#it’s a really good book I recommend it!

[self-winding]

Get that "debut" moniker away from your name. Prove you can sell your shit and keep working.

I'd disagree with this part. Being a "debut author" actually works in your favor, marketing-wise. Because you're the shiny, exciting new thing. Past publishing credentials are only a plus if you're a well-known name with a following.

Source: Been published by two Big Five houses. Before I was picked up by an agent I had published a number of novels and novellas (mostly romance/erotica) through a series of digital-only indie publishers. I made some money (albeit not a lot) through these titles, but they did not in any way help me from the angle of getting an agent or being picked up by a publisher, because I wasn't a big name, and because the book that got me an agent was YA so there wasn't much of a crossover readership.

I don't recommend self-publishing unless you have an existing platform (such as a YouTube channel) with a lot of followers. Otherwise it's like firing a t-shirt cannon into outer space, and it's also easy to waste a lot of money on advertising yourself and SEO stuff. There are so many stories of self-published writers spending hundreds or thousands on advertising and getting like, five sales as a result. Like, self-published books do occasionally get popular and go viral but these are extreme statistical outliers. Unfortunately it is just really hard to make money on books these days. Even big publishers kind of suck at it. Many books don't earn out their advances.

I do agree with the part about how important comps are. Agents and editors don't like to take risks, they are mainly trying to jump on existing trends. You ideally want titles from within the last three years to compare to yours. They shouldn't be obscure but they should also not be too big; like, comparing your book to Harry Potter or GoT or LOTR won't get you anywhere. Go to your local library, look at the new stuff, find books that are roughly in the subgenre you are aiming at, books with covers that look sort of how you imagine your cover looking, read them, and if they fit, use them as comps when you query. Say specifically what it is about those books that overlap with yours. i.e. the aesthetic, the setting, themes, etc.

Editing to add: yes, being in the right social circles does help you get published (which is bad for me because I'm a hermit) but I'd argue that knowing the market and the specific market niche you fit into and being able to write a good piece of marketing copy (i.e. your query letter) which displays your understanding of market forces is actually just as important as social status and more important than the "objective quality" of your writing. And while it can be soul-crushing and involve some creative compromises, it is a skill that you can actually learn, one that will concretely impact your chances.

I find it personally offensive how many bad writers can get published so easily.

[binomech]

what is/are your favorite book/books?

i know this was sent on february 23rd and i apologize for both the delay and the answer you're getting, although i'm sure you'll understand how both are related the second you click the read more:

on favorites

i'm bad at picking favorites, if the length of this answer hasn't clued you in. i hate quantitative appraisal of things that are meaningful to me, especially if it's art.

a lot of the people listed here i would consider favorite authors and would generally recommend all of their published work. then there's authors that when confronted with their whole bibliography, i can't begin to choose a piece to recommend because they're all relevant and semi independent (bertolt brecht, oliver sacks, chantal maillard, jorge riechmann - whom i feel i'm doing dirty by only listing my favorite works of his and not like, everything he writes. because he's a dear mentor, a friend and one hell of a writer.) then there's adrienne rich (criticisms of her transmisogyny in essays that are undeniably legitimate but could probably do with a hefty dose of historical contetxtualization. i have one of those Nuanced analyses for this one but this is not the post for it) that has incredible poetry, and handles human relationships under capital with such kindness and finesse that i can't help but recommend all of her poetic work, really.

so here's a list off the top of my head of published books that i like a lot.

multiple-work recs per author

albert camus

the myth of sisyphus

the possessed (theatre)

resistance, rebellion and death (all the essays here are amazing, but if you must read one - reflections on the guillotine)

neither victims nor executioners

roland barthes

the pleasure of the text

camera lucida

mourning diary (one of my favorites, perhaps because it's so different from everything else on this list. this is an account of grief after his mother's death)

empire of signs

the responsibility of forms

what is sport? (and although i'm cheating my self-imposed rule of Only Published ISBN'd books on this, i recommend the fiction series 17776 as a companion)

mythologies

emil cioran

the temptation to exist

the fall into time

the trouble with being born

the twilight of thought

lesley a. sharp

the sacrificed generation

strange harvest

animal ethos

more-than-human aging

james baldwin

giovanni's room

this morning, this evening, so soon (short story)

notes of a native son (which adds like 20 essays with every new edition, and honestly, all of james baldwin's essay corpus is amazing. not a single work in there that i would not recommed, and it's a long list.)

