#text snippets very essential to the experience. TO ME.

[jichanxo]

got way too excited about writing a kiss scene for sensei fic that I uhhhhhh drew it too.

[period-dramallama]

Things what I have learned

Now that my first novel is done, I'm reflecting on what I learned in the last 2-3 years. Tagging @theladyelizabeth @boleynqueenes @annabolinas because they are the fic writers that spring to mind.

Don’t try and write in one document because you can’t do it.

You just can’t. It’s too long. The document will get unwieldy very quickly. You don’t have to have a new doc for every chapter but please. Chunk. Make it easy to find scenes again without having to wade through pages and pages and dozens of keyword search results.

Highlight placeholder text so your eye doesn’t skip over it upon rereads.

I speak from painful experience here.

Start with a timeline of all the events

You are never going to remember every single little thing that is happening. You cannot memorise the order everything happens because things change on a daily or even hourly basis. Who died first on 17 November? Mary or Pole? Don’t force yourself to remember. WRITE IT DOWN. “Oh I’ll just compile my notes on that event when I come to it” NO. Start with the foundations. Otherwise you’ll be talking about the Pope and be like “SHIT I forgot about the Sack of Rome and him being the emperor’s prisoner because I was busy writing Henry’s intense tennis match”.

Organise your FUCKING notes

“I don’t need to organise my notes because I won’t be citing anything”. FOOL. Fool fool fool fool fool. That’s the Devil talking.

Events can be organised by the aforementioned timeline. It doesn’t matter if the timeline is excessively detailed because you can always remove irrelevant facts as you write the story. Information about people goes in the character profiles: appearance, character traits, favourite food, favourite books, etc. you never know when these little personal details may get mentioned. I also organise by location: information on church interiors, London, Rome, Hampton Court, Greenwich, the Mary Rose. And by theme: War, Trade, Proverbs, Catholicism, Protestantism, Agriculture, Disease.

Also organise your literal notes. I wrote snippets of dialogue on the backs of receipts. Worse. Down the sides of receipts. The FRONT of receipts. Take time to move notes from your phone to your computer.

Bibliography as you go along

It just saves time. And it’s nice to watch the list get longer.

Write a summary as you go along

Having to summarise at the end is just too daunting because either you worry you missed something out or you have to read the whole thing over again. Whereas if you write a detailed summary as you go along, adjusting it as you change things, it helps you to keep track of your plot beats and what’s happened so far AND for your final summary, you boil down your detailed summary to its essentials, which is easier than writing from scratch, if you ask me.

[gamebunny-advance]

Misc. Pikmin 4 Thoughts

Heavy spoilers for the entire game ahead.

There's kind of a lot, so I split them into categories.

Character Thoughts

While I still don't consider any individual member of the rescue corps to be particularly deep or interesting, I still hold the opinion that I like them more than the Pikmin 3 Koppaites because at least most of these guys are multi-faceted. I've said before that it's easy to imagine them all around a campfire sharing stories, and that is basically what happens at the end of every day once you've collected the majority of the corps. Most of these snippets are at the very least amusing, and it's cute seeing (er... reading) them interact with each other beyond their current mission.

That said, I did wind up liking Shepherd less than I would have hoped, since she never really escapes her role of basically being Charlie 2.0. I still like her more than Charlie, but I can't in good conscience put her into an "S-tier" on my favorite characters list. She makes the B-tier at best~

Yonny really grew on me once I found him, but he doesn't have many interactions with the other corps that don't amount to him experimenting on them without their consent. I do find him enjoying the horrors of the night to be endearing, but like the other characters, I do wish there was just a *little* more to him, so he still ranks below Shepherd.

Bernard is a funny little guy, but I don't know how seriously we're supposed to take what he says. I know that's the joke, but it makes him just a tad enigmatic, which is a hit or miss character trait for me. What's funniest about him is that there's a castaway that is just absolutely traumatized by him, and it's hilarious.

I hate Dingo. Me and my homies hate Dingo (joking). I dunno, I usually don't find these kinds of asshole types to be that endearing. You have to have a TON of charisma to counterbalance being an asshole, and Dingo just doesn't have it. I did try failing a dandori battle once on an alt save file just to see what he actually does, and it's a little amusing, but not enough to make me really like him.

While I'm on the topic, a lot of these characters are really apologetic about their asshole peers. Almost every rescue corp member asks you to forgive Dingo for being "rough around the edges." I suspect because when push comes to shove, he actually gets sh*t done, so they just put up with it otherwise. Then there's Olimar who despite everything he's witnessed still apologizes for Louie and believes that he's got a "good heart" deep down. I'll just say that most of these characters have a lot more patience than I would have for those guys.

The rest of the corps I'm kinda neutral about. I would have liked Collin more if he didn't stop to wonder about the crashed Dolphin every time I walked even remotely close to it. But besides that, he's kinda just a straight man to everyone else's antics, which is another hit or miss character trait for me. I like him more than not, and I appreciate him being a more mature character than Alph, but he's just kinda the normal guy in a cast of weirdos.

Russ also doesn't bring much to the table by himself since almost all of his dialogue is essentially tutorial text about his gadgets, but hearing about how lavish and doting his family can be is still pretty funny. There's also a castaway that apparently has a crush on him, which is kinda outta nowhere, but it's cute.

The other castaways are just kinda there. There are some funny ones, and it's surprising how many of them have relationships with one another and even to some of the rescue officers, but the most interesting ones to me are the ones that help fill out the world. The Pikmin universe is really expansive, and I wonder if this is set up for Nintento to possibly start taking the Pikmin adventures off of PNF-404 and to some of these new worlds.

Theory Crafting

I find the implications of the Shepherd family diaries to be very interesting. While I think it's pretty clear that in this new continuity, Earth isn't post-apocalyptic (or has already fully recovered from an apocalypse), I think that the diaries imply that at least that family likely originated from Earth, from how they apparently settled on a new planet and stories about Earth (referred to as "the blue planet") has been passed down through the generations. Further, supporting that theory is the fact that her home planet is named "Giya," which is likely a corruption of "Gaia," the personification of the Earth. They may not be direct descendants from humans, but they could be.

It's explicitly stated that Oatchi and Moss are descendants of the Ancient Sirehound, and that the space dog as we know it just got smaller over time. Although the Sirehound is not a "normal" dog by any means, it's still implied that PNF-404 is Earth in the far-flung future, so the evolution of its many species still could have changed significantly.

We know that Shepherd's family took their dogs with them when they migrated, so if dogs had already evolved/been bred to be like the Sirehound by that point, and the aliens started the same size as humans, then it's not a stretch to imagine that they evolved alongside each other and got smaller to adapt to their new environments. After all, large quantities of oxygen are poisonous to all the little aliens, but it's theorized that an abundance of oxygen is what lead to all the giant bugs and animals that existed on early Earth. So if the old Earthlings eventually adapted to not need so much oxygen, then they may have begun shrinking to compensate. Granted, I don't think just 7,000 years (assuming each generation of Shepherd is roughly 70 years) is enough to see changes as big as that, but this is still a science fantasy story, so we can forgive that kind of inaccuracy.

Still, I suppose that wouldn't explain why Moss is small if she was born and raised on PNF-404, unless both sizes of dog existed simultaneously before any kind of migration. The presence of the Sage Leafling implies that either the castaways are NOT the first little aliens to crash on the planet, OR that the little aliens and their dogs already lived on Earth and developed the leaves either naturally or by becoming hosts to the pikmin parasite. It's hard to say either way since the well-spokeness of the Sage Leafling can only imply that they had a strong will like Olimar, not necessarily that they were born that way like Moss.

I'm still trying to figure out what the other planets are named after. While the player's home planet is obviously supposed to be a corruption of the word "carrot" to allude to the pikmin and their resemblance to carrots, the others seem totally random. I did eventually parse that "Ohri" is likely based on "Orion," the constellation, as its people are referred to as "Ohrians," but I'm not sure about the rest. A lot of them might be named after words/places in Japan just like Hocotate and Koppai before them, but with my limited cultural knowledge, it's hard to say.

