear off, and I wind up with another book. Which, y’know, darn.)

There are vast numbers of people who will tell you that a shiny idea is a sign that something is wrong with your current project and the solution is to knuckle down and work! through! it! And those people are probably right for them, and I trust they know how their own brains work. Me, though, I got ADHD like a bat has wings. My hard drive is a vast swamp of story beginnings, neat ideas, random scenes. And that’s okay because I still get books finished.

In fact, it’s better than okay. Not that long ago, my agent sent a novella to a publisher and they said “We’ll take that novella and three more novels. What’ve you got?” And I ended up plundering my hard drive and sending the editor a good dozen random beginnings until we found one that we both liked, and then I wrote the rest of that book. And then another one. If I hadn’t had all those fragments lying around, though, it would have been a miserable experience of writing book pitches and trying to think of stuff I could get excited about. (This may not be how some editors work, but it’s how my editor and I work, anyhow.)

Un-Advice The Second: Trust that everything will find a home eventually.

This one is easy to say and hard to do because sometimes you get that overload that if you’re writing the book about, say, werebear nuns, you aren’t writing the one about the alien crustaceans. Or worse, you feel guilty. If you don’t use that one cool thing, was all that time you spent on it wasted?

Breathe. Be easy. Every single cool thing does not need to go into a single book. There is no sell-by date on the neat character. You will probably write many books in your life and all those random characters will find a home. (Seriously, the werebear nuns were lurking for like a decade.)

For me, at least, when I find the spot where something fits, it often snaps into place like a Lego. Easton’s backstory as a soldier from a society where soldiers were a third sex had been kicking around in my head for a few years, derived from about three different sources, and then I wrote the opening to What Moves The Dead and all of a sudden Easton was there and alive and they had strong opinions about everything and I had ten thousand words practically before I turned around.

You can also stave off guilt by writing some of your ideas in as highly personal Easter Eggs. A couple of my books have references to a white deer woman, a heroic deed done by a saint and the ghost of a bird, and a woman with dozens of hummingbirds on tiny jeweled leashes. Those are all characters and stories I’ve had vague notions about, but haven’t managed to work in anywhere or learn much more about. Still, the passing reference is enough to make me feel like I haven’t abandoned them.

(The advantage to this is that once you DO write those in, the readers are all “oh my god, she foreshadowed this a decade ago, she must have planned this all out in advance!” Then you look really clever and well-organized and no one has to know that you have no idea what you’re doing.)

Un-Advice The Third: Write the kitchen sink book.

At one point, I had so many stray ideas that hadn’t gotten into a book yet—the tree of frogs, the dog-soldiers, the stained glass saint, the albatross and the shadow of the sun, and also I wanted to write something with Baba Yaga—that I hauled off and wrote a book where I just put in everything and the kitchen sink. It’s called Summer in Orcus. There are bits in there that I had been cooking in the mental compost heap for decades, but that weren’t enough on their own to sustain a whole book. The phrase “antelope women are not to be trusted” showed up in my head some time in college. It’s a fun little book and I’m proud of it, but it’s very much a patchwork quilt of weirdness. But it’s also written so that if later on, an antelope woman shows up in another book in another context, that just adds to their mythology, it doesn’t break canon or whatever.

(Pretty sure I’m not the only one who has done this, either. China Mieville has said that he wrote Perdido Street Station because what he really enjoyed was writing all the weird monsters.)

So yeah, that’s my advice, for what it’s worth. Some days I just tell all the fragments and ideas that I promise that I’ll get them a home eventually but I need to write this thing here now. Sometimes I throw down enough words to get the story stabilized and then I’m okay to move on. Sometimes I write multiple books simultaneously.

Any method you use to write the book, so long as it doesn’t hurt you or anyone else, is a perfectly valid method. If anyone tells you different, you send them to me.

(…god, I hope that was the question you were actually asking, Nonny, and that I didn’t go off on a completely different tangent when you just wanted to know how I keep track of a plot or something.)

[laurasimonsdaughter]

Guarding your name from the fae in folklore

The idea of fae stealing names is quite recent (I’m a big fan of new, modern folklore, x, y), but the idea that you have to guard your name so no one could (supernaturally) us it against you, is definitely a widespread folk belief. However, I’ve never encountered an actual folktale that says the fae or fairies in particular could have power over you if they knew your name. I’ve been looking for one for a long time (and if you know one please let me know!) but so far I’ve only come up with one example. So let's take a look:

The power of names

Like I said, the power of names is an old belief that shows up all over the world. Sometimes it’s linked with naming ceremonies like baptism. Sometimes hiding the name from others (witches, djinns, etc.) is what will protect you, sometimes the name itself will protect you (like being named after a saint or in reverence of a deity or spirit). Edward Clodd published a huge essay in 1898 investigating how widespread this name guarding practice is and how it links to folklore. Which, while obvioulsy dated, certainly gives an impression of how deep this belief goes (Tom Tit Tot; an essay on savage philosophy in folk-tale, Clodd, E., 1898).

Not all folk beliefs show up in folktales though and protagonists who refuse to tell their name are not a staple of European folklore, whether it concerns fae or other entities. In “The Soul Cages”, collected by T. Crofton Croker it’s even quite the opposite, as the protagonist and a firendly merrow deliberately call each other by their full names (Jack Dogherty and Coomara). And for ages I wasn't able to find a story that actually incorporated the belief of guarding your name against fae, until I read that huge essay.

Hiding your name from the fairies

In his book, Clodd mentions a single folktale in which it is mentioned that the fae are trying to learn someone’s real name. Sadly he does not tell it in full, but since it is the only real example of this concept I’ve able to find so far, I will give the full quote:

While these sheets are passing through the press, my friend Mr. W. B. Yeats hands me a letter from an Irish correspondent, who tells of a fairyhaunted old woman living in King's County. Her tormentors, whom she calls the "Fairy Band of Shinrone," come from Tipperary. They pelt her with invisible missiles, hurl abuse at her, and rail against her family, both the dead and the living, until she is driven well-nigh mad. And all this spite is manifested because they cannot find out her name, for if they could learn that, she would be in their power. Sometimes sarcasm or chaff is employed, and a nickname is given her to entrap her into telling her real name, — all which she freely talks about, often with fits of laughter. But the fairies trouble her most at night, coming in through the wall over her bed-head, which is no laughing matter; and then, being a good Protestant, she recites chapters and verses from the Bible to charm them away. And although she has been thus plagued for years, she still holds her own against the "band of Shinrone." (Clodd, 1889, p. 83-84).

This story fits the concept of keeping your name away from malicious fairies so you cannot truly fall under their power perfectly. Sadly I haven’t been able to find this story in Yeats’ own folklore collection, but it fulfills my criteria even so.

What I have been able to find many examples of, however, is the reverse trope. Namely that knowing a fairy’s name will give you power over them. I thought this only showed up in Rumplestiltskin-type stories, but it seems a little more widespread than that. Which is very exciting to me, and merits its own post. So stay tuned.

[writingwithfolklore]

5 Things about working in a (small) publishing house that surprised me

My experiences definitely aren’t true of the entire industry. I work in a very small, very local publishing house as a marketing assistant, and I’m certain that you’d have a much different experience at Penguin Random House, or even another small house on the other side of the country. That being said, here’s five things that really surprised me about what I’ve seen from the industry so far…

1. Very few of the people who work in publishing are writers

Okay this was one of the biggest surprises but also kind of makes sense? Publishing is a lot about the business side of things—numbers and marketing strategies and event planning, etc. People who are talented in design and accounting and other essential pieces to book publishing aren’t necessarily good at or practiced writers, and not all people who love reading also love writing!

I guess this surprised me so much because I’ve never been a reader without being a writer, but we often actually rely on the author’s writing on their own works (summaries, bios, etc.) to populate the backs of books and other marketing. Including me, there are three writers in my entire office.

2. Big booksellers (think Indigo) release yearly cover palettes for book covers

When we’re deciding the colours for a book cover, one thing that goes into that consideration is actually the different palettes Indigo releases! They have different palettes for different sections they update every year. I imagine it’s to fit a certain look for their shelves for new releases, but it’s not something I had ever really thought about, or thought that they would care about!

3. On that topic—publishing houses don’t sell to readers

My first day in marketing, my manager told me, “you’d think we’re selling to readers” I did think that. She said, “we’re actually selling to bookstores and libraries, they sell to readers.” How the money works is booksellers buy our books to put on their shelf. Everything they don’t sell, they’re allowed to trade back for credit, so we want them to buy big upfront, and then sell big to readers. Every book they send back is inventory we can’t get rid of and a “free” book for them down the line, so we don’t want books to come back!

