#mostly because i was thinking about this myself

[ghost-of-kurdt-haunts-my-room]

The first person who ever told me I was autistic was a trans woman, a few years older than i was, at a holiday party my folks had dragged me to back in 10th grade. We were friends, then, and I'd seen her plenty of times at the local poetry reading and a dozen or so punk shows. This woman had offered to fight skinheads twice her weight without a hint of hyperbole. She brought us water once at a show that was a 30 minute walk from the nearest anything, just because the venue wasn't selling and she didn't want my friends, and mostly me, dehydrated.

So she pulls me into this sideroom and says hey, you're autistic. You should talk to a doctor or your therapist. Do it behind your parents' backs if you need to, but this loneliness and hurt you describe to me is autism. you're okay. you're not a freak.

I saw her petting another transfem's tummy and i felt my own stomach turn over with longing. This woman was one of my first crushes, one of the only trans women i knew personally. It seemed like she had this aura that brought sisters towards her, and in a time when i was in constant turmoil over community and who did or didn't understand me, i clung to her like glue.

That night, my parents told me she pulled me aside because she wanted to molest me. They told me i couldn't trust her, and that i shouldn't speak with her anymore. I believed them, then. I still hate myself for that, but I was 15 and still pretty much believed everything my parents told me without question. it wouldn't be until they said they always knew my brother and i autistic that id start calling their bullshit where i see it.

She was unhealthy, suffering from severe depression, drinking a lot, and isolated from her family. she'd just moved here recently. She died in a drunk driving accident six months ago.

Sometimes i can't believe she's been dead for half a year. sometimes i can't believe she's dead at all. She always felt like so much, so much person, so much love, so much rage. She was a protector in a community that chewed her up for being queer in an "uncomfortable" way. i truly believe the reason she's struggled so much, the reason she started drinking again after being sober for those two months, was because people were fucking nasty to her. said horrible things behind her back. like saying she was a child molester.

I think about Myst a lot. I miss her a lot.

[ecemf]

And the Award Goes To... // A Carmen Berzatto Fanfic

18+!! MDNI!!

A/N: When this year started I definitely did not foresee myself writing not only one but two depraved fanfics both about hooking up in award ceremony bathrooms... but here we are.

This one actually took so long and I don't even really know if I like it but I hope y'all enjoy it. Big cheating vibes so if you're not into that don't read. Ok thanks bye!

Summary: As a writer for Vogue, you've been assigned to cover The James Beard Awards this year. This would be great, as your boyfriend is a nominee, if it weren't for the fact that your toxic ex was also nominated for the same goddamn award...

Warnings: cheating, smut, unprotected piv (wrap it before you tap it guys), choking, dom/sub dynamics, bit of degradation, porn with lots of plot, asshole boyfriend, asshole carmy, no usage of y/n

WC: ~5.8k

Enjoy!!

Nerves. That’s all you’ve been feeling this entire week.

When your boss had told you in October that you were assigned to cover the James Beard Awards you were elated. Partially because, you know, it was the goddamn James Beard Awards, but mostly because it would be your first major story at Vogue. You had been a writer for their Food column for a few months at that point, and while it wasn’t exactly as you had imagined it while writing it over and over in your manifestation journal, it wasn’t bad, and you were sure you could work your way up. This story was a chance for you to do so, so why would you pass it up?

What you didn’t know when you accepted the assignment weeks before the nominations came out, was that your new boyfriend, Alex Moore, would be nominated for Best Chef in the Midwest. This wouldn’t have been a problem- in fact quite the opposite -if it weren’t for the fact that your toxic ex who you hadn’t seen in ages was nominated for The Same. Damn. Award.

Now it’s May, and the dreaded day has arrived. You finish applying your vampy lipstick with a shaky hand as you hear Alex yell for you from downstairs. You two have been together for about 10 months now, and it’s been great. Alex is good; he’s stable. Sure he’s a bit egotistical and barely has any free time, but he’s a chef, aren’t they all that way? Alex talks about the future with you, he always calls when he’s tied up at the restaurant, he tells you he loves you.

He’s nothing like your ex, which is a good thing. You think. You love him. You think.

You rush down the stairs with your red Louboutins click-clacking on each wooden step. The shoes had been a six-month anniversary gift from Alex, who apparently didn’t know that anniversary means year. Your boyfriend came from old money which he loved to throw around, especially when it came to spoiling you. He had also purchased the dress you were wearing that night. It wasn’t something you would pick out, but it was nice. Simple and sexy without showing much skin.

“Finally,” he sighs, seeing you make it to the bottom of the stairs, “You look great in that dress. Shoes are a nice touch.”

“Thanks baby,” you say, approaching him where he stands by the counter, “You look hot,”

You go to give him a kiss but he puts his hand up before your lips can reach him, “Hey! Watch it!” He scolds, “I don’t want red lipstick marks all over me when I accept my award tonight, so you’re gonna have to keep it in your pants, nympho,”

You roll your eyes at the nickname, one that he gave you a few weeks into living together. Alex thinks it’s crazy that you want to have sex once (if not maybe two or three times) a day. He’s nothing like your ex.

—

When you arrive at the awards ceremony, your heart is racing. You had been squeezing Alex’s hand like a lifeline the entire ride there; he chalked it up to you being nervous about the work aspect of tonight.

You weave through people hand-in-hand with your boyfriend, saying hello to those you recognized, being introduced to those you didn’t. Currently, you were becoming acquainted with the sommelier from some new fusion place. Alex knew him from college. Or from when he did his training in Belgium? You aren't sure, you weren’t really listening. The only thing you’re focused on tonight is avoiding a very specific nominee. You hope you don’t seem too distracted in this (very boring) conversation.

“I’m gonna go find our seats,” you say to Alex, excusing yourself from the hellish small-talk, “It was great to meet you,” you say to- actually, you never caught her name.

As you saunter through the rows of tables, scanning each place card for you and your lover’s names, you try to calm yourself down. “No sign of him yet,” you think, “Maybe he won’t even come. That would be just like him, not showing up.”

Finally, you find the place card reading “Alex Moore”, but when you look at the table setting next to it, it’s empty. You glance around the table- maybe it blew off the plate? As you scan the surrounding area, you grow a bit concerned. Did they forget to put your name out? Were you even supposed to be there? You had no trouble getting in at the door, but-

“Looking for this?”

You freeze. Of fucking course he found your seat before you could.

You turn on your stiletto to see no one other than your ex-boyfriend, Carmen Berzatto, Executive Chef of The Bear. He stares back at you with your place card between his two fingers like a cigarette. Fitting.

“Please give that back,” you say, doing your best to seem unfazed by his presence.

“Wow,” he responds in mock-offense, “That’s the hello I get after all this time? C’mon, Jig,”

You wince at the nickname. You and Carmen had met while you were bartending in college. He was a regular at your bar, and you were a bright-eyed bushy-tailed 21-year-old hoping to make it as a food writer in the big city. You two bonded over your love of food, and would trade recommendations back and forth for different spots around town. You were the only bartender out of the whole staff who used a jigger (was no one else worried about their ratios??), so before he knew your name he would just call you Jigger, which then got shortened to Jig. Even after he finally asked for your name (and number), and even throughout your 3-year relationship (if you could even call it that), he still called you Jig more than your actual name.

“Hello Carmen,” you reply with a tight smile, extending your hand, “May I please have my place card for my seat?” You ask again.

As he opens his mouth to respond, you hear Alex calling out for you, “Babe!” He quickly walks over to where you and Carmen stand, “Hey, you found our seats?” He turns to look at Carmen, “Hey man, good to see you!” He embraces the chef, and takes a step back, looking at the place card in his hand, “Why do you have my girlfriend’s name in your hand?”

You panic. “Ummm… Carmen here found it on the ground, and he was kind enough to pick it up and come find me with it,” You (not so kindly) snatch the white paper out from between his fingers, “thank you again,” You hope your tone makes it clear that you want him to walk away.

“Find you…” Alex looks between the two of you, obviously confused, “Sorry, do you two know each other?” Shit.

Carmen looks at you, amused. You didn’t tell your boyfriend about him.

“Yeah!” You say, a little too enthusiastically, “Um yeah! I erm, I interviewed Carmen about The Bear for that article a few months back, remember honey?”

Alex looks back at you and thinks for a second. “Oh right, I remember that article,”

You never wrote an article about The Bear.

“And how could I forget such a face,” Carmen chimes in. You try to give him a warning with your eyes, and he seems to receive it when he says, “Well, it’s good to see you both, I should go find my place card this time. Good luck out there tonight, Alex,” He pats your boyfriend on the bicep.

“Hey, you too, man,” Alex responds, grinning. As Carmen walks away, he leans down to you and whispers not-so-discreetly, “He’ll need it,”

You try to ignore the comment as the two of you sit down. Your boyfriend was a good chef, a great chef even, but Carmen was better. When you read through the nominations all those months ago, you knew he would win tonight. As someone who had watched the man in his element, there was no doubt in your mind: Carmen would take home the award.

As people continue to mingle and find their seats, you take a glance around the room. The reception hall was huge, there had to be at least a thousand people in the building. Which is why it’s so painfully ironic that Carmen’s seat is in direct eye-line with yours. As you continue to survey your surroundings, his icy blue eyes meet yours. He was staring at you with a familiar look in his eye, and you try to ignore the knots it was tying your stomach into. You quickly look away, turning your attention back to Alex. He turns to look at you, and you go to give him a quick peck, forgetting your conversation from earlier. He once again stops you, rearing his head back to avoid your lips (or your lipstick, rather, so he claims).