Random Thoughts

It's interesting to me that now that "wife bad" jokes are considered distasteful, a lot of Olimar's comments on certain treasures have been rewritten to be more positive towards his wife. I don't think it's a bad change, but he went from having some serious marital discourse to having the biggest hard-on I've ever seen. I guess Nintendo decided that they didn't want the main character of what is becoming a flagship franchise for them being borderline misogynistic.

Speaking of retcons, of all the things to change about his character, him going from finding a rubber duck absolutely horrifying to completely enamored with them is certainly a choice.

[zonerz]

Answers Update

OKAY IK THIS IS A TEXT BLOCK BUT DONT PANIC! We are good JKSDKJL

So it’s been about a month since the last chapter update, my b 💀🙏BUT I have good reasons, and I realized that while I mentioned it in an A/N on the fic itself, I probably have people following me here who haven’t seen that 😭👍Better late than never tho! Putting it under a cut bc it’s a bit long my bad

I’ve had a good chunk of chapter 39 completed since I uploaded 38, but as I was writing and reviewing my stuff to ensure consistency and such, erm, well 😭I’ve hit a point where the problems I’ve had on the backburner are no longer avoidable. Additionally, by nature of how long I’ve been working on this story (4.5 years mama mia 💀💀💀) I’ve had time to think about and enhance some #Lore 😳!

Reflecting on all of this, I really think that in order for the upcoming bits to be at their best and most impactful, I need to revisit the much older chapters and make some revisions. Which I know can sound beyond frustrating, but I would rather do this and make the whole experience much more consistent and satisfying than shoehorn in a bunch of stuff late-game and feel like a rugpull yk???

The main thing that pushed me over the edge is Hiro because the track that I’ve been on regarding his background/power set up is gonna lead me into an unsatisfying and unfun corner, and that’s not what I want. So I’ve been rattling that man around for months tryna figure smth out AND I FINALLY GOT IT! His character and personality won’t be changing so no worries there! Nor will introductions or roles, but I’ve finally got something set up to explain his powers a lot more reasonably as well as being able to have a bit more classic HB callbacks :]

Essentially I’m gonna do what I did in 2021 where I have a little laundry list of things to tweak and add so that the story is at it’s best! My writing abilities have definitely improved and grown since I first started writing this fic, so I’m finally able to add or depict things I simply didn’t have the skill level for before which is SOOOOO SATISFYING !!!

Currently all chapters up to chapter 14 have been updated with new action sequences, conversations, and grammatical/pacing issues resolved to be much closer to how I always intended for them to be--also some fun little 1.20 snippets that just fit in a way I’ve always wanted! Those cherry trees were too good to not mention 💖

When I’m done I’ll be uploading the real chapter 39 in the place of the A/N one and will denote which chapters got the most notable changes :> They’ll mostly be the ones from about 8-15 I’d say tho solely because of Hiro 😭 Love that bastard but he has been a MIGRAINE to sort out for YEARS

Anyways that’s all I’ve got 😭🙏Thank you guys sm for reading and for your patience and apologies for the change-up, but I do think this is a good thing to do for the health of the story even if it takes a lot of extra effort and time. It’s worth doing. Very funny to feel like I’m adding patch notes to a fic tho KLJSJKLDJ Answers HD 1.5 Remix moment

anyways ty and have a good one !!!

[slightlyrebelliouswriter23]

Writing smut without cringing the whole time? How do you do it.

Writing Smut 101: Overcoming Smut Shame

CONTENT WARNING: NSFW RELATED CONTENT BELOW.

The short answer, nonnie, is: you don’t. 

That is to say, writing smut is always kind of cringe—especially if you’re new to it, or simply “not in the mood” to write. 

But rest assured, feeling embarrassed is completely natural. The trick is learning how to overcome the cringe when it does happen, instead of letting it deter you.

I’m going to break this up into a few sections: 1) Why you might be feeling this way, 2) How I, personally, combat the issue, and 3) Some more tips that might help you get the ball rolling.

1. Why You “Cringe”

It’s important to find the root cause of any form of writer’s block so you can pull the weed out instead of just trimming it back. Smut writer’s block is its own special brand, and generally, the main issue writers have when it comes to smut is stigma.

Speaking openly and honestly about sex, in Western society, is still very much a taboo.

No matter how “progressive” we like to think we are, the inherent shame surrounding pleasure-seeking experiences, and the detailing/consumption of them, has been ground into us since we learned how to understand the concept of gratification.

And I’m not just talking about sexual gratification. This applies to everyday things, as well. Eating, shopping, relaxing (or doing virtually anything in capitalist society that does not directly contribute to capitalism).

So it makes sense that you would feel any amount of embarrassment, awkwardness, or “cringe” when writing smut. It’s something our society teaches us is wrong to want. Unfortunately, that shame translates to writer’s block when we sit down in front of the computer.

A lot of this blockage might stem from not giving ourselves permission to write the thing.

We’re staring at the blank document, knowing we want to write smut, and suddenly the thoughts start streaming in: This feels wrong, is this wrong? What if someone comes in and looks over my shoulder while I’m writing? Am I describing this right? Is this too unrealistic? I have NO idea what I’m doing, and everyone is going to know it.

These are all perfectly normal thoughts, and definitely ones I still have from time to time. But they’re also probably the direct cause of why you feel so blocked. Luckily, I have some bits of advice to give you on how to unblock yourself.

2. How I Combat Smut Block

✦ First, when the intrusive thoughts occur, instead of ruminating on them, think of each one as an impermanent object. You can use any metaphor, but I like to use the imagery of leaves:

Each negative thought is a leaf floating down the river of your mind. If you focus only on the leaf, you’ll exert a lot of energy running to try and keep up with it, consequently miss everything else around you. But if you acknowledge that leaf as a temporary part of the scenery, and let is pass, you can process and appreciate the beauty of your surroundings a whole lot better.

Remember: you are separate from your thoughts. You are not defined by them. The things you think sound stupid might be incredibly exciting to someone else. 

If you can string a sentence together, you can write smut. This is all part of giving yourself permission to write the thing that makes you feel uncomfortable.

✦ Second, I’d suggest giving good thought to how you personally experience embarrassment, how you experience excitement (of the sexual variety), and how those two might sometimes commingle or feel similar.

For me, they are very comparable, like different shades of the same emotion—but there are differences which are important to note. 

If I’m making myself blush from excitement, this is a very good thing for writing smut. It means that what I’m writing feels real enough to evoke something in the reader, even if the reader, like me, knows what’s going to happen.

If I’m making myself cringe, however, it may be time to take a step back and readjust my perspective.

✦ Third, ease yourself into it! Don’t jump straight in the deep end and expect to know how to keep your head above water if you’ve never swum before.

The way I eased myself into smut was first by writing “Steam”—a category of fic I made up because the current vocabulary lacked an efficient term for fics that straddled emotional romance and explicit content. 

Essentially, steam is smut-adjacent but not explicit, and here’s a step-by-step example of how I transitioned myself smoothly from one genre to the next:

I first wrote my fics Wicked Game and You Are (both of which feature either a heavy make out session or teasing + lots of sexual tension) with this “steam” concept in mind.

I wrote the first chapter of Fine Line, which has brief but explicit descriptions of fantasies, framed by a very sexually charged scene.

I released my fic Crashing, which is probably more of a bridge between Steam and Smut, and features soft-focus fingering. Nothing in it is explicit—it focuses more on the emotions than explicit detail—but it’s very clear what is happening.

After I wrote those, I felt just confident enough to make that final stride over the threshold into smut. I wrote my fics Holy, King, and the second chapter of Fine Line all within weeks of each other.

And trust me when I say, once you get the momentum going and receive that validation from people who’ve read your work, it becomes SO much easier to sit down and start writing. 

You just have to finish that first piece.

✦ Finally (and I know I’m going to sound cliche when I say this), just like any other skill, the more you practice the more confident you will feel and the better you will get. 

So practice, practice, practice! 

