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seal-writes-stuff · 2 years ago

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oh my god i'm drunk with power slamming this ask button again & again -- Seal does Dani do anything to celebrate Halloween? the very thought of her in a cute dorky costume or chickening out of a haunted house/horror movie bc it's too stressful is making me COMBUST. please share your valuable insight, tsym (:

Spooky Season

Word count: 1.1k

Warnings: F!Reader, some suggestive stuff (nothing explicit but still), otherwise pure fluff

Summary: Glimpses of the Halloween celebration you and Dani have together.

A/N: Ask and you shall receive >:) Happy belated Halloween, guys! I couldn’t choose between a fic and a list of headcanons for this one, so I’ve decided to try something new and kinda did a blend of both. Hope you enjoy!

“Hey, quit squirming!” you throw your hands in the air, pretending to be exasperated, as Dani struggles not to laugh. “You’re running my hard work. I simply cannot continue in such dire conditions.”

“Dire? Seriously?”

“Well, not that dire,” you wiggle your eyebrows. “But, y’know. I could use some cooperation.”

“Can you blame me, though? It’s been half an hour…”

“You can’t rush art, miss Ardor. Now sit tight or it’ll be, like, ten more hours and that’s a promise.”

She huffs, pretending to be annoyed, but you know she doesn’t mean it. You can’t imagine Dani ever being seriously angry at you, especially without talking it out.

A few silent minutes pass as you keep drawing shiny scales on her cheekbones. Some face paint here, some glitter there – everything to create a perfect make-up for a mermaid costume. You’ve designed a whole thing yourself too, in just a couple of hours.

Dani’s very inspiring, what can you say.

“Thank you, by the way,” you look up, only to be met with her gentle gaze, shining with bashful adoration. “For this. I know it's silly, but-”

“You make it sound like a favor,” you murmur under your breath, returning to you work. “And not like a blessing it is. So… Can’t take it, sorry.”

“Oh,” Dani’s voice cracks. She blinks a few times. “That’s- That’s really beautiful.”

“That’s just how it is,” you move away, giving Dani’s face a one last look-over. “Speaking of beautiful! Not to brag or anything, but I think this is my magnum opus. If you dragged me to the bottom of the sea, I’d just thank you.”

“That’s a siren, not a mermaid.”

“Oh, I’m sorry, I’m not an expert in, uh, mermology,” you revel in a small giggle she gives you. “Then what? You’ve sold your voice to the sea witch to see the human world?”

“Yeah, right. To see a very…” Dani looks away, blush still obvious despite all the makeup. “Um, special part of it.”

Now it’s your turn get flustered. You stare at her lips; a glance not stolen, but gifted freely.

“Well then. Better give you a true love’s kiss really quick.”

“What about ruining your hard work?”

“Eh, who cares? There’s always more glitter.”

***

“Is it over?” Dani peeks at the screen, only to immediately hide her face in the crook of your neck again.

“It didn’t even start! That’s literally just two people talking.”

“Yeah, for now!”

“Oh, come on,” pausing the horror movie the two of you are watching, you let out a soft laugh. You’re not even looking at the screen anymore and you don’t need to– you know how it goes. You’ve seen it way more times than you’d like to admit; it’s cheesy and the special effects didn’t age all that well, but it’s still dear to your heart. Also, it’s not scary at all.

Well, not for everyone, apparently.

“You know,” you whisper in Dani’s ear, feeling her shiver at the proximity of your warm breath. “If you just wanted to cuddle, could’ve just said so.”

“It’s not like that.”

“Oh, so you didn’t want to cuddle?”

“No, I- That’s not- Ah!” she hides her face in her hands with a groan. You don’t reply, opting for a kiss on a cheek instead. “You’re so annoying, I swear.”

“And yet here we are,” you murmur, earning a content sigh from Dani. “I love you so much, y’know? Don’t you forget.”

“Don’t think I can.”

An image of a rubbery-looking monster peeking from the shadows lingers on the TV screen for hours, forgotten.

***

“Alright, so trick or treat?”

Dani rolls her eyes, attempting to grab the bowl of leftover candy you’re holding, but you’re quick enough to pull it away. It’s dark outside; the kitchen is illuminated with all the candles you’ve managed to find around the house, the soft orange glow outlining cardboard bats and plastic skeletons. You were aiming for “scary” when you’ve set the decorations up. Still, “romantic” fits better anyway, love shining through the playful horror.

Honestly, you can’t complain.

“Pretty sure that’s not how it works.”

“It is now!” you put the bowl in one hand, placing the other on her forearm. “Come on, baby, humor me for a minute. Trick or treat?”

“Alright, alright, uh…trick? I’m scared already.”

“That’s the point of the holi- Hey, not so fast!” you cut your girlfriend’s another attempt to steal candy from you short, grinning. “Tell me. What did a skeleton say to her girlfriend after a date?”

“Can’t even imagine. Wait, don’t you dare say ‘let’s bo-”

“Let’s bone.”

“Oh my God,” Dani buries her head in her hands as you cackle triumphantly. “This is awful. Get out.”

“You’ve chosen it, not me!” reaching into the bowl, you pull out a Twix and hand it to her. “Here. A whole bar, you deserve it.”

“Thank you.”

Without another word, Dani grabs the candy from you and unwraps it, handing you one of the sticks. You put the bowl down; for a moment, the both of you are too busy with your sweets to talk, but you can tell there’s something on her mind. That little frown of hers, made all more adorable by the fact that she has no idea about it.

“Okay, no- I’m curious now,” Dani brushes the crumbs off her mouth with a quick gesture. “What would be a treat?”

“Want a trick and a treat?” you move closer, your voice dropping to a sultry whisper. “Your wish is my command. What did I say to my girlfriend after this date?”

“You’re ridiculous.”

“Worked so far.”

Dani doesn’t answer. Instead, she leans in and you comply happily, drowning in her soft embrace. Sweeter than any candy, warmer than any candle.

“Y/N, it’s…” Dani whispers, pressing her forehead to yours. “It’s really nice.”

“What is?”

“This. You,” she kisses you, smiling against your lips. “I mean, it’s so- Can we do this next year? Please. I’d really love that.”

“I think that’s how that ‘holiday’ thing wo- Ow!” with a giggle, you steal another kiss, closing your eyes in pure joy. “Of course we can. Happy Halloween, baby.”

#dani ardor #dani ardor x reader #dani ardor imagine #florence pugh x reader #florence pugh imagine #midsommar #seal writes

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chiseler · 4 years ago

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Dope, Dogs & Greasers

Robert Downey, Jr., delivered his first spoken line in a feature-length motion picture at the age of five. He played a puppy in Pound, written and directed by Robert Downey, Sr.

Born Robert Elias in 1935, Downey Sr. was fifteen when he dropped out of the ninth grade and used his stepfather’s surname to enlist in the army. During his time in uniform he reputedly managed to get himself thrown in the brig three times. Once was when he was stationed in Alaska, when he and a buddy, drunk at their radar scopes, faked a Soviet missile attack. By 1960 Downey was in Greenwich Village writing Off-Off Broadway plays. When he read a Village Voice column in which Jonas Mekas declared that anybody could be a filmmaker, he rented a camera and started making low-budget underground films. He hung out with Mekas and other filmmakers at the Charles Theater on Avenue B, where one night a week anyone could screen their work.

From the start he combined avant-garde technique and do-it-yourself impudence with a wacky sense of humor. In the 1964 Babo 73 he cast Taylor Mead as an addled President of the United States, with scenes shot guerrilla-style during a tour of the White House. The 1966 Chafed Elbows combines film and still photos in a way loopily reminiscent of La Jetee to tell the ludicrous tale of Walter Dinsmore, a young man who wanders aimlessly from the New School to the Hotel Dixie, a Times Square flophouse, like a Candide adrift in the Pop Art world. In one scene, a man on the street paints him with the initials AW, declares him a work of art, and escorts him at gunpoint to the Washington Square Gallery, where “you’ll be sold right away, because you’re very pretentious.” In another he records a gibberish pop song, “Hey Hey Hey,” flip side to “Yeah Yeah Yeah.” Tom O'Horgan, soon to be famous (or infamous) for Hair, did the music.