“Sorry, I forgot,” you say dejectedly to your boyfriend, who looks at you like you just tried to stab him, “I’m gonna run to the bathroom really quickly before they get started,” you tell him, touching his arm.

“Okay, my speech won’t be until later in the ceremony, so no rush babe,” your ever so confident man responds.

You grab your purse as you head out of the large room, searching for the bathroom. You wish you could find an usher…

“Looking for the restroom?” Asks a young man in a suit. You nod. “It’s-“

“I can show her,” you hear from behind you as someone takes your arm, and before you know it, Carmen is leading you down the hall.

You quickly pull back from him, “Would you leave me alone?” You say quietly, hoping no one is watching or hearing this, “I am trying to work and enjoy my night, okay? You should do the same,” you start down the hallway again, alone this time.

“Alright…” Carmen says behind you, “the bathroom isn’t that way, just so you know.”

You stop, and turn to face him again, “So then where the fuck were you taking me?” You ask, exasperated.

“Well, if you would let me show you…” Carmen looks at you expectantly.

You stare back at him silently, and finally allow yourself to actually look at him. He looks good. Like, really good. Carmen never dresses up, but when he does, good lord he’s a sight for sore eyes. You indulge, ogling at the way his black dress shirt sits taught against his strong chest. Even under the thick suit he has on, you can see his strong arms. Those arms that used to hold you, throw you around, flip you over, help you bounce up and down on-

“My eyes are up here, y’know,” Carmen says sarcastically, obviously noticing what you were doing.

You ignore his comment and his noticing, “if I follow you to this mystery place will you leave me alone tonight?”

“Is that really what you want?” Carmen responds with a certain edge to his voice. An edge you recognize. An edge you miss.

You gulp. “Yes,” you say quietly.

“You were always a bad liar,” Carmen mutters, walking past you down the hall, “c’mon, Jig,” he says for the second time tonight.

—

After a few more hallways and a flight of stairs, you and Carmen arrive on the roof of the building. As soon as you’re outside, the blonde pulls out a pack of cigarettes, silently offering you one as his hangs out of his mouth.

“No thanks, I quit,” you say, putting your hand up.

“Well look at you, changed woman,” He jokes as he lights his cigarette, “Old Money Moore wasn’t into it?”

You roll your eyes at the jab at your boyfriend, “For your information, I quit before me and Alex even met,” you look down at your shoes and shiver a bit in the evening air, “why are we up here, Carmen?”

“Will you stop calling me that?”

“Stop calling you your name?”

“Yeah, it’s weird. You never used to call me that,” he takes another drag of his cigarette, “I mean, unless we were fighting,”

“So most of the time, actually,” You respond, humorlessly.

“Did we spend most of our time fighting?” The man looks you up and down as he continues to smoke, “As I recall we spent most of our time fucking,” he exhales.

You bring your fingers to your temples, “Oh my God, get to the point,” you glance down at your phone, “the ceremony’s going to start soon, and I really don’t want to miss anything,” you say. And you mean it - you have a goddamn article to write!

“Is he gay?” Carmen smirks at you.

“W- what? Is who gay? What are you talking about?”

“Your ‘boyfriend’,” he makes air-quotes around the word, “Alex, is he gay?”

You have half a mind to just turn around and head back to the ceremony, but you don’t. You’re not sure why. Yes you are.

“Firstly, he is my boyfriend. No need for the air quotes, asshole,” You start, annoyed that you’re even having this stupid conversation, “secondly, no, he is not gay. I don’t know if you’ve noticed, but I’m a woman, and we’re in a relationship, so,”

“Oh I’ve noticed,” Carmen says, raking his eyes up and down your body, “I was just asking because I watched him refuse to kiss you earlier,” he throws his cigarette on the concrete ground, stubbing it out with his foot, “and any man who refuses to kiss a woman who looks like you, well, I just have to assume he probably isn’t into women,”

Your face goes hot. Half from the embarrassment, half from arousal. Boy was he laying it on thick. You clear your throat and meet his eyes, which you had been avoiding doing since the two of you got alone.

“Not that it’s really any of your business,” you start, narrowing your eyes at Carmen, “but he asked me not to kiss him so that I wouldn’t get lipstick on him for when he-“ you cut yourself off, realizing how ridiculous it sounds out loud.

Carmen chuckles, staring into your soul. You avert your eyes.

“When he what, baby?” He asks, coyly.

“Don’t call me that,” you say sternly. Or at least try to.

Carmen starts walking towards you, slowly. He backs you up against the wall behind you until there’s only a few inches of space between the two of you. You still avoid meeting his eyes.

“Jig, look at me,” he says quietly, and you obey, finally locking eyes with him. He moves even closer to you and puts his hand on the wall above you, caging you in, “he doesn’t want your lipstick on him for when he does what?” Your faces are so close he’s almost whispering. God, you wish he would leave you alone. No you don’t.

“For when he wins the award tonight…” you say, barely loud enough for Carmen to hear. But he obviously does, as he hangs his head and laughs. The tops of his curls nearly touch your nose. You stare up at the sky again, half from embarrassment, half from arousal. He was so goddamn close. You could smell him.

He lifts his head, still chuckling a bit, “that dumbass thinks he’s going to win the award tonight?” He asks you in disbelief, “like seriously?”

You knew Carmen would win the award, there was no doubt about it, but he was being a major asshole. A sexy asshole, but it was a bit much.

“Carmy-” You go to tell him it wouldn’t be impossible for Alex to win, but you freeze when the nickname slips out of your mouth. He smiles devilishly at you.

“There it is,” he says with that shit-eating grin on his face, “say it again,” he whispers, getting his mouth dangerously close to yours.

“Stop it,” you whisper back. His nose nudges yours and you turn your head to the side.

“What’s my name baby?” Carmy murmurs as he ghosts his lips up and down your neck, “Say it again, sweet girl,” he pulls the neckline of your dress to the side and bites down.

“Carmy,” You whine. You grip his shirt, trying to find something to ground you as your ex-boyfriend sucks a mark into your collarbone, “please, I can’t,”

“But you want to,” he smirks as he continues kissing your neck, your insides becoming molten lava, “Alex doesn’t need to worry about your lipstick on his face, baby. You know why?” He pulls back and looks you in your eyes, already glazed-over and needy, “because I’m gonna win that goddamn award,” he grips your waist as he pulls you tightly to him and whispers in your ear, “and then I’m gonna fuck his girlfriend while I wear it.”

You try to catch your breath as he releases you and your back hits the wall. Carmen takes his thumb and runs it over your bottom lip. You think he’s going to put it in your mouth, but he just wipes a bit of the lipstick off of it. You watch in lustful amazement as he then takes the red pigment and rubs it on his neck underneath his collar. He pushes off the wall and without a word leaves you standing up on the roof, alone, soaking through your underwear.

—

“Jeez, did you fall in?” Alex says quietly as you shimmy into your seat. You had missed the beginning of the ceremony. “Are you feeling okay? You look a bit flushed,” he rests a hand on your thigh and you give him a small smile.

“Yeah, sorry, you know women’s bathroom lines…” you say through tight lips, hoping he doesn’t ask any more questions.

Your prayers are answered when your boyfriend simply nods and turns back to the presenters. You turn to see Carmy staring holes through you, with that stupid goddamn smirk on his face. You take a deep breath and try to return your attention to the stage.

—

You sit through a handful of awards and speeches, and finally it comes to the “Best Chef” section of the night. Up first: Midwest. AKA: Your Boyfriend vs. Your Ex. Your heart races as you watch the presenter give a speech about the award and the nominees. He reads off all of the names of the nominees, and your palms sweat as you rest a hand on Alex’s shoulder.

The room is quiet as the announcer says, “And the James Beard Award goes to…”

You inhale.

“…Carmen Berzatto of The Bear!”

You exhale.

Alex curses under his breath and clenches his fists. You try to rub his back but for the third time tonight, he pushes you away. You sit quietly with your hands in your lap as Carmen takes the stage. God, why does he look so good even in stage lighting?

Carmen walks up to the microphone after having the medal placed on him by the presenter.

“Wow. Um, I’d like to thank my team first and foremost, I wouldn’t be able to achieve anything without them. I’d erm, I’d like to specifically thank Sydney Adamu, my sous chef and partner. She really should be the one up here, but I guess I’ll take it,” The crowd laughs along with him, “I’m really grateful for this award and anyone who’s ever eaten at The Bear. Thank you.” He looks dead into your eyes and grabs the medal as he ends his speech, “I can’t wait to wear this thing!”

Everyone laughs except for you, whose face goes beet red. Luckily the lights are dim enough for it not to be an issue, but you can hear the blood pumping in your ears. You turn your attention back to Alex, whose ears had apparently had steam coming out of them for the past two minutes.

“I can’t fucking believe this,” he mutters, “that was supposed to be my award. After all the fucking money my parents donated to this foundation? What a joke.”

You pretend you don’t hear your boyfriend whining like a spoiled brat, “Are you okay?” You ask sweetly, “It’s just an award baby, it doesn’t really mean anything,” you try to replace your hand on his shoulder but he swats it away. Hard.

“Jesus can you not touch me for like five fucking seconds?” He says, pretty loudly, considering they’re in the middle of presenting the Best Chef Northeast award. You look up to see if anyone heard and see Carmy coming down the steps of the stage, clenching his jaw as he watches the interaction. You hold your stinging hand and excuse yourself to the restroom before your tears of anger can spill over.

