#marvelous-goose

[lookforanewangle]

just wanted you to know that i am 99% sure that YOU are responsible for my blossoming obsession with 9-1-1. god bless you this show is perfect for my final-semester-of-college-capstone-project-hell brain

EXCELLENT continue to let me drag you down with me, this show is the bomb

[lungthief]

i saw you reblogged the post about insane stucky fic and was wondering if you had any old favorites… totally for science and not for recommendation purposes…

of course…there are a few stucky fics I hold very near and dear to my heart (granted i haven’t actively looked for stucky fics since like 2017 so these were a few of the Big Ones back in the day, nothing that obscure)

all the angels and the saints is my personal fave of all time <3 lots of catholic imagery/theology talk (which is kind of a running theme in these recs) w a really interesting exploration of how faith/lack thereof informs steve and bucky’s relationship alongside all of the events that make up their storyline (takes place pre-TFA through post-TWS). fun fact: this fic taught me who bertrand russell was

4 minute window is by the same author and i also adore it—mostly about steve and bucky trying to find each other and run away together post-TWS. fun, suspenseful, nice interactions w the other avengers too. the entire series of 4 minute window fics holds a special place in my heart, i reread them relatively frequently

ain’t no grave (can keep my body down) is a DOOZY. oh man. you gotta be in the right mindset to read this one bc it can get Intense when it comes to depictions of violence/bucky’s mental & physical health/how he was treated as the winter soldier/etc., but there are parts of it that are also really fuckin funny. takes place post-TWS as bucky is trying to deprogram himself and steve is trying to find him. it’s a very interesting fic stylistically—you get a lot of different writing styles based on the various POV characters. i haven’t read it in a while so im sure there are parts of it that have aged kinda poorly but i also just remember it being heart-wrenching and evocative and an overall very engaging read.

the last one i’ll mention is the not easily conquered series, which were like THE stucky fics back in the day. AU where steve doesn’t get frozen and instead goes on to marry peggy. lots of “found documents” in addition to typical narrative storytelling. really impressive series of fics even though ive only read them once

anyway. love stucky big fan of those guys unfortunately i don’t have any super varied recs bc i enjoy reading basically the same premise over and over again LOL

[tarysande]

i saw a post that you reblogged with a comment wherein you referenced working as an editor. i'm a college student looking to go into fiction editing, and i was wondering if you had any tips or suggestions?

I've written a few different posts about this in my "on editing" tag, but most of them are a bit old.

My path to editing wasn't a straight line. I have a BFA in theatre, film, and creative writing, and I took a lot of English courses. I've always been a voracious reader. I've been a writer since before I can remember. I basically started editing when friends came to me and said, "You're good at words. Can you help me with my words?"

I was also lucky enough to fall in with a group of excellent writers/betas/critiquers/editors when I was fandom baby back in ye olde X-Files days. I learned SO much from them. And most of what I learned, I learned either from being critiqued or from critiquing others. I cannot stress how much being an active member of fandom has helped me become the editor I am today.

Suggestions:

Get editing-specific training. You don't know what you don't know--and there's a surprising amount of stuff people don't know, even if they've studied English or writing. There are quite a few certificate programs out there now, but you don't need one of them to get work. You do need to prove that you know what you're doing, though. Usually by being able to pass editing tests or by providing excellent sample edits.

Read, read, read, READ. If you know you want to work with specific genres, read as much from within that genre as you can. Read books on craft, too, whether they're intended for writers or editors.

Find your people. There are some great Facebook groups for editors. There are also major editing associations where you can meet people, network, find possible job leads, etc. I, for example, am a member of Editors Canada and a Professional Member of the CIEP (UK). ACES and the EFA are a couple of major American associations. Australia's is the IPEd. You don't have to be from those countries to join their associations--but you'll probably find that the local ones have the most relevant content.

You DO need to find ways to hone your skills. If you don't want to do a whole editing certificate, you'll want to find courses or professional development related to the work you want to do.