franz kafka

josephine the singer (short story)

the trial

in the penal colony

fiction (prose)

invisible cities by italo calvino

never let me go by kazuo ishiguro

east of eden by john steinbeck

fictions by jorge luis borges (and the prologues for the library of babel, featured in fictions, although i don't know if that's been translated or how widely available it is)

how to live safely in a science fictional universe by charles yu

the monster baru cormorant by seth dickinson

dialogues with leucò by cesare pavese

grapes of wrath by john steinbeck

this is how you lose the time war by amad el-mothar and max gladstone

when i sing, mountains dance by irene solà

crime and punishment by fyodor dostoevsky

good omens by terry pratchett and neil gaiman (yes, i know. i think the book is really good, despite [handwaves])

discworld series by terry pratchett, but it's massive so here are my favorite story threads and novels within them:

watch cycle (favorite installments: men at arms + feet of clay)

industrial revolution cycle (favorite installments: monstruous regiment + going postal)

death cycle (favorite installments: reaper man + thief of time)

fiction (theatre)

waiting for godot by samuel beckett

rosencranz and guildestern are dead by tom stoppard

los árboles mueren de pie by alejandro casona

luces de bohemia by ramón maría del valle-inclán

fuenteovejuna by lope de vega

la casa de bernarda alba by federico garcía lorca

escuadra hacia la muerte by alfonso sastre

the flies by jean-paul sartre

huis clos by jean-paul sartre

angels in america by tony kushner

seven against thebes by aeschylus

hecuba by euripides

antigone by sophocles

prometheus bound by aeschylus (kinda. you know how it is.)

these last three have translations by anne carson that i'm 100% supportive of. actually, most anne carson translations of greek tragedy are awesome, go check them out.

non-fiction (prose)

capitalist realism, hauntology and (the salvaged fragments of) acid communism by mark fisher; these go in a three-pack to me, so i'm listing them together

ahí es nada by jorge riechmann

¿vivir como buenos huérfanos? by jorge riechmann

identity and friendship by emilio lledó

diario del cuidado de los enjambres by antonio orihuela

el tamaño de mi esperanza by jorge luis borges

hope without optimism by terry eagleton

minima moralia by theodor adorno

philosophy as a way of life by pierre hadot (as a general overview to the historical overlap of ethics-as-doing with the rest of philosophical thought, but if you can use it as a foothold to his phenomenology writings, Please Do)

the idea of the holy by rudolf otto

the bonobo and the atheist by frans de waal

can the subaltern speak? by gayatri spivak

pictures and tears: a history of people who have cried in front of paintings by james elkins

la resistencia by ernesto sabato

the dialogic imagination by mikhail bakhtin

the cyborg manifesto by donna haraway

epistemic injustice by miranda fricker

prison notebooks by antonio gramsci

pedagogy of the oppressed by paulo freire

non-fiction (poetry)

grafitis para neandertales by jorge riechmann

crush by richard siken

la luz impronunciable by ernesto kavi

how we became human by joy harjo

eyes to see otherwise by homero aridjis

night sky with exit wounds by ocean vuong

i wrote this for you (series) by iain thomas (it's a combination of poetry and photography and greatly benefits from a physical format)

[alexanderwales]

Game Review: The Roottrees are Dead

When I played Obra Dinn shortly after it came out, I thought "man, that was great, they should make a hundred of these, this should be a whole genre", and on reflection, that would actually be a terrible idea, because what made it great was the storytelling, the attention to detail, and the loving care that went into it. As I've learned from the wave of games that take inspiration from Stardew Valley, there are some genres that I only like if they have a lot of attention to detail and artistry.

The Roottrees are Dead very clearly follows in the footsteps of Obra Dinn, and while it doesn't quite hit the same highs, I think it's a worthy successor that forges its own path and helps to establish what's possible within the space.