If you’re nervous about posting smut for the first time, have a trusted friend/mutual Beta read it for you. It’s the online equivalent to someone holding your hand before jumping off the cliff, and works wonders for the nerves.

3. Keep The Smut Rolling

Now that you have some tools to help get you past the blockage of writing smut, here’s how to keep the inspiration flowing.

✦ Start by incorporating smutty fanfiction/erotic fiction into your regular reading rotation- 

Of course AO3 is a fantastic resource for smutty fanfiction. 

If you’re a fan of TFOTA or ACOTAR and want some of my personal fic recs, visit my fic rec masterlist.

In terms of erotic fiction, my personal favourites are anything Anais Nin (specifically Henry & June and Delta of Venus), The Thornchapel series by Sierra Simone, The Godwicks series by Tiffany Reisz, and The Original Sinners series by Tiffany Reisz.

There are also sites like Literotica and sexstories.com, which play host to explicit short fiction (not fandom based).

✦ Next, I’d recommend having a designated digital space for smutspiration- 

This can be a list of “smutty” words/phrases kept on a separate document on your computer, for those days when you just can’t think of the right way to describe something. 

Or you can create a private side-blog or Pinterest board for your favourite smutty fanart or other kinds of visual smutspiration.

✦ For that matter, try following some smutty/18+ blogs (ONLY IF YOU’RE 18+) here on Tumblr-

Many of them have a plethora of what I like to call “lemony snippets”, a.k.a. short text posts that describe (usually in conversational language) explicit scenarios. 

This is useful because it will normalise the concept of sexual fantasies in your brain, making it less weird for you when you try to come up with ones of your own to write into smut. 

Not to mention, your dash will be rife with inspiration.

✦ I would also suggest checking out 18+ ASMR on YouTube (AGAIN, ONLY IF YOU’RE 18+). 

My favourite account is Professor Cal Official, but Auralescent also has some good content. 

Headphones are highly advisable for this, as their stuff is very dangerous for work.

So, nonnie, I hope this has provided you with at least one helpful tip. Whether you took anything away from this or not, just know that the feelings of embarrassment when it comes to writing smut are entirely normal. And the best way to keep those feelings at bay is to confront them head on. 

-Em 🖤🗡

Writing Advice Masterlist

Writing Masterlist

2K Celebration!

[taylorswifthongkong]

Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic?

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past?

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? 

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? 

Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”?

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? 

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks?

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? 

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that?

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you?

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again.

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

[wildwren]

1, 7, 17, 28, 36 and you DO have to answer all of them (only if you want xoxo)

1.Which of your fics would you keep the basic plot of but rewrite completely?

Hmmm….probably Fate’s Lady. I mean I would never re-write that because it’s a monster, but if I could rewrite it by like, going to sleep one night and waking up and having it be how I imagined then yes. It’s just one of my older fics and there are lots of things I dislike when I go back and read it. BUT, I essentially wrote a 110k historical novel (yes, it's fic but it's very “reverse file the serial numbers off”) and I’m still super proud of that. 

7. Your favourite ao3 tag.

I’m not sure how to interpret this, so I’m going to go with my favorite tag that I’ve put on my own work. I worked really hard on the tags for Pamphlets so I’ll go with: “2 dudes talking about wanking for at least 5000 words.”

(Honorable mention for Noise Control: “roy puts the chronic inflammation and poor night vision back into daddy” because…..like…he does) 

17. Past or present tense? Why?

Ooooooo tough one! I’ve been writing a lot in present tense lately and have been really enjoying it. I also use past tense, often for historical settings, but not always. I like the immediacy of present tense, but I also enjoy playing with quirks of voice you can get with past. In my current historical AU, I’m experimenting with a blend, so the POV will shift at the end into present tense. It’ll probably just be pretentious and nonsensical but it’s a fun experiment. 

28. Any writing advice that works for you and you feel like sharing?

OOOOO (I say to every ask). I’m not super good at outlining, so I’ll often just start several scenes in the same document with little snippets of dialogue or descriptions that have come to me. Then I can rotate through each of the different “points” in the narrative and just slowly add on. When I get stuck at one part, I jump to another. The story develops like a slowly accruing snowball. Sometimes I have to go back in and re-edit transitions or re-frame sections that aren’t working, but in general I can get a full concept sketched out pretty quickly. Also the art of continuing to move. Just throw in a question mark if you have to. Some brackets. Leave the sentence ugly. You WILL be able to make it better when you come back around. Keep the momentum going. 

36. How do you come up with fic titles? What’s the one you’re most proud of?

O God lolol. I mostly just use phrases that are referenced in the text. Some metaphor someone evoked during dialogue. An object that was an important part of a scene. I generally like shorter titles. Sometimes I use lyrics or lines that I like from other stories. I will continue to shout out Pamphlets and say that might be my favorite title. It’s just so simple, so nondescript, so ominous, so central to the story’s arc. It’s got it all. 

[stranger-who-writes-fiction]

Back at it again with my self-indulgent comic posts. This time! It’s Supergirl: Woman of Tomorrow #3, perhaps the most tonally-distinct entry yet, with shades of The Twilight Zone. 

Spoilers!

So, as mentioned, this issue is the most deliberate in terms of both its pacing and its tone, IMO.

What is that tone, you ask?

To quote Alex Danvers, from “Midvale”: Hello, darkness.

THE STORY:

Kara and Ruthye are still looking for Krem Clues in the alien town of Maypole.

(Which is actually just Small Town, USA, complete with vintage 50s aesthetics.)

But the locals are clearly hiding something! So Kara and Ruthye continue to investigate, and they eventually discover what it was that the residents of Maypole were so keen to keep hidden. 

Genocide, basically. 

As I said, this issue struck me as very Twilight Zone; a genre story involving the build-up to a dark twist, all set against the backdrop of an idyllic small town. (Think, like, “The Monsters are Due on Maple Street” but instead of focusing on the Red Scare, it’s classism and racism.)

The wealthier blue aliens kicked all of the purple aliens out of town, and when space pirates showed up to pillage and plunder, the blue aliens made a deal with them: the lives of the purple aliens in exchange for their safety.  

Which is where the episodic story connects to the larger mission; it was Krem who suggested the trade, and then joined up with the Brigands (space pirates) when he was freed by the blue aliens.

The issue ends with no tidy resolution to the terrible things Kara and Ruthye discovered, but they do have a lead on where to find Krem, now, as well as Barbond’s Brigands.

KARA-CTERIZATION:

Ironically, it’s here, in the darkest chapter yet, that we get the closest to what might be considered ‘classic’ Kara. 

Which I think comes down to that aforementioned deliberate pace--this issue is a little slower, a little quieter. It gives the characters some room to breathe.

That’s not to say Crusty Kara is gone. Oh no. She is still very much Crusty. XD 

But anyways. A list! Of Kara moments I loved!

I mentioned a few of these in a prior post when the preview pages came out: I like the moment where Kara blows down the guy’s house of cards, and I like that the action is echoed later in the issue when she grabs the mayor’s desk and tosses it aside. A nice visual representation of the escalation of Kara being, like. Done with these creeps. (Creeps is an understatement but you get the idea.)

Another one from the preview pages: Kara explains to Ruthye that her super hearing won’t necessarily help her detect a lie, especially if she’s dealing with an alien species she’s not familiar with.

It not only reveals her level of competence and understanding of her super powers, it also shows that, you know. She’s a thinker. She’s smart. 

Amazing! Showing, rather than telling us, that Kara is smart! Without mentioning the science guild at all wow hey wow.

(Sorry, pointed criticism of the SG show fandom.)

Anyways.

I dig the PJs! 

And Kara catching the bullet! Not only are the poses and character acting great, it’s also a neat bit of panel composition:

We start with Ruthye’s POV, and then move to the wide shot of the room. The panel where Kara actually catches the bullet is down and to the side of the wide shot panel--we move our eyes the way her body/arm would have to move to intercept the bullet. Physicality in static, 2D images!