Fiction editing (all editing, really) breaks down into different types of editing. You might like doing all aspects of this. You might find you only like SOME aspects of this. Generally, those types of editing are:

Developmental (sometimes called structural or substantive) editing: This is big picture editing. Are there plot holes? Do the character arcs make sense? Do scenes have a purpose? (Personally, this is my favorite type of editing. I just love getting into the guts of a story.) I do full developmental edits, but I also offer manuscript critiques (developmental editing lite; usually cheaper, but still very helpful for getting to the bottom of big picture issues).

Line/stylistic editing: This type of editing is often about the style and language at the sentence and paragraph level. It tends to be quite meaty. A line editor will offer suggestions for reducing redundancy or repetition, clarifying meaning, polishing dialogue, etc.

Copy editing: Sometimes copy editing and line editing get rolled up together, but if someone hires you JUST to copy edit, it means you're looking at the mechanical issues with grammar, punctuation, etc.

Proofreading: Literally reading the proofs before they go to print. The proofreader's eyes are the last ones on the document. These are the folks looking for the misplaced comma or the wrong page number. Have a crazy eye for detail? This may be your jam.

The various Englishes of the world have major differences. If you want to edit US, UK, Canadian, or other assorted varietals of the language, you have to know those differences--and they're more than just spelling and punctuation.

There's no one style guide for fiction. Publishers often have their own. That said, most of THOSE are based either on the Chicago Manual of Style (US/Canada) or the New Oxford Style Manual/New Hart's Rules (UK).

You also have to figure out if you want to pursue an in-house position or work freelance. Real talk: publishers outsource a ton of copy editing and proofreading to freelancers; some publishers even outsource the other styles of editing. Often, acquisitions editors at publishing houses (the editors who champion a work and try to get their publisher to buy it) do some of the developmental and line editing work.

I don't work in-house, so I can't give you a ton of info on how to break into the side of things. As I understand it, you usually have to be located in one of the big publishing centers (New York, London, Toronto, etc.). And you usually work your way in from the bottom up.

I've done all kinds of editing over the years. Nowadays, I mostly work in fiction, and I mostly work with independent authors or authors who are trying to polish their work before sending it out to agents. While it's true that a publishing house will edit your book (and foot the bill for it), the market is hard right now--especially for first-time authors. Publishers are less willing to take big risks or pour a lot of money into books if they're uncertain of a return on that investment. So, even if you're hoping to go the route of traditional publishing, it's in your best interests to get that first manuscript in the best shape before sending it out.

...this is already getting long! One of these days, I'm going to offer some training of my own, I think. Hopefully!

[viewfromthelake]

Oh to be a cute, little, alien cat monster riding on Captain Marvel's shoulder as she flies.

[yelenasbitch]

Natasha Romanoff Does Not Date

Summary: Natasha Romanoff does not date. It used to be because she didn’t have, well, bodily autonomy, but even after that, she never really made the time for it.

And then: sabotage.

Word Count: 1,600

Warnings: None, just tooth rotting fluff

Masterlist (coming soon)

Natasha Romanoff does not date. It used to be because she didn’t have, well, bodily autonomy, but even after that, she just never really made the time for it. She knows that Clint dated, had to hear all about it, the meetings, the honeymoon phases, the breakups. And then one day, there was no breakup, but she did have to meet Laura, and she was nice. And then after a while, when she realized that Natasha really, really did not want Clint, she was even nicer. And then Natasha had two people harassing her about dating, which was less than ideal. Once she started with the Avengers, well, Clint gave her a break. 

But still, it was the same question every time she showed up at his front door:

“So, got a girlfriend yet?”

And the same answer:

“Fuck you Barton, let me in.”

(She stopped cursing when the kids came, but made sure to give him a smack when they turned around.)

                                                                       ~~

And then they sabotaged her. (But she’s not really complaining.)