If you want to support authors and your favourite publishing houses, buy from local bookstores who can’t afford to keep underselling books on their shelves for as long as say Indigo. If you really want to support authors, check out their books from libraries (yes really). Libraries are great because they buy books from publishing houses and can use the same one book to get into the hands of several readers, (in Canada) authors get a small amount every time a book is checked out (up to a certain amount so that the library’s entire budget doesn’t go to one book/author). Often, an author’s largest cheque is from libraries.

Unfortunately in the States authors don’t get the same boon, but still supporting your local libraries is just as good as supporting your local indie bookstores!

4. Soo many people look at covers, and soo much goes into creating them

I’m not really a designer, so I’m certain this wouldn’t surprise those of you who actually do graphic design, but they seriously look at every single detail and how it will benefit or hurt the sales. The placement of blurbs, choice of fonts, colours, subtitles, even the placement of raindrops for a rainy background, everything is discussed and tested and tried several different ways. So yes, DO judge a book by its cover, we work so hard on making covers perfect for the audience we’re trying to reach.

5. Publishing houses don’t necessarily have in-house editors, publicity, or other roles

I had always assumed that every publishing house had its own editors and publicists and what not. That’s probably true for the bigger ones, but if you’re being published by a smaller one (which you may be for your debut) you may be working with freelance editors and publicists who work somewhat with your publishing house and also with others as well. We have one in-house publicist, and no editors!

I wouldn’t turn down a publishing house just because they use freelancers (our freelancers are amazing!) but it’s important that they’re upfront about it. Huge red flag if they say they have in-house editors and they don’t actually—I would pass on a publishing house that lies to you.

Any other questions you have about the industry I’ll try to answer!

[chimaerakitten]

I’ve been thinking today about off ramps in long running stories, especially book series.

By that I mean like, places where a person could stop reading and have a satisfying ending even if they’re not yet at the actual ending. (Someone tell me if there’s an established Tvtropes name for this I’m missing.)

Now, a lot of book series will have an off ramp at the end of book 1, because many first books are written without promise of a sequel. Like sure, there might be a sequel hook, but the actual second book is still up to publisher whims in most cases. So you can read All Systems Red or The Thief or A Madness of Angels and have a perfectly satisfying ambiguous-end sci-fi story or middle grade fantasy romp or inverted murder mystery revenge quest without ever picking up book 2. This is definitely an off ramp but it’s not necessarily the interesting or revealing kind because again. Whims of the publisher.

There’s also stories that have an off ramp after every installment. Leverage is famous for this—they had a philosophy of having every season be a satisfying ending, which says a lot both about the writers and about the story they were trying to tell.

But I think the most interesting ramps are the ones where by design or by circumstance, there’s a single off-ramp somewhere in the middle. One spot where unless someone tells you there’s more, you’d never be unsatisfied with leaving halfway through.

Sometimes these will be signaled in some way, where there’s a big timeskip after the off-ramp, or the series changes names or has a spin-off, or the POV changes, or after book 3 the author publishes a short story collection before hopping back in to novels, or the series suddenly jumps from being only novellas to a chunky 120k novel. (The Raksura books, Percy Jackson/HoE, Matthew Swift/Magicals Anonymous, and Murderbot all do one or more of these)

But sometimes off ramps aren’t visible in series order or marketing. Sometimes they’re organic to where a story happens to leave off at the end of an installment.

The queen’s thief has one of these after King Of Attolia. I know this was a satisfying ending because for seven years I thought it was the end. My local library didn’t have A Conspiracy of Kings, so I thought it was a trilogy. And you really can leave it there! KoA ends with Gen back in his element and recognized as king, the main internal threat to Irene neutralized, and peace on the peninsula. The Mede aren’t yet the immediate threat they are in the back half of the series, since up through KoA they’re mainly represented by the magus’s vague warnings and Nahuseresh, whom Irene thinks circles around. There’s no real reason to assume the Mede are a threat within the scope of the series. Now I absolutely prefer getting the whole story, but KoA is a damn solid off-ramp for anyone who feels like exiting there.

And that’s one kind of off ramp where the end you get is pretty similar in tone (mostly happy) to the one you get if you go on to the rest of the series. I’ve also read books where you can off ramp successfully right at the lowest point in the series and get a tragedy out of a series that ultimately ends happy, or leave at a high point and get a happier end than the main one, or exit at an ambiguous point and continue on with ambiguity. The Giver sequels make it pretty clear what happened to Jonas and Gabe at the end of the book. but you don’t have to read them or have that question answered if you want to.

I don’t have a really solid conclusion to draw here except that I think the positioning of off ramps says a lot about authors and stories, and choosing whether or not to take an off ramp says a lot about readers.

[pavelkaramazov]

This will be my worst post but fuck it. If you’re absolutely DETERMINED to take it there then Smerdy/Ivan absolutely BODIES Alyosha/Ivan in terms of narrative/characterization/dynamic/motif and theme/basically everything else that matters. But it is really not about that for the vast majority of people who are deadass about shipping yaoi from a Russian novel published in 1879. All the IvanYosha stuff seems like it’s really more about getting your rocks off on AO3 and drawing two conventionally attractive anime twinks kissing. To which I wonder why you wouldn’t pick literally any two characters from any media for that unless you’re just into incest or something. 

I really love the Grand Inquisitor kiss! And I don’t like seeing it interpreted that way! 

On the other hand something that drives me insane about my personal interpretation of the book is the juxtaposition between the Alyosha Ivan kiss vs Ivan’s general disgust for Smerdyakov. Why is Alyosha kissing Ivan a pure, innocent expression of Christian love for all humanity but Smerdyakov’s gesture of love (killing Fyodor) is something so perverse and horrifying? It shows us something about their station of life through the roles and the acts that are even allowed to them in the narrative.

As far as SmerdyIvan goes I am reminded of the JSTOR article I read (that I now cannot fucking find) where the author mentioned an idea that all of Dostoevsky’s novels center around or contain one central taboo that is so unspeakable that it is scarcely even outright mentioned, and that the central taboo in question in TBK is that Smerdyakov is the fourth brother.

Incest is already gotten into in canon and much has been written about this, especially regarding Dmitry and Fyodor’s rivalry over Grushenka, but also with Ivan falling in love with Dmitry’s ex. So even though we are going far afield from authorial intent, it is really not that much of a jump to start looking at emotional incest from other angles within the family, as we already know literally every other type of abuse was already occurring within that (entirely fractured) family unit. As far as I am concerned regarding authorial intent, any claim you want to make about a work of fiction is fair game as long as you can justify it with evidence from the text, and people have been writing academic articles and essays making wild inferences from this text for the last 150 years, so I defend my right to make this interpretation. I’ve said it before and I’ll say it again, if Freud can diagnose Dostoevsky as bisexual we can say whatever we want about this book.

We know from the canon indisputably that Smerdyakov is unhealthily attached to Ivan, and we know that some vague thing about Smerdyakov sets Ivan’s Geiger counter for rancid horrific disgusting vibes to 10 immediately, anytime they are on the page together. So we can infer a lot from that.

Smerdyakov was literally born of sexual violence, and is a pariah in terms of his gender expression and sexuality, so him taking on the role of someone with a warped sexuality in the narrative just sort of… follows, in terms of the novels concern with the idea of inherited sin. 

There is something compelling to me about the idea that Smerdyakov would seek entrance into the Karamazov family in another, weirder way psychologically through attaching highly inappropriate feelings to Ivan. (‘If you think of me and my feelings toward you as incestuous, then that means you have acknowledged me as a family member’) 

And regardless of what I literally just said about authorial intent, Dostoevsky outright tells us how gay Smerdyakov is like every single time he’s on page. So there is also that.

Their relationship appeals to me greatly insofar as it is utterly disgusting and that’s my jam. There is lots to explore in this dynamic but one indisputable thing baked into the text between them is that it’s literally impossible to imagine any truly romantic union between them simply because of the way they both are. They repulse each other far too much for any expression of that sort. The actualization of their inappropriate relationship is not a culmination through an even vaguely romantic or sexual encounter, instead, it is the fulfilling a murder pact. 

They are like two oppositely charged magnets or something, in turns attracting and repulsing one another, pushing and pulling on each other’s gravitational pulls. Regarding the Tchermashnya-Moscow conversation, the way that their conversations are in doublespeak, with words said out loud and then literally entire other sentences written out in thought and illustrated through description of physicality, is incredibly fascinating to me. They seem to be literally communicating telepathically.  I am reminded of another JSTOR article I read that mentions the Dostoevskian doubles “exerting influence over one other that cannot be explained in any literal sense.”  The only reason they can communicate like this is because they are doubles, and this doublism is reinforced again in the narrative by their being fake twins, the same age but born to different mothers. 