Also, like. It’s a very tense moment, life-or-death, but. Ruthye’s wide-eyed surprise at the bullet in Kara’s hand? Kind of adorable. 

I was pretty much prepared for the page of Kara shielding Ruthye from the gunfire to be the highlight--it was one of the first pages King shared and I was like, ‘yeah, YEAH.’ But, shockingly? The TRUE highlight of the issue?

Where do I BEGIN?!?!

EVERYTHING. About this moment. Is lovely.

From Kara holding Ruthye above the bench to explaining the concept of a piggyback ride, to telling her:

“I’m going to hold my hands here, and these hands can turn coal into diamonds, so they’re not going to let go. I’m going to keep you safe.”

HNNNNNNNNNNNG.

Ruthye’s narration--about how Kara had avoided flying as she was concerned it would freak Ruthye out--just adds a whole additional layer of YES, GOOD, YES, and her line on that splash page is great: “You see, all that time, she was worried about me.”

HNNNNNNNNNNNG. AGAIN.

To say nothing of the STELLAR ARTWORK.

And SPEAKING of that stellar artwork, Evely and Lopes continue to knock it out of the park. Each issue is distinct and beautifully crafted, a true joy to look at.

Before I jump into more of the art, a few final notes of character stuff in general.

Ruthye is the one most affected by the experience in Maypole, as she can’t comprehend how a society of people that look so nice and gentle and peaceful could have been party to such a horrible act.

One of the big criticisms of the book thus far is that Supergirl is not the main character, and I guess I can agree with that observation. Typically, in Western media, the main character is the one who goes through the most change in the story. 

And, yeah. That’s Ruthye.

As I was reading the end, where Ruthye sits on the curb and Kara hugs her, I was imagining how the scene would’ve played, had King stuck with the original idea for the series: Kara as the one learning to be tough/experiencing all of this for the first time, and while I think that could certainly work...

I continue to appreciate that King literally flipped the script; that Kara, especially in this issue, is like, ‘I’ve seen this, I know this,’ as opposed to being the one going through a loss of innocence.

*Marge Simpson voice* I just think it’s neat!

Because Kara’s been a teen in DC comics for so long--ever since she was reintroduced to the main DCU continuity, actually--so this is all brand new territory, here. Having an older Kara who’s SEEN SOME STUFF.

(Alsoooooo, since Bendis made the destruction of Krypton not just inaction and climate disaster, but rather, genocide, and the subtext of a Kryptonian diaspora text, the waitress’ derogatory comment regarding the the destruction of Kryton, as well as Kara picking up the bad vibes the entire time, suggests not just a broad commentary on discrimination in all its forms, but specifically allegorical anti-Semitism. The purple aliens being forced out of their homes and into substandard living conditions, then the blue aliens--their neighbors and once-fellow residents--essentially allowing the space pirates to kill them, making them literal scapegoats, Kara discovering the remains of the purple aliens, and Ruthye’s horror at the ‘banality of evil’...yes. A case could be made, I think.) 

(Which would probably require a post unto itself and a lot more in-depth discussion, nuance, and cited sources.)

(Should mention that King has brought up that both he and Orlando--the other Supergirl writer he talked to--are Jewish, and for him personally, that shaped his views on Kara’s origin story.)

I guess my point is that this issue is perhaps not as out-of-left-field as some might think, and just because there isn’t as obvious an arc for Kara, doesn’t mean there isn’t some sharp character work at play. 

(I could be WAY OFF, of course, and I’m not suggesting it’s a clear 1:1 comparison. I’d actually really love to hear King talk about this issue in particular.)

Anyways.

Here’s the final page, which I think works, because as I mentioned before, there is no easy answer/quick wrap-up to the story of Maypole:

THE ART:

I mean. How many times can I just shout ‘ART! AAAARRRRRRRRRRRTTTT!’ before it gets old?

I dunno, but I guess we’re gonna FIND OUT.

There are some panels in this issue that I just. Like ‘em! From a purely artistic standpoint! Because they’re so good!

Like, I just really love the way Kara is drawn in that top panel. Her troubled, confused expression, the colors of the fading light, the HAIR. 

Evely draws the best hair. I know I’ve said this before. I don’t care. I will continue to say it, because it continues to be true.

The issue I find myself running up against when I make these posts is that I really don’t want to post whole pages, as that’s generally frowned upon (re: pirating etc.) but with something like this, you just can’t appreciate it in panel-by-panel snippets.

(Guided View on digital reading platforms is a BANE and a POX I say!)

Anyways.

LOVE the implied movement of the cape settling as Kara speeds in and stops. 

And, obviously, Kara flicking the bullet away is just. A+. 

And the EYES, man. LOPES’ COLORS ON THE EYES???!?! BEAUTIFUL.

Also, should note the lettering! The more rounded letters for the ‘WOOSH’ of Kara’s speed (and, earlier, the super breath) work nicely, and contrast with the angular, violent BLAMS of the gunshots. 

And, I gotta say, the editor is doing a really great job of not cluttering up the artwork with all the caption boxes. Which is no small task.

(I assume the editor is placing them, as editors usually handle word balloon/caption box placement, but I suppose it could be Evely? Sometimes the artist handles it. Either way, whoever’s taking care of all the text, EXCELLENT WORK! BRAVO!)

Okay I think that’s everything.

Ah, nope, wait.

MISC.

Just a funny observation, more than anything else: Superman: Red and Blue dropped this week, and King had a story in there, “The Special” (which was very good, btw.) Both Lois and the waitress swear a lot so I’m beginning to think that this is just how King writes dialogue for any adult character who isn’t Clark. XD

This is absolutely a personal preference but when Kara was like, “And my name IS Supergirl,” I was like nooooo. I know King is trying to simplify all of the conflicting origin stories and lore but I LIKE KARA DANVERS, SIR. XD

It’s almost assuredly a cash-grab/an attempt for DC to get all the money it can out of a book they don’t have much confidence in, but I like the cardstock covers! Very classy, much Strange Adventures.

(OH my gosh, can you imagine that issue 1 cover with spot gloss???? Basically the only way you could possibly improve on it.) 

Okay NOW I’m done. For real. XD NEXT TIME: Kara and Ruthye go after Krem and the Brigands!

[path-of-my-childhood]

Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

[phereinnike]

hey vero? that chimamanda essay thing you rbd comes from a (i think) post on her website that is essentially her doubling down on her transphobia, as a response to criticisms from a nigerian trans author. i don’t remember exactly where to source this, but i think if you go into the notes of the post itself there were people linking to that! 💖

First of all, thanks for letting me know! I can't say I'm familiar with her content beyond snippets much like this one I've encountered on here & instagram.

It was very easy to find the root of the transphobia comments (i didn't check the notes, just googled her name + transphobia) and I read a bit on what she said -when asked if trans women were real women, she replied they were trans women. and when confronted proceeded to explain that there are real, factual differences between women & trans women-.

I'd like to take this chance to say that this is a mistake I made myself several years ago -although not quite so badly, as trans women ARE real women-. What I did was rb a post that said that the cis-woman experience was marked by missoginy growing up in a way trans-woman experience isn't, as they're not usually socialized as women in childhood. And I was wrong! A friend pointed out how hurtful it was to read such a thing from me, and I reflected on the issue and reached the conclussion that even if the missoginy is not directly pointed at them if they're still passing/living as men, it's such a deeply rooted issue on our society that there's no escaping it. Even if they weren't socialized as women, they knew they were women, and saw how women were being socialized. This of course is a very logical conclussion that I would have reached sooner had I dedicated one ounce of a braincell to it before rebloguing said post. It was shitty of me not to actually think on the issue before rebloguing it, and my thoughtlessness hurt someone.

Of course although it's not comparable to an author with a platform and reach purposefully spreading those idiotic ideas, I wanted to take the chance to say that often in conversations on feminism it's very easy to get swayed by terf rethorics that look like harmless logical statements "oh cis women and trans women face common and different issues" but actually hide harmful ideas "women and trans women are separate groups". Things like this can be seen for example in Adichie's use of "women & trans women" instead of "cis women & trans women".