She knocks on the door and glances behind her, just out of habit, while she waits for someone to let her in. When she hears the approaching footsteps, ones that aren’t Clint or Laura, she immediately pulls out her gun, and she’s about to break the door down when it opens. And she has enough time to recognize that you’re not an assassin, and then Lucky is running past her, out into the field, and then you take off after him. 

She stands on the porch for a minute, trying to figure out what the hell is happening, before she snaps into action. She goes after you and the dog, and between the two of you, he’s corralled back into the house in fifteen minutes. She follows your footsteps into the house, noting that you’re slightly out of breath from the impromptu run. Not an agent, then.

“Hey, you’re Natasha, right?” is the first thing out of your mouth that isn’t a curse or the dog’s name. 

She just nods. 

“Clint and Laura told me you might stop by,” and you’re smiling, laughing as you say the next bit, “they also warned me that you might pull a gun on me.”

She raises an eyebrow, “and you didn’t think that was odd?”

“Well, I’ve worked for–” you cut yourself off abruptly, thinking before you continue speaking, “I think he was Clint’s boss. Anyway, it’s not the weirdest thing I’ve heard.”

That gets her attention, “Fury? You worked for Fury?”

You nod and her hands itch for her gun again; “who are you?” is all she can manage, confused as hell by the bits of information you’ve given her. 

“I’m a pet sitter.” you say brightly, holding in a laugh at her incredulous look.

“A pet sitter?”

“Yeah, I watched Fury’s cat, Goose. She’s really sweet once she warms up to you.”

Natasha thinks she’s having a stroke. 

You’re trying not to embarrass yourself, but Natasha is looking like she’s going to kill you, and you’re trying to avoid checking her out, and so you just keep talking to fill the silence. 

“But, yeah. So I’ve taken care of Goose a few times, and then when Clint got Lucky, he got my info from Fury. I’ve cared for him a couple times, but not for too long. This time though, Clint’s gone away for longer. He and Laura took the kids to disney world for a week, and so here I am.”

You slowly stop speaking, and Natasha manages to get a grip of herself. 

“I see. Well, I’ll head out then.”

“No!” You shout it before you can stop, and she smirks. 

“I just mean, you don't have to. Clint said you might stop by, and Laura told me that she made up both guest bedrooms just in case.”

Natasha considers the facts for a minute: she had mentioned to Clint that she’d try and stop by this week, he hadn’t said anything about a trip to Florida with the kids, and he had very suspiciously not answered her texts letting him know she was on the way. Fuck it. 

“Just one night, then. It’s a long flight back. As long as you don’t mind?”

“Not at all. And I’ll stay out of your way.”

Her response is cut short by her phone ringing, and she excuses herself to another room when she sees that it’s Clint calling.

“Out of town?” is her greeting to him.

“Oops? I must’ve forgotten to mention it.” He answers, using a snarky, sarcastic tone.

“Bullshit, Barton.”

“Fury trusts her.”

“So you got Fury in on this too! Jumped on the bandwagon: let’s find Natasha a date?” And she whispers this part, checking to make sure you’re not within earshot.

“We just thought it might be easier,” he pauses, and Natasha can hear Laura and the kids saying something, her tone patient and the kids excited. “ –anyway, it might be easier with someone who’s already been introduced to everyone.”

“Clint, I– ”

“Gotta go, have fun!”

And then he hangs up, and she promises herself that she’ll mess up his arrows in retaliation, but for now she has to deal with…this.

                                                                       ~~

By the time evening rolls around, she’s gotten comfortable around you; is even laughing and joking with you. And when you whisper goodnight, after the end of the movie, she catches herself staring as you head up the stairs, Lucky on your heels and then quickly moving past you.

She decides it’s time for her to go to bed as well, and she turns out the lights, does a final perimeter check, and heads to the second guest bedroom. She can hear you speaking softly to Lucky, hears the thump of his tail, and when he jumps into your bed she listens as the bed squeaks and you laugh delightedly. 

Natasha very much ignores the feeling of jealousy when she thinks about how Lucky gets to spend the night cuddling you.