Downey fired Putney Swope, his first sort-of-commercial release, straight into the seething cauldron of American race relations in 1969. It’s a sometimes scathing, often just wacky satire in which Swope, the token black man at a failing Madison Avenue ad agency, is suddenly elected chairman. He fires the honkies and renames the firm Truth and Soul, Inc. Charmed and cowed, white clients literally throw bags of money at his Panther-style staff, who crank out ridiculous commercials for Ethereal Cereal, Face Off zit cream (“My man is out of sight, and so are his pimples”), Lucky Air Lines (male passengers get lucky with the stewardesses), and the Borman Six car. There’s a subplot involving the President of the United States, played by the dwarf Pepi Hermine, who played a similar role in an even stranger film released about the same time, Werner Herzog’s Even Dwarfs Started Small. Arnold Johnson, who would later play Hutch on Sanford and Son, plays Swope, but Downey dubbed all his lines in post-production using a gravelly pseudo-black voice; he claimed that Johnson had flubbed too many of them during filming. Mel Brooks and Allan Arbus have tiny roles as Mr. Forget It and Mr. Bad News.

Downey followed Swope with Pound, adapted from a play of his that he later said was “done Off-off-off-off Broadway at a movie house at midnight.” It’s about a bunch of stray dogs waiting to be adopted or put down, played by great character actors like Stanley Gottlieb, Don Calfa, Antonio Fargas and Charles Dierkop. A reporter for the magazine Show who spent time on the set during the filming noted a lot of pot smoking; Downey Jr., who was born in 1965 and grew up in the Village, has said that his problems with drugs go back to his childhood, when his father gave him his first puff on a joint. Junior’s first recorded line of dialogue, addressed to Lawrence Wolf, the bald actor playing a Mexican Hairless, is the immortal, “Have any hair on your balls?”

Pound was rated X for its foul language, and the United States Conference of Catholic Bishops denounced its “gross crudities played simply for irreverent and tasteless humor in a style that is more asinine than canine.” It premiered in New York City on a double bill with Fellini’s Satyricon and then vanished.

Downey followed it with the film that may be his magnum opus, the psychedelically weird Greaser’s Palace (1972). Allan Arbus plays a zoot-suited Jesus figure who drops into a Surrealist Wild West. Other characters include the eponymous Seaweedhead Greaser, his son Lamey Homo, the bearded prairie drag queen Spitunia, and a villain with possibly the most preposterous name in the history of filmmaking, Bingo Gas Station Motel Cheeseburger With A Side Of Airplane Noise And You’ll Be Gary Indiana. Reviewing it in the New York Times, Vincent Canby, who’d been a fan of Swope, panned Greaser’s Palace as “a big-budget mistake” (it cost around a million dollars) and unfavorably compared it to Alejandro Jodorowsky’s El Topo, another psychedelic Western that had preceded it by a few years, which most critics also didn’t get or like.

Meanwhile Downey was directing plays for Joe Papp’s Public Theater; when he directed David Rabe’s antiwar play Sticks and Bones for a planned CBS broadcast, the sponsors backed out at the last minute. Since then Downey has gone on to a fitful, iconoclastic Hollywood career that has included goofball stoner comedies like Rented Lips and the more seriously offbeat Hugo Pool. In recent years Mekas’ Anthology Film Archives has worked with Martin Scorsese’s Film Foundation to restore, screen and archive some of Downey’s earliest underground films, which hadn’t been seen for decades.

by John Strausbaugh

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thedeaditeslayer · 4 years ago

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Tom Sullivan - Evil Dead (Retrospective Interview)

Below is a short interview with Tom Sullivan that covers working on The Evil Dead making props, stop motion effects and special make-up effects.

Much has been said about The Evil Dead over the years. An abundance of articles and books have covered the arduous low-budget shoot, and the creativity that came out of long cold nights in the wilderness of Tennessee. The dedicated cast and crew went to extreme lengths whilst making the classic film; including memorable instances like Ellen Sandweiss running through the woods until her feet were in pieces, Campbell having his soon to be famous chin scarred when a deadite hand grabbed him through the floor, and long nights in the cabin with no running water leaving crew to wash blood off their hands in scolding hot coffee. But just as impressive as the aggressive perseverance needed to finish the 16mm low budget opus were the imaginative and gory effects that have been etched into fans retinas for nearly forty years! The blood spewing, head-severing effects were created by Tom Sullivan, who had provided makeup for Raimi’s fund-raising short film Within The Woods. Sullivan signed up for The Evil Dead and created the numerous prosthetics and blood gags essential to dismembering a cabin of teenagers, helping bring to the screen a bloodbath of carnage that Stephen King famously called “The most ferociously original horror film of 1982.”

With only three weeks to break down Raimi’s script and create the necessary effects needed - and a further three months to create and film the stop motion blood and pus filled “Deadite Meltdown” at the end of the movie - Sullivan built a legion of makeup appliances, severed limbs, and some of the most iconic props in horror movie history. Sullivan, who tours with his Evil Dead Museum showcasing of many of the props, makeups and ghastly creations used in the Evil Dead movies, spoke with Project Louder about what went into creating such iconic pieces for 1982’s The Evil Dead.

Project Louder: Let’s start with the most famous of all Evil Dead props, The Book of the Dead. In the script it was described as being made from an animal skin. How did you design the book and what was your process of putting it together?

Tom Sullivan: My book is different than the one Sam Raimi described in his script, “Book of the Dead”. His book had some kind of animal skin with a couple of letters from an ancient alphabet on the cover. As an illustrator that didn’t read like an evil book to me. So, I proposed a book covered in human skin and a human face would make it more obvious it was human skin as opposed to just leather. I had made face molds of all the actors but Bruce Campbell. So, I coated Hal Delrich’s mold about 8 or 9 layers of mold rubber, let it dry, yanked it of the mold and glued it to a piece of corrugated cardboard. The pages were a stiff card stock that I bound together with grocery bag paper. The Illustrations were not to be seen in the original script but as an artist I had to draw on everything, so I based the drawings on DaVinci’s notebooks on anatomy. The text is all made up on the spot. I call it Bullscript.

Project Louder: What was the process for makeup design, prep and application in regard to Theresa, Betsy and Ellen?

Tom Sullivan: Sam gave me the script three weeks before shooting began. As the make up and special effects artist all I could think was, “shoot me now”. I had time to breakdown the script, figure out what effects and make up designs I needed, how I might do them and what supplies I would need. The original demon concepts were based on the Sumerian background. Not that I knew anything about Sumerians, but I had seen The Ten Commandments with Charlton Heston, so I just figured maybe the Sumerians were proto ancient Egyptians. I was hoping movie audiences were as ignorant as I was, and I was correct. So, I sculpted some designs for the deadites based on a hawk, a snake, and a dog. Sam thought it was starting to look like Planet of the Apes and I agreed. So instead of stealing from John Chambers let’s steal from Dick Smith. Ellen’s, Cheryl Deadite make up was inspired by Smith’s Exorcist make up of the demon. Betsy’s make up was the first make up I did for the film. It was black veins radiating out of her darkened eyes. That design became Shelly’s make up. Don’t waste good ideas. All of the ladies’ make ups were done in 4 to 6 hours sessions. They were built up from scratch. Only Scotty’s dog make up was a latex appliance. That was left over from the Sumerian Dog design. Don’t waste anything.

Sam’s concept became the idea that the demons were mocking and revealing their victims. After discovering about the “latex point” during the making of Within the Woods, I was hesitant to use spirit gum on the actors. It tends to harm skin when actors have to wear glued on masks for long days upon days. So, I used latex rubber like contact cement. I’d put a thin layer on the contact surface of the mask and a thin layer on the contact surface of the actor. When the layers were drying but still tacky I would press them together. It’s important to clean the actor’s skin with alcohol to remove oils on their skin for longer adhesion.