While I still agree with the text that is in the post I reblogued in it's isolated context, about how much of nowadays online behaviour is completely performative and does without criticial thinking, personal input, acknowledgement of different experiences & cultures, or even the basic politeness that would bridge a lot of issues... If these words are being used to push a transphobic rethoric, then they're a pathetic shield used to try to paint herself as the victim, and I do regret it if I played any part on spreading that wider message that was cropped from the post to leave it disconnected.

My last word on the piece is regarding "People who depend on obfuscation, who have no compassion for anybody genuinely curious or confused. Ask them a question and you are told that the answer is to repeat a mantra. Ask again for clarity and be accused of violence." Your confussion and curiosity, in a world in which information is so readily availiable, are your own to fucking deal with. How someone lives their lives or identifies as is no one's business in the first place, but it's certainly not their responsability to stand there while you poke questions at them as if they were a lab experiment. Inform your own opinion not by reading a fucking book, but by listening to the people whose experience you're curious about. And don't speak over them or explain their reality to them through your lense, much less if that lense is purely academic.

Your identities are valid no matter if people respect, acknowledge or even understand them. Acceptance is a myth. Trans women are women, and in today's society it doesn't go without saying.

[nellie-elizabeth]

Westworld: Genre (3x05)

Hey, so Animal Crossing has consumed my life the past couple of days now that I finally have a Switch... which is my way of saying that I was definitely playing it while I watched this episode and I may or may not have any freakin' idea what actually happened.

Cons:

Just looking at the broad strokes, though, I wasn't a big fan of Serac's backstory, with his genius brother and the crazy all-seeing computer thing. The thing is... I want to care about Serac and his brother. I want to feel the tragedy inherent in Serac's monstrous decisions to run experiments on his own family member, but the whole thing is so high-concept and artsy that the humanity of it gets lost.

Caleb spends the episode high, but in my opinion it doesn't really add much to the episode? I'm not sure why the choice was made to name the episode after this aspect of it. And my god, that ending moment when Caleb thinks he's still hallucinating but it turns out people have returned to their "base natures" because Dolores has revealed how they will all die... yikes. This show purports to be deep, but that felt like some pretty hokey stuff to me. You're saying that the minute human beings get a text message announcing how they will eventually die, they'll just revert to beating each other up like it's the Purge or something? Puh-lease.

Pros:

While Caleb being high seemed somewhat pointless in the scheme of things, I did like the action-movie vibe of Dolores and Caleb's plot here. Car chases, explosions, Dolores gathering a crack team, Liam as the disdainful yet terrified prisoner... it all worked really well in terms of keeping the excitement high. I might have trimmed down some aspects here or there, but by and large I was impressed.

Thus far, I'm very much rolling my eyes about Dolores' big plan being to reveal the super-computer's data on all humans... but I will admit that the concept could be interesting, if they decide to go somewhere cool with it. Obviously the very decision to tell people how their stories are supposed to end, means that things have changed. The computer's predictive technology essentially must break down at this point, right? I find that idea intriguing, and I'm excited to see where they go with it.

I continue to enjoy the glimpses of the bigger picture, as we're filling in some detail as to how the world has come to be the way it is. I just hope they have a plan for it and we'll get to know the history of Paris' destruction, and thus Serac's whole life journey.

We also see snippets of Bernard keeping tabs on Dolores, and some potential hints that Caleb has more going on than even he remembers.

This is a short review (I blame you, Animal Crossing: New Horizons!) but suffice it to say, Westworld is on thin ice with me. I want to be blown away by the cool visuals and the interesting concepts, but I honestly think they don't go far enough sometimes, and they spread the story too thin on the ground. I missed Maeve, for example... are we going to find out what happened to her, or is she just dead?

That's all for now!

7/10

[queentaylormademedoit]

How Scott Borchetta’s Statement ‘Exposing’ Taylor Swift Actually Proves Her Point Completely

First, here is Taylor Swift’s open letter:

https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my (if the link is being weird you can find it on her tumblr)

And here is the link to Scott Borchetta’s responding statement:

https://t.co/OqGI4GoN3P

(If the link is being weird you can find it on his twitter)

Think he just revealed shocking information that Swift is an evil, crazy, lying woman who just wants to make ~drama~ for no reason? Think again. Let’s break down his statement piece by piece from the beginning.

To refute Borchetta’s misleading opening statements, Taylor Swift’s father was NOT on the shareholders phone calls because NDAs would not have allowed him to communicate any information to his daughter. Instead 13 Management Lawyer Jay Shaudies and Big Machine LLC Shareholder Frank Bell were on the call to represent her side. The hilarious thing is that Borchetta tries to call into question Taylor’s statement that she “woke up to the news (of the sale to Scooter Braun) with the rest of the world” by saying he thinks it is “possible” that they “didn’t say anything to Taylor over the prior 5 days” and “possible” that she “might not have seen” his text, but that he “truly doubts she woke up to the news when everyone else did”. During the time between June 25 to June 27th, the possible deal in SCOTT BORCHETTA’s OWN WORDS, was a “PROPOSED TRANSACTION”. Meaning, the deal was still in discussion, a vote had not occurred yet and Taylor was hoping that the majority of shareholders would not vote in Braun’s favor. On Friday, June 28th Borchetta says 3 of the 5 shareholders voted yes on the proposal.

Scott then says “I personally texted Taylor at 9:06 on Saturday, June 29th to inform her prior to the story breaking on the morning of June 30th so she could hear it directly from me”. That’s right. He said “so she could hear it directly from me” meaning that he knew he would be the first person to contact her with this information, my guess being that for “courtesy” as he puts it (aka image), he wanted it to come from him. Now, he suggests that Taylor must have seen this text message but here’s a couple things: #1: 9:06pm Nashville time IS nighttime and I imagine when you’re Taylor Swift you’re probably doing something or exhausted and sleeping, #2: MORE IMPORTANTLY it is extremely unlikely that Taylor was in Nashville. many believe that she was in London at this time (where she has a residence with her sweet British man), in which case it would have been 3AM for her. Even if she was in New York it would have been 10pm and she’s TAYLOR SWIFT she probably gets a million messages to go through a day, not to mention probably tries to have some semblance of a personal life. So yes, she did in fact “wake up to the news” that this deal was officially made, with the rest of the world. This is such a stupid detail that Taylor has absolutely no reason to lie about but Scott Borchetta tried to call her character into question with it so there ya go, it’s been addressed.

Moving on.

Her 13 Management team attorney is Donald S. Passman (also known as ‘the author of music law’-Roy Trakin, Grammy.com) who went over the initial “offer” (if you can even call it that) which Scott Borchetta made to Taylor. As Passman has explicitly said in public statements, “Scott Borchetta never gave Taylor Swift an opportunity to purchase her masters, or the label, outright with a check in the way he is now apparently doing for others”. This “offer” was NOT for such a purchase.

Taylor Swift had expressed to Scott Borchetta multiple times that she wanted a chance to bid outright for control of her masters, but was always denied. Considering how much her body of work of the last 13 years means to her (6 record-breaking, award winning albums with songs she penned from the heart), Taylor was reluctant to walk away, because she knew Borchetta would likely sell, and she’d never own her masters. So, her team discussed the possibilities of what control she could get over her works if she stayed for 7 years, but Scott Borchetta “offered” back that she stay on for 10 more years and could essentially earn these rights in trade for new materials created with the label. That is basically trapping her into a continuous cycle.

Scott is aware that this was not a good deal, as he defends himself in his statement saying, “We are an independent record company. We do not have tens of thousands of artists and recordings. My offer to Taylor, for the size of our company, was extraordinary. But it was also all I could offer as I am responsible for over 120 executives and their families”. While he tries to tug the heartstrings of readers to make him look so caring, the fact of the matter is this: Taylor Swift was the ONLY massive superstar that Scott Borchetta was ever able to get onto his label (not to mention she was his first client and the label was literally created because he found her and convinced a 15 year old girl and her family that in signing a 12 year contract he would remain loyal and supportive because ‘music has value’). Without Taylor’s works on the label, no big deal executive would likely want to buy it and certainly wouldn’t be worth $300 million. If Scott Borchetta really cared about the fact that he is “responsible for over 120 executives and their families” and believed that “music has value” he could have been open to the possibility of Taylor staying on for 7 more years and having greater ownership of the art she creates.