In The Roottrees are Dead you play as an investigator in the late 1990s (1998 for the original, 1999 for Roottreemania), looking into the Roottree family to uncover some of there secrets. You do this almost entirely through a simulacrum of the early internet, with a pre-Google web search, periodicals, and checking out books from the local library. Gameplay entails combing through these documents to see what there is to search, then making some deductions to put information up on the sprawling family tree. Just like in Obra Dinn, you get your guesses "confirmed" after you've locked in some number of correct entries, which helps to narrow down the search space.

It's a good game. I recommend it if you like research and puzzles and deduction.

I think mostly I want to talk about how it feels to play this game, and what I think makes it work in a way that's totally different from other detective/puzzle games.

First, and I think this is very important, you can search almost everything, and you are often rewarded for this. Every name, every company, every book, all of them can be searched in one way or another. Sometimes it's the web search, and if that turns up nothing, sometimes you can search the periodicals, except that you don't start out knowing the names of the periodicals. And when you do get the name of one, it opens things up, because you can go searching using this new resource.

Sometimes the information isn't quite right, so you have to think it through. Use someone's maiden name, or find out what a book was retitled to for its second publication, or figure out how the thing you're searching for would be referenced. This is all the kind of thing that I find really enjoyable, and more so than in real life, because the feedback is instant. Even if you hit a dead end, the game will usually have some text for you, and sometimes it'll tell you it's a dead end with a little story, ending with "unfortunately none of this seems relevant to the Roottree family".

What you're ultimately doing is creating this whole web of information, picking up names from articles you read and tracking them down, which gives you more articles and more names. You have some understanding of these people and their relationship to each other. You get to know the history in this very unconventional way. It's pretty unrealistic, but my suspension of disbelief was mostly fine.

Locking things in feels great, particularly because it means that you're removing a possibility from your list of names, making everything easier in the next go. This was something clearly borrowed from Obra Dinn, and I'm glad, because it works so well and feels so rewarding. New here are "optionals" that get confirmed whenever a lockin of the main family happens, and this is a great evolution of the concept.

There are two places where the game let me down a little bit, and both have to do with the pictures. The first issue is that I wanted the pictures to be of a higher quality. The web version had AI images, which were a little wonky, and got flak for it, so the images were (apparently) hand-drawn for the release on Steam when people were paying money for it. And they're still a little wonky, which is surely a budget issue, and maybe a little bit an art direction issue. I don't like criticizing thing for their lack of budget, but man, there were places where I felt it here.

The second issue with the pictures is that these tend to be the worst kinds of clues. People just do not talk about appearance and clothing in these ways, and it always feels clunky in the way that other clues (usually) don't. They're necessary, because this is part of the core gameplay, matching pictures to names, but it feels to me like the weakest part.

New to the Steam version is "Roottree Mania", which deals with a crisis of "extras" to add to the family tree, those who are products of affairs. It's basically the same in structure, and proof to me that this concept has legs: the focus is different, but you're engaging in the same gameplay. I would say that overall, I enjoyed Roottree Mania about as much as the main game, even if the scope was somewhat less focused.

And like before, I find myself thinking "they should make a million of these", but I know that this is only as good as it is because there's significant dedication and care put into it, and you can't just "copy" it and expect for it to be playable or good. You need those little moments when things snap into place, when something confusing reveals itself to be well-ordered. You need puzzles to work out, inconsistencies to uncover, information working together. And that's hard, and it's something I'm happy this game was able to do.

[how-do-i-write-that]

I do feel like this post gives solid base adivce but lacks some context that is helpful to understand why certain choices work. I would recommend beginner writers to try to understand what effects certain choices have, or rather, what sounds good to them personally when reading! And once you've figured out what sounds good to you, replicate it in your own writing.

I'm just going to put some of the points in a bit of context (in regards of my own personal opinion!) to hopefully help with understanding how they work.