Project Louder: The Kandarian dagger is another iconic design. What was the concept and build process?

Tom Sullivan: The dagger was just a dagger in the script. I wanted to make it more memorable and read as a bizarre and disturbing weapon. I loved Ridley Scott’s Alien so I took a 1 ½” piece of aluminum stock, ground it down with a sharp point, took a couple of handfuls of a ground paper mache called Celluclay added water, mashed it into a clay like substance and shaped it over the hilt of the dagger in the rough shape of the “chestburster” from Alien. I took the parts of a 12” skeleton model kit and stuck those into the Celluclay. When I ran out of kit parts, I bought a chicken, cooked it, ate it, boiled and dried the bones and stuck those into the hilt and instant horror movie prop. I got the idea for the dagger’s skull puking blood the night before we shot the Shelly Deadite death scene. I figured I could drill a hole from the skull’s mouth to the back of the dagger, stick a small, tube into the hole and have a production assistant blow blood through it for the take. I suggested the close up shot for the film when I showed up at the set. And Sam used it. He has excellent taste.

Project Louder: The Evil Dead never skimped on the blood. Would you care to share the Tom Sullivan blood recipe?

Tom Sullivan: It’s Sam Raimi’s blood recipe. He taught it to me during Within the Woods. It is one bottle of Corn Syrup, 2 to 3oz of Red Food Coloring. 1 Cup Instant Coffee mixed with water into a paste. Mix well. It stains everything but is safe and non-toxic for your actors. However, I drank so much of this coffee syrup I haven’t had a cup in coffee ever since filming Evil Dead. So be warned!!

Project Louder: The climactic stop motion sequence is masterful in is gore and execution. How did you approach such a complicated and time-consuming sequence?

Tom Sullivan: I love stop motion animation, so I was looking for an opportunity to use it in Sam’s film. Sam’s idea for the finale was for me to make some balloon versions of the Scotty and Cheryl Deadites and have them deflate while smoking. As I had been creating lots of gory effects for the film that seemed a bit lame for finale. I thought it needed an explosion of gore and as the special effects artist I wanted to throw guts into the audience’s lap. I did some storyboards of my concept for the meltdown and using George Pal’s great film, The Time Machine stop motion sequence of the Morlock decomposing via clay animation in that films finale, I sold Sam on the idea. He knew Bart Pierce, a filmmaker and stop motion animator and we met and designed the full sequence and started filming in his basement. I made the almost full-size clay models of the deadites over wooden ball and socket armatures made with large wooden beads. I made heads out of blood red dyed modeling clay sculpted into the muscles and then pressed into a mold of the deadite’s sculpture that had a more flesh colored clay. That was then removed from the mold, painted, wigged and ready to animate. To match the cabin set we used wood from the location and found out Bart’s garage’s ceiling matched the ceiling of the cabin. So, we used it. I am very proud of my work with Bart and I consider it my best artistic collaboration.

#Tom Sullivan #The Evil Dead

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monsterfucker-lisa-swallows · 4 years ago

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12.28.20

So. 10 years.

Yeah, today is the 10 year anniversary of me making this blog. I’d previously been an Amy Pond roleplay blog, but I tired of that after a few weeks and deleted that and made this instead. It marked the beginning of the end for my DeviantART, which I deleted a few months later.

I can’t believe I’ve been on this site for 10 years, but also can’t imagine being anywhere else. This place is part of my routine now, and I can’t imagine life without this outlet. This bastion of Old Internet Anonymity. Sure, my drafts have been broken for 2 years, but that’s Tumblr.

Thank you to everyone who’s been with me over the years, even if we’ve fallen out of touch. Special thanks to @robincrowe, @empathetic-vibrations, and my gf @super-skitty who migrated with me from DeviantART back when I was still 10nant-Fangirl. Thanks to people like @doll-frakking-house who’ve been here almost as long. Thank you all.

If you want more content from me, I post music news/trivia as well as a song each day over on my music blog, the-music-dealer.

I also post frequently on Archive of Our Own under the name the-red-rabbit. I post...

Good Omens:

“This Was Originally Called ‘Temptation Waits’, But the Title Was Left in the Car”

Ineffable Wives AU focusing on the 6000 years.

“Child in a Seacave”

Some time after the narrowly averted apocalypse, Crowley receives a message from God. But will he agree to answer her? Written because I have trauma with my own parents, but I was keeping my trans readers in mind when I wrote this one.

“Crimson and Clover”

Aziraphale tries chat-up lines.

Good Omens Series:

As Heaven is Wide Series:

Part 1: As Heaven is Wide

Aziraphale and Crowley decide to take a post-apocalypse road trip to see the world, but it gets cut short when they come upon a teenage girl who (despite her protests) needs to be rescued. Things get more complicated when they find themselves once again in direct opposition of heaven, and they have to wonder if it's worth upending their shaky peace with heaven to keep her safe.

There are trigger warnings on this multi-chapter series, but I don't go into real graphic detail because I don't think the story needs that. As someone with trauma, I don't think it's productive to be incredibly graphic. I deal more in implications and off-screen for that type of material. (If you've read some of my other stuff, this one is positively tame compared to that.)

Part 2: Perfect

While Aziraphale finds himself quite comfortable with the trials of parenthood, Crowley finds that raising a teenager is more challenging than he'd expected.

Part 3: Going to Hell (In Progress and Updating today)

Sending their daughter to her first day at school was always going to be a challenge for Aziraphale and Crowley. After all, she still hasn't got a grip on her magic and the thought of being apart from her causes them some portion of anxiety. They just want her to enjoy her new life and fit in, but that's a little hard to do when a lost ghost appears to ask her for help.

Yeah, this one's definitely inspired by Buffy the Vampire Slayer, except instead of metaphors for growing up as a general thing, it's specifically metaphors for obstacles for healing from trauma.

Community:

“And a (Short) Movie”

The study group tries to define the word 'himbo'.

“Community: The Movie (One By One They All Just Fade Away)”

It's been 5 years since Abed Nadir left for Hollywood to pursue a career in film. When he receives a call in the dead of night from Greendale, Colorado, it becomes his responsibility to deliver the news to the rest of his old study group. He embarks on an epic journey to track down Troy Barnes on his boat.

Dean-dong, the Dean is dead.

But is he?

Jeff Winger isn't so sure. He enlists the help of his old "study buddy" Annie Edison to use her FBI skills to find out what really happened to Craig Pelton.

When the study group returns to Greendale, they find that the school has been bought out by Hot Topic. Britta, who liked Hot Topic back "before it sold out", immediately channels her grief into protesting it. But when she meets a fellow anarchist who has vowed to take down the chain from the inside, she's forced to contend with the fact that shouting opinions isn't the same as creating meaningful change.

I have one Hannibal/Willy Wonka fic that I wrote for fun: “Lollirot”

Willy Wonka is a humble man with a dream of making candy for all the children of the world. When he starts running out of ideas for new confections, he seeks help for his depression. His doctor, Hannibal Lecter, is a strangely charming man with unorthodox ideas for how a factory should be run. Before long, Will starts to experience paranoid delusions about his competitors and loses his grip on reality as he sinks deeper into self-imposed isolation with nobody but his doctor to guide him.

A prequel to the show Hannibal.

One Grinch fic: “How the Grinch Got Therapy”

Epilogue to How the Grinch Stole Christmas empathizing with the Grinch. Because as a person with religious trauma, especially centered around Christmas, I think it's about time that we stop shaming people for not having fun during Christmas. Some people won't celebrate and it's weird how we're all expected to assimilate.

And my magnum opus, the fic I’ve been working on off and on for 10 years even since my DeviantART days...

Doctor Who Fic Series:

Am I...Ginger?:

Season 1: Am I...Ginger?

The Doctor swore off companions after Journey's End, believing himself too dangerous to be around them. But while looking for members of the Trickster's Brigade, he stumbled upon a child of Torchwood that made him question all that.