They are each other’s shadows, they share a consciousness on some level, or access each other’s consciousnesses at different times through this shared plot in a way that seems incomprehensible to both of them. And Smerdyakov, in my own interpretation and opinion, as someone who is completely starved for any kind of positive regard, takes this for love. Whether that’s familial or otherwise or both. 

They engage in this mutual seduction towards an ultimate goal or realization: Ivan presents the idea, that “all is permitted” and that perhaps it would be for the better if Fyodor were dead, and Smerdyakov takes his lead from this and in turn pulls Ivan into the murder plot. Their relationship is romantic insofar as they are seducing one another in turn towards this unspeakable and forbidden act that they both desire: the murder.

They deny it right to each others faces, only Ivan’s is an earnest denial, to himself first and foremost, and to Smerdyakov it’s just sort of… foreplay. Like, “we’re just two clever people who are only saying this because we have to, and we get it, and you’re in this with me.” 

There is something really compelling too in the fact that Ivan is on board with the murder plot in one scene on a subconscious level, but later will utterly deny that any of this ever happened or that he ever felt that way. He has expressed and betrayed a desire that is so deviant, so forbidden, and so distressing to him that he has a psychological break over denying that that could have truly been something he wanted. Ivan expresses overwhelming disgust and disdain through the entire book, mostly towards Smerdyakov, but finally towards himself when he is forced to the realization of the role he has played as the idealogical murderer. Whereas Smerdyakov, the more active pursuer in their relationship, is not ashamed of his desires and is the one who ultimately has the lack of inhibition required to carry out The Forbidden Act. 

Ivan is attracted by Smerdyakov initially, despite himself, for reasons he can’t understand, like one is drawn to a cataclysmic disaster of fate in a Greek tragedy or something, and ultimately it descends into complete loathing on both sides, kills Smerdyakov, and mocks Ivan’s entire character by undermining his self concept and his entire value system and laying utterly bare his fatal flaws as a human being. Utterly doomed and hopeless relationship in every single way! 

Alas, no one wants to match my freak about this and that is definitely for the better. If I had to see ship art of them kissing anime style I would kms. Whatever the fuck they had going on is way better. 

[artbyblastweave]

worm sounds fascinating, how do I get started reading it? would you recommend starting from the beginning?

(Here we go)

So, first off, the specific questions you asked indicate that I should probably clarify the following: Worm is a single self-contained novel by Canadian author John McCrae (Pen name Wildbow). The book was written and published online for free on Wordpress, at a rate of two-to-three chapters a week, over the course of two years between 2011 and 2013. It's useful to conceive of it as a book written under the same paradigm as a particularly-faithfully-attended-to webcomic, except (and very unusually for a superhero thing) it's entirely prose with no visual elements. All of this is a longwinded way of answering your second question; yes, you should absolutely read it from the beginning, and the beginning is here. The entire book is available online, for free.

(In case that you haven't been able to pull together a broad sense of what the book is about just from perusing my Tumblr, I wrote a broad pitch for the setting at large and the story of Worm specifically here. The gist is that it’s a reconstructive superhero setting where superpowers are ironically tied into the user’s moment of greatest rock-bottom trauma, which is a major explanatory factor in why there are so many unstable kooks in costumes taking out their frustrations on the world; Worm proper follows the upwards-and-downwards trajectory of one Taylor Hebert, a teenaged insect-controller and would-be superhero with the secondary superpower of being able to rationalize nearly anything she does as being in the service of some greater good.)

Worm is divided into 31 arcs; each arc is comprised of 6-to-10 chapters, told in first person from Taylor’s perspective, followed by an interlude chapter told in third-person from the perspective of a member of the supporting cast. This structure is partly a holdover from early in Worm’s development, when the book was conceived as an ensemble piece that would rotate perspectives between different cape teams; as the book picked up steam, it also became a monetization vector, as Wildbow would write additional interludes if his donors hit certain milestones. This is important to note because one failure mode I’ve seen for reading Worm is that people will assume they can safely skip something called a “donation interlude” without missing anything important. You can’t. From a thematic perspective, the interludes are a major method by which the narrative keeps the protagonist honest, as they provide a sane or at least differently-insane perspective on the situation at hand, or on whatever over-the-top bullshit Taylor has pulled recently. From a craft perspective, the interludes are some of the best and most memorable writing in the book, at least in part due to the novelty of each character’s perspective.  From a story perspective, Wildbow was very diligent about making sure that most or all of the interludes introduced information or set up future events in a way that, if worst came to worst, he could incorporate into a regular chapter if the goal wasn’t met. But he did meet those donation milestones, meaning a lot of the book isn’t gonna make sense if you don’t read the interludes. Read the interludes.

You may have caught on to that “31 arcs with 5-10 chapters an arc” factoid and done some quick napkin math. Worm is long. Very Very Long. To my knowledge, Wildbow didn’t miss an update once, and 10,000 words every three days is considered a middle-of-the-road output for him. The effect of his truly insane production rate is twofold. First, the quality of Worm’s prose increases exponentially over the course of the book, going from workmanlike to amazing as a result of the sheer volume of practice he was getting. The second effect is that it’s 1.7 million words long. There’s a piece of apocrypha about how a mail-order copy of Stephen King’s It fell through a mailslot and pulverized the recipients chihuahua. Top researchers hypothesize that a printed edition of Worm could plausibly achieve similar results with a mastiff. This is mitigated by the pageless online format that lets you consume vast quantities of text without noticing the volume of what you’ve read; kinda similar to the infinite canvas trick that make some webcomics unprintable, or the infinite scroll UI trick if it were used for good instead of evil. But the gist is that Worm is very Long, and it’s also essentially a rough draft. Your enjoyment therefore might be contingent on your willingness to extend it a mulligan based on the absurd circumstances under which it was produced.

The very first chapter of Worm has the following disclaimer; Brief note from the author:  This story isn’t intended for young or sensitive readers.  Readers who are on the lookout for trigger warnings are advised to give Worm a pass. Some people interpret this as glib or dismissive on the part of the author; I think what’s closer to true is that he was just saving time, because the alternative would be most of the first chapter just being a ten-thousand-word long list of specifics. I can’t think of a single common trigger warning that isn’t applicable to Worm. Name a fucked-up thing, and it’s in there somewhere. Special mentions going to Bug Stuff (duh), dismemberment, torture, child abuse, incest, implied (and some offscreen) sexual assault, Nazis, animal death, and horrifically fleshed-out descriptions of bullying and institutional apathy, which are heavily influenced by the author’s own experience as a disabled student in public school. Reader Beware.

And, on a related note, the book was pretty clearly trying to be progressive.... by 2011 standards, which means you’re gonna be sucking air in through your teeth at points vis a vis representational issues, if that’s a big sticking point. It would be disingenuous for me to frame this as something that meaningfully detracted from my own reading experience, but it would be equally disingenuous to act like it doesn’t bother anyone deeply, and for valid reasons. To hone in on the queer rep angle specifically, picture the discourse if Ianthe was the only canon-lesbian character with any focus in TLT and you’re getting close to the situation on that front.

Wildbow (AKA Writers Georg, who should not have been counted) continued to maintain the two-chapter-a-week production rate to this day. His other works include: 

Pact (2014-2015) and Pale (2020-present) which are Urban fantasy works set in a universe colloquially known as the Otherverse, a setting in which essentially all magic is fueled by bullshitting the universe so hard that your chosen magical tradition is incorporated into reality as Something That Is Allowed; a major downstream result of this is that the sheer weight of precedent means that no magical practitioner is allowed to explicitly lie, on pain of the universe revoking their magical ability if they’re called out on it. Pact follows the misadventures of Blake Thorburn, a jaded 20-something who gets a target painted on his back after his grandmother- a widely feared diabolist- kicks the bucket and wills him her potentially apocalyptic cache of demonic texts as part of a complicated post-mortem gambit. Pale is a murder mystery/coming of age story. Set in Kennet, a small Canadian town with a subculture of unorthodox magical creatures who’ve managed to avoid being subordinated by more powerful human practitioners, the story follows a trio of pre-teen witches who’re hurriedly brought into the magical fold and tasked with trying to solve the murder of an extremely powerful magical being whose residence in the area was a major warding factor against magicians moving in and trying to bind the locals. 

Twig (2017-2018), a biopunk alternate-history coming-of-age novel set in a universe where, instead of writing Frankenstein, Mary Shelley actually figured out how to reanimate the dead; this kicked off a necroengineering/bioengineering revolution that leads to Britain conquering much of the world by the 1920s, lording over their holdings with everything from Kaiju to designer plagues, with a Royal Family that’s been modified into undying, post-human atrocities who treat their subjects as playthings as best. The protagonists are The Lambs, a group of heavily augmented child-soldiers used by The Crown’s science division as an investigation and infiltration unit; picture here The Hardy Boys or Scooby Doo if every case they were sent out on was in service of Ingsoc.  Alternatively, think of Scott Westerfeld’s Leviathan trilogy with the same aesthetic sensibilities, but paired with the balls to portray British Imperialism as backed by genetic engineering as something apocalyptically horrifying rather than as forbidden-love fuel.