So, when Scott Borchetta stated that “Taylor Swift had every chance in the world to own not just her master recordings, but every video, photograph, everything associated with her career” he really means that she had the chance to very slowly gain these things back over the period of 10 YEARS in exchange for new music (which many have compared to a scare tactic, because he knew losing her would make his label next to worthless). That is not an opportunity for a purchase. Borchetta says Taylor chose to leave, and that is true: she made the excruciating decision to leave because she realized that if she stayed with Big Machine she would never be treated with the respect she deserved to own all that she creates. Also, I imagine being the only pop superstar on a small country artists label likely had its downsides. So, she sacrificed the rights to her past in exchange for a freer future. A painful choice, knowing that Scott Borchetta would likely sell one day, but she never imagined that he would be so disrespectful as to sell to Scooter Braun.

Now, let’s get into that part where Scott Borchetta gets EXCEPTIONALLY DESPICABLE :)

He says that he “certainly never experienced” Taylor “‘being in tears or close to it’ anytime Scooter Braun’s name was brought up”. That’s pretty much her word against his, but regardless of wether or not he knew she was about to cry in such moments, he knew that there was conflict. Borchetta writes, “Was I aware of some prior issues between Taylor and Justin Bieber? Yes,”. Those “issues” as absolutely everyone knows, DIRECTLY INVOLVED Scooter Braun, as was evident when Justin Bieber posted that photo to Instagram of himself FaceTiming Kanye, Scooter Braun, and another man I have yet to identify, captioned “Taylor Swift what up”.

That post showed that these men were publicly laughing at what a lot of people thought would be Taylor Swift’s downfall. At that time, Kim Kardashian (Kanye’s wife) had released snippets of an orchestrated phone call between Kanye and Taylor which was recorded without Taylor’s knowledge. In that “scathing phone call” Kim shared with the world, Taylor agreed for Kanye to include the line “I think me and Taylor might still have sex”, in his new song, which she said was provacative but fine. In that phone call Kanye said he would have her listen to the full song later, but this never happened. He then went on to release the song and music video in which he used the line “I made that bitch famous” (supposedly referencing when he grabbed the microphone out of her hand during her VMA speech when she was 19 years old, to say he thought Beyoncé should have won, much to the disdain of Beyoncé), implying that he was the reason for her (actually hard-earned success), and showed her naked likeness in a hyperrealistic wax figure lain next to him in a bed. He also showed other celebrities nude in this same way, which I personally found equally disturbing. The figures were so realistic that articles immediately came out with headlines like “Was Anyone Real In Kanye West’s Famous Video?”. I agree with Taylor Swift’s statement that this was a form of revenge porn. He visually stripped her naked without her consent in front of the entire world because instead of taking accountability for his own actions (HE is the one who ran onstage and grabbed that mic in 2009 and made himself look like a huge jerk), he decided it was in some twisted awful way her fault that he did that. It tarnished his image, and he dreaded having to publicly apologize to her afterwards even though Taylor was very accepting and actually thought they’d started fresh and new, happily sharing this news publicly.

So yes, I agree with Taylor Swift that those actions should be classified as a form of revenge porn. And I think that anyone who dares to say that her suffering isn’t ‘bad enough’ to call it that, I say you don’t get to determine how profoundly damaging someone else’s level of pain from an experience that you did not have is.

There no possible way that Scott Borchetta was not aware of the extremely difficult position Taylor Swift was in at that time, because the ENTIRE WORLD was aware of it. And Scooter Braun’s implications as manager of Kanye West were without a doubt, known to Scott Borchetta.

In his post, Borchetta continues, claiming, “there were also times when Taylor knew that I was close to Scooter and that Scooter was a very good source of information for upcoming album releases, tours, etc, and I’d reach out to him for information on our behalf. Scooter was never anything just positive about Taylor,”. Taylor being fine with Borchetta communicating with Braun to get information about things like upcoming albums/tours hardly means a thing. If Borchetta had a business source he could ask for information without Taylor’s direct involvement, of course she wouldn’t care. And of course Scooter Braun would not be dumb enough to say bad things about Taylor Swift directly to the owner of Taylor Swift’s label. Obviously, it doesn’t mean that he didn’t share such thoughts to others (go check out Todrick Hall’s recent tweets).

Now, here is where Borchetta goes for a REALLY LOW BLOW:

Borchetta writes, “He [Scooter Braun] called me directly about Manchester to see if Taylor would participate (she declined). He called me directly to see if Taylor wanted to participate in the Parkland March (she declined),”. In this disgusting last-ditch attempt to suggest that Taylor didn’t care about the victims of Manchester or Parkland, Borchetta is actually making it clear that TAYLOR SWIFT REFUSED TO ACCEPT AN INVITATION FROM A MANIPULATIVE MAN WHO SHE KNEW HATED HER. Meaning, Scott Borchetta was FULLY AWARE that Swift did not want to work with Braun. Everyone reacts to tragedy differently. Taylor Swift went on to show her love for the victims of those terrible incidents and her opposition to hatred that caused them. Taylor immediately expressed her sympathies on Twitter and honored the Manchester bombing victims on her Reputation stadium tour, on the night when she performed in Manchester. With Scooter Braun being the manager of Ariana Grande, the artist who was performing the night of the Manchester attacks, it makes sense that Taylor wouldn’t have felt entirely comfortable with the situation. She publicly announced her support for the March for Our Lives movement (started by the students of Parkland High School), and made a generous donation to the cause. Furthermore, Swift has gone on to discuss her personal fear of such attacks (many people have stalked her/broken into her home/tried to get onstage etc), her belief that in the importance of preventing such tragedies and the extra preventative efforts she now goes to in order to keep her fans safe in various interviews. Borchetta’s attempt to suggest that Swift has anything but the deepest sympathies for those tragedies is absolutely revolting.

Finally, Borchetta closes his list of lies with the text message he received from Taylor when she told him of her news to leave Big Machine. In this message, she is kind, heartfelt and respectful of the past that they built together. Borchetta tried to take advantage of this kindness by placing it there as if her politeness and choice to go means she had no interest in a better deal with Big Machine at all.

I’ll include this message in its entirety below, so you can read it for yourself:

Scott,

 I hope this finds you well. Since communication ran dry on our negotiations, I’ve done what I told you I would do and gone out exploring other options. Owning my masters was very important to me, but I’ve since realized that there are things that mean even more to me in the bigger picture. I had a choice whether to bet on my past or to bet on the future and I think knowing me, you can guess which one I chose. I also saw a rare opportunity to effect positive change for a lot of other artists with the leverage I have right now. I know you believe in the same things I do and I’d like to think you would be proud of what I’ve negotiated for in my deal. I wanted to tell you first that I’ll be signing with Lucian. I honestly truly cherish everything you and I have built together and I plan on saying so in my announcement of the new deal. What we accomplished together will be a lasting legacy and a case study on excellent partnerships, and may it continue. I still view you as a partner and friend and I hope you feel the same. Sending you a hug and my most sincere gratitude.

And SO much love,

Taylor

 

I think she makes it very clear that although she was disappointed, she weighed her options and decided to “bet on” her future instead of her past. Meaning, when Borchetta refused to offer her the ownership she wanted, she had to respect her own capability enough to make the difficult choice to walk away. She closes with the statement, “I hope you feel the same. Sending you a hug and my most sincere gratitude, and SO much love,” which shows that she hoped he would continue to regard her and her work with the same care and respect she showed him, even when disappointed.

Scott also includes the email he sent Taylor letting her know about the decision to sell to Scooter Braun:

Dear Taylor,

 

Hope all is well and congratulations on the success of your first two singles from “Lover”! 