1. "the floor shifted beneath her feet" is not showing, it's idiomatic. it still works better than using "she was sick with shock" as it draws more of a picture for the reader to imagine in their head. If you truly want to show and draw a bigger, more detailed picture, you can combine idiomatic language with some telling elements i.g. "Her breath was stuck in her throat and though her feet were frozen in place, it felt as if the floor shifted beneath them." Makes it easier for the reader to imagine what exactly is happening without saying "yeah she's shocked"

2. I have no gripes with scene breaks but for the love of god, do not put several asterisks or other random ass symbols in a row. They are a nightmare for screen readers, so if your writing is supposed to be read from a screen just don't use them. Put only one single one if you absolutely must (or if whatever you're using to upload/publish allows you to use dividers that can be parsed by screenreaders use those instead). Also if you really have to use them, be mindful that you're not breaking up paragraphs and topics that belong together. I personally also believe you don't have to rely on extra visual cues to inform your readers about a pov or scene change. Use words. Use line breaks and paragraphs. That's more than sufficient.

5. Don't end every chapter on a cliffhanger but always give a glimpse of what's next. You can conclude an entire subplot at the end of a chapter, with no action that needs to be cut right there and simply letting your character say something like "I managed to do X, now the next step is Y." Getting a bit of a glimpse of what's happening next without detailing it will help raise your readers' curiosity.

6. and 7. Yeah, you should focus on the important stuff in a scene instead of every single detail that lead up to it, but GoT is a great example why always subverting expectations might not be the wisest choice. Adding to point 10 here: just write whatever is fun to write to you. If you have fun, it is likely going to reflect in your writing. And if that means writing your character going grocery shopping and all goes according to plan, then so be it. Your readers might find it boring, true, but not every single little scene has to be the most interesting and impactful scene if you're just starting out.

8. Epiphets are not the devil, but you should only really use them for characters that have not yet been introduced or whose names will never be revealed. You wouldn't talk to your friend about "the blonde man" if the blonde man was your mutual friend Max you've both known for years. You'd just talk about "Max". So if your character's name is known, use it. If not, epiphets that describe the new character's most prominent features are fine.

Overall, write whatever is fun to write for you, no matter how well received it is, particularly if you're just starting out. If you want to improve on a technical level, read books from different time periods, different genres, different authors, different cultures and see what you personally like about them. Read fanfiction. It doesn't matter. You don't even have to read the whole thing if you end up not liking it or not finding enough time. But figure out what you like and then try to replicate that. (Be it sentence structures, usage of many/few adjectives, certain phrases, how chapters are structured, narrative voice, dialogue, how characters are described or characterized, etc. etc.)

No matter how small it may be, if you find a certain something in a writing you find awesome, try to write in that something, too. And if it's about your cat making a big meow meow fuss because food!! then that's fine, too.

tldr; read shit + find out what makes it good to you -> try to write something with theGood -> own writing sounds good to you -> happy + fun (-> reader also happy and fun)

my 10 holy grail pieces of writing advice for beginners

from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)

show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."

no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.

if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.

never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.

every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.

every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.

arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)

epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.

your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.

plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.

happy writing :)

[ladylikelamb]

I started reading his biography by Jon Lee Anderson. it’s made me mildly fixated oh him and communism💀

[ale-arro]

been going a little bit insane about this sentence from Ace by Angela Chen for the past week

[ironmaidenhead]

THE LADY CHABLIS starring as Herself in MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (1997) Dir. Clint Eastwood

[passiveagressiveintrovert]

fave Color: Green!!

Currently Reading: Wool by Hugh Howey (i really liked watching Silo and wanted to read the book it's based on)

Last Song: ur so Pretty by Wasia Project (just finished re watching heartstopper season 2)

Last Movie: Angels Egg (it's so confusing but so good highly recommend!!!!)

Last Series: Heartstopper season 3

Flavor: sweet and savory but mostly sweet

Craving: a chicken karaage don from a specific shop in my local shopping centre food court

Tea or Coffee: neither :/ i will have a milkshake tho :)

Currently Working On: fixing my chronic pain and healing (my mum wants me to get a health care card on top of my medicare card cus im spending too much on specialist appts which is probs a good idea lol )

No Pressure Tags:

@ungathered-starstuff @stressedgreenjam

Nine people i want to get to know better

Thank you @shortace for the tag

Favourite colour: green

Currently reading: The Bones Beneath My Skin by TJ Klune and Rivals by Jilly Cooper

Last Song: Wait For It from Hamilton

Last Movie: I Saw The TV Glow (again)

Last series: on a Phineas and Ferb rewatch

Sweet, savory, salty: sweet. But not too sweet.