Ward (2018-2020) is the sequel to Worm, set in the parahumans universe two years after the end of the first book. Basically impossible to describe in any additional detail without massive spoilers; suffice to say that it was contentious. I liked it personally, and I maintain that it’s main error was not having the same ten years of Pre-writing that Worm got. Other works in the same universe as Worm include PHO Sundays, which were RP threads that Wildbow ran weekly on the official subreddit in which he would post a fictitious forum thread from within the setting’s cape enthusiast forums, PRT Quest, which was a semi-canon Play-by-Vote quest on the Spacebattles Forums, and Weaverdice, which is an ongoing WIP TTRPG for the parahumans universe that he works on in his spare time, and for which he’s written a lot of fleshed out faction documents and character profiles.

There’s probably some level of broad fandom analysis it’d be useful to impart here; one interesting bit of fandom lore is that, by virtue of being a superhero setting that made some effort to be internally coherent, the series received a big bump from the Rationalist community, who you may or may not have run into on here. The series was also a big hit with battle boarders, who-would-winners, and that whole corner of nerddom, since the power system is so well-defined and well-articulated; a consequence of this is that a major Worm fandom Locus is the wargaming-site spacebattles, which was hit with such an ongoing deluge of Worm Fanfiction that they have a designated Worm section on the creative writing board, something no other fandom necessitated. Both of those things have affected the shape of the fandom and the fanfiction scene in ways that I don’t feel qualified to comment extensively on this late in the evening, but it’s a fascinating little abyss to have a staring contest with. At any rate, I’d genuinely would recommend the subreddit for the OC threads, worldbuilding idea threads, and stuff of that nature, the Cauldron discord if you’re into fanfiction, and Tumblr if you’re into rambling character analysis. I would recommend none of these things before you’re actually done with the book.

That’s all I’ve got for the moment. Hope you enjoy the book. Or shun the book, if my sundry disclaimers generated a sort of warding effect. I hope you have a contextually appropriate interaction with the book.

[hmslusitania]

I don’t understand anxiety about getting older.

I know that’s an unpopular thought but the thing is, I spent the years between 13 and 21 basically half dead and with one foot on the wrong side of a certain threshold and this year I turn 30.

When I was 19 the idea of living to turn 30 was… unbelievable. It was simply unrealistic. I was so sick and had been, by that point, so sick for so long that it was just… beyond unlikely to make it to three whole decades.

But now the thing is, I’ve had the surgery I needed to not die, it’s been eight years, I’m stable and as well as one can be whilst missing an internal whatever. And with every year closer to thirty I’ve gotten, it’s become more and more clear that 30 is. Nothing. 30 is SO young.

All of the jokes when I was growing up were about 30 being “over the hill” etc and what was the difference between 30 and dead but like. 30 is young. There’s so much i intend to do and want to do and WILL do and I don’t have crows feet yet and I still get pimples and I’ve also got most of a full grey streak in the front of my hair and everything we say about age makes all of this seem nonsense but I’m so glad to be alive still and I’m looking forward to my 30th birthday and I’m looking so so so forward to finally one of these days getting the books I’ve written published. And I know 19 year old me would be so disappointed in the state of my life right now: single, unpublished, still living in the United States. But I’m not 19 anymore. I made it to the year I’ll be 30. I still want at least some of those things (I want to be published I want people to read my works I want people to enjoy them) but I also… I don’t know. I want the crows feet and I want the white streak at the front of my hair to reach its full potential.

I don’t understand the anxiety about getting older. It just means we survived. So yeah in a few months I’ll be 30. And you know what? Thank god

[builtbybrokenbells]

belladonna | prologue

Too beautiful to resist, and too deadly to survive; the tragic tale of belladonna in all its glory.

Masterlist

Pairing: Danny Wagner x f!reader

Word Count: 2k

Warnings: mentions of toxic family situations, swearing, smoking

Welcome to the show 🥰 I’ve been incredibly excited to share this with you, so stay tuned for more!

WHERE IT ALL BEGAN

When faced with the tragedy of remembering, it is often perceived as something beautiful.

After living a life as painful as your own, reminiscing on the past is neither easy nor enjoyable.

A deadbeat father, and a stepfather who was present yet absent all the same. A mother who was all but kind, and two brothers who were made fully responsible for all of your successes and failures.

From the moment you were born, life seemed to find every possibly opportunity to strike you down. Despite the relentless effort, you stood up, you kept going, and you survived.

You did not realize until you were much older, but surviving was the easiest part, and the difficulties most often lie within the aftermath. Picking yourself up while still struggling with knowing who you are proved difficult, but you managed to settle yourself into a routine and found a safe place to rest while you pieced together your own personality. Just when you thought you could finally put the burden down for a moment, you found yourself amidst the hardest challenge of all; living a life that was far different than what was destined for you, yet still plagued with the memories of the little girl who once ran so you could walk.

You spent every waking moment avoiding the memories housed in your brain, and when you could no longer avoid them, you crumbled to the ground as you faced them head on. You deconstructed every notion you had of yourself and rebuilt from nothing so many times that your head began to spin when you thought of it for too long. You became a stranger to avoidance, and you made friends with your own demons. Eventually, you made a life out of the hurt that once limited you.

At a diner off the edge of town, you worked night shifts and weekends to make ends meet while you spent the daylight chasing after a dream that you feared might never come true. You went home every night in the dark, the smell of the deep fryer still lingering on your clothes as you smoked as many cigarettes as the walk would allow. When the sun rose in the sky, you would drag yourself out of bed and sit in front of the large panel windows in your living room and write until your mind went numb.

Stories of everyone and everything, synopses of books you wanted to, but would never publish, and poems to air out your own, relentless thoughts. Journals sat around the room, stuffed so full of pictures and words that the spines were near broken. Single pages floated around the space, some with only one word, and some with so many that you could barely read it underneath the mess. You did not have a lack of imagination, nor a lack of patience; writing is a long process, and a good book will take years (That’s what you told yourself, anyway). You lacked inspiration, something to give you the motivation to keep writing and to keep trying, even if you failed. You needed something to write about, because recounting your own tormenting sadness and loneliness was becoming unbearable.

You searched in dive bars with cheap liquor, wondering if you would find meaning at the bottom of (another) empty bottle. You searched in coffee shops with signs that were faded and falling down. You looked for it at the supermarket, in the reds of the strawberries and the greens in the apples. Your eyes gazed up at the old city buildings, wondering if an idea would spark from the crumbling cement and moss-ridden stones. Sometimes, you would pick the sprouts of weeds from the sidewalks to bring home with you in hopes that their beauty, despite their nuis of the gray concrete jungle aesthetic, would flood your mind with some type of passion.

Not even a life blooming amidst the city's fascination with destroying anything green could pry your mind away from the same old boring topics. Months of searching left you with nothing, and eventually, you began to give up on the idea of a muse entirely.

In the serenity of the diner on one particularly late-night shift, cutting through the stagnant air and filling your lungs with a breath of hope, you finally understood that a muse is not something that you go in search of, but rather something that seeks you when the time is right. The laughter was so beautiful that it made your knees go weak and your chest ache for a moment. You wondered how someone could evoke so much emotion within you without you even seeing their face.

The time, of course, was perfect, but when you finally caught sight of the thing you had been craving for so long, you realized that you were not prepared for what the search would bring.

In the diner booth, huddled in the very corner of the building by the window onlooking the streets, sat a man who turned your whole world upside down in an instant. A tattered band shirt with the sleeves cut off and a worn out logo magnified his strong arms, and his curly hair hung down over his shoulders to frame his beautifully crafted face. His jawline was sharp, angling down into a soft chin, and although large, his nose was stunning. His eyes, even from far away, managed to make your stomach flutter with curiosity.

He did not notice you, but god did you notice him, sitting across from a faceless man with long hair, laughing at a joke that was shared between them. His company, although facing away from you, seemed like the louder of the two, and his character bled from him as he spoke. You could not even muster the strength to crane and look at his face, because whatever he looked like paled in comparison to his company. You felt frozen as you watched from the kitchen window, hanging on to every small expression and drinking in every beautiful laugh that fell from his lips.

The first night he visited the diner, you could not find the courage to speak to him, nor could you even bring yourself to walk out into the dining room while he was still sitting. Despite your lack of conversation, you ran home that night and did not get a second of sleep; your nose was buried in a journal and you were too busy pouring your heart out on the paper. You wrote more than you ever had, and with more emotion than you could ever muster before.