Of course, there's another problem. He was warned that the Trickster had a weapon, one that could defeat him once and for all. He follows the clues to London, where he finds a nameless woman whose love of history does not include sharing her own. Could she be the weapon he was warned about? Is he just interested in her as a distraction from his own mortality? Can she be saved this time? Can any of them? Or are they doomed to life the way it was written?

(Set between the Wedding of Sarah Jane Smith and the Waters of Mars.)

(There are trigger warnings, but as always it only applies to one specific chapter and potential mentions. But this will deal with issues that people might find distasteful.)

Season 2: Am I...Ginger? The Mourning After (In Progress and Updating Today)

Picking up right from where season 1 left off.

"The Doctor's dead."

That's where this story left off. Despite many attempts to contact him, he's been nowhere to be found. But DOES that mean he's dead? The ragtag group of misfits he left behind keep having conflicting thoughts on the subject. Is he dead? Held hostage somewhere in need of rescue? Just avoiding them?

Just when they give up hope, the Doctor decides to crash his own funeral. Two funeral crashings in a row, that has to be a record for him. But can he still fit in the world he left behind, or has he changed too much? Is it even a good idea to try?

Set when Amy and Rory are on their honeymoon (between "A Christmas Carol" and "The Impossible Astronaut"). This is also just after "The Death of the Doctor" episode of the Sarah Jane Adventures. As usual, I'm playing fill-in-the-blanks with unexplored parts of canon.

...

10 years flew by. You guys have been there with me through some of the toughest parts of my life. I made this blog when I was still a 15 year old in an abusive home and it’s been with me ever since. So let’s hope the next 10 years will be better lmao.

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lianabrooks · 5 years ago

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MONDAYS IN PUBLISHING: After Your Debut

There’s lots of information on how to write and how to get published, let’s talk about what comes after publication...

Launch Day and The Following Weeks

The period around the launch of your first book (and every major title thereafter) is spent publicizing your book. No matter how you are published, you'll be expected to be available to the public in some way. Scheduled tweets, maybe a Reddit AMA, Facebook chats, Instagram book tours... your job right now is to get your title in front of as many eyeballs as humanely possible. Your publisher may provide contacts for this tour. If there's enough money and interest you may get booked for radio, TV, web shows, or podcasts but don't expect that, especially for your debut.

For most authors debut week is time for a launch party with friends, maybe a signing at a local bookstore, and generally basking in the glow of accomplishment and the sea of anxiety over what comes next.

In preparation for your launch you need to designate one friend (or family member) to be your Review Reader.

DO. NOT. READ. REVIEWS.

The book is out. It's over. You are not changing anything. Move along.

Your Review Reader's job is to read through the reviews and send you screen caps of the good ones.

Your job is to stay off GoodReads and Mute/Block/Unfriend anyone who sends you negative reviews or tags you in reviews on social media.

The Next Book

If you're lucky and have been working hard you will have a contract for your next book before the first one is out. If you have an agent and you're writing a series you probably sold the series in a 2-3 book deal (or tried to).

If Book 2 Is Under Contract... get writing! Your deadline isn't that far away and, with publishing, you might be working on Book 3 of the series when Book 1 debuts. This is fine and normal. A healthy publishing career usually has a book coming out 6-24 months after it's written which means the author is 1-5 books past writing whatever is releasing right now. Enjoy your debut for a little bit and get back to work!

If Book 2 Is Not Under Contract But You Have A Series... now is the time to contact your agent (big press) or editor (small press) and pitch Book 2 if you haven't done so already. The best time to do that was several months ago, but maybe you didn't have the idea yet, or maybe your small press wasn't acquiring for some reason. Now that Book 1 is in the wild, circle back to Book 2 and try to get your contract.

If There Is No Book 2... maybe you wrote a stand alone. Maybe you write kidlit or picture books. Maybe you wrote non-fiction. Whatever the case, if your debut was not the start of a series you have just become the queen in the chess game, you can move anywhere. For some people that one book was all they wanted. It's their magnum opus and they are happy to never write again. If that's you, sit back and celebrate! You did it! If you were writing something non-fiction like a coffee table book, essay text, cookbook, or some other literary non-fiction non-textbook it's time to start sketching out your ideas for your next big project. This may have already happened, if so, yay! If not... time to plot.

Pitching Your Next Book

Whatever your situation - small press, big press, agent or not - having a book published gives you an inside track to publishing. This won't guarantee sales, best seller lists, awards, fame, fortune, or even a livable income but it will help you skip over some of the slush piles (some, not all).

Agent On Your Side... if you have secured an agent you should have already discussed your plans for your next book. If you haven't yet, ask your agent how they'd like your next piece pitched to them. Some agents want the first fifty pages. Some will want the first three chapters. Some may only want a synopsis and a blurb. Whatever it is, you need a clean, solid pitch for your next project. This isn't something you want to rush because it's very likely that your agent will shop your next book On Spec, which means they will be shopping the pitch, not the finished manuscript.

In-House Author... with or without an agent your are now an In-House Author for whichever publisher you've published with. This will, bare minimum, means you skip the slush pile. In some cases it will mean the editors will reach out to you. A small press might ask you to revisit a series that's suddenly selling well. A larger press might be on the hunt for a specific style of book and reach out to either agents or you. Either way, it means you have an added advantage that you might really need if something happens to your agent. If you're an in-house author most editors will let you pitch your books to them without an agent.

Writing Intellectual Property

Now that you're published and have an agent there is a possibility someone will approach you (like through your agent) to ask if you're interested in writing IP.

This is one of the very few opportunities that is available to traditionally published authors that self-published authors are unlikely to have come their way. Indie authors who get book deals off previously self-published books might find it, but the general appeal of self-publishing (the control, the ability to set your own hours, the chance to write whatever you want no matter what) is the exact opposite of writing IP where the author has almost no control, very tight deadlines, and is expected to write to the vision of someone else.

Delilah S Dawson has an excellent Twitter thread on writing IP if you want the details from someone who has written IP.

What will it look like if it comes your way? Most likely an email from your agent giving you a few details about which IP, what setting they want, and which characters they want. And then you write up a pitch or five, send them back and see what happens.

What If The Book Flops

The eternal question at the back of every debut author's mind is WHAT IF I FAIL?

What if the book doesn't sell?

What if no one likes it?

What if no one wants me to write ever again?

This is when, in the wise words of Faith Hunter, you change your name and start fresh.

Actually, this is the recommended formula for surviving publishing: Change Your Name + Write A New Genre = A New You!

Interest in genres comes and goes. Books stop selling. A trend dies. And you're left with a tattered career. Cry for a minute, wipe your tears, change your pen name, and write a new genre. It happens all the time. It's very common in publishing. It isn't scandalous or indecent. It's a way of surviving and convincing the marketing people that you don't have a ton of baggage attached to you. Don't worry about it.

As long as you are willing to write another book you can have a career.

When you want to stop writing, stop.

You are in control here.

Originally posted on www.LianaBrooks.com, picture by Dominick Kielbasa on Unpslash.

#Mondays In Publishing #what happens after your book comes out #writing IP #am writing #publishing #debut author #Delilah S Sawson #Faith Hunter #Star Wars

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namelessandfamous · 5 years ago

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The 2010s

THE 2010s

Ahh, the 2010s. The decade that I became a full fledged adult in. I experienced the highs, the lows, the mids, the joy, the pain, the riches, the squalor and everything in between. I lived in five different states, five different cities. I traveled the nation multiple times around. I jumped jobs, locations, identities like any fledgling twentysomething that possess the gravitas to explore.

Outside of my being, the world experienced a lot. We experienced two terms of Obama only to enter the Trump era during the final three years of the decade. We lost many a legend—Prince being the one that hit me hardest—and gained a few more. Activism reached a visibility not seen since the 1960s—from Occupy Wall Street to Black Lives Matter. Mass murders became a regular occurrence as overall crime rose all across the nation. Global warming made for both Los Angeles and New York to share similar temperatures in December despite being on the opposite side of the seaboard.

