#sam feder

[limon-rat]

WHY DID NONE OF YOU TELL ME NOAH DROPPED HIS NEW COLLAB A FEW DAYS AGO

[wttnblog]

5 Documentaries To Watch This LGBTQ+ History Month

It’s LGBTQ+ History Month in the United States, and so I want to share some of my favorite queer documentaries with you all. Queer people are more likely to have to find their own roots—the majority of us grew up with straight parents and surrounded by straight community. Our queer culture is still a part of us, though, and connecting with older queer people as well as watching movies and reading…

[mad-prophet-of-the-airwaves]

Disclosure: Trans Lives on Screen (2020, Sam Feder, USA)

[bugcowboyart]

Me, Delusional: draws a future where Estevez gets her tour t-shirt (and her ex-wife back) and Casey is just cool and normal

[aquarines]

he looks so soft here

[fozzieosbourne]

The Remedyverse but its Text Posts that I Saved on my Phone (pt. 2)

[heliotrope155]

Another TFW missed opportunity would be getting together with the Ghostfacers to release a video apologizing for the Apocalypse and breaking down what to expect (featuring: Sam and Dean being very passive aggressive with each other while Castiel looks like he's in the Ninth circle of hell answering questions).

[collegetennisoriginstory]

What I imagine a Sam or Tobin or Rayyan doubles partner dynamic to look like, using Nadal x Federer source images because I love them and was procrastinating at work.

Sam x MC

Tobin x MC

Rayyan x MC

[squashberri-art]

Nothing going on here just some dudes have a good ol’ chat you know them aahhaha ha hah

[ru-draws]

A Horror Story

—

Guess what game I’m playing; 13 years, baby, let’s gooooo

Happy Halloween

from the Dark Place 🎃

[samkuchingdraws]

Saving Dylan 1600 × 1920 SketchBook

Finished me first playthrough of Remedy's CONTROL. The game is an absolute trip, and really enjoyed the atmosphere!

Can't wait to see what's coming up for CONTROL 2.

[falloutcoys]

I have a lot of problems with my work and it stresses me out but I will say there's nothing nicer than seeing someone panicking because a loved one is having an issue and suddenly their responsibilities have doubled, tripled, and they are navigating a system that is needlessly obtuse and they've probably never butted up against

and being able to go "here. I know what to do. I can help with this and ease your load just a little"

[chriscdcase95]

Unlife is Strange chapter twenty four “April Showers”

This is yet another example of me having to split chapters due to how lengthy it was, but a lot was happening in these chapters and story that I felt it necessary. We pick up were the last left off, with Rachel discovering our favorite teacher is in “Protective Custody”.

 As a result of the split, this chapter ended up being a lot more action orientated than I intended it to be. Though most of it is just hyping up Rachel finally going after Jefferson and finding out he’s on the loose. 

This also ended up being pretty Lyla focused, as Rachel and Daniel pulled her into the fray in the previous chapter.

There was a lot more I wanted to include here, including; Sean attending a hearing after surviving North Bend; what Reid and Ashbury have been up do in their absence; catching up with Vampire!Nathan; a Steph and Chloe reunion; a visit to Haven Springs with Alex being pulled into the fray...and Jefferson being forced to face his vampiric grooming victim.

Also, with Double Exposure around the corner, you may be wondering if it will be included in this story/“verse” like True Colors was before it. We kinda get our answer in this chapter, but it’s pretty brief so I thought I’d share the excerpt that addresses it.

And finally, Content warning: This chapter includes vampire violence, gun violence and police brutality for all intents and purposes; including children being harmed. As well as nudity a brief sex scene between Sean and Cassidy - probably the second WLM smut I’ve written in my stories. 

This chapter and the next will also feature Mark Jefferson, and brief flashbacks of Rachel’s mortal death...and more violence.

Also, I have begun writing the first chapter of Screaming Until Dawn.

[thecurioustale]

(Re)introducing the Author

I have two main series: a fantasy series called The Curious Tale and a sci-fi series called Galaxy Federal.

For those who are newer here, or wouldn't mind a refresher, here's a little about me and the kind of stories I write:

My name is Josh, pronouns they/he. (I am agender but I don't get upset if you gender me masculine; I do it myself sometimes out of force of habit.) I am 41 years old and live in Washington State not far from Seattle, in the beautiful but troubled United States. I am left-handed, hence my proudest epithet, The Sinistral, and I have been a writer for basically my entire life—even as a kid!

I published my first and so far only novel in 2015, Prelude to After The Hero, which you can currently buy as an e-book or read for free in HTML. Additionally, I have published countless worldbuilding articles and meta-discussions of my fiction over the years (see my previous post about Curious Tale Saturdays), and countless nonfiction essays and personal musings on my personal journal, which in more recent years I have updated much less frequently (but am still active on).

As an author I mostly write stories about "power" and "beauty." I'll have more to say about my specific stories over the next couple days when I do corresponding (re)introduction posts for The Curious Tale and Galaxy Federal, but the bottom line is that I am very interested in human potential, both at the individual and collective levels, and in the beauty of being alive and experiencing "the world," i.e. our material reality and our own headspaces within it. Other topics that interest me and frequently show up in my writing include justice, creation (both the acts and products of creating), civilization, Illumination (what many would call wisdom or "enlightenment"), ambition and desire, animism, and the poignance of the fleeting nature of all things.

I am fascinated by liminality and subliminality; boundaries; vast indoor spaces; megastructures; mysteriousness; "the magical"; surrealism; absurdism; nostalgia; pathos; journeys that do not involve backtracking; and other such things as generally might describe a vast world with hazy horizons lit in twilight. I also strive in my writing (less successfully, I fear) to convey a sense of mystery and wonder.