As you stand in the mirror, dabbing your eyes before any more tears can fall, you hear the bathroom door creak open and the deadbolt turn. Behind you in the mirror appears who else but Carmen fucking Berzatto, wearing that stupid fucking James Beard Award. You stare at him through the mirror, silently.

“Well, aren’t you gonna congratulate me?” He says, walking towards you. You turn around to face him, “C’mon, Jig, nothing?”

You stare at Carmen. You watch the way he stares back. All of today’s events race through your head. All the times your boyfriend rejected you, dismissed you, ignored you. Those moments on the roof, the adrenaline you felt, Carmy’s words ringing through your mind.

“and then I’m gonna fuck his girlfriend while I wear it.”

You reach out and grab the medal on his chest and use it to pull him into you. It’s intense off the bat, a mix of teeth tongue and lips, hands frantically grasping at each other. Carmy grips your neck and your waist as you lace your fingers through his curls and give a tug that earns you a soft moan. You begin kissing down his neck, leaving dark red lipstick marks all over. You push his sport coat off his shoulders and begin undoing the buttons at the top of his shirt.

“Eager, are we?” Carmen teases, helping you in removing his shirt.

“Just shut up and fuck me, Bear,” you respond, bringing his mouth back to yours.

“Mmm,” Carmen pulls away, “what happened to my good girl who used to beg so politely?”

“She only gets fucked once every two weeks so she’s kind of impatient right now,” you say as you continue to place kisses all over Carmy’s upper body and palm at his erection.

“Hold the fuck-“ Carmy pushes you off of him and looks at you with shock on his face, “that asshole only fucks you twice a month??”

You look back at him in all of his glory. His curls messy from your hands, his sculpted form covered in your lipstick marks, his pupils blown, his dick, well, huge. Why did you ever give this up?

“He just doesn’t have a high sex drive he says,” you shrug, putting your hands back onto him, “I don’t really wanna talk right now, Carmy,”

“Does he at least eat you out first?” He looks genuinely perplexed and frightened by this information. How could someone have this masterpiece of a woman under their roof and not be ravaging her at least once a day?

“I asked you to fuck me, not make me laugh, Berzatto,” you deadpan back at the man, “seriously, now you know how much I need this, so please,”

“Oh you need it bad, baby,” Carmen says as he turns you around to face the mirror. He begins unzipping your dress ever so slowly, leaving kisses across every inch of your back. You step out of your dress, left only in your matching bra and underwear along with your red Louboutins. “Turn around,” Carmy orders.

You do so. You look at Carmy through your lashes, feeling equally exposed and terrifyingly aroused. The man growls underneath his breath, just staring at you.

“What a fucking idiot,” he says, before picking you up and placing you on the countertop, “doesn’t fucking realize what he has, rich fucking asshole,” Carmy mutters more nasty things about your boyfriend as he pulls your panties down your legs. He smells the soaked fabric before putting them in the pocket of his trousers. He pulls your legs open and groans loudly. “Jesus, baby, is all this for me?” He runs a finger through your soaked folds, collecting some of your arousal which had been building since you first saw him hours ago.

You squirm atop the counter as Carmy just toys with you. He stares at your vagina with amazement, like it’s a piece of art. Finally, he dives in, licking a flat stripe from your entrance to your clit. You gasp loudly. One of your hands flies to grip onto the counter top while the other finds purchase in the golden curls currently perched between your thighs.

It’s just as good as you remember it. That’s the problem, always has been. The sex is so goddamn good. It’s what kept you crawling back every time Carmen would hurt you for 3 long years. You hated your past self for always giving in, but right now, you understood her completely.

Carmy swirled his tongue around your clit as he inserted two thick fingers into your entrance, curling them just right. The stretch was like nothing else. You let out a beautiful noise, causing him to groan into your pussy, the vibrations adding to the delicious stimulation. You clenched around his fingers as he continued his ministrations, feeling that familiar knot tightening in your lower stomach.

“You gonna give me one?” Carmy says, looking up at you with a soaked face and hungry eyes, “You gonna come all over my fingers, baby?”

“Yes, Carmy, yes, oh my god,” you babble, feeling so close, “please don’t stop baby,”

Carmen raises to his feet while continuing to finger you. He pulls you closer to him, leaning into your ear. “Does that feel good, princess?”

As you moan uncontrollably as you muster a “yes feels good,” but you know the questioning won’t end there.

“Yeah baby?” Carmen adds a third finger and you squeal, “how good does it feel?”

“God it feels so good please don’t stop,”

“Who’s making you feel this good, sweet girl?” He continues to whisper into your ear.

“You Carmy, it’s always you,” you respond breathily, the coil in your stomach moments from snapping.

“Say it again,” Carmen growls.

“Carmy oh my god-“ and with that your vision blanks. Your legs shake as you come harder than you have since… well since the last time you fucked Carmy. Your eyes roll into the back of your head as he continues his movements, prolonging your orgasm.

You grip onto his strong shoulders as you come down, resting your forehead against his as he removes his fingers from you.

“Jesus Christ,” you say, as you watch him stick all three fingers into his mouth and suck off your residue. You watch familiarly as he gathers spit in his mouth and grabs your jaw. Knowing the routine, you gladly open your mouth, as he spits in the mixture of the two of you. You moan as you taste yourself mixed with Carmen.

“Swallow,” he demands, holding your throat. And you do. “There’s my good girl,” he says, undoing his belt with one hand, “thought I lost you there, baby,”

You hum contentedly as he continues to hold you by your throat while he pulls his cock out of his pants and boxers. You moan at the sight of the state of it. Veins bulging, tip bright red and leaking, and, well, huge.

Carmen pumps himself a few times before saying, “take your bra off,” letting go of your throat to opt for one of your newly free breasts, “love these fucking tits, god.”

You squeeze your legs together as he strokes himself while playing with your nipples. It’s hot, but you need more. Now.

“Carmy, please,” you said, making your sweetest eyes at him, “I need you so bad,”

“You gonna beg me baby?” He responds with that stupid grin on his face.

“I’ll do anything,” you say, disregarding your pride (and your boyfriend).

“Is that right, angel?” He asks, caressing your face as you nod, lowering his voice, “you’ll do anything for this dick?” He continues stroking it as he looks into your eyes, “you need to get fucked so badly that you’re in here begging me for my cock while your boyfriend’s in the other room. Didn’t realize you were such a slut, baby,”

Your pussy throbs as Carmen continues to taunt you, “yes, I’ll do anything please,” you’re truly so desperate at this point, “please just give me your cock Carmy,”

“Say it,”

“Say what?” You ask, genuinely confused.

“Say you’re my slut,”

You gulp. “I- I’m your slut,”

“And why are you a slut?”

“B-because I’m in here begging for your cock when my boyfriend’s right outside…”

“And why are you begging me for my cock when you have a boyfriend?”

Okay this interrogation was getting old.

“Because it’s so much better, Carmy, please just give me your dick haven’t I been good?”

“You’ve been so good, baby,” Carmy says as he pries open your thighs and buries himself inside of you.

You yelp at the intrusion, not expecting himself to push himself in to the hilt on the first stroke.

Carmen lifts up your right leg and puts it over his shoulder. Then the left. He watches as your tits bounce while you half-lay on the countertop. You watch as his medal bounces on his chest with each thrust. He notices.

“You like that baby?” He asks, snaking a hand down to rub circles on your clit, “you like getting fucked by the best chef in the midwest?”

“Yes Carmy, fuck, just like that,” you moan out, “best dick in the midwest,” you say, somewhat jokingly.

Carmen half-laughs half-growls at the comment, “that’s fucking right, baby, best dick you’ll ever have. That’s why you keep coming back, right? That’s why you’re in here cheating on your stupid fucking boyfriend? Yeah?” With that last comment, he delivers a slap to your clit, causing you to scream and your pussy to clamp down around him.

“Fuck always so tight, princess, always so good for me,” Carmy babbles, getting lost inside of you, “this is my pussy. No one else’s. Say it.”

“It’s- fuck!” You yell as Carmen adjusts his angle, now hitting your G-spot over and over, “It’s your pussy Carmy, fuck! It belongs to you, I belong to you, oh my God don’t stop, please!”

It seems like Carmy misheard you as he stops fucking you and pulls you down off the counter top and kisses you ferociously. He grabs at your ass and you whine at the loss of him inside of you.

“Hold on baby, I’ve got you,” he says against your lips, “just need to do something,” he says, as he lifts off his medal and places it around your neck. You look up at him, confused. “Turn around,” he says, darkly.

You turn around to look at yourself in the mirror. There’s a red mark around your neck from where Carmen was gripping you, your updo from earlier is now mostly down, your chest is littered with small hickies, and between your tits lies a motherfucking James Beard Award.

Carmen pushes on your upper back so that you’re leaning over the counter and re-enters you at a punishing pace. The bathroom is filled with lewd noises of skin slapping skin and moaning. You look up to see Carmen staring at you through the mirror. Except, he’s not looking at your face, he’s staring at your tits. Wait. No. He’s staring at the medal bouncing with your tits.

Carmen looks into your eyes through the mirror, “yeah look at you,” he growls, somehow pushing into you even faster now, “my girl wearing my fucking award. Jesus Christ look at that,” he watches intently as the piece of silver bounces off of your chest with each thrust he delivers, “fuck, who’s the best baby?”

“It’s you, Carmy, you’re the best,” you moan out in response, “you’re the best,”

Carmen reaches around you and grabs the medal, but keeps the ribbon around your neck. He pulls on it just enough that your back arches and your head falls onto his shoulder. The new angle this creates is mind-blowing, and you once again moan all too loudly. Carmen litters kisses and bites along the shell of your ear.