Craving: choc chip cookies (luckily I have some downstairs)

Tea/coffee: coffee. As black as my soul

Currently working on: much good omens fanfiction. So much.

Tagging: @funky-disco-demon @starks-kid @sweet-omens-good-hugs @turtlenec-crowley @snognes @reese-the-usc-girl @reggie-moony @rjcee-art @snek-of-eden

[poorly-drawn-mdzs]

you are so whimsical i qant to check out this mdzs (..??) because of your whimsical nature thank you sorry im very high and your art moved me emotionally

This is simultaneously the sweetest and funniest thing someone has sent me, thank you.

[communistkenobi]

my brother gave this to me for christmas :)

[benevolenterrancy]

Unwind by Neal Shusterman? I really liked it at least

hmm I've never even heard of this one-- JESUS THAT'S A PLOT

OKAY yeah colour me intrigued on that one

and I've been really appreciating all the book recommendations I've been getting! Thrilled to look up ones I've never heard of, I love seeing what sort of books stick with people enough that it's a go-to recommendation! There's a few I've already put on hold at my library :3

[butchhamlet]

"But there is something particular about Cleopatra and the imaginative escape she offers for white performers. She presents a fantasy of a stately queen with an erotic power that white actresses can inhabit and take pleasure in without facing any of the difficulties faced by Black women. Like white European colonial settlers, they occupy her character though only briefly. And this is nothing new. In the seventeenth century, one aristocratic woman had her portrait painted as Cleopatra—a performative act in which it was possible to pretend to be the kind of woman she could never actually be within the chaste and virtuous bounds of Renaissance white womanhood. The sitter is identified as Lady Anne Clifford. A Jacobean lady in Egyptian regalia, according to seventeenth-century orientalist notion of national costume, holds an asp above her breast, iconically invoking Cleopatra. For a long time, it seems, white women have stepped into the fantasy of the dark queen. It seems odd that Antony and Cleopatra was not always viewed as one of Shakespeare's race plays. That is changing, finally. If theatre directors continue to centralise whiteness in their readings of the play, however, it in many ways replicates Caesar's triumph over Egypt. We relive Cleopatra's defeat every time we watch a white woman play her—due respect to Dames Judi Dench, Helen Mirren, Harriet Walter, and Eve Best. But we begin to see more clearly the Egyptian Queen's own prophetic vision as she chose to end her life on her own terms. She imagined herself being performed for years to come by actors who do not resemble her in any way—and that is, for the most part, what has happened."

—Dr. Farah Karim-Cooper, The Great White Bard: How to Love Shakespeare While Talking About Race (emphasis mine)

[gingermintpepper]

hi, i haven't read the iliad and the odyssey but want to - do u have a specific translation you recommend? the emily wilson one has been going around bc, y'know, first female translator of the iliad and odyssey into english, but i was wondering on if you had Thoughts

Hi anon! Sorry for the somewhat late response and I'm glad you trust me with recommendations! Full, disclosure, I am somewhat of a traditionalist when it comes to translations of the source text of the Iliad + Odyssey combo wombo, which means I tend to prefer closeness in literal verbiage over interpretation of the poetic form of these epics - for that reason, my personal preferred versions of the Odyssey and Iliad both are Robert Fitzgerald's. Because both of these translations (and his Aeneid!) were done some 50+ years ago (63 for his original Odyssey tl, 50 flat for his Iliad and 40 for his Aeneid) the English itself can be a bit difficult to read and the syntax can get confusing in a lot of places, so despite my personal preferences, I wouldn't recommend it for someone who is looking to experience the Iliad + Odyssey for the very first time.

For an absolute beginner, someone who has tried to read one or both of these epics but couldn't get into it or someone who has a lot of difficulty with concentrating on poetry or long, winding bits of prose, I fully and wholeheartedly recommend Wilson's translation! See, the genius of Emily Wilson's Iliad + Odyssey isn't that she's a woman who's translated these classics, it's that she's a poet who's adapted the greek traditional poetic form of dactylic hexameter into the english traditional poetic form of iambic pentameter. That alone goes a very very long way to making these poems feel more digestible and approachable - iambic pentameter is simply extremely comfortable and natural for native english speakers' brains and the general briskness of her verbiage helps a lot in getting through a lot of the problem books that people usually drop the Iliad or Odyssey in like Book 2 of the Iliad or Book 4 of the Odyssey. I think it's a wonderful starting point that allows people to familiarise themselves with the source text before deciding if they want to dig deeper - personally, researching Wilson's translation choices alone is a massive rabbit hole that is worth getting into LOL.