 

I can’t wait to hear the entire album…

 

I wanted to pass along to you the same courtesy that you passed along to me in regard to my future.

 

Tomorrow morning (Sunday, June 30th) at 10a central, the Wall Street Journal will announce that I am entering into a merger/acquisition with Scooter Braun and Ithaca Holdings.  This move will give us more pop culture super-power than ever before and I’m so excited about the future. 

 

I want you to know that I will continue to be the proud custodian of your previous works and will continue to keep you and your team abreast of all future plans for releases of you work.

 

Nothing but the best,

 

Scott

 

The letter is polite and to the point, because he has no need to say something nasty. His actions speak loud enough. He was greedy. Taylor knew Borchetta would sell to someone, but that fact that Borchetta went through with selling the life’s work of a talented woman he knew since she was fourteen years old to one of her greatest public intimidators is the ultimate betrayal.

For everyone saying, “well, that’s just business”, I have some news for you. There are good, loyal people out there in business. There doesn’t seem to be many of them, but they exist, and Scott Borchetta pretended to be one of them. This is a matter of moral principle. Of loyalty. Of ‘valuing music’. Taylor Swift isn’t ‘playing the victim’ and she didn’t ‘send people to attack a good man’. She wasn’t ‘bitching’. She isn’t ‘feuding’. She’s speaking her mind. She’s speaking the truth. She’s warning other artists to look out for themselves and she’s holding people accountable for their actions.

I am so, so proud of her.

Forever a Swiftie,

Grace

@taylorswift @taylornation

[thedeadflag]

so this is something I've been mulling over for a while now - do you reckon it'd be possible to make a version of a/b/o that isn't fundamentally transphobic, or would it reach the point of "this is so different that you might as well not call it a/b/o" before that? off the top of my head you'd have to take out all elements of g!p, mpreg, and biological essentialism, and it'd probably be possible to write a version of a/b/o with that framework, but I don't know if I'm missing anything.

a/b/o is a reactionary trope that relies on cissexism-derived biological essentialism to function. Like, that’s the engine that powers the bdsm/power dynamics, cisheteronormative breeding/family building, “dub/non-con”, etc. elements that draw people to it, and led people to create it in the first place. 

Like, my best attempt at describing a non-transphobic, non-shitty typical a/b/o adjacent fic would include:

Werewolves (let’s face it, werewolves can be really cool if written well, and there’s a lot of really good ways to write them, a lot of ways to subvert tired subtropes within the trope)

Found Family-focused family/pack building (because wolves often adopt wolves from other packs into their own, blood lineage isn’t really a thing; much like vampires being created, newly turned werewolves of any age can be considered their sire’s child; if it needs to have a pregnancy arc between two men or two women, there’s IVF/IUI, or magically/spiritually-induced pregnancies, and of course writing a fully fledged complex trans character with their own non-pregnancy arc and virtues/flaws/goals/etc. and getting relevant trans beta writers who aren't your friends to keep it on track if you’re a cis writer)

A flexible, non-binary gendered society (rather than the rigidly structured biology-is-destiny a/b/o society) that’s trans inclusive either explicitly, or implicitly if it’s a new social universe with different rules. 

If mating seasons have to exist, they’re cultural more than biological, and no biological processes that could impede or trouble a person’s ability to properly consent. 

No inherent, glorified or reified power dynamics, certainly none rooted in or fostered through biology. 

That doesn’t seem very much at all like a/b/o to me. It’s a werewolf AU, which is the reason why a/b/o was created in the first place. It wasn’t enough. It needed something more than just a supernatural bent

I’ll continue on below for a bit on some simplified functions of a/b/o, but it’s mostly just some ramblings.

-

Like, to quote the originators of the genre/trope:

I'd like to see Alpha male Jared, and Bitch male Jensen. Jensen is a snotty prude (think Lady from lady and the tramp) he may be a bitch male but he's not just going to let anybody take a go at his sweet little ass...until he meets Jared...then prudey little Jensen turns cock slut for Jared. Bonus points for J2 being OTP, Jensen was a virgin before Jared, and now that they met each other, it's for life.

...

There are three types of men, alpha males, beta males, and omega males. Alpha males are like any ordinary guy with the exception of their cocks, they work just like canines (the knot, tons of cum, strong breeders, etc) The beta male, is an ordinary guy without the special cock. Omega males are capable of child bearing and often called bitch males.

Like, I want you to look at that real close and see what’s going on in there.

This was created to be a trope where there’s a world where women, as we explicitly know them, don’t exist, but where a subgroup of men take up the functional role of the woman in the heteronormative social structure of the world. It’s also not surprising that (assumedly cis) women created and initiated the spread of this trope.

Look at the language used. This is heavily, explicitly gendered for a reason. If you’ve read much of anything about how the male gaze impacts female sexuality, you’ll know a common response is for women to position themselves out of the proverbial frame entirely, so that no part of them can explicitly exist as an object, where they can take on the role of a subject. There’s no women whose experiences will directly link to her own and her own perceptions, comfort/discomfort/etc.

However, many of these women also have been heavily affected by the male gaze and heteronormativity, and that combined with not knowing what a real gay male relationship is like, what it looks like, what experiences might be unique to it...they fill in the blanks with their own conditioning. 

And maybe seeing a lot of that toxic masculinity in media content was unsettling because of how women get treated in that content, and how they in turn might feel in those shoes. But if a MAN, even if it’s a heavily female-coded man, were to undergo that...well, it’d be easier to appreciate those tropes and dynamics they’ve been force-fed to believe were arousing, hot, desirable. Especially if they can have two hot men in it. They can enjoy that self-created taboo, bypass their own discomfort and insecurity, and project it onto a type of person different enough to suspend their disbelief and maintain that difference, even if they’re pumping that guy full of all the typical misogynistic tropes and experiences they’re not comfortable having directed towards them and other women.

In short, it’s a way to get off on heteronormative norms/tropes, using another as a vehicle in order to keep up their cognitive dissonance.

Of course, this eventually spilled out into the Het fandom (makes perfect sense, since many of the a/b/o originators and proponents were het women), and then worked its way into Femslash fandom by piggybacking on g!p in order to meet the necessary criteria for PiV sex. 

Just, in this case, you necessarily shift some of the puzzle pieces around. Trans women take the place of the “alpha”, acting as an acceptable vehicle for a toxic masculine cis man, since lesbians aren’t into men. Even if the trans woman is generally written, in nearly every way aside from part of her body, as a toxic cis man. The original a/b/o’s “Bitch Male”/Omega Male is swapped out for the  Omega Female, usually a spunkier, more in your face version outside of romantic/sexual contexts in the media content, but let’s be real here, she’s still by and large submissive when it comes down to it. 

In a world where more wlw grew up feeling predatory for their attraction to other women, for feeling sinful, for being rejected from female intimacy het women enjoyed with each other after coming out, etc., it’s pretty common for a lot of lesbians to lack initiative, not be able to read or communicate romantic/sexual cues between each other...to essentially be “useless lesbians’ as the joke goes,and to feel isolated and undesirable. 

So writing a F/F fic where some hot woman modeled in the image of some hot cis woman pursues you? Takes the initiative sexually/romantically? Doesn’t beat around the bush, but is blatant? Who can’t control her lust around you? Who can give you the perfect nuclear family you’ve been conditioned to want in order to feel value in our heteronormative world, but were told you weren’t worthy of or could never feasibly attain? Who gives you a sexual encounter you have some education in and some emotional stake in due to common conditioning of PiV sex > all else? Who can give you plausible deniability for a number of contexts due to a lack of ability to explicitly consent? etc. etc.

Like, yeah, that’s going to feel comfortable for a lot out there. That’s going to seem pretty hot/arousing. It’s a way to get off on the norms and expectations thrown on women in society, but in a way that lets them distance themselves ever so slightly from men by shifting it from text to subtext, explicit to implicit.