“I’m so close baby,” he strains into your ear, “want you to come with me,”

With that he takes his free hand and resumes his work on your clit. The combination of the dragging of his thick cock over your G-spot over and over again with the tight circles he’s rubbing into you has you barreling towards your second orgasm. Knowing your body the way he does, Carmy can tell, and he tries his best to time his release with yours.

With one final stroke, you’re coming undone on Carmy’s dick, throat still held tight by the ribbon of his award. Carmen stutters as he comes inside of you with a groan, holding your hips in a way that will bruise as he paints your insides, the warmth adding to your intense pleasure. You both come down from your highs with a collection of sighs and moans, and finally, Carmy pulls out of you. You whimper at the loss of contact and the feeling of him leaking out of you.

Wordlessly, you begin to dress yourself again. You don’t even bother asking Carmen for your panties back, that’s an argument you’ve lost to him enough times already. You zip your dress back up, Carmen silently helping you get it to the top as he too works on making himself decent again. You attempt to fix your hair looking in the mirror, getting it back to a somewhat similar state to when you arrived earlier this evening. You smooth out your dress, and go to walk out of the bathroom when Carmen clears his throat.

“You, um,” he looks at the floor before making that piercing eye contact he’s so good at, “you deserve better, you know, than that asshole,”

You stare back at the man you loved for so many years. The man you still love today. He was right, you did deserve better. Better than Alex, but better than him, too. You nod back at him with tears in your eyes.

“Congratulations on your award, Carmen,” you say quietly. You walk out of the bathroom, back to the ceremony.

[morbethgames]

The Recoding of The Bureau is Finished

I’m done recoding the game. All in all, it was honestly about what I expected to be slimmed off once I got a good look at some of the scenes. As I expected, 90% of that were from the first 3 chapters. I am a mix of emotions after arduously spending hours upon hours replacing gender variables one at a time by hand. Which unfortunately, I couldn’t think of another way for doing it, because all of the characters were using the same gender variables instead of independent ones for each character.

I’m relieved it’s done. Disappointed in myself that I had to do it at all. Irritated that some people decided to put the game on blast for it rather than give actionable suggestions on how to fix it. Excited to finally be able to continue writing both the extra scenes that need to be written and the main story. I honestly don’t know which one I’m going to continue with first.

Please leave feedback.

There are still no doubt one or two spots with maybe 1-2k words each that could be slimmed down, but that would require a lot of work for very little payoff. So yes, I’m comfortable saying, the game is almost 400k words long in total. 85k words per playthrough. That’s not including the extra scenes in the stats screen, because randomtest doesn’t go in the stats screen (to my knowledge at least, someone can correct me if I’m wrong). So you still have to play the game roughly 5 times and choose different choices to see everything it has to offer.

Is the game smaller? A bit, yeah. Is it 100-150k? It’s more than double that.

Now, that doesn’t say anything for the state of some of the writing. If I have to read someone nodding, or smiling, or ‘slightly’, ‘a bit’, or ‘a little’ something in my own work again, I’m gonna jump out a window. Obviously, back when I started writing this, I was very much influenced by Wayhaven. I’ve since grown out of that idea. Since the game has taken on an identity of its own, and while I will forever be grateful to that series and continue to support it, there’s gonna be some changes in the final version of this game. Less of what I said above, less ellipses, and the flirting (especially in the beginning) will seem much more down to earth and believable for the setting it’s in, with a bit of wiggle room since this is still very much a YA game.

Please leave feedback.

The rewrite will not be happening until the first draft of the game is fully finished. I refuse to get stuck in a rewrite phase, mostly because I would just find it way too boring.

My patreon will continue to have static fiction on it, as well as sneak peeks into upcoming stuff. In case you’ve been missing it, Love In Stasis is up to Chapter 6 at this point, with more to come. I’m also thinking about potentially starting a horror static fiction.

I’ll be relying on people to playtest this new version of the game to tell me about any continuity errors, and gender errors, any anything errors. So please, play the demo. Let me know if you notice anything. I think if I’ve proved anything at this point, it’s that I act and fix things based on feedback.

And pettiness.

But mostly feedback.

Please leave feedback.

Last thing I’ll say; I’m gonna stop saying I’m bad at coding. Someone who’s bad at coding wouldn’t have been able to implement the text boxes and fine tune them. Someone who’s bad at coding wouldn’t have been able to code Golden Eyes. Someone who’s bad at coding wouldn’t have been able to slim down the game that much from where it was. So it’s time I give myself the credit of someone who at least knows what they’re doing. I’m not adept at it, but I’m certainly not bad at it either.

I’m still expecting the game to end up over 500k words when all is said and done. It will not be one million words, but I’m actually kind of happy about that. This is proof I’m still working on this game, and the next time it updates, it will have new content. Thanks for those that are patient and stick around, your support does still genuinely mean a lot.

Please leave feedback.

Stay Brilliant,

-Vi

P.S. Please leave feedback.

🛡️Patreon | Forum Page | Demo Link🛡️

[alexanderwales]

Defensive writing is when you find yourself writing in such a way as to prevent certain lines of criticism or commentary. You write in extra clauses and hedging statements and qualifiers.

This sucks to write and sucks to read, but if you expect your audience to be hostile, you either write defensively or get ready to be completely derailed by comments that you can just feel are coming.

It sucks to write because you're running this extra module in your head, the one where you check statements against the ways in which the commentariat or readership will misinterpret or go on tangents, and this is kind of exhausting, much more than just writing down your well-organized thoughts.

It sucks to read because every sentence gets buried in a nest of asterisks. The clear point is being steered through a paragraph by a phalanx of defenses. Sometimes you'll read a bit of defensive writing and the defenses will take up the majority of the piece, not even defending the point, just attempting to head off nuance and interpretation.

Maybe surprisingly, this applies to writing both fiction and non-fiction. Non-fiction is obvious, in academic works we want to make sure that we're not just bullshitting, and it's the job of other academics to think things through to their full extent. But when writing fiction there are often hostile readers, and it can feel like every decision needs to be justified to them, every bit of worldbuilding gone over so someone won't pick nits (that might not even be there), every character framed in exactly the precise way they were meant to be framed. Fiction is a matter of interpretation, and some people really just want to interpret up something to hate.

I struggle with this, mostly because there's a lot of stuff I don't care about. Sometimes there are five conversations that I want to avoid, so I find myself picking my way across the minefield. Other times I'll just give up.

And writing fiction, you obviously can't give in to the haters, because if you spend too much time on that, you're going to end up with an awful story.

Plus with reading comprehension and media literacy being what they are, you can include a specific note laid there to ward of a line of conversation and still get someone who just ... failed to read.

[onbearfeet]

This. When I was growing up in the cult, I had to do a "country report" for school--a pretty standard report on the geography, history, and culture of a non-US nation. Some kids "got" to do European cultures that included their own ancestors, but because the school was almost entirely white, there wasn't enough western Europe to go around, and this was the mid-90s, so a lot of eastern Europe wasn't stable enough to write about--the borders could move in the month you were writing the report. (I was considered lucky because my birth surname was so aggressively German that I was awarded Germany without a fight.)

But it was never made clear to us that the US ALSO has a culture. We were told that the US is "a nation of immigrants" and that people either brought their culture with them and kept it or (it was implied) stopped having culture entirely. I remember being sad that, as someone whose last German-born ancestor lived 400 years ago, I didn't "get to have a culture". I felt left out. And of course, when I got older and started exploring other cultures, I was repeatedly told by well-meaning leftists that those cultures were "not yours," and I shouldn't touch them. Even when I started exploring the Jewish maternal heritage my family had tried to erase, I found myself explaining over and over that no, I wasn't trying to be a vulture, I was very quietly learning and appreciating a part of my own family history, I didn't want to break anything or hurt anybody, and could I please just sit in an inconspicuous corner and listen? (Please note: the things I was trying to learn were mostly things that nobody considers secret, like well-known song lyrics and recipes. My mother teared up a little when she realized I'd learned to make challah, a thing she'd never been taught.)

Obviously, I understand a lot better now, but I reached that understanding by being the kind of stubborn asshole who will keep trying to learn things even harder after someone tells me I'm not allowed. Most people are not me, and so I imagine that there are a lot of people out there who, like my younger self, experience other cultures under the assumption that they themselves do not have one. And at that point, any discussion of cultural appropriation sounds an awful lot like, "You don't have a culture, AND YOU'RE NOT ALLOWED TO GET ONE."

I genuinely believe this is why it's so easy to get certain young white men angry about any kind of changes to their beloved video games or Star Warses. That's their substitute culture. They think putting a Black actor in Star Wars is equivalent to, I dunno, replacing Anansi with Quetzalcoatl and insisting that nothing has changed.

Of course, the US does have a culture, and introducing a Black guy into a Hollywood franchise isn't analogous to swapping deities from different continents. But we can't necessarily expect people who are still at the country-report stage to understand that.

There's a phenomenon in left-wing circles where initially reasonable statements and concepts get repeated ad nauseum until they not only lose their meaning but transform into deeply bigoted ideas.

The idea "there is no single white culture," is true because white is a concept created to describe the powerful position in Western societies. There are many different cultures, who's members are often white. But this idea became "white people have no culture" which is just not true, deeply dehumanizing, and harmful, especially to people who look white but experience marginalization because of their culture.