The nameless boy was everything you were looking for and more, and proved that a muse was more than a ruby red strawberry amidst unripe fruit, and much more than a measly weed growing between the cracks in the sidewalk. You had been aimlessly searching for inspiration within the inanimate without even considering the fact that the most profound words would be inspired by a living, beating heart.

You vowed that the next time he stepped foot in the diner, you would make your move. You would introduce yourself, smile and take his order as if he hadn’t completely changed your world without even knowing it. You needed more than an echoing laugh, and more than a glimpse from around the kitchen wall. You needed to know him, down to the very things that made his heart beat.

Firstly, you needed his name, and without it, you could not find any more passion. You had milked every opportunity from the miniscule amount of time you had been blessed with his presence (which, admittedly, was a lot).

You needed him in your life, and you needed more than you could even begin to comprehend, because after a lifetime dedicated to forgetting, you found something that made you desperate to remember.

Unfortunately, your life had proved that remembering would ultimately be your demise, and your unwillingness to forget him would turn out be your worst nightmare.

A muse is a source of inspiration in all forms, and the most deadly (and the truest) form of inspiration is a heartbreak greater than itself.

Daniel Wagner was in fact your biggest muse, and to be a true source of inspiration, he was also destined to be the biggest heartbreak you had ever experienced.

05.19.22

06.21.22

07.04.22

08.02.22

08.31.22

09.15.22

Character Guide

Y/N

Vincent

Dylan

If you would like to be added to the taglist, please fill out this form 🤍

[annlillyjose]

WRITEBLR REINTRO – ANN LILLY JOSE

hello there!

following through with my tradition of posting a new writeblr intro every single year, here we go – a brand new reintro where i talk a little bit about myself and my current writing projects. so, here we go, onto all that good stuff!

about me

i'm ann, a twenty-year-old writer from kerala, currently based in kochi

i live with my husband, who is a musician, and lead a very creative life of sorts

i'm an infp, enneagram type 2

i write literary fiction and poetry

i'm a discovery writer and have a thing for sad stories with traumatised characters

i work as a content writer and social media manager for a wedding company

you can find all my published work on my linktree

my aesthetics: wilted flowers, fallen leaves, silhouettes, shadows, gentle friendships, indie music, unplanned trips, birds, fireflies, annotated books, old libraries and buildings, post-colonial literature, voids, romance

my wips

i recently finished a litfic novel called dairy whiskey and am editing it right now, hoping to get it ready for agent submissions in a month or two. i put my heart and soul and blood and bones into it, so if you’d like to dive into the story and read a few excerpts, you can check out the intro here and every other excerpt here!

rock salt is my main wip since finishing dairy whiskey. it is the story of identical twins rain and norah as they move out for college and navigate their lives on their own, which ends up in them growing apart. if you like complicated sibling relationships and the struggles of growing up, you’ll love this book!

i so badly want to start writing it, but i don’t think i’ll be able to until dairy whiskey is in a more secure position. so, there probably won’t be any updates for a few months, but you can read the wip intro here.

this is a gay vignette novel that i started writing back in 2021 as a source of personal joy. this is the story of how a singer-songwriter desperate for normalcy meets a boy with a heart heavy with guilt. this is the story of how they fall in love and it’s honestly quite wholesome <3

i haven’t worked on this book in so long and i’ve been trying to sneak some words in, but it feels like the book needs a fresh start. i don’t know, i just might start it all over again. but until then, here’s an outdated wip intro.

green room is a literary/experimental memoir documenting my teenage years as a writer. it is a deep dive into craft and how it affects life, particularly how it moulds you as a person. i haven’t started drafting this yet, but here’s a wip intro for now.

so, that’s about it!

if you’d like to be pinged when i drop a new publication or a wip update, just send me an ask to be added to my general taglist and i’ll tag you in those posts.

thank you so much for reading. i hope writing has been going well for you. if not, here’s some strength, some kindness, and some caffeine to keep going!

– love, ann.

general taglist (ask to be added or removed)

@shaonsim @heartfullkings @vnsmiles @dallonwrites @wannabeauthorclive @sienna-writes @violetpeso @flip-phones @silassghost @ambidextrousarcher @zoe-louvre @writing-with-l @magic-is-something-we-create @femmeniism @frozenstillicide @wizardfromthesea @rose-bookblood @coffeeandcalligraphy @rodentwrites @saltwaterbells @snehithiye @at-thezenith @subtlefires

[mariacallous]

Jade S. Sasser has been studying reproductive choices in the context of climate change for a quarter century. Her 2018 book, Infertile Ground, explored how population growth in the Global South has been misguidedly framed as a crisis—a perspective that Sasser argues had its roots in long-standing racial stereotypes about sexuality and promiscuity.

But during the Covid-19 pandemic, Sasser, an environmental scientist who teaches at UC Riverside, started asking different questions, this time about reproductive choices in the Global North. In an era in which the planet is getting hotter by the day, she wondered, is it morally, ethically or practically sound to bring children into the world? And do such factors as climate anxiety, race, and socioeconomic status shape who decides to have kids and who doesn’t?

The result is her latest book, Climate Anxiety and the Kid Question, published last month by the University of California Press, which centers on a range of issues that are part of a broader conversation among those who try to practice climate-conscious decisionmaking.

From the outset, Sasser cautions that her work does not attempt to draw any conclusions about what the future might hold or how concerns about global warming might affect population growth going forward.

“This book is not predictive,” Sasser said in a recent interview with Inside Climate News. “It’s too soon to be able to say, ‘OK, these are going to be the trends. These people are not going to have children, or are going to have fewer children or this many, that many.’ We’re at the beginning of witnessing what could be a significant trend.”

Sasser said that one of the most compelling findings of her research was how survey results showed that women of color were the demographic cohort that reported that they were most likely to have at least one child fewer than what they actually want because of climate change. “No other group in that survey responded that way,” Sasser said.

Those survey results, Sasser said, underscores the prevalence of climate anxiety among communities of color. A Yale study published last year found that Hispanic Americans were five times as likely to experience feelings of climate change anxiety when compared to their white counterparts; Black Americans were twice as likely to have those feelings.

“There is a really large assumption that we don’t experience climate anxiety,” said Sasser, who is African American. “And we do. How could we not? We experience most of the climate impacts first and worst. And the few surveys that have been done around people of color and climate emotions showed that Black and Latinx people feel more worry and more concerned about climate change than other groups.”

Sasser, who also produced a seven-episode podcast as part of the project, said that she hopes her work can help fill what she sees as a void in the public’s awareness of climate anxiety in communities of color.

“Every single thing I was reading just didn’t include us in the discussion at all,” Sasser said. “I found myself in conversations with people who were not people of color and they were saying, ‘Well, I think people of color are just more resilient and don’t feel climate anxiety. And this doesn’t factor into their reproductive lives.’ That’s just simply not true. But how would we know that without the research to tell us? But now I’ve started down that road, and I really, really hope that other researchers will take up the mantle and continue studying these questions in the context of race in the future.”

Sasser recently sat down with Inside Climate News to talk about the book and how she uses her research to show how climate emotions land hardest on marginalized groups, people of color, and low-income groups. This interview has been edited for clarity and length.

[wwillywonka]

wwillywonka's Interests

(links are in red)

-here is my super long, super detailed list of the things i blog about. if you read the whole thing, you're amazing and i love you. thanks<33 -a more comprehensive list of my interests can be found here. i update it often. -please for the love of god do yourself a favour and listen to blooms by arthur sharpe

Willy Wonka/Charlie and the Chocolate Factory

special interest since 2014

read my ongoing willy character study fic here

my willy playlist

beside the original dahl books, the 2005 movie is the best and most superior version. i believe this with my whole body, mind, and soul and cannot be convinced otherwise.

other favorite versions of canon: gareth snook on the recent uk tour, gene wilder (of course). see gareth snook’s take on willy’s character here

i have consumed every single piece of wonka related media/content that is reasonably available to the public including horrible elementary school productions on youtube and random college theses. i consider myself the foremost expert about anything and everything regarding willy and can get defensive if that is challenged. i am also aware that i take this way too seriously considering willy is just a silly little fucked up guy who forever ruined my taste in men in my preteens. but i stand by my opinions.

i’ve also been writing a very self-indulgent willy x oc (ross able) fic for nearing 4 years now and have yet to publish it in any capacity. that being said, i tend to talk about it in tags for my own reference, so if you’re ever curious to know more, feel free to ask<3.

i do not support roald dahl, tim burton, or johnny depp in any way. their existences are entirely separate from my enjoyment of catcf. bigotry and prejudice are not tolerated on this blog.

i think the prequel is fine but unnecessary. it’s so whatever to me that i sometimes forget it exists.

i am literally charlie bucket (so obsessed with willy wonka that my parasocial need to be in a weird friendship with him is all-consuming and the only thing that keeps me going). if you ship any of the literal children ticket winners with willy, get off my blog.

willy is my specialist girl, a genius inventor evil capitalist, the blorbo i spin around in my brain 24/7 and want to put in a microwave, my wife, and also the absolute worst guy to ever do it. she is my everything. they’re just a sad gay twink. he’s even bigger than jesus.