Don’t just take my word for it, though. Here’s a few snippets from one of the most popular g!p/omegaverse femslash writers (if not the most popular) that help illustrate how/why this trope has found an audience

Why Do I Write G!P?The elephant in the room. It arouses me, but it’s also a form of self-comfort. I grew up in a very fundamentalist home. Women being with women was at first unspoken, and then derided, both by my church and at home. I felt insanely guilty for my attractions, so I developed ‘cheat codes’ to deal with it.

It was okay if the woman I had sex with in my dreams had a penis, for example. It was okay if she forced me to have sex with her. It was okay if we basically simulated heterosexual sex.

Because of my childhood (which included conversion therapy), I found myself falling into heterosexual roleplay patterns, at least sexually. It was a lingering thing from my childhood.

It’s still there, and I know I’ll never be rid of it.

...

I associate penetration with power. You know, being steeped in sexism from an early age turned some problematic thoughts into kinky lemonade. And since I’m a femme sub, taking power away from the top by ‘penetrating’ them can ruin the mood for me. I mean, I can write power bottom scenes with the best of them, and I enjoy them, but… *shrug* if I’m going to write omegaverse or g!p, someone’s getting fucked, and it’s not the top.

There are rules to a/b/o. There are specific reasons it’s sought out, read, and created, and that’s why it’s hard to imagine a version of it without those harmful elements, because the trope requires them for the audience to be satisfied.

It’s why all gay male a/b/o fits a pretty specific pattern. it’s why femslash a/b/o fits a very specific pattern. There’s nearly no deviation as a rule, because there are so many parts that have to be in play and functioning in a specific way in order to get the desired result. 

I could go on for hours about this, and the above is all a pretty damn simplified take of what’s going on in a/b/o for it to exist in the way it does and meet the needs of the audience, and I’ve already written a lot about this in the past, so I’ll try to cut it short here.

[phoenotopia]

2019 August Update

"Shoot for the moon. Even if you miss, you'll land among the clouds." That's a quote ... that I think succinctly captures what transpired these past 2 months. A lot of progress... but the game is still not done >_<

(extra note: actual quote is land among the "stars", but stars seems like a higher goal was achieved, so I modified the quote).

Anywho, here are some of the things we have accomplished in the past 2 months.

--- ALBUM ART ---

With the sound track essentially done, Will requested some album art. So Pirate and I compiled a bunch of album art that we liked from other games, and from that Pirate made a bunch of concepts - and then we narrowed it down from there, with the 3 of us interjecting our opinions throughout the process, and Pirate doing all the heavy lifting. The album art will be revealed later. For now, here's a teaser of our initial brainstorm process.

(round 1 : brainstorming and concepts)

(round 2 : Survivors from round 1 progress a little more)

--- NEW BOSS ENCOUNTER ---

I thought the scope of what needed to be done for the game was settled, but while writing out the new ending sequence, one part started to drag. There was too much exposition, so after brainstorming a bunch of ways for how this new ending sequence could flow better, it became clear... There needs to be another boss encounter! This boss would really help the pacing of the scene, and it made nice thematic sense and tied up the game's whole story arc in a more satisfying manner. To avoid spoilers, I won't talk it too much, but here's a little silhouette teaser.

(hint: it's not a bat)

--- WRITING ---

Writing doesn't happen linearly since I'll skip around fairly often. It's a delicate balancing act - if I force myself to stick in one area before I move on, progress will grind to a halt, snagged on those last few unscripted lines due to writer's block. But if I skip around too much, the context switch takes some time in itself, and the game can't be enjoyed by playtesters. So for that reason, the beginning and ending sequences are now finished (excluding the credits roll...). But there's still a lot of middle parts to fill in and plenty of side quests still.

For example, there are ~90 NPCs in just Atai town. And each one will talk about 4 text boxes of dialogue (some more, some less). A bunch of NPC dialogue will also change when a big event occurs in the story. So there needs to be a healthy mix of NPCs that push the important story bits, NPCs that push side quest hints, NPCs that talk about geography or history, NPCs that are just for fun, etc. So there's a lot of variables to keep track of.

I've started thinking of better ways to manage it all. One of my new workflows is to use a spreadsheet.

Topics to cover exist in a column on the left. Lines to be spoken by NPCs are stacked  to the right. A cursory glance at the spreadsheet lets me see which conversational topics could use more coverage, and so on.

I even took on new writing help in a young Mr. Cody. Taking on a new writer has been a process because it is not as simple as tossing them some NPCs and letting them run loose. There has to be a ramp-up period for the writer to become familiar with the lore and writing style. There are also unspoken rules about Phoenotopia's universe I implicitly understood and never had to think about. But now that I'm cooperating with someone, I've had to think about verbalizing what those rules are. It takes up more time, but in a weird way, having an outside perspective also helps me understand Phoenotopia more. I also find that I can push through my writer's block more easily when coming from a corrective angle.

I've been quite the strict taskmaster to the new writer, but he's been very resilient and teachable. He's also a great ideas guy. So look forward to Cody's contributions in the finished game!

--- PLAYTESTING ---

The long road of playtesting begins! As mentioned in my previous blog, my goal was to have my brother playtest the finished game during our trip. He didn't get to playtest the *finished* game, but he did get to playtest through a good 40% of it. The game is pretty complete in a linear fashion up until the 40% mark - after that, the rest of the game world exists but the NPCs have placeholder dialogue, and the cutscenes to connect the story events together are still unscripted.

But that wasn't too big a limitation because my brother only reached the 40% mark during the tailend of our trip. My brother preferred to play in 1-2 hour chunks throughout the trip (no marathon session on the plane as originally planned). I think it took him about ~15 hours to get through the game's first 2 chapters and a little extra - unfortunately, the game's timer bugged out so I don't have an exact figure.

Tons of useful information came out from his play test. I wrote down *127* things to fix based on his playthrough - some were small things, like adding more signposting. Others were big issues - a boss stage needed to be redesigned, a needed change to the control scheme, item dupe bugs, etc. I'll speak on some of the ones I've fixed so far here:

A. Warehouse Visibility Low 

For some reason, when starting out my brother completely missed the warehouse where you'd find the starter weapon. He ran past it a few times. Upon inquiring him about it, he said he didn't think it was interactive. Sure enough, all the doors on the left start open, so I see how the misconception could form. When players experience a game for the first time, they're developing a mental image of the game's rules - what's interactive and what isn't. And this early on, the language for doors is still unclear. Per his suggestions, I made this door start open, and moved the camera's edge left a bit to make it less likely to be missed.

B. Eating instructions unclear

Another thing that didn't go as planned was the food eating tutorial. Early in the game, an NPC gifts the player a potato and asks the player to eat it there. After doing so, the NPC gives the player additional tips regarding food. But my brother actually just ran away with the potato so the rest of the tutorial didn't occur. But now with an additional subtle dialogue box, the player is more likely to behave as desired.

(If you design it right, the player won't know you're holding their hand at all)

C. Gear Ring Too Sensitive

One of the game's new features is what I now call the "Gear Ring". The player can equip 8 items to it and quick-access items/tools with a flick of the right control stick. My brother HATED this feature since it was too easy to flick it accidentally when reaching for the regular face buttons. I've now guarded the quick-equip behind an addition RIGHT-CLICK press. Add in a few more FX, and it now works and feels better!

D. Wrecker Too Hard

(In the old boss arena - the 3D printer on the ceiling just made the fight more confusing)

The game's difficulty to players is a big blind spot for me. My brother's no slouch when it comes to gaming. He's beaten all the Dark Souls games and he loves a challenge! So to see him get pulverized in 10 seconds (literally) was a clear sign that the boss was too hard. The boss is able to easily corner the player and there’s no clear opportunity to escape. So I've decided to rearrange the arena - get rid of the 3D printer above and add 2 platforms to the battlefield's edges. This makes the fight more manageable (for the first encounter).

E. Aerial Attacks Too Hard

(Each hit fills the meter at the bottom. Hit the speed bag 10 times in quick succession to win a prize!)

I love the current aerial attack system but there's a steep learning curve to it. Gail takes time to wind up her aerial swing so the player has to time it so that Gail's jump trajectory and swing coincide with the target. Swinging the bat too close