Another example might be cultural appropriation, which perhaps should be understood as a misrepresentation or exploitation of the cultural practices of another, especially where the person exploiting does so for personal gain, without acknowledgment. But now, people have basically transformed this into "when somebody does something from a culture they weren't raised in" or "when a particular race or ethnicity behaves in a way that's different from how they normally do" which promotes racial and cultural stereotypes and attempts to control the behaviors of people based on their race, ethnicity, and culture.

[cripplecharacters]

Do you think it’s ok as a person w/o psychosis to have jokes in a story that revolve around hallucinations? Not in a ‘that person is so crazy hahahaha’ way, more like the humour comes from the character being exasperated because their hallucinations aren’t realistic and are clearly fake to them, but they’re still seeing them and they’re fed up of it.

I partially wanted to include this so that the character’s hallucinations aren’t considered to be only just scary and evil (there are some moments in the story where the hallucinations are more intense because of the character being in a bad mental place, so I wanted to avoid showing hallucinations as only dark), and partially because one of their regular hallucinations revolves around seeing wild animals, and they don’t live in an area where the animals they typically see are common, so naturally they’d be out of place. Also, this idea for the jokes mostly came from the fact that I personally suffer from paranoia/intrusive thoughts, and get very exasperated when I know one of my thoughts is unrealistic, but I’m aware that my experiences are different from people with psychosis, so wanted to check in here. Thanks:3

Hello!

Yes, I think it definitely can be done in a way that's respectful. Psychosis is obviously serious and can be scary, but so are a lot of other things that people make jokes about. I have made jokes about some of my hallucinations and I know other people who do that as well.

I think I see where you're coming from with the idea, but I will say first that even the hallucinations that are extremely obviously fake (including to the person experiencing them at that time who is aware that it's not real) can still be very stressful and scary. To have myself as an example here, a few years ago I had a visual hallucination that was clearly out of place, essentially nonsense. I'm fairly good at recognizing when I'm hallucinating something and was able to tell "that's not there, it's literally fake". At that time I did actually make fun of it because Lol, saw Weird Thing, and it was kinda funny, but it doesn't mean I didn't also stare at it and had my heart rate go up a dangerous amount. Being scared in a situation with a clearly Strange Thing of that nature is an uncontrollable physical response I think (I'm presuming it's much less intense for people who hallucinate very frequently or at all times), kinda like getting a fake spider thrown at you - you know it's fake approximately 1 second after the fact and it can be funny, but your body is still going through some sort of response because for that 1 second it took you to figure that out you got scared.

This is a very long way to say that this is both a thing that your character could joke or be frustrated by ("Why do I still feel dizzy, it was literally just [XYZ]? What the fuck.") and that scary hallucination =/= hallucination you can't joke about. Some people will actually make fun of the more distressing ones because it can be a decent coping mechanism when you're scared. It can ease up the tension, especially if other people see you and don't know what to do (it's absolutely awkward).

My one advice on the type of jokes the character makes is to keep in mind how they relate to actual psychotic people. E.g., don't make a joke that has "you'd have to be stupid to not notice that something is a hallucination" as an objective conclusion because well, a lot of us can't tell. I suppose it could be different if the character is being self-deprecating and just insulting themselves, but if you're going that in-depth on the character I'd recommend working with a sensitivity reader.

Basically try to consider - is the character joking about themself and their hallucination, or are they just punching down psychotic people? Again, jokes on how "psychotic people be like" aren't sacred or fully off limits, but it's not really what I'd be looking for from an outsider author.

There's also I think room for showing hallucinations as strictly scary/dark (most, if not all of us have/had these), it's just to not have horror soundtrack playing during it. If (example) your character experienced the most movie-stereotypical "demons, blood, satanic activity" type hallucinations and was actually treated with sympathy, I wouldn't consider it to be demonization of psychosis. Sometimes it can be scary and ugly, but it doesn't make the person experiencing it an evil monster.

I hope this helps,

mod Sasza

[donnerpartyofone]

What was the process like for writing the novelization for Splice? Would you consider writing a novelization of an existing work again?

Eek I'm being interviewed! I'M SO FAMOUS. There are a lot of parts to this answer. The shortest answer is that I really just watched SPLICE in tiny sections every single day for a very, very long time. I had a certain version of the script to work from, but it wouldn't contain the exact things that were said and done in front of the camera (no script would), so I just studied the movie. I scanned the sets for objects I could not identify, of which there are a LOT -- things I've never seen before, and things I've seen but couldn't name -- and searched online until I learned to describe things like hay trolleys and circulating baths. To me, the point of a novelization is that it produces an interior and sensorial experience not offered by a screen, so I tried very hard to expand on the material qualities suggested by the movie.

It never once occurred to me to change anything. Apparently this is an expectation of novelizations. I had a writeup in Fangoria that was very kind about my ability to make psychological sense out of the things people do in SPLICE, but that expressed disappointment that I hadn't added scenes or anything. I'm such an inveterate, pathetic sort of rule-follower, I didn't even ask myself about this. I did change one exact thing, regarding the kind of candy that Elsa eats, because it was meaningful and amusing to me to do so, but I don't think anybody will ever get it. I also included just a little bit of material from the script that didn't make it into the movie, because it was completely in line with my psychological interpretation, which was what I was most concerned with.

I never thought of SPLICE as a perfect film, but I had a lot of thoughts about it, and I think my main contribution was to explain what these characters are thinking and feeling as they wade into this life-changing and profoundly icky experience together. That became very personal very quickly and I was a little bit afraid that maybe this would be how everyone would find out how totally insane I actually am, but I'm told that that part worked out pretty good -- by Vincenzo Natali, among other people, who is SO NICE AND SMART AND SUPPORTIVE. Best guy! When I turned in my draft to the publisher I thought there might be a little back and forth, I did not expect them to send the raw document directly to Vincenzo and I was very alarmed when I heard from him before anybody else, but I really had nothing to fear. He's one of my favorite people now.

I would definitely do another novelization. Actually I think I'm uniquely suited to this because I have a good dose of aphantasia. I didn't even know until recently that it's statistically weird to think mostly or exclusively in words and to have a very hard time visualizing, like, almost anything. When I started telling people this about myself I was asked, among other things, "How do you do anything if you can't picture what you're going to do?" And I was like, uh...I don't know. Maybe this is connected to my extreme executive problems and my problems with goal formation and followthrough. I mean I think this is true, now. And I developed this sort of half-joking self-mythology that I have to be watching movies every second of the day because I suffer from an image deficit and I need external infusions. Like even when I used to draw (trauma took that away, long story, but I drew all the time for like half my life), almost everything I ever made was swipes -- and I think they're pretty good, like it's worthy as art. But I guess for me, art has to be made out of something external that I manipulate. All the art I've ever made without a reference point has been maybe technically OK but really lifeless, you can tell something is missing. So I think the novelization process was a lot like how I used to draw, where I had a completely concrete external referent and I would just sort of tour it very extensively until I had created a twin of it out of my interpretations. And the twin is like, the same but different, it's a clone made out of feelings and reactions. I think that's a worthy sort of art object to make.

There's a thing I'm working on now that I'm sure I won't be able to talk about for a long while, but it involves writing things from preexisting sketches and prompts, and that's a little bit the same. I don't have as much to go on, but I can tell what the shape of it could be, I just turn it over like, what if it's like this, what if it's like this, what if it's like this. And I know that what I'm turning out is really made out of tropes and archetypes, it's kind of a collage, but if the collaging is really earnest and you're feeling your way along with reasonable naturalness, it can turn into something. It's not that different from describing experiences you've had, if you really think about it. The following comment is NOT MEANT TO COMPARE MYSELF TO A GENIUS but I had this nice moment of synergy recently when I rewatched Kiyoshi Kurosawa's CURE, which to me seems so forcefully unique, but in interviews he says things like, "Well I just really wanted to make an American horror movie," and talks about how his starting point was not personal at all, he just wanted to play with the established tools and ingredients people use to build a certain kind of product. And I thought, I guess that's what I do -- not as intelligently or deliberately, but I get how you can work in a way that sounds so formal and empty, and have it produce something distinctly personal.

Thanks for your fun question!

*Virginia Madsen voice* Oh yes. I forgot to tell you. BUY MY BOOK!

EDIT: Oh I kind of lied, I changed *just some of* the music that Clive listens to, to something that would be easier to communicate to a reader. Like I wouldn't use the exact band on the soundtrack because it was too obscure and specific, but I would talk instead about his genre choices because they went with what I was trying to say about him as a person. I think all of it was still pretty in line with the sounds, and the Clive, that appear in the film.

[f1ghtsoftly]

I’m working on season 3 of my podcast and the first few episodes will be centered around separatism which I have complicated feelings about but am happy to promote-at least as an alternative voice against the powerful cultural idea that women are only good in heterosexual partnerships/as sex objects or mothers.

That being said. I really have an issue with the idea of separatism being promoted as a strategy of safety for women. Yes statistically the biggest threat to women’s safety is men but limiting contact with men is not only impossible for most women financially but also undesirable and at odds with her own desire to live a free and full life. Women might want to excel in their career of choice, they might want to travel, they might want to live in a city or a town, they might want to find love with a man or have children. Even if a woman does everything to limit contact with a man, lives in the woods alone or with a female partner. Men can still find her and hurt her. There is a lot to criticize about heterosexual partnerships and how men hold women back/overburden them within them but from a perspective of safety from male violence any focus on the victim preventing violence and off the perp/taking the violence of the perp for granted is victim blaming.