The happy medium between Fitzgerald's somewhat archaic but precise syntax and Wilson's comfortable meter but occasionally less detailled account is Robert Fagles' Iliad + Odyssey. Now, full disclosure, I detest how Fagles handles epithets in both of his versions, I think they're far too subtle which is something he himself has talked at length about in his translation notes, but for everything else - I'd consider his translations the most well rounded of english adaptations of this text in recent memory. They're accurate but written in plain English, they're descriptive and detailled without sacrificing a comfortable meter and, perhaps most importantly, they're very accessible for native english speaking audiences to approach and interact with. I've annotated my Fagles' volumes of these books to heaven and back because I'm deeply interested in a lot of the translation decisions made, but I also have to specifically compliment his ability to capture nuance in the characters' of these poems in a way I don't often see. He managed to adapt the ambivalence of ancient greek morality in a way I scarcely see and that probably has a hand in why I keep coming back to his translations.

Now, I know this wasn't much of a direct recommendation but as I do not know you personally, dear anon, I can't much make a direct recommendation to a version that would best appeal to your style of reading. Ideally, I'd recommend that you read and enjoy all three! But, presuming that you are a normal person, I suggest picking which one is most applicable for you. I hope this helps! 🥰

[oswildin]

Aww thank you so much for the tag @angelremnants! 💚

Ten people I’d like to get to know better!

last song: abracadabra by lady gaga (bop)

last book: untypical by pete wharmby (still slowly getting through it)

last movie: better man (highly recommend, it’s so good)

last tv show: impractical jokers (rewatch)

last thing googled: how to steam bao buns without a steamer (lmao)

favourite colour: green (lime green but any green really)

sweet/savoury/spicy: savoury

currently looking forward to: having my days of packing and anxiety about moving to be over and settling into our new place!

current obsession: still loki and lady gaga, sorry to disappoint lmao

NPT: @tardisesandtitans @captainharlems @mylittledelulucorner @violetvapours @mythical-muses @ash-muses @souls-for-fandoms @forevertrueblue @mischieffae @thefairyloveschaos (anyone else who wishes to join, once again I’m so bad at remembering users for these— I need to start making a list or something)

ten people I’d like to get to know better ✨

thank you so much for tagging me @flowersforbucky ☺️🩷

last song: dolce by cazzu

last book: men who hate women by laura bates (still currently reading)

last movie: twisters 2024 (had to do a little rewatch for a certain cowboy 🤭💗)

last tv show: daredevil (just started my rewatch before the new show starts!)

last thing googled: neurosurgery procedures and other surgery related questions for a fic

favorite color: baby pink/lilac

sweet/savory/spicy: probably savory, but I have a big sweet tooth too

currently looking forward to: a cabin trip I’ll be taking at the end of march to celebrate my uncle’s birthday 🎂✨(it’s what’s getting me through these last few weeks of winter lol)

current obsession: bucky barnes, I don’t think it’s an obsession that’ll ever leave 😂🩷

no pressure tags: @writing-for-marvel @arcane-vagabond @thereoncewasagirlnamedjane @perdidosbucky-yyo @mrsbuckybarnes1917 @treatbuckywkisses @lomlbuckybarnes @whatever-lmaoo @nameless-ken @barnesafterglow

[callmeethaniguess]

thought tumblr would like this one

He is around the size of one of those flat marbles and I adore him!! He took like an hour to make lol

[aroaessidhe]

2024 reads / storygraph

Walking Practice

weird scifi horror novella

follows an alien who crash-landed on earth years ago, and spends their days hooking up with people to then eat them & gain enough strength to make it through the day

explores existing outside of the binary norm and being seen as other, deep loneliness, and desire for connection

meandering narration, interesting formatting, illustrations