At the same time, I am also fascinated by human emotionality and subjective experience; personal relationships; the human condition and the human psyche; and narrative life arcs. Some who know me through my nonfiction or by talking to me in person have been surprised to see how passionate and emotional my fiction is.

My writing style tends to be long-winded and self-indulgent; deliberate and precise; esoteric and bespoke. I usually set a slow pace, and seldom indeed will I resort to cheap action or thrills. Most of my fiction is either long-form play-by-play scenes in high resolution, or Tolkienian epic narration far removed from the ground level.

With certain exceptions for key locations, I usually don't reuse a given location in a story; the locations are usually new from scene to scene, and thus there is a lot of environmental description throughout the whole length of my works and not just at the beginning. This creates a certain quality, where everything is always new, that I find engrossing.

In terms of the three most popular conventions, political intrigue, violence, and sex and romance: My writing mostly rejects the treacherous political intrigue genre conventions that are so prevalent in sci-fi and fantasy today, even though "politics" is definitely an integral part of my writing (and I am not shy about sharing my opinions, though I try to do so through specific characters rather than on narratorial authority). When it comes to violence, there is a lot of death and killing and suffering in my work, but I am not a big fan of writing extremely graphic violence and torture, mainly because I don't have the heart to dwell on it in great detail most of the time. (It's very draining for me.) And on the sex side of things, I eschew tacked-on romantic subplots and in general I would say that there's too much damned snogging in our contemporary storytelling, but I definitely do explore and depict matters of love and sex in my work in my own way—though not at a very high frequency, and, I would like to hope, never gratuitously. (Unless the gratuitousness is a tongue-in-cheek joke that we're all in on—which can be said of many other aspects of my writing as well.) I never write explicit, graphic sex scenes, although I do sometimes write sex scenes.

Which reminds me: My stories tend to have a lot of "competency porn" in them; my characters are usually intelligent, thoughtful, and logical. Ignorance and luck are not big plot story drivers for me, generally.

My favored characters tend to be some combination of fat, left-handed, and female; and, of them, my central protagonists additionally tend to be extremely powerful, demigodlike individuals who are able to operate within their respective domains virtually without limitation. In critical respects my characters are only vaguely-defined; I usually avoid character archetype trope reinforcement, so my characters are ideally as internally diverse as real-world humans are...which means you can't actually know them right away. And that opens the door for you to project your own personality ideas onto them. Which...I suppose is a feature?

I have a cinematic mind, and I think my stories are best appreciated with a strong visual imagination. I try not to smother readers with too many unnecessary details, though I confess I am only partially successful at this and often find myself hanging on every word of my lengthy environmental descriptions. I think some of my most satisfied readers are those who enjoy digesting these elaborate visuals as a reward unto itself.

I am a big believer in the idea that obvious story setups should have payoffs, that narrative arcs should eventually be resolved, and that plots and subplots should be be highly interconnected. I am chiefly theme-driven in my writing, as opposed to character-driven or plot-driven, and oftentimes the central purpose of a given scene will be to express one particular idea (or more than one)—either a conceptual idea, or a specific moment in the story. If you read the Prelude and remember Silence's introduction, I wrote that entire scene just to be able to describe the image of Silence in silhouette standing against the evening sky, and her powerful, predator-like movement as she turns around.

Add it all up, and my stories are definitely out of the norm for today's fashions and quite possibly for any fashion in history. They are slow and heavy and long. Their vastness belies their thrilling internal intricacies and shapes. The characters are highly realistic. The plots tend to feel emergent and organic. Or at least I think so. I am very much "writing the stories I want to see."

My stories tend to be incredibly long. Like...just know that going in. There are many sources for "tight," "fast" writing in the world. I am not one of them.

Oh, one more thing: There are various types of representation that are important to me and which I don't see the current state of sci-fi and fantasy storytelling doing a good job of delivering, so I explicitly lean into that, on top of my natural proclivity to write these kinds of characters anyway. So, if you're ever reading a scene and you find that the demographics of the people in it are noticeably unusual for contemporary American fiction, that's why.

More about me as a person: When not writing, I am a fan of sunsets, sunrises, and twilight; clouds and water; saying "Merciful McGillicuddy!" a lot while sighing loudly; solving Wordle; trying mostly in vain to gain weight; and being a curious information sponge.

[synthsays]

Another (very sad) BttF AU:

⚠ TW: Unreality, Hallucinations ⚠

Inspired by @brinkle-brackle "Blue Hour" fic

Doc and Marty became friends bc Marty broke into Doc's lab. But what if Marty never broke into his lab in the first place, what if Marty was never really there?

So, Doc had been alone for a lot of his life, right? And that probably wouldn't make him the happiest (nor most sane) guy in the world. If this AU takes place before the events of the film, and if it's more in Doc POV instead of Marty's; I think it would be possible that Doc could've hallucinated Marty. I read that the reason Doc and Marty became friends is bc Doc was impressed that Marty had gotten past all the traps he set up in this lab. But if Marty wasn't real, there wouldn't be a need to get past them. Assuming Doc wasn't doing the best around the time Marty appeared, Doc "meeting" Marty changed his life. And since Doc doesn't majorly interact with anyone else besides Marty, there wouldn't be anyone to tell him Marty's not real.

I apologize for making another sad angst AU <:]

[abbey-rae]

Erik knows damn well what he’s doing leaving Milo and Sam till last in the HBS lineup😭😭

I am such an impatient little bitch, I need to hear from my emotional support characters NOW!