I am a lesbian feminist, outside of my Dad, brother a few coworkers (I work with mostly women) and friends from childhood, I really don’t interact with men. I don’t live with them, date them or spend time with them socially. In part because I was very much harmed by men indoctrinated by homophobic lesbian pornography and in part because I just….find men a little boring. I was still raped in September and my social choices/lesbian separatist lifestyle did nothing to protect me. How could it? Because male violence has nothing to do with me and everything to do with the HIM. Because even though most men attack women in romantic relationships it has nothing to do with a woman choosing to be in that relationship. Perpetrators find any way they can to gain access to lone women in moments of vulnerability. Men are indoctrinated into women hating by rituals of masculinity, by religion, by pornography, through our mass media and music to hate women and to desire to enslave, torture and murder them. Our society is entirely numb to this.

Women are raped who interact with men in the workplace, women are raped by men being their neighbors or viewing them on the street, women are raped by bosses and fathers. Women are raped by their doctors and most of all women are raped by their husbands. All of these men do it because because they can. They are groomed into wanting to via masculine social rituals and female hate materials. They seek out ordinary women living their lives due to vulnerability, physical looks and opportunity. It has nothing to do with her. And therefore, she can’t change anything to stop it.

I don’t think women who strongly support separatism are intending to victim blame, but I do think the ideology that women should limit their socializing, forgo romantic connection, change career course to limit contact with males can easily become victim blaming. Is it a woman’s fault when she decides she doesn’t want to live without love? When she wants children?

When I disclosed my rape to some feminists, some remarked that they were glad to not live in an urban area where these things happen. But it was precisely because I was living in a city, where there were witnesses and people who put themselves between myself and my attacker, people who called the police when they saw me, that I did not end up in the East River. It is the friends I have made through living in a dense gay friendly city that have supported me through this. And it is the resources of a dense urban city that gave me access to medications and police resources to minimize the transmission of STI’s entirely free of charge. It’s not as simple as rural safe/city dangerous. It is not as simple as just not dating men or sleeping or getting sick or anything. No woman is safe unless we banish woman hating from our social landscape and work to make the world safe for all women, no matter what.

Indeed, the more women you befriend and connect you-the more you realize there is no lifestyle that protects you from male violence. One only has to look at the history of religious communities and witchcraft/lesbian persecution for confirmation. Independent women are as much of targets as wives. They are made examples of. Even Joan of Arc was raped to but her back in her place….her place being sexually submissive to a man 🙃 (patriarchy doesn’t allow women a path to freedom).

That is not anyone’s fault either for making an assumption that x kind of women are “at-risk”, the scale and reality of our mass vulnerability to male violence is truly too terrible to fully behold but we must as feminists resists this at every opportunity. The more women we connect to, individually and as a movement, the easier it is to internalize the idea no woman is at fault for her abuse or exploitation. It can feel easier to think that doing x, easy to think that living in the country or not dating men will protect you or choosing x or y will keep you safer, it’s human to want some control over male violence.

Men want to use our bodies, our labor and our resources as their own. They also punish women by reminding them of their place as objects for use. Under normative male control you are owned and exploited and you are own and exploited when you resist. The idea that certain behaviors might make this more or less likely…..is the bargaining of desperation and terror. The only end to this is an end to male supremacy. We will only end male supremacy when we stop asking what women could do so “this” doesn’t happen and start demanding dangerous men get out!!! Of Society.

[kinardsevan]

I find the writing of 806 absolutely wildly awful. First, we have a date that is completely antithetical to what we've been shown a week before; we had an established couple who takes care of each other like it's the most natural thing in the world and evidently spends a lot of time together, we have Tommy 100% integrated in Buck's everyday life both on their own and with the 118 (the hospital scene, the birthday party for Chris) and all of a sudden we get Buck bumbling over a hot girl who doesn't say he's on a date (100% OOC) and who doesn't even know Tommy's gay and not bi. Second idiotic idea, Buck's answering yes to Josh's questions which are evidently things you would only say yes to if you loved someone (you don't put someone's happiness above yours if you're casually dating) and then randomly regurgitating that awkward speech instead of a very simple ' I love you' which he's had no trouble using before with other people. It just DOES NOT MAKE SENSE.

i feel like when y’all send me these messages, you’re expecting the long-winded responses at this point (at least I hope so 😂😂). EIther way, you’re about to get one lolololol.

I won’t disagree with you on the writing entirely. I don’t hate it as much as others do, mostly because I feel like I ~kindof understand what they were going for, but it wasn’t perfect by any measure. It left a lot to be desired, and I think what they were doing could’ve been achieved more effectively in other ways.

I also don’t think you’re wrong about how it feels antithetical, especially when we have Buck suggesting to Eddie in 705 that Tommy is gay, and we’re supposed to believe these two are spending all their spare time together, but are apparently not having real conversations during all that time. To that end, I can’t solve that issue for the writers. However, there are parts of your argument that I have counters to. 

For one thing, I don’t think we can knock the fact that even being in a committed relationship doesn’t stop the best of us from stumbling over ourselves when we see someone we’re attracted to. People get so upset about how Buck acts in this scene that they fail to appreciate the major points that I actually enjoy about it: Buck yes, looks, (and is obvious about it), but he apologizes to his boyfriend about it in a way that makes it clear that he’s not outwardly interested in the women. Tommy also tells him that it’s okay (and we know that there’s a deleted line from this scene where he mentions finding one of the waiters good looking). To that end, we get the distinction that while these two don’t have an interest in stepping out on each other, they’re not blind. 

People also get upset about the lack of Buck’s distinction that he’s on a date. And while there are a million different reasons to complain about it (or explain it away), I’m gonna go with the obvious answer of, he doesn’t owe some random woman in an italian eatery his personal life situation, especially in a place where he may not feel ready to express exactly how he defines himself. There’s a massive difference between accepting things about yourself and actually dignifying it out loud, and the fandom has been so quick to assume one requires the other. Buck knows he’s bisexual; he even knows his feelings for Tommy are deep. That doesn’t necessarily have to mean he’s put a label on who he is. Just speaking from personal experience on reaching a point where I’m comfortably labeling myself as queer,… I even struggle with that. Because people throw around all of these terms (bi, queer, pan, etc.), and it creates this pressure to say exactly what you are, which I don’t think is fair to real people, let alone a fictional character. Some might say his decision to not dignify it verbally suggests fear to, but I don’t think that’s the issue. 

Further, I think the issue of “he doesn’t know Tommy’s gay”… I don’t think that’s the intention with the question. When watching it back, first of all, you have to remember from a writing standpoint, they have to have an entry for how Tommy and Abby were (previously) inclined. Moreover, asking Tommy if he’s ever been with a woman is not the same as asking him if he’s gay. Those are two entirely different questions. I can literally cite from a book to you that I own (Guilded Razors by Sam Lansky) which directly discusses being involved with women even though he knew he was gay. Evan first says that he notices Tommy didn’t look at the women when he did. I imagine that trying to figure out how fluid he is in his own mindset towards both sexes makes it confusing to understand someone who is strictly straight or gay. I can’t conceptualize of it and I’ve known personally that I liked both since I was in middle school. So I don’t think it’s ridiculous for him to ask his boyfriend (who he later will distinguish as someone he’s extremely comfortable with, and would be comfortable asking those kinds of questions to) about his attraction (or lack thereof) to women. I also think it has more to do with the follow-up question (“have you ever been with a woman”). Sometimes we ask questions that we already have the answer to just so we can get to the follow-up. When you intersect that with the “How do we bring Abby in to the conversation” of it all, it makes sense. 

Second, I totally agree that Evan answering those questions points to him being in love with Tommy. When I wrote up my psychology breakdown of the break-up, I referenced two things which tell us they’re in love with one another. 

-The entire “we don’t have to go that far” exchange with Josh. I think there’s a lot to be said about the fact that with Evan still figuring himself out, maybe it’s hard for him to dignify being in love with Tommy verbally. I also think that when you’re an adult and you get into serious relationships like this, there’s a period of time where you’re in love with them but you haven’t put a label on it. 

-“If I were move in with you, you won’t mean to, you wouldn’t plan for it, but you’d end up breaking my heart. And I don’t think that I could deal with that.” THIS ENTIRE FUCKING LINE MY GOD. (Just rip my heart out LFJr.) 

However, I think your argument about the fact that he skips over the “I love you” and straight to “move in with me” negates some serious engagement with the source material. First of all, we have an acknowledgment that Tommy’s clearly responding from a place of trauma. He’s responding from a place of “I love you more and then lose you; better to lose you here and now by my own hand”. From Buck’s side, we’ve seen him struggle with being in love. He was in love with Abby and never got to tell her, and then was strung along for months until he finally ended things in a letter to her. He was left by Ali when she couldn’t deal with his “lifestyle” (job). Love may not have entered the equation there, but he was clearly serious about her. Taylor was messy for him, but he clearly felt deeply for her, and even that blew up in his face. There are competing schools of thought on whether he truly loved her or not, but at the end of the day, that relationship fell apart due to issues with trust. Natalia wasn’t around long enough for him to dignify anything towards her. 