And, musically …

Things shifted so much that they remained the same. Record sales reached a record low yet the record industry began to rebound with the rise of streaming. An entire century’s worth of music is only nanoseconds away for a small monthly fee. The decade saw the rise (and sometimes fall) of dubstep, “alternative R&B”, cloud rap, mumble rap, trap beats (which punctuated almost a majority of popular songs regardless of genres throughout the past ten years), etc. Adele sold the most records than anyone else despite pop getting more and more EDM-influenced by the minute, Drake was easily the most popular rapper as rap became increasingly non-rap in its sound, R&B continued to thrive outside of the mainstream, rock increasingly became a genre of the past and well, everything else remained the same.

Yet, in my headphones, these ten albums provided the aural narration for various times and places and mental explorations and live experiences throughout this past decade. While I listened to hundreds of albums—and liked just as many—these ten stood out the most to me even if my individual interest in a few has dissipated beyond the time that they spoke to me the most. These ten albums remind me that despite the roller coasters of emotions, thoughts, experiences and mindsets I’ve experienced these past ten years, the 2010s was a good decade, overall. Here are my 10 of the ‘10s:

1. D’ANGELO, Black Messiah (RCA, 2014)

Arriving on the scene when the nation was in tatters after the rash of police brutality targeting black men around the country (which was never a rare occurrence, mind you, but that’s another screed for another day ….) and the Black Lives Matter movement was in full bloom in the mainstream media, D’Angelo re-appeared some 14 years after his last album, the landmark Voodoo. This re-appearance feel right on time even if it was almost a decade and a half late in an increasingly ADHD world. That it spoke to a nation’s frustration as well as its joy despite such an extended wait was almost miraculous and made claim to it’s title claim. Even more miraculous is just how much the music resonates as much as D’s storied past. A D’Angelo album is almost as mythic as the man but like any myth, neither fails to be magical. So magical that Messiah resulted in many album-long reactions by artists that spanned various genres and commercial statuses.

2. KAYTRANADA, 99.9% (XL, 2016)

Released just months before the end of the Obama administration, 99.9%, the full length debut by Montreal maestro Kaytranada treated the pre-election tension in the air—then placing Donald Trump and Hillary Rodham Clinton as contenders to replace the nation’s first black president—like the perfect atmosphere for a party. A decidedly Pan-African dance party, at that. Kaytranda, born Louis Celestin, is an obvious student of black music that spans decades, genres and continents. The son of Haitian immigrants, Kay knows the power of rhythm like any Caribbean expat does. This rhythm powers an one hour long song cycle that never lets up despite many variations in groove and voice (Kay gives the floor to a multitude of vocalists which include everyone from Anderson .Paak and Phonte to Syd of The Internet and Little Dragon’s Yukimi Nagona to rappers Goldlink and Vic Mensa to even 2000s British pop/R&B superstar Craig David). The sheer joy here—peaking with the late-album, Gal Costa-powered “Lite Spots”—is palpable and it’s groove unstoppable. And it will surely remain so for many years to come.

3. INC., No World (4AD, 2013)

The Brothers Aged—Daniel and Andrew-- created a quixotic, otherworldly mood piece in their debut No World. The juxtaposition between D’Angelo and especially Maxwell’s largely carnal “neo soul” velvet and the post-punk atmosphere that colored many a classic on the label that released the album made for an intriguing listen. What stands out most about No World is its subtlety. This is a work that requires several listens before it entirely sinks in. And when it sinks in, it completely submerges.

4. JESSIE WARE, Devotion (PMR, 2012)

A merger of soignée “diva” vocals, distinctively British tastefulness, dance music rhythms and commitment to low-key R&B of decades past made Devotion a promising prospect even before its spring 2012 release. Jessie Ware had already built a name for herself via cameos on records by fellow forward thinking Brits SBTRKT, The Joker and Sampha but on Devotion that name became emboldened and placed in caps. A set that’s gossamer (the precise Aaliyah channeling on its opening title track; the lush and almost folksy closer “Something Inside”), earnest (the single “Wildest Moments”), funky (“Sweet Talk”, the Little Dragon-esque “110%”) and stately (the single “Running” which piqued my interest in the first place from its blatant nods to Sade’s “Cherry Pie” and so much sophisti-pop of the same era and origin). Devotion turned out to be such a masterwork that its author has yet to match its range and breadth with a couple more follow-ups that were increasingly pop-orientated and plainer in sound. Regardless of Ware’s musical trajectory, Devotion still stands as one of the best debuts that the 2010s birthed.

5. KENDRICK LAMAR, Good Kid mAAd City (Aftermath/Interscope, 2012)/ To Pimp a Butterfly (Aftermath/Interscope, 2015)

Kendrick Lamar. The rapper that almost tracked my entry into adulthood and became one of the biggest rap stars in the world by decades end. In a way, Kendrick almost seemed like a kindred spirit. He and I are both young black men from coastal city-suburbs, born the same year (almost exactly six months apart, in fact), introverted, always exploring even if we don’t like what we find. While Section .80 introduced me into me—and many, many others—into the fantastical world of Mr. Duckworth, it was his 2012 major label debut Good Kid mAAd City that showed the world his actual palate. An incredibly well-curated and extremely accessible release, Good Kid tells the story of really, Lamar’s public persona: a good kid in a mAAd city escapes the turmoil around him—narrowly—when he finds a higher power. In his case, that higher power that provided peace of mind was music. If Good Kid showed the world who mainstream rap’s next auteur was, To Pimp a Butterfly showed us all just how much he was capable of. Arguably, the rap album of the decade, Butterfly was a work of extreme vision. It’s 79 minutes packed with rage, depression, remembrance, questioning, soul and resolve all stoked by Lamar’s new found widespread adulation—sparked by his recent rap fame—and his realization of where his black skin placed him in society. Butterfly’s adventurous yet vaunted sprawl could characterize itself as a wild theater of the mind of one of the last gifted pop-rappers we’ve seen. It could also stand as the Magnus opus that is hard to follow up. Lamar’s subsequent work achieved even more commercial success than Good Kid and Butterfly—both of which debuted at the top of the US pop charts and earned platinum status in a climate where such an award had become extremely rare—as well as continued critical adoration but failed to compel as much as its predecessors. This rather swift creative peak wasn’t relegated to Lamar, however, but also applied to many others that emerged as exciting young forces in music—Drake, J. Cole, Frank Ocean, The Weeknd, Big K.R.I.T. , Miguel, Toro y Moi, etc.—at the dawn of the decades but seemed creatively tapped just a few short later despite wildly increased commercial profiles. Still, both Good Kid and Butterfly’s mark on the game is permanent.

6. TORO Y MOI, Anything in Return (Carpark, 2013)

Chazwick Bundwick began as an insanely talented hipster recording warm yet self conscious “chillwave” under the name Toro y Moi during the beginning of the decade. Then Anything in Return, his third album, was released and Bundwick was no lomger a cutesy indie poster boy but a distinct artist in his own right. A swooning, often sensual set of midtempo grooves with hooks that stick like gum, Anything in Return is millennial angst with a sweet aftertaste. Inspired by a failed relationship, While Bundwick’s melancholy is audible, the music’s sexy optimistic is what makes it so hard to shake. Toro’s following releases were all less interesting than the last even if at least a couple tried to follow Anything’s template. Yet, the bar set by Anything may have proven hard for Toro to reach even if the bar for its sheer enjoyment will likely never too high.