Jesus Christ Superstar

the 1973 movie has been one of my favorites since childhood but i became obsessed after seeing the musical on stage in 2023.

yes i connect everything i liked about jcs back to willy and my other fav characters :)

things i write and blog about that are perfectly captured in jcs:

being mortal and being a god are not so different

the line between godhood and celebrityhood being more blurred the further society progresses. both are corruption

toxic, all-consuming co-dependency

sacrificing everything that makes one human for the sake of the “greater good”; becoming unrecognisable, becoming a monster (metaphorically and/or literally)

faith in something that ultimately betrays

being gay and being supppeerr dramatic about it

Alice in Wonderland

i love all versions but have a soft spot for the 2010 movie

fav character: the mad hatter/tarrant hightopp

the 2009 miniseries is weirdly good

alice in wonderland is a war story. to me.

i feel similarly about alice through the looking glass 2016 as i do about wonka 2023

once again, i’ve been writing a fic based off the 2010 movie for years but have yet to publish any part of it. one day, i promise.

Loki

my love for loki started in 2012 when i saw the first avengers movie in theaters but has since grown into a love of norse mythology and its extended history and lore. loki by mevlin burgess is one of my favorite books and is, in my opinion, the best portrayal of the character in recent years. neil gaiman’s norse mythology is also great.

i love tom hiddleston so so so so much<33. he is a phenomenal actor and also a really nice man and deserves so much more recognition than just being “that hot guy who played that villain in marvel.” i recently had the pleasure of sitting in the audience for an interview he did and it was the best day of my entire life. only lovers left alive is one of my favorite movies.

i hate the disney+ show except for the literal last 20 minutes of the last episode which gave me everything i’ve ever wanted out of a loki story.

i used to be really, really, really, extremely into marvel but pretty much stopped caring after endgame (which i feel is the case for a lot of people). that being said, i still love tony stark and spider-man, particularly the toby mcguire movies (cough cough…alfred molina as doc ock <3333).

Star Trek

obsessed with tos and tng, particularly the movies (undiscovered country is my fav!). huge fan of picard. don't really care about the aos movies or a lot of the newer series. i'm also currently watching voyager (janeway is insane i love her).

spent a lot of my nerd life not understanding the appeal until i started watching tng in april 2023 and swiftly became Aware of why it's one of the most famous franchises of all time. also as someone who's super interested in fandom history, particularly queer fandom history, i don't know why i didn't get into trek sooner.

spock is my fav character because he is literally me. i am always crying over him. no one understands spock like i do (<- is exaggerating knowing he is one of the most famous characters in all of pop culture history). we are both mixed race and jewish. we are both autistic and queer. there is literally no other character whose mixed identity is portrayed so well and as such a significant aspect of their story, and i (along with so many others) see so many of the internal conflicts he deals with in myself, particularly when it comes to his relationship with his parents.

sarek's biggest hater. like bestie, YOU married the human.

data is my second fav. mccoy is a close third. picard is a very close fourth. unification pt 1&2 are my fav trek episodes!!!

huge spirk/spones/mcspirk shipper. because duh.

Doctor Who

my favorite show since 2012

fav doctor: capaldi

fav companions/other characters: donna, river, missy/the master. and yes, the tardis

fav episode: heaven sent

murray gold invented music and is everything i aspire to be as a composer

please no moffat discourse i will block you

that being said, chibnall ruined doctor who. jodie whittaker deserved so much better and i do not blame her, an amazing actress, for the horrible writing she had to work with.

currently working my way through classic who and the eu

Other Notable Favorites

Nightmare Before Christmas

Danny Elfman/Oingo Boingo

The Mighty Boosh/Noel Fielding/BritCom

Flowers/Will Sharpe Films

Good Omens

Frankenstein

Shakespeare

Dan and Phil

Adventure Time

Wes Anderson Films

The Beatles

The Picture of Dorian Gray/Oscar Wilde

The Adventure Zone/The McElroys

AURORA

Other Things I Blog About

Robots & cyborgs, dolls

Body segmentation/body horror

Fashion/Fiber Arts

Nostalgia

Clowns

Nature

thanks if you read this far xoxo

[ghuletteintraining]

Hi, it’s been a long time since I’ve been in the Avatar fandom and I was trying to get my friend into them! I remembered you being one of my fav blogs since you wrote Chiaroscuro. Long story short— has there ever been some kind of lore masterposts for Avatar? I can find bajillions of Ghost lore posts but I’m having trouble finding anything for Avatar or at the very least for the Avatar Country era. Thank you for basically being a pillar in the fandom for so many years!

Hi, welcome back to Avatar Country!

First of all ... a pillar in the fandom?!?!? I am SHOOK with the honor, thank YOU for those kind words!!! I am but a humble servant to our king and his royal circle, I live to serve. (And by serve, I mean reblog everything Avatar-related so that my obsession can be everyone's problem...)

As for your question ... I'm thinking the reason you aren't finding anything is because there isn't anything out there. Unlike Ghost, Avatar isn't really a lore-based or lore-focused band. Avatar Country was the closest they've ever come to having official lore, and really that was only for that specific era. Even Feathers and Flesh wasn't lore about the band -- it was a fable brought to life with music. At this point, they bring out the royal costuming when they perform AC songs at shows, but it's usually only for one (sometimes two) songs.

The only thing I can come up with to offer as "lore" would be Legend of Avatar Country: A Metal Odyssey, the movie (featuring the three videos that they also put out for the album's singles) that the boys made with the help of a Kickstarter campaign, and it's so much fun! (There are a few elements in the videos that inspired @girlwiththepapatattoo and I as we developed our vision of the Chiaroscuro version of Avatar Country, but since the movie came out after most of our beast was written, it almost felt like WE inspired THEM.) It's available on Youtube and I'm pretty sure it's also available on avatarcountry.com. Speaking of avatarcountry.com, that's a great place to check out the boys' behind-the-scenes stuff, the play-throughs with Tim and Kungen, and little clips of them being the ridiculous dorks I love and adore. It's not lore in the traditional sense, but the history of the band and how Avatar has evolved over the years is just as fantastically rich as anything they could have invented. If you aren't already a part of it, you can join in at any time (I THINK you can set up a free account by filling out a "tourist visa" that lets you check out everything on the site, but don't quote me on that. Otherwise, becoming a citizen costs about $30.)

OH, almost forgot! There is The Making of Avatar Country, the book that they wrote/published through the Kickstarter campaign, available to purchase on avatarcountry.com. It. Is. FABULOUS. The photography alone makes it worth the cost. Again, not lore in the traditional sense, but seeing how Avatar Country was brought to life is *chef's kiss*. 10000/10 highly recommend.

And (shameless plug alert), you know, you can always re-read the beast in all its many parts ... lore abounds there. =)

Hey, look at that, I babbled once again and wrote a small novel instead of a normal-size response. *ahem* Hope this helped, and thanks so much for the ask! Always here for more asks if you have them ... as you can see, I love talking about my favorite Swedes!

[i-am-probably-alive]

Hellenite

Is there ever that one writer that you keep on going back to, over and over, even if you have read and analyzed every single one of their works? And it still gets better each time? There is for me. Fucking Helleniteeeee. I left the DSMP fandom like almost a year ago, yet I still go and have Hellenite binge reads on the regular.

Ad astra was my gateway drug, De Terra is still my favorite fic of all time like ever, possibly even better than most published books I’ve read, anything from LiTWS brings me immense comfort, and Fading Lights….that one stuck with me really really REALLY hard. So did all the other ones, but yknow. That’s a bittersweet ending done right, man. I absolutely adore everything in Hellens style of writing. From the beautiful, captivating description to the absolutely remarkable use of italics, each and every fic has left me crying and begging for more. But there’s three parts that Hellen just does so well, that it honestly shocks me that the whole first page of DSMP isn’t stuffed, head to toe, with Hellenite’s work.