And then there’s the mess with his parents. We’ve never had this acknowledged, but I struggle to believe that Evan grew up in a house where “I love you” was actually said out loud very much (if at all). Based on how absent we know Phillip and Margaret were (and are to some degree still), I feel like they probably lived by the attitude of “we may not have always said it, but we always felt it”….which isn’t really good enough as a parent. Your kids need to hear you say it, and they need to know it’s okay to say it back. When you don’t have that foundation, it’s hard to put those feelings into words towards others, even if you do feel it, because they might burn you. Evan has been burned, and even though we don’t know a lot of his backstory, we know Tommy has too. So while you argue that he’s used those three words towards others in the past, I counter with, did it feel this real? Did stand to lose as much? Because I don’t really view the relationship as Tommy being more in it than Evan is. I think we’re kind-of getting that “grew up in the same house but turned out different” trope.  We see Tommy as someone who wants to take care of the person he loves because he hasn’t had that before, while Buck fumbles his way through wondering if it’s okay to do those things because no one has really shown him how. There’s also been commentary on the fact that he asked Tommy to move in instead of saying “I love you” because this entire relationship has been grand gestures. I think there’s something dignifying in that choice. He’s telling Tommy he sees a future with him. He talks about things like marriage, but from Tommy’s end it reads as out of left field from someone who’s still figuring out who they are in their sexuality. I think (after watching the scene back), that Evan doesn’t necessarily feel that way about himself, but the same way he railroads Tommy with the starry-eyed future, Tommy kind-of does the same thing back to him with the breakup. It’s very…. “I pushed you five steps in the wrong direction and now you’re pushing me ten steps back” (for lack of a better metaphor). And I know people argue about the fact that this entire relationship has been so key with communication from day one, but those forms of communication have never required the two of them to get down into their traumas with one another. It’s really fucking easy to have day-to-day conversations with people that stay on the surface and just keep powering through. Go back to 710 and notice how we don’t go deep into the daddy issues. They both touch on them, and then Evan changes the subject and Tommy goes with him on it. I don’t think it’s unreasonable at six months in to not have done a deep dive on major trauma. You can skate around it if it’s not something you’re ready to talk about. It’s one of my reasons for why these two will ultimately be back together in 8b, because at some point you have to flesh out the unfinished business of it all (ala Wyatt and Judd when Judd’s leg was broken). Now, I don’t know if that happens the involvement of a serial killer, or a truck/jeep/helicopter accident, or trapped in a burning building… I just know that at some point, it has to come to fruition. TM enjoys these kinds of standoffs too much to not have a plan for these two to end up in one. 

That all said, I’ve said before, the general audience doesn’t have a psychology degree or years of trauma counseliing under their belt. They’re not going to look at these two and read it the same way I can. TM probably doesn’t even realize the way he’s writing it is very direct into psychological motives 😂

But, just to cover my own skin… I could always be wrong. One of my very favorite people has a completely different theory on how b/t will be handled, and we agree to disagree 😂😂😂. as I’ve said to him “the best part of this entire scenario is that one of us eventually has to be wrong”. 

(circling back to your “simple i love you” just one last time as I looked at it again…. it feels siimple to us as an audience. however, verbalizing that shit out loud when you fear rejection and abandonment is an entirely different story. we know they had abandonment on the brain for Buck going into the midseason finale, and this obviously would’ve played right into it. So in what world are you going to expect him to give up “I love you” when he’s about to be broken up with. That would’ve been unnecessarily cruel.) 

My last little addition, to circle back to other points I’ve made… there’s a give and take in this relationship that we need (or at least deserve) to see. Personally, I feel like Buck will be the first one to say “I love you”, but my preference would be that Tommy does. It’s the whole issue of stepping beyond the fear for me that makes me feel that way.

By correlation, I feel like Buck has to give up the loft. He asks Tommy to move in, but we’ve had many discussions about the fact that Tommy has a house with a car lift and a muay thai set up. those are not things that would translate well into a loft. Having that trade-off would show a meeting in the middle on things that they both hold close to the vest. Tommy allowing himself to love and be loved would be a major point for him, while Evan giving up the loft would suggest that he’s not just in things for the short-term, because he can also give things up for Tommy. (also, the loft is very bachelor-esque, and these two are not bachelors when they’re with each other so….) 

sorry not sorry. you’re welcome for my rambles lol

[ash-alder]

Huh. This was a paradigm-shifting thing to read. Not re: trans women and risk/power/threat/etc, but regarding the idea of "female socialization" for myself as a trans guy.

How I was raised/what I feel I was socially conditioned to do and be has had a huge impact on my current self (obviously,) and I've mostly seen that as because I was raised as a woman and That's What Women Are Like. Reframing that in terms of people with less power in a situation adopting behaviors that will minimize the risk they are in... That is a really, really good thing for me to think about, and it shifts some stuff in my head and understanding in ways that I think will be really good for me.

An adjacent paradigm-shifting thing came up in therapy last night, and the void gets to hear about it because fuck it why not.

I have a lot of guilt about the fact that I don't think I would want to change the life experiences I have had. That is, if it were possible, I don't know that I'd make my life easier for pastMe. Without all the bullshit, I wouldn't be here. There is very little chance I would have become this self, and this me if the past were less awful. It is absolutely ridiculous, but I feel guilty that in this (entirely hypothetical) situation, I'm ok with condemning my pastSelf to pain. (Look, got some fucked up brain patterns.)

I also hate it, b/c that idea (that I wouldn't be this person if my past was different) feels like it implies the bullshit "everything happens for a reason." Which is Very Bad to me in a lot of different ways, and not something I want to tell pastMe (or anyone else.)

Last night, my therapist said that it isn't all the events I experienced that got me here, and made me into the person I am. It's how I responded to, and acted because of them. It isn't the event that is responsible for the way it shaped me. It's the action I took. And that feels good to think about.

I don't know if this makes any sense to anyone outside my head, and is a huge fucking digression on what the actual post is about, but fuck it. Void screaming, or whatever.

a lot of behaviors that get attributed to "female socialization" can be so much more easily and accurately understood as a person recognizing the power differential surrounding them and behaving sensibly in response to that.

like. does a woman politely listen to a man monologue at her because of some experience she had when she was twelve that magically cursed her to behave that way forever, or does she do it because the man has the power to hurt her and she knows it?

does a woman do all the dishes in her household because she is less capable of breaking out of a long-ago conditioned response than, like, your average trained dog, or is she doing that because she knows that all the men in the house will blame her if she doesnt and will make life worse for her if she speaks up?

maybe a lot of sexist patterns of behavior that are widely observed in society arent caused by women like, lacking willpower or backbone? maybe it is super fucking weird for supposedly feminist movements to imply this is the case when they talk about female socialization as the end all, be all of predicting human behavior?

isnt it both more useful and more respectful toward women to consider that they are perceiving their present circumstances accurately, and recognize when power is already being wielded against them, and take logical measures to deescalate and protect themselves because it works? is it not fucking clear to everybody that trans women in particular have to do this all the fucking time?

[bogkeep]

boy oh boy

the other day i looked at my dad's facebook just to like, make a vibe check. prepare myself for what i might have to deal with when visiting. i scrolled through miles of unhinged ramblings about this food additive they give dairy cows that reduce methane emissions. which sounds great to me!!! unfortunately my dad is buying into all kinds of climate change conspiracy theories, and i suppose this hits close to home since he was a dairy farmer in a past life, so said unhinged ramblings are allll about how farmers and politicians alike are being bought by Big Climate and how [milk corporation] is TAMPERING with nature's PERFECT EVOLUTION (something farmers have never done ever) that has been perfected through MILLIONS OF YEARS (citation needed). and ALSO the chemicals make the milk WORSE!!!!!!

and like, i think it's worth questioning the decisions corporations might make for the sake of money, and if concerns had been raised by any people whose opinions i trust, and not my Verified Climate Change Denier father............ my family members who are still practicing dairy farmers haven't made a single post about this. wikipedia has a conspiracy theory section on their page for the food additive. i think it's fairly safe to say this is not the big issue my dad makes it seem.

ANYWAY. i am visiting my parents. my dad proudly declared he has unsubscribed from the farmer's magazine he has been subscribed to for over forty years, just because they have been writing articles in support of the food additive. then my parents had to explain Why to me, which is funny for two reasons:

1) it was mostly to explain why they've switched to a different milk brand, which produces local and - shudders - ECOLOGICAL milk. they didn't want me to get the wrong idea.

2) my brother works for the [big milk corporation] as an automatician. he sometimes brings back dairy products that were mislabeled or otherwise free for the taking. i asked if they're okay with the products he brings back. "of course, we're not EXTREMISTS"

i nod and say nothing. it's not worth getting into debates over milk conspiracies.

[tategaminu]

OK after thinking for a while I'm way more chill about the possession subplot and the ending

I guess I was a bit frustrated mostly because we don't know if Arc 3 is coming but I'm gonna be positive and convince myself it's coming and this subplot I have been waiting for two years to get resolved is just coming around in Arc 3, I love this show and I hate being negative, I just needed time to think. TDP is like that, it's an slow burn and I just need to be patient

Like there will be more time to speculate about what will happen in arc 3!! how will the possession plot come!! those were so fun and part of me is now glad it isn't fully over

I think watching rayllum being cute cured me ahhaha

[the-100-days-of-junkan]

Day 82

Another one that I love!~ Gonna be a lot of those from here on if you couldn’t tell!

Junko’s the Ultimate Fashionista (in the english release at least but hey Ultimate Gyaru has to have a little crossover right??), so of course she handles Mikan’s wardrobe the moment she’s allowed to. So . . . Extremely cute scene of her having Mikan try out clothes to see what she does and doesn’t like. 

An opportunity for Junko to pamper Mikan, AND i get to draw Mikan in a sweater???? Heaven. Also like are we all in agreement that sweaters just look fuckin amazing on Mikan?? Like I admit, I think I just like drawing Sweaters on Mikan but they just make her look so much cuter because of how god damn cozy she looks in em. 