                                                                       ~~

Natasha is awake and sipping coffee when you and Lucky stumble blearily down the stairs the next morning. Well, you stumble and Lucky runs. She looks on as you open the door and let him outside, stares as you stretch in the patch of sunlight and scrunch your nose at the chill in the air. You make your way into the kitchen and through it into the pantry, preparing Lucky’s breakfast while he’s still outside. And when you shriek finally seeing her in there, she can’t help it, she starts laughing. 

“Not nice!” you say once you’ve caught your breath, though you’re holding back a smile.

“Sorry?” but it’s not sincere and she’s still smiling widely as you continue where you left off with Lucky’s food. He comes bounding in, having heard the scream, though it only takes one look at his full food bowl and then he’s distracted, eating noisily in the corner.

“Hmph. Please tell me you at least made enough for me too?” you ask, and she nods, grabbing a mug and filling the cup. She observes silently as you add milk and sugar, smiling at your look of happiness when you take the first sip.

                                                                       ~~

She stays the whole day, and then lets you convince her that it’s too late to fly back, so she’ll have to stay another night. 

                                                                       ~~

The following day the two of you take Lucky on a hike, and later you fall asleep leaning on her as the two of you watch movies on the couch. 

She stays that night, too.

                                                                       ~~

The next day she takes the opportunity to teach you some archery basics, ensuring that she leaves Clint’s bows and arrows and targets in shambles as retaliation. 

That night Lucky sleeps alone, and she sleeps curled around you instead. 

She gives him some of her bacon the next morning, and he isn’t one to hold a grudge. 

                                                                       ~~

By the time Clint, Laura, and the kids come back, she’s still there, and Lucky has developed a taste for bacon in the mornings.

The two of you spend the night since the kids won’t let either of you leave, and Lucky pouts the next morning, deprived of bacon since Natasha had been deprived of cuddles. (She had rolled her eyes when you insisted on sleeping separately, but smiled into the goodnight kiss you gave her.)

                                                                       ~~

The two of you board the jet the next afternoon, smiling as the family waves goodbye. Clint and Laura high five each other, and Natasha can’t wait for him to see what she’s done to his beloved equipment the next time he goes to practice.

Still, as you sit next to her, talking and staring at the clouds going past, she knows that she also owes him a new bow, and owes Laura a night of babysitting. 

Maybe, she thinks as she listens to you talk about meeting the rest of the team, you’ll join her for babysitting duty.

                                                                       ~~

So, to recap:

Natasha Romanoff does not date. It used to be because she didn’t have control, and then it was because she never really made the time for it, making sure she was too busy for it. 

She watched as Clint did, as he found a wife and made himself a family. Listened as both of them encouraged her to date. Looked on as he retired and raised his kids and built a home. And then she got sabotaged, and decided she was very happy that she hadn’t listened to them. She had waited, worked, saved the world a few times, and avoided dating. You were her reward.

[rhfffas]

same energy

[brielarsonist]

CAPTAIN MARVEL (2019) dir. Anna Boden & Ryan Fleck

[userbrielarson]

Goose likes you. She doesn't usually take to people.

GOOSE & CAROL DANVERS CAPTAIN MARVEL (2019) → THE MARVELS (2023)

[marvelladiesdaily]

Posters celebrating the worldwide release of The Marvels. Art by Tracie Ching, Diego Candia, Jem Ward, Diela Maharanie, Ryepe, Mike Sandoval, Jeyce Nunes, and Thouchapon Singhavejsakul.

[themostop]

[usersuperman]

THE MARVELS (2023) dir. Nia DaCosta

[theavengers]

THE MARVELS (2023) - New official stills from Entertainment Weekly

[hydravns]

GOOSE THE FLERKEN CAT

CAPTAIN MARVEL (2019) Dir. Anna Boden & Ryan Fleck

[tvfilmspot]

GOOSE THE CAT Captain Marvel (2019)

[maliciousalice]

The Janeway Maneuver

[jordans-weird-ass-blog]

oh nothing, just IMAN…