7. SOLANGE, A Seat at the Table (Columbia, 2016)

On the night of November 8, 2016, I stood downstairs of a LA Fitness in the San Fernando Valley, California and watched with several others on the television screens above as Donald Trump was in a landslide of a lead over Hillary Rodham Clinton as the 45th President of the United States of America. Amongst all of us that stood there, there was a multitude of emotions and reactions. Mine was one of sheer rage, if not astonishment. Prior to this night, I had been living in Glendale, a predominately Armenian-American enclave to the east of Hollywood. The lack of fellow black faces was assuaged by three aural black girl manifestos—Jamila Woods’ debut Heavn, Esperanza Spalding’s Emily D+Evolution and most strikingly, Solange’s third release A Seat the Table. Yet, on this night that the country was beginning a steep decline that it couldn’t retract for another quarter-decade, A Seat the Table acted as an elixir yet again. An album of mood—mainly rage and frustration—that was dictated by tone—delicate, airy, proudly feminine and definitely defined by its culture-Black with a capital AND bolded B, Seat played a feminine yang to the aforementioned Black Messiah (the album that undoubtedly inspired its creation) and Butterfly’s more masculine yin. It was the album that summed up a collective mood of a people even if it was markedly personal. The political has always been personal and vice versa and Solange knew this. A huge turning point for both Ms. Knowles’ career—it launched her as a must-hear artist spanning genres and scenes instead of being just you-know-who’s little sister that also sung—and really, many other artists in its wake.

8. THE INTERNET, Ego Death (Columbia, 2015)

The Internet began as a likeable but painfully tentative—and youthful-- answer to the “future soul” of LA of the past decade heralded by the likes of trailblazers like J*Davey, Sa-Ra Creative Partners and Georgia Anne Muldrow. Members of the Odd Future collective, The Internet brought a sense of sophistication to the otherwise “bratty”, then under-25 crew. On each follow-up, The Internet grew away from Odd Future’s “shock” image and into their own as a legit force in modern live band soul. By the time of Ego Death, The Internet were no longer just a legit force but now arguably one of the best bands of their generation. Ego Death is a magnus opus and easily the best album to ever come out of the Odd Future camp (only Channel Orange can match it but it can be argued if Ocean was ever an actual member of the crew). Sleek, sexy, clever, thoughtful and distinctively LA (dizzy, balmy, calm), Ego Death is the sound of a band not only finding its wings but soaring. Syd’s supple soprano is fully realized now whereas it was still in development a couple albums ever before. Now fleshed out into a five-member band, the grooves are all vivid—the bass warm and sometimes rumbling, the guitar prickly, the keys always sweet—and the songs—which were just loose groove sketches before—all fully formed. Ego Death’s peaks with the dreamy “Girl”, co-produced with Kaytranada, and proved to be a career highlight for both acts (and made for my personal favorite song of the decade). Yet, despite “Girl”’’s awestruckness, Ego Death never falters. And even if ego dies, its appeal will not.

9. THE WEEKND, House of Balloons (self released, 2011)

I still remember listening to “What You Need” on some music blog back in late 2010 in my college dorm. It’s sinewy sexed up R&B groove and lyrical promises to “knock your boot off” were nothing new but it’s approach was. There was something alien about it and sinister. Very sinister. It was almost like hearing the aural equivalent of a Jodeci video directed by David Lynch. It was sensual but dark. Little was known about the artist that recorded “Need” when I first started to listening to the song. All we were given was the name The Weeknd and a blurry gray picture of an obscured face. Soon enough, “What You Need” was given a home via release entitled House of Balloons which was self released and available for free download. And The Weeknd was given a face via an Ethiopian-Canadian singer from Toronto named Abel Tesfaye. And both House of Balloons and The Weekend were given a distinct aesthetic; an aesthetic that would inform and influence popular music for the entire decade.

Listening to House of Balloons nearly a decade later is an interesting experience. Back in the days when I downloaded Balloons on its day of release, it’s sound was incredibly fresh. The noirish, downtempo grooves, Tesfaye’s slightly off-key falsetto, naked references to Oxycontin, drugged out debauchery, empty sex and fatal heartbreak, indie rock samples and unrelenting vibe-over-song structure was all so, well, new. It didn’t take long for The Weeknd to be labeled as the vanguard of something called “Alternative R&B” alongside LA-based auteurs Frank Ocean and Miguel.

Yet, nearly a decade later, Balloons sounds almost like parody. Tesfaye’s vocals seem almost amateur-ish. The lyrics can feel almost like bad fan-fiction. Its low-slung, vibey atmospheres almost generic. Yet, this reappraisal just speaks to just how massive Balloons’ influence was on mainstream R&B and hip hop. What was new in 2011 had become commonplace a decade later. In other words, House of Balloons set the template for what followed on the charts (alongside the entire oeuvre of another fellow Toronto native who went from teen TV star to the rap superstar of the decade). Even if its follow-ups—released months apart—were stronger and more realized. Even if a sanitized and often altered version of these songs were re-released upon The Weeknd signing to a major label conglomerate within a year of his first three efforts’ self releases and packaged as Trilogy (the alterations were largely due to sample clearance issues). Even if The Weeknd became a shell of himself artistically after Balloons—and its two follow-ups Thursday and Echoes of Silence, respectively--while becoming one of the biggest male pop stars in the world by the middle of the decade. Despite whatever occurred in its aftermath, House of Balloons will always remain a document in time of when the new became the standard. And Abel Tesfaye was an exciting force in music, regardless of how brief.

10. KHRUANGBIN, Como Todo El Mundo (Dead Oceans, 2018)

By 2018, I finally caught up with the world and entered into the world of streamimg after having my umpteenth iPod Classic clash. Tired of spending $340 every 1.5 to 2 years because of glitch Apple software, I reluctantly decided to let my android become my new source of sound. I signed up for a premium membership on Spotify (no plug!) for $9.99 and pressed play. One feature on Spotify that I grew to anticipate was the Discover Weekly playlist which collected thirty songs that almogriths decided I’d like based on listening history. I was both startled and delighted by how accurate the selections were. While I was already familiar with a large percentage of the songs compiled, I made several wonderful discoveries. The one that stands out amongst the rest is a lazy but endless little funk groove called “Evan Finds the Third Room”. There was something very “exotic” about “Evan” yet familiar. It evoked a lot of things—early ‘80s Lower East Side NYC post-punk, early ‘70s garage funk, Jamaican dub—but sounded like nothing specific. And that is the magic of Como Todo El Mundo, Khruangbin’s--a Texan trio comprised of bassist Laura Lee, guitarist Mark Speer and drummer Donald Johnson—sophomore album. It is music that conjures up a slew of vibes that you’ve heard before but nothing in particular. In other words, it like nothing that you’ve heard before. For instance, the closer (and standout) “Friday Morning” sounds vaguely like what Ice Cube’s “It Was A Good Day” would sound like if it were on a hell of an acid trip. That the trio created such a wonderful psychedelic musical carpet ride that remains funky and irresistible throughout its duration with few words is even incredible. With Como, there is no need for any psychedelic substance your body when the music here already bends your mind and soothes your spirits so vividly.

10 That Almost Made the 10 of the ‘10s:

Frank Ocean, Channel Orange (Def Jam, 2012)

Jose James, Blackmagic (Brownswood, 2010)

Erykah Badu, New Amerykah: Return of the Anhk (Universal Motown, 2010)

JMSN, JMSN (White Room, 2014)

Dam-Funk, Invite the Light (Stones Thow, 2015)

Freddie Gibbs & Madlib, Pinata (Madlib Invasion, 2014)

Little Dragon, Ritual Union (Peacefrog, 2011) OR Nabuma Rubberband (Loma Vista, 2014)

Flying Lotus, Until the Quiet Comes (Warp, 2012)

Robert Glasper Experiment, Black Radio (Blue Note, 2012)

YG, My Krazy Life (Def Jam, 2014)

#2010s #d'angelo #kaytranada #inc #jessie ware #kendrick lamar #toro y moi #solange #the internet #the weeknd #khrunagbin

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filmnoirfoundation · 5 years ago

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SECOND SHOW ADDED--10:45 p.m. Demon Dog Joins Czar for S.F. Screening