Unfortunately that’s all I have to talk about for that topic? I think? So instead let’s shift over to a recent development involving Junkan!

I’m in the midst of working on the Junkan Christmas Eve comic, which hopefully will be getting posted on time a few days after this, and during the process of making there’s been something new with my current abilities.

I have officially hit the point of proper freehanding on these two.

Y’see this probably won’t make too much sense but i’ll do my best to explain. 

So normally when it comes to sketches I’ve done things a bit less proper compared to more professional artists. I usually get a little start on the anatomy, and then just start sketching all the character details and moving out from there. It isn’t often that I do a full sketch for the basic anatomy of a character, I only do it when I really wanna not fuck up a pose. And as you also know up till now only one piece in this event was drawn normally. Everything else is a sketch that i cleaned up and colored, or just a sketch. 

This is because generally speaking I can’t do art using my normal pen tool without a sketch to work off of, it requires a lot more finesse to use the G-Pen both because of the larger shifts that can occur in line width, and the slightly looser feel it has compared to my Pencil Tool. 

That’s all to say that I have drawn Junko and Mikan so many fucking times that I can just, draw them without proper sketches now. I’m at a point where I just need to draw the head, torso, and legs for an anatomy sketch, and then with the G-Pen I can just, draw from there. That’s big for me personally, and also fucked up because god how even??? There hasn’t been a drop in quality either so far, i’m still able to refine the expressions and i haven’t fucked up with the arms too much yet, I’d even say it’s resulted in some of my favorite Junkos and Mikans period.

Now, the catch is that again, this is only Junko and Mikan. I could prooooobably get to this point with Mukuro eventually just because her design is much simpler compared to other DR Characters? I struggle with getting her colors right rather than linework, but that’s about it and still not really useful in my main line of work unless I memorize every character that’s ever existed, and it took like 150 fucking times for Junkan I can’t do that for an obscure RPG character that I might get commissioned once and then never again. 

It’s also not something that I think i’ll apply to my normal Junkan works, because I am a perfectionist to a fault when it comes to pieces I care about and I want to make sure every detail these is exact. I need to be meticulous for ship art like this, every detail is important. And I can maximize that with sketching.

This new skill is basically useful for one thing. Speed. 

I pride myself on my efficiency, even if I have waned over the years due to burnout and overwork, when I get into it I can fuckin move with my art. And so if I need to say, make a 28 page comic in under a month? Being able to mostly skip an entire phase of the art process is very, VERY useful, ESPECIALLY because it’s a comic. Something which generally takes more time than my normal art by nature of it’s format and what it involves. When making the Comic for Day 60 it was all sketches, which was equally fast but could leave small imperfections at the time that either went under my radar or I just let slide because i was trying to be efficient. 

This is basically perfect for having to speedrun a Junkan comic, it’s all the speed with the usual amount of visual quality.

So in short . . . I’m turning into a nightmarish hell machine but specifically for drawing Junkan. I am genuinely curious how much farther I can go up from here, like, what the hell else could I be capable of with this???? Am I just gonna learn how to fuckin beam the art onto the canvas with my brain???

Moral of the story is just get mind numbingly obsessed with a ship and I guess you’ll get better at stuff??? I have no idea, i’m still kind of processing the comedic value of what this year has been because I was desperate for these two to make out. 

As always, Reblogs, Comments, and Little Notes in the Tags are appreciated!~ They always make my day!~

[feathers-fins-and-fangs]

1/ Which category of alterhumanity do you belong to? I consider myself therian and fictionkin.

2/ What/who is/are your type(s)? (if you have any) I am a turkish angora (breed of felis catus/domestic cat), Vancouver coastal sea wolf, jackdaw and orca, as well as Applejack from My Little Pony FiM and Mercutio from the 2010 revival cast of the musical Romeo et Juliette: les enfants de Vérone.

3/ Do you experience shifts? If so, can you tell us your most common shifts and your strangest cameo shift (if you've ever had a cameo shift)? Yes, I mainly experience phantom shifts and sensory shifts. I often feel cat ears on my head or wings on my back, and sometimes a hat due to my fictotype. My weirdest cameo shift was probably two or so years ago when I had a phantom shift of having an extremely long, snake-like body. I thought I was snakekin at first but after a few months I realised I'm actually snake otherhearted and it was just a cameo shift.

4/ How do you experience your alterhumanity in everyday life? Usually it isn't a big part of my day to day life, and I only actively engage in my alterhumanity when I'm at home online, or with my neighbour (who is also alterhuman). It's mostly just pushed to the back of my mind because I have more important things to worry about lately.

5/ What do you think of the community? It depends on which platform's community I am interacting with. For example, I used to be part of the Reddit alterhuman community until I was severely bullied for being a polytherian with more than 2 theriotypes and quit Reddit forever (No joke, that one user wrote two entire damn essays and even went to my profile to diss me for being queer as well) That community was horrible, on the same level as the TikTok community, maybe even worse. However, the Tumblr community has been the most inviting and accepting community I have ever been in. Physical alterhumans, niche otherkins, anything and everything is welcomed openly (for the most part. As long as you ignore the trolls and the rare less accepting users).

6/ What are the things that make you most comfortable and euphoric in your alterhumanity? For my therianthropy, connecting with nature. Going for walks, road trips, enjoying the scenery, the smell of rain, etc etc. In relation to my fictotypes, engaging with my source and creating art/videos based off my source (I love being an artist. I can draw myself!!)

7/ Are you experiencing species dysphoria? I used to experience it more severely than now. Nowadays I'm pretty chill, aside from the occasional 'damn why is my face so flat this is so wrong'

8/ What advice would you like to say to a young alterhuman who has just awakened? Gear does not mean you are alterhuman, and not wearing gear doesn't mean you are faking it. Not all people who wear gear are alterhuman, and not all alterhumans wear gear. You can wear gear, you can not wear gear, you can do whatever you wish. If it makes you happy, do it. It's okay to kinfirm something and then decide it's not right later on. It does not mean you were faking it. It was just a step in you discovering your identity. Even if you decide you're not alterhuman after all, that's perfectly fine too!

9/ Do you have/want to have gears? I own multiple ear headbands, as well as a half-finished mask and tail, but I never wear anything other than one ear headband on rare occasions.

10/ Do you know/have any theories about the origin of your alterhumanity? If so, tell us! (all beliefs are legitimate) I believe some of my kintypes originate from past lives, such as my cat, wolf and both fictotypes. My other two theriotypes are psychological in origin, though I don't have any specific details.

If you are a alterhuman, reblog and answer these questions!

(don't be afraid to write a lot, do what you want ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯)

1/ Which category of alterhumanity do you belong to?

2/ What/who is/are your type(s)? (if you have any)

3/ Do you experience shifts? If so, can you tell us your most common shifts and your strangest cameo shift (if you've ever had a cameo shift)?

4/ How do you experience your alterhumanity in everyday life?

5/ What do you think of the community?

6/ What are the things that make you most comfortable and euphoric in your alterhumanity?

7/ Are you experiencing species dysphoria?

8/ What advice would you like to say to a young alterhuman who has just awakened?

9/ Do you have/want to have gears?

10/ Do you know/have any theories about the origin of your alterhumanity? If so, tell us! (all beliefs are legitimate)

11/ Tag someone/a creature to answer these questions!ㅤᵕ̈

[n1ightw1ng]

jaydicktim stripper au (undercover?) (jason is the stripper)

it's been a million years and i've been rotating this on and off the entire time lol. i can see a moment of like--tim is this really straightedge kid, obsessively so, and dick is like ok, you've dated around (a lot) (lol tim) and you don't drink or drug and that's fine, good, even, but strip club? let's hit up a strip club. or maybe it's not dick's prerogative but a titans thing, and the the titans teams are always some weird mishmosh, so it's like--here's dick and tim but also roy and maybe kon and some of the girls because why the hell not, and this strip club has men in it. okay. somebody knew that when they decided to drive the whole pack of sweaty mostly-sober vigilantes here but nobody's sure whose idea it was anymore.

tim disappears fucking instantaneously. he's in the crowd. he's got his mouth suctioned to the lip of a beer bottle and banging his teeth on it repeatedly because if he does anything else but stim absently he's going to scream. because jason todd is on the pole. jason! the red hood! jason from HIS HOUSE? and the fucking titans are here! and oh God why does he look Like That. Who oiled him up? Who covered his scars? He can't reach all of them himself. Someone touched him with such careful attention to apply all that makeup and oh. fuck. he's looking right at tim. (and he's furious.)

ANYWAY //puts myself to bed// i think jason is undercover and he's massively fucking pissed that the titans rolled up. tim has a raging hard on and there's no way jason is getting out of here without at least dick seeing him, but there's also the fun of jason having to be Very Undercover about all this and giving a lap dance to, say, mr dick grayson. or tim! loudmouth kon points out that his little buddy used to be vehemently against premarital sex and he's probably STILL A VIIIIRGIIIIIN and yeah well. jason is whispering in tim's ear about cracking open his rich boy wallet and paying up because after this he is going to be strangled in his sleep. (he's also aware that tim is hard. and that dick is watching. for normal reasons, surely. surely because he's a protective bat and not because he likes watching. definitely the former. yeah. ok. jason likes having their eyes on him. oops.)

[queen-ofsunflowers]

Do you ever just wonder if you should stop a fic because it’s not getting as much attention as your other ones?

I want you to remember that it doesn’t matter what others think. So long as your writing makes you happy and you’re enjoying yourself, keep writing.