1: Theme

Tackling this first, cause i have a LOT to say about this. Cause, HOLY SHIT!!! Theme! I absolutely just HDRTHHFGGJGJHAZJ. I’m not saying other writers haven’t pulled off themes in fanfic well before, cause they have! But the way Hellenite does it just hits different. Everything has a moral, in one way or another. And the moral is something genuine. Something real, something that happens in real life and that is represented perfectly in all her works. Like, okay. Event Horizon: You can change, you can improve. You are not your past, you are not your family, you are not your mistakes. As long as you’re trying, You’re on the right path. Things don’t get better immediately, they take time. A long, long time, but you are allowed to be happy along the way. Healing is a process, not a teleportation device. LiTWS: A relationship, be it romantic, platonic or familial, can be complicated. They can be difficult to maintain, but you love the other person, so you will work at it to solve your issues. It’s okay to fight, as long as you can acknowledge when you screw up. Communicate. Fading Lights: Life is difficult, but that doesn’t mean you should try and escape it. Find the right people who care about you, even if at the moment you feel or are complete shit. You can recover.

everything just leaves a special impact, because those messages come through. And they come through strong, without being all “LOOK AT ME IM HERE”. It’s just. Wow.

2: Character Development

Change is a very prominent feature in Hellens stories, and it never feels clunky or out of place. You genuinely feel it, but you can’t pinpoint the exact moment things change. Like how in the beginning of Ad Astra, we feel genuine dislike, and very quickly, hatred for Ran. But over time, that changes, and we see how Ran develops and improves. There’s setbacks, there’s relapses, but the change is there. In LiTWS, the relationship goes from somewhat forced, to fully, truly, genuine. Struggles and all. In FL, Tubbo….well. In the beginning, he was an addict who had a gruffish attitude, who was pushing away from society and his friends. He feared that he was turning into his father. He had awful self esteem. By the end, he was willing to change. He was willing to give up smoking and drinking and willing to put himself in an environment that involved Tommy. Change, change, change.

I think it’s all really well done. Cause people change, it’s natural. And it’s done so well here.

3: Love

The way Hellen writes love makes me wish I was in it. But not because it’s written as an all happy and sunshine solution to all wrong. It’s not. It’s written as a strong, complicated emotion. It isn’t written as a one-size fits all. It’s written as something rooted in our hearts that WE get to define, and WE get to use. We love, and it is not a weakness. Love is not a superpower. We all are capable of it, and it doesn’t have to be romantic. Love is…love. It’s so, so SO strong, and I think that this one element is what’s made me cry so much while reading Fading Lights or De Terra or whatever it is. Love. Such a strong meaning for such a small word. I go to Hellens stories and take notes on the way it’s written because it’s just. I hate stories that focus on love, generally. Mostly because they’re written as if it has to be this huge, romantic beats-all card, where the only thing that defines it is the word itself. The characters have to say it for us to know it, and even after that, we don’t believe it. Hellen writes it as it is, which is a difficult feat. These fics are just…wow.

All in all, the way Hellen writes, not only in short term by description and beautiful scenery, but in long term too, leaves such a strong impact. Hellen is definitely, without a doubt, the writer who has most inspired, motivated and influenced the way I write and even the way I think. Hellen has left such a positive mark on me that I’m confident I would be entirely different without having read that one gateway fic. I forgot to mention this, but I read Ad Astra while in a reading slump, and when I say it pulled me out…

also, the concepts in and of themselves are so creative and good and original?? Like how?? And the WORLDBUILDING DONT GET ME STARTED ON THE WORLDBUILDING. HOW??? How does one just make a world so convincing and make it feel so real?? And explore upon it without making it feel like pointless exposition???

TLDR; A year ago, these fics broke into my house, put me in a chokehold, and demanded it be allowed to live there rent free. It still has me in a chokehold, and I give it muffins sometimes.

Theres so much More i can say, and I will probably say it in different posts later. but for now..

I love Hellenites stories more than I love Interstellar, and that’s saying something cause I was a mess by the halfway point of that movie.

Thank you, Hellenite, for each and every one of your stories.

I can’t wait for WGBITN.

(P.S: I realize I sound like an insane fangirl, but whatever. I most likely am one.)

[jeannereames]

where would i be able to read your monograph? especially about the ‘you are nothing without me’ incident

The Protracted Reality of Writing Academic Shit 😂

First, and assuming the asker means my Hephaistion-Krateros book, the quick answer is: It’s still in process, not even close to being in print. In the meantime, a number of my articles are available on academia-edu.

Now, to explain why the book is “still in process,” let me explain the monograph writing progression. IME, the average person uninvolved in academia is often surprised by the sheer complexity and time involved. (After all, why would you know if you don't need to?)

Below, I talk only about academic monographs, although I’ve also edited academic collections, and of course, have published a number of articles. I started to tackle fiction publishing too, but that quickly devolved into a long-ass post (even for me), so I’m sticking only to the topic the asker requested. It's long enough! Maybe I’ll do fiction later, assuming anybody wants to read that. (If so, put it in an ask.)

To write an academic book in the humanities typically takes years. There are several stages just to produce the initial manuscript, never mind getting it into print. I’ll outline the general process below, using my current project to illustrate the steps. One thing I’ve found consistently among both students and non-academics is utter surprise at just how extensive research/writing is. New grad students often think writing a thesis/dissertation is akin to writing a really long term paper. Oh, no. You will write it, submit it, get critique and feedback, go research some more and revise it, get critique and feedback, go and research yet more and revise it again … rinse and repeat. How long? Until it’s cooked. There’s not a set timeframe. It will always take longer than you expect. Always. I’ve been teaching grad students almost 25 years. I have yet to have any require less time than they first assumed.

Writing a monograph (including the thesis/dissertation, which is a type of monograph) is one of the toughest forms of academic writing. Papers/articles are much easier, and not just because they’re shorter, although that’s some of it. They also generally have a simpler point. They’re proving ONE thing, like a string.

A monograph presents a coherent, complex argument like a rope woven from several strings (the chapters). It’s not an edited collection by multiple authors in a single volume (or two), or even a collection of various essays by a single author. Collections may have a general topic, like, say, Macedonian Legacies (the collection we did for Gene Borza), or the one I’m editing now, Macedon and It’s Influences. Just trying to figure out a decent order for the varied papers can prove a challenge in these. If some of the papers actually do bear on each other … bonus! But the papers aren’t necessarily expected to come together at the end in any cogent way. A monograph’s concluding chapter should, however, bring together the chapters into a solid conclusion, like the arch’s capstone, holding it all together.

Yet the researcher may not know the answer to that until done with much of the research. After reading everything, and considering it, she may wind up in a different place from where she started. Like any good, responsible research, the researcher must be prepared to follow the data and facts, not cram them into a preconceived notion. I’ve changed some of my ideas and goals for my current monograph, as I no longer think I can do the project I originally intended because the nature of the sources get in the way too much. But I have a more interesting project as a result.

The first phase is research: pretty much for any academic field, period. How this progresses, and how quickly, varies with the individual, field, and topic. Furthermore, some of us are planners (that’s me), others are pantsers (e.g., they dive in and figure it out as they go: by the seat of the pants). But we all start with a question or observation, then go out to track down information about it. In history, sometimes we just read the primary sources/archival material and see what we find. Something strikes us, so we go on to read more, which produces either refined questions or entirely new ones.

Right now, I’m finishing up the initial stages of the research. Then I’ll start work on the chapters, which, yes, I’ve outlined as a result of my initial research. But those chapters may (and probably will) morph as I write them. It’s during the writing phase that the other, “attendant” research comes into play: chasing down all the references in other secondary sources for smaller points. Rabbit-hole time.

My initial research tends to be more measured. I read a while, stop to think—sometimes do stuff like write replies to asks on Tumblr while my brain churns. 😉 Then I go back and read some more. But the writing phase is where I can lose all track of time while running down just-one-more-citation-then-I’ll-stop. The last time I looked at a clock it was 3pm and now it’s 9pm, I’m weak with hunger, I really have to pee because I’m drinking too much tea, and the cats are mad because I’ve not fed them in hours. 😆 It’s two really different types of research for me.

Anyway, for the initial (pre-writing) stage, there are really two substages. The first is what I think of as archival work: e.g., getting down and dirty with the original (primary) sources, including digging into the Greek and Latin to see what it actually says, and if there’s something noteworthy in the phrasing. At this point, I may not really know what I’m looking for, except in the broadest sense. For my current project, I collected every single mention of Hephaistion and Krateros in the original sources. For all five ATG bios, I read them front to back, tagging all sorts of things, plus large chunks of important other books (e.g., the first part of book 18 of Diodoros, the extant fragments of Arrian’s After Alexander, plus a couple bios, esp. Plutarch’s Eumenes, etc.) in order to get a FLOW, not just collect things piecemeal. There are some passages that may not name Hephaistion or Krateros specifically, but they would include them. Piecemeal will always be incomplete, like trying to see a clear image in a broken mirror (a mistake I made with my dissertation, in fact, but I was young).