The November 7 screening of MAN-TRAP at San Francisco's Alamo Drafthouse Cinema, presented by James Ellroy and Eddie Muller, has sold out! But you Johnny-Come-Latelys still have a chance! A late show has been added at 10:45 pm, also introduced by the Demon Dog and Czar of Noir. Ellroy will also be signing his latest noir opus, THIS STORM, between shows. So, come meet Ellroy and Eddie, buy a book, and stick around for the late show of MAN-TRAP! THIS STORM will be available for sale at the theatre. The Alamo website is also set up to accept donations for the FNF, which are greatly appreciated. Seating is limited to 100. Buy your tickets now: http://bit.ly/36j1LzM

Photo: Stella Stevens and David Janssen in MAN-TRAP

#man-trap #david jannsen #stella stevens #eddie muller #james ellroy #the storm

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thebowerypresents · 5 years ago

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Dashboard Confessional Kick Off Two-Night Celebration at Webster Hall

Dashboard Confessional – Webster Hall – March 10, 2020

Barely visible over the heads of a sold-out crowd in an absolutely jam-packed concert venue, Chris Carrabba was a ghost haunting Webster Hall last night. He was nowhere. But he was also everywhere, in every voice, on every screen, an energy emanating from every corner. He was really literally somewhere in the room, probably. But then again, who knows? Carrabba sounds, frankly, better than ever. Last night’s show at Webster Hall celebrated the 20th anniversary of emo opus The Places You Have Come to Fear the Most, and some songs, like the album’s title track, were played faithfully, as they were on tape. Last night at Webster Hall, two decades later, those songs may have sounded the best they ever did. Where there were rearrangements, like a dreamy, electric “Remember to Breathe,” they were rewarding, often dazzling.

Dashboard Confessional are simply one of the best live acts performing today. I’m prone to exaggeration, sure, but that doesn’t mean I’m not right. After opener “The Best Deceptions,” Carrabba remarked, “I can count how many times the crowd sang it that well.” It's hard to know whether to believe him—part of a performer’s job is to make everyone in each audience feel extraordinary. But that seems realistic. This was what you imagined concerts were like before you were old enough to get into them: The sheer volume of the crowd sing-along was crazy. In fact, I couldn’t help but say that, aloud—“This is crazy”—before that first song concluded.

And the crowd knew all the twists and turns, the little live variations we’ve come to expect in these familiar songs now that they’ve spread for 20 years as folklore, through bootlegs and YouTube recordings. At the penultimate refrain of “Screaming Infidelities,” everyone in the room all knew, reflexively, to climb that extra octave, and near the end of “Again I Go Unnoticed,” to yell, “Are we out of time?” This was a dream of community made real, a shared history manifested as an energy, a spirit. Carrabba put it best: “Along with you, we are Dashboard Confessional.” —Adlan Jackson | @AdlanKJ

Photos courtesy of Toby Tenenbaum | @Tobytenenbaum

#Adlan Jackson #Armon Jay #Chris Carrabba #Chris Kamrada #Dane Poppin #Dashboard Confessional #East Village #Live Music #Music #New York City #Photos #The Places You Have Come to Fear the Most #Review #Scott Schoenbeck #Toby Tenenbaum #Webster Hall

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trashayfanfiction · 5 years ago

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1. Where my user name comes from? Very simple: I aim to make Trashy Fanfiction. nothing more, nothing less. Also let’s me know to keep a sense of humor about myself. I can’t write a magnum opus with this name.

2. Tropes I am forever trash for: Secret relationship, friends to lovers, & sex without love. to the point that I think i need to branch off into other things.

3. Where I write: I'm not gonna write porn in public. I write in my room, or in the kitchen, usually when nobody is home/awake. I like to write before i go to work in the morning, at the end of the day i’m often too tired to write. There was a really nice roof one time I sat on.

4. Fave ship ATM: I like Steve/Billy (Stranger Things) at the moment just due to how much flexibility I have within that relationship. Idk how long they’ll stay around for me, depends on what I do/fandom does to keep them fresh. OTP forever are Ash/Eiji, Matt/Mello (deathnote), or Stucky.(angsty BFF’s)

5. Finding THE mood: The writing mood just comes to me. If i don’t write down my ideas they haunt me. Also writing is a great way to feel productive while procrastinating. I’m often daydreaming in my own head. it’s best to daydream with a screen in front of me.

6. Software: I use Microsoft word for first draft, Google Docs for sending to beta readers. I’ve tried Grammarly, and I liked it but forget/am too lazy to use it.

7. Obviously i’m an Aries. My way or the highway. Likely a Gryffendor, and hell yeah pineapple on pizza.

8. I cried when I listened to. (Steve/Bucky) Most things SallySparrow017 decides to podfic I cry https://archiveofourown.org/works/2356271/chapters/5199425

9. I thought this was adorable. Ash/Eiji https://archiveofourown.org/works/14980544

10. I wish I could write like Baghdad Waltz by Dreadnought https://archiveofourown.org/works/10261136/chapters/22734353 I am in awe of her ability to write. and keep a story interesting through so many ups and downs.

11. You’ve read my fic, you know my kinks. I want to venture more into gore eventually, castration/debreasting ect. Something Hannibal-esque. Idk how much of that is sexual kink for me and how much is I’m just a horror fan. But then again, terror and arousal are closely linked. If fanfic were as effective as hentai art it would be fun to do some monster porn or oviposition. As for hentai, ‘stuck in a wall’ is a guilty pleasure. Also, femdom; older woman/younger man is a dynamic i like and never have the chance to write. I’m relatively vanilla.

12. How i get ideas: I’m just really horny and angsty. Sometimes I come up with ideas by looking for fics with certain tropes, and writing them myself if I can’t find them. I use fic to work through my own life experiences. Also sometimes I have friends request stuff. I’m attracted to controversial things that make waves or are different in some way than what I often see. If i’ve seen a similar fic written before I usually only do my own version if I think there’s things I can improve on.

13. How do I make ideas into cohesive narritive structure? Well, if you’ve read my stuff, I don’t have very cohesive narritive structure. My stories are riddles with memories/flashbacks, and wonderings of the future. Very few times are characters ‘in the moment’. I don’t write linearly and my first drafts are almost incomprehensible. I have general marks i want to hit within my story such as “Argue about this”, or “Highlight importance of X idea”. Sometimes I write between bullet points of marks, but mainly I just write sections as they come to me and shove them into the right order later. I keep my ideas cohesive by centering them around a general theme/feeling for the overall story.

14. Snippet from what i’m doing now: Billy/Steve Fighting Me, ch 3.

“What do you think you’re doing? Have you never slept in a car before?”

Steve was moving their bags as to better climb into the back seat.

“Get out of there, you’re too tall. You’re not ten. I don’t want you bitching all day tomorrow. Get in the passenger side.”

Steve obeyed.

“Yeah, now slide the seat back all the way and recline it. Yeah, like that. Doesn’t that feel better than having your legs jammed up in a space you’re too tall for?”

Steve conceded that it was a better choice.

Billy pulled the dusty Navajo blanket out of his trunk. As a child, his mother told him a shaman had given it to her. Right before his mother left, he realized it was a cheap trinket sold all over.

He threw it at Steve, instructing him to use extra clothes as a pillow. Muttering how he couldn’t believe Steve didn’t know how to sleep in a car. Steve mumbled that he’d ‘went camping before’.

Billy wrapped up in his own jacket.

Indiana wasn’t nearly as cold as the desert at night.

#About me #TrashAYfanfiction #harringrove #stranger things #fanfiction

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bulldogedition · 6 years ago

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Picture seeing the new IT 2 movie in a theater of clowns

You actually could, should you so want to..The theater chain Alamo Drafthouse has announced that it’s going to host another series of “clowns only” screenings for the sequel’s opening weekend.

“We terrified coulrophobes with sold-out Clowns Only screenings of Stephen King’s IT: CHAPTER ONE in Austin, Dallas, San Antonio, Phoenix, Omaha, and Brooklyn. Folks took notice,” the company announced on its website. “Are they back for the concluding chapter of Stephen King’s magnum opus? Oh yes.” Sure enough, tickets are now on sale for the special (and especially horrifying) screenings in locations across the United States. So, whether you’re based in Austin, Houston, Los Angeles, Denver, St. Louis or New York, you’ve got options.

There are expectations of this movie doing exceptionally well for a horror movie.. it is being released just as the autumn feel begins to invade the air outside. School will be back, and all eyes will start turning towards the Halloween season..

The other interesting part about this movie will be its run time.. people dressed as clowns will have to put up with the attire for almost three hours--a long run fora horror film. IT ENDS will eat up a lot of time along with souls... it will be interesting to see how many people will be turned off by the runtime.

BUT think back! The 90s made for TV episode featured hours upon hours of run time.. so almost three for the finale of the beast from the universe isn't going to be such a far-fetched notion..

Get ready for small town clowns all over this year.. It will be interesting to see if schools across the nation ban clowns just as they did in previous years..

#it ends #it #pennywise #horror movies #horror

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hrkerlon · 2 years ago

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In some languages, there are multiple voices accessible at the same time.Įnglish was introduced to Britain sometime between the 5th and 7th centuries. Our voices read your messages aloud in their native language, with a distinctive accent to identify them. E-learning and presentations are all possible with this tool, as is boosting the site’s usability. With the clipboard reading functionality you can highlight any text in any program with your mouse and then hit CTRL-C to read it out loud.This simple tool will freely convert your US English writing into a professional-sounding voice.Text can be saved as an audio file for transfer to an audio CD or iPod/MP3 player.Simply set the speech speed high and read along as the program flashes on the screen the word it speaking. Quickly devour large amounts of reading material through speed reading.Read documents, emails, web pages, clipboard contents and Windows dialog boxes out loud in one of many high-quality voices.

BEST ONLINE FREE TTS FOR FREE

It is available for free with generic voices or sold with high-quality CereProc or AT&T Natural Voices at the lowest prices in the industry. The Zabaware Text-to-Speech Reader is an application that uses a speech synthesizer to read documents out loud.

Allow users to adjust voice speed and volume.

Support a wide variety of languages and voices.

Highlight the word or sentence being read.

Read text aloud with natural sounding voices, convert the text to wav and mp3 audio files.

It can not only read the text in the software, but also allow you to convert the text to mp3 audio files. Panopreter Basic is a text to speech and text to mp3 freeware program with the following features.

Save audio as wav, mp3, ogg, wma, mp4, m4a, m4b, opus, awb file.

All computer voices installed on your system are available to create an audio file.

Operating system: Windows XP/Vista/7/8/10/11. Besides, you can also split the text and convert it to multiple audio files. And you can customize the narrator by choosing among all computer voices installed on your computer. For lengthy documents, you can create bookmarks to make it easy to jump back to a specific location. It can save narrations as audio files in a range of formats including MP3 and WAV.

Choose among all the voices on your computer to read the text to you.īalabolka is a totally free Text-To-Speech (TTS) program.

So easy and convenient to use the TTS feature.

BEST ONLINE FREE TTS INSTALL

No need to install any third-party text to speech software.

The Speak and Read Aloud are both built-in features.

You can add the Speak command to your Quick Access Toolbar. It's a built-in feature of Word, Outlook, PowerPoint, and OneNoteSpeak, but available for Windows only. Speak reads only the text you've selected. It's only available for Office 2019, Office 2021, and Microsoft 365. Read Aloud reads all or part of your document. There are mainly two tools for listening to your documents on MS office Word: Microsoft Word makes listening so easy by using the text-to-speech (TTS) ability of your device to play back written text as spoken words. Several programs in Microsoft Office 2013 have built-in text-to-speech functionality designed to read the contents of your documents aloud.

Miniboard to read text in other applications.

BEST ONLINE FREE TTS MAC OS X

Operation system: Windows 7/8/10, and Mac OS X 10.11 or later. Price: free (the Personal edition costs $99.50). And a piece of better news is that it even offers an online text to speech reader. Personally speaking, if you just need to use the basic function of text to speech, there is no need for payment of the paid version. It offers a free version, and 3 paid versions which can export the texts into MP3 audios.

BEST ONLINE FREE TTS PDF

This easy-to-use software with natural-sounding voices can read to you any text such as Microsoft Word files, webpages, PDF files, ePub ebooks. NaturalReader is a downloadable text-to-speech desktop software for personal use. Let's go through this list and see which ones you like the most. All these text to speech software are completely free and can be downloaded to Windows PC. Here we've tested and collected the 5 best Text to Speech software.

BEST ONLINE FREE TTS WINDOWS 10

Are you still looking for a free Text to Speech software for your Windows 10 or 11 computer to read aloud your documents or convert them to audio files to listen to them anywhere anytime? Now you're in the right place.

#Best online free tts

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rankertopanwar · 3 years ago

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coloured cable ties

Domcar.com.au

Cabl Ties - A Tradesmen Guide

In this period of electronic gadgets, satellite TV, and lightning quick correspondence, any place a link goes, you should rest assured it is held set up by a link tie.

Ties as a Tool for Work:

There are a wide range of callings that require the utilization of ties at work. Any laborer that is supposed to introduce wiring frameworks will have particular ties for their calling. Circuit testers need them to keep electrical wires isolated into gatherings. Ties are kept with his instruments. Machine repairmen use them. Grease monkeys love them. At the point when your TV or internet service comes to your home to introduce another framework, he will convey ties in his apparatus pocket.

Ties Travel All Over the World:

You can observe these ties utilized everywhere. They are utilized in the development of plane cockpits. They end up on ships adrift. Ties are even utilized on the sea floor to keep overseas links intact. Any place there is a need to coordinate and separate wires into consistent gatherings, these ties do the work.

Cable Ties Come In Hundreds of Different Styles:

There are in excess of 400 unique kinds of ties, conceivably more. There are such a large number of varieties to list every one of them here, so I will go north of a couple of the various kinds of ties that are accessible available.

1. Ties by Weight Classification - These ties are marked as smaller than expected, middle, standard, substantial and additional hard core. The ties are named by how much weight they would have the option to hold for packaging wires.

Strange and Wild Uses for Zip Ties

Nowadays zip ties and link ties are keeping conduit tape on its toes. For the most part known for their essential capacity of packaging links and lines, zip ties are a flexible item, progressively being used for an assortment of innovative purposes. Here is a main ten rundown of wild and weird link tie applications

Heart Surgery

Understudies at Johns Hopkins University thought of utilizing link connections to quit for the day chest after heart medical procedure. The zip ties are strung through the rib confine and affixed around the sternum.

Modern Art

Stone worker Emily Dvorin involves link ties in her advanced craftsmanship pieces. In certain figures, the link ties are the superstar, spreading out from the middle and showing their brilliance. In different works, the ties are useful, securing together different pieces of the magnum opus they support

A Shopper's Guide to Buying: Cable Ties

Most link ties are plastic with fastened closes that let you fix them so much or as little as you need. You can join names to them with the comparing name of the item or gadget the link goes to, or you can basically lessen your strings into packs to make them more sensible. A common link tie has eighteen pounds of solidarity, enough for standard links, and they zip together, after which you can pare them down.

These kinds of ties for tying link require no devices except for your hands to sort out your links as you would prefer. They are normally sold in groups at an extremely minimal expense, so you can purchase as the need might arise. Arrangements and limits from your number one web-based retailer will assist you with concluding which brand is best for you, and will assist you with getting the most minimal cost.

Individuals have a wide range of links in a commonplace arrangement. You could have at least one links for your link or satellite, at least three links for each computer game control center, and a few links for your collector and encompass sound arrangement and at least two arrangements of links for every video screen, DVD or Blu-beam player. A large number of these will likely go into a plug extension or flood defender also. Naming these links and batching them together such that checks out is likely your smartest option in keeping up with the disorder.

A link tie or a whole arrangement of them is valuable to the extent that you have a need to coordinate or rearrange your living space, especially your lounge or room, or elsewhere that requires uniting your electronic stuff and gear. Past this, they can be utilized for a plenty of other family purposes. They are made to hold things together and out of your way, making them helpful for getting books and magazines or causing minor improvised fixes on things that to have broken in two

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