Then I assembled all that collected data on huge sheets, arranged by author for each man, so I can cross-reference and compare. I also did a deep-dive across 4 days, grabbing everything in Brill’s New Jacoby (BNJ), so I can also tag the original (lost) author cited in our surviving sources, where we know who it is. Not actually that many, but it’s useful and can prove significant. I want to see where the same information, or anecdote, crosses sources, and how it changes.

All of that (except adding the BNJ entry #s to my big sheets) is now done. The next step is figuring out what it all means. For that—and where I am right now—involves historiographic reading/rereading of secondary sources on the ancient authors. What is Curtius’s methodology? Arrian’s? Plutarch’s? What are the themes of each? What is the story they’re telling? They’re not just cut-and-pasters from the original (now lost) histories; they have agendas. What are they? How do Hephaistion and Krateros fit into those agendas? How do the sources use them? This is, to me, the really interesting piece.

It's also why this book will not be just a cleaned-up version of my dissertation, but a completely new look at Hephaistion, and now Krateros too. I haven’t even consulted my old dissertation chapters. I started over from scratch. Sure, I remember my main conclusions, and as I write, I’m sure I’ll go back to check things, but the same as I’d check anybody else’s.

I’d hoped to start writing by May, but I’m not quite there yet, in part because, between the Netflix series plus helping to write/edit a grant that I didn’t expect to have to do, I lost virtually all of February. Now, about half of April has been eaten by home repair/yard stuff plus small family crises. That’s just the nature of a sabbatical, especially if you don’t have a spousal unit or SO to take care of everything for you while you just write. 😒

Now I hope to start writing by mid/late May. But as this 9th International ATG Symposium is looming in early September, plus I go back to teaching in the fall, I’ll have to knock off by the end of July, if not sooner. Ergo, not a long writing time. I can do some more during winter break, but I probably won’t have a draft done until next summer. If I’m lucky. It is just not possible, at least for me, to write while teaching! As I do plan to present at least one (startling!) piece of my research as the ATG conference, I have a concrete deadline for a subchapter bit. Ha.

So, what happens after a draft is done? Well, if one is smart, one finds a reader or three. One just to read it for sense, but (if possible) another specialist to start poking holes in the arguments, noting secondary sources one forgot, and to offer general pushback in order to refine it all. This assumes your friends/colleagues actually have time to look at it, as they, also, are teaching and writing their own stuff. (I’ll go after my retired colleagues.) At the same time, one may also begin seeking an academic publisher.

It’s important to match the project to what the publisher is already publishing. It can also help, but isn’t necessary, to have an in: somebody known to/trusted by the editor of one’s broad field (ancient history, in my case) who can vouch for the scholarship. Submitting means writing up a summary of the work, perhaps including letters from colleagues/readers, etc., etc. I’m not even close to this stage yet, so I’m primarily going by the experiences of friends. At this point, it starts to dovetail a bit with fiction publishing. You’re on the hunt and do some of the same homework.

Once a publishing house requests the manuscript, they’ll farm it out to 2-3 readers to evaluate. This is the “refereed” part, as the readers will be specialists in the field. The publisher, who can’t be a specialist in everything, may ask for a list of names for these potential readers.

As with academic papers/book chapters, the book will come back from these readers with a vote on publishability, plus suggestions for improvement. The basic choices range from, “Go back to the drawing board; this has major issues and here they are” (e.g., not ready yet for publication). To, “It’s got good bones but here are improvements on chpts X and X, oh, and go read ___ works you forgot,” (e.g., revise and resubmit). To, “this is pretty solid as-is but could use a few more things” (e.g., revise but ready for a contract). You will NEVER get a “Publish it right now.” 🤣 It’s hard to say how much time this revising phase will take, as it depends entirely on the level of revisions requested. This is why it’s often wise to find a reader or three in advance, to make this phase less lengthy. Yes, books do sometimes get turned down entirely, with no “revise-and-resubmit,” but more often it’s one of the three above. And yes, sometimes an author may be unwilling to make the requested changes, so finds a different publisher, with different readers, hoping for a more positive outcome. Sometimes, with the revising stage, there’s a non-binding contract involved, but this seems to be usefully mostly for younger scholars who need some sort of proof for their RPT (Reappointment, Promotion and Tenure) committees.

Once a publisher gets a manuscript they believe is worthy, the author receives a (real) contract and is provided with in-house editors to fix grammar, sense, etc.: copy- and line-editing. What would (in fiction) be called “developmental editing” is what the refereed part entailed. This is the simple part. Getting TO the contract stage is the tough part.

The publishing house will then schedule the book with a publication date and discuss things like page-proofs, cover art, permissions, formatting, etc., including indexing, which most publishers either don’t do, or charge a high fee for. It’s almost always cheaper to hire an indexer separately. I’ve already got mine lined up for the Hephaistion-Krateros book. But that can’t be done until it’s typeset and through page-proofs as one needs, yeah, the page numbers. Ha. From contract to the book hitting shelves can take a full year, or more.

So, with the exception of those folks who are just writing machines, the average monograph is c. 5+ years, at least in the humanities. This assumes the luck to get a sabbatical, not trying to do it all crammed into summers or breaks.

So yes, I’m still a couple years from this book seeing print. And that assumes there’s not a lengthy revise-and-resubmit process because my readers don’t like my conclusions.

[safflowerseason]

I also haven't done a comprehensive book post but I'd love to hear your thoughts! If anything, it's just made me have 10,000 more questions than I did before which was already A Lot. Also Justice 4 Mischa/Marissa always.

You sent this before we got Mischa Barton dropping major bombshells!! Now so much has changed!! 

I said this briefly in earlier comments but my overall take on the book now is that, while it had lots of insights in other areas not related to Mischa Barton, it ultimately demonstrated the limits of the oral history approach. MB’s specific revelations also demonstrate why an oral history was probably not the best way to really get “behind the scenes” of what happened on this particular show. Like, in my experience oral histories are generally pretty fluffy and they kind of allow everyone to share memories and their recollections without much pushback…which is basically what happened in the book. If you interview as many people as Sepinwall did and absolutely everyone refuses to go on the record about two co-stars dating because they know just how fucked-up it is…that is a story that requires a *totally* different angle than a fluffy oral history, especially one that's such a direct collaboration with the showrunners. I’ve been thinking about the book recently published by Mo Ryan called Burn It Down: Power, Complicity, and a Call for Change in Hollywood. That’s the kind of approach you’d need to do her story justice. 

At the same time, I do maintain that Sepinwall emphasized that what happened with MB’s exit was not her fault, in spite of his past (sketch) history with the show. He gave a lot of detail about network fuckery, Schwartz’s failures as a show-runner in S3, and he also showed that Brody and McKenzie were actually the ones being assholes on set, not MB, but that no one in charge cared because to Schwartz they were the two most important characters - ie, MB was considered expendable and the men were not. 

As for Schwartz…I already thought he came off pretty terribly in the book but now, like, oh my god. I don’t know how anyone but ESPECIALLY women could work with him ever again. I think it's so gross to claim that you're going to be open and honest about everything that happened on your show when you know this HUGE SECRET. Like I *get* why nobody wanted to go on the record about this and of course it's fundamentally Ben McKenzie's or Mischa Barton's news to share, but then don't PRETEND that you're going to fully explain what happened twenty years later when you know it's not the full story. Jesus Christ.

What makes me so mad is that the only reason Schwartz was so comfortable “taking the fall” in the limited way he did for what happened with MB and the show’s decline in quality is because it hasn’t actually cost him anything, and sadly I don’t think MB’s interview is going to change that. Nobody important in Hollywood cares because it was so long ago and it was his first show and one actress’s mental health and career prospects are a small price to pay for letting a man do whatever he wants on a set. So he didn’t risk anything by going on the record about all this. 

As for the non-MB parts of the book, of course I enjoyed reading everyone’s perspectives looking back, especially in the first year, and the little random fun stories that were sprinkled throughout. Chris Carmack came off as a pretty decent guy to me, and Adam Brody clearly has done a lot of reflection on that era of his life and how he acted at the time. I love Kelly Rowan and Peter Gallagher so much and I enjoyed their take on things (also intrigued by the comment that they weren't super tight on set?!) And I thought the book was a great overview of just how many factors and voices and interests went into making a single piece of television during the peak years of network tv. Like, so many different execs in charge of different things, all putting competing pressures on the show…it’s easy to see why television was so formulaic in that period. The O.C. in its earliest and best days really didn’t fit the mold for anything on TV, and as the book laid out why that was kind of the show's undoing in a way (in addition to Schwartz f*&king it up).

That was a lot and seems like enough to be getting on with for now, haha. Ultimately what I really want is a two volume exposé on the toxic culture of Hollywood in this early 00's era and how so many young women were chewed up and spat out by the system, with Mischa Barton's story as a prime example. She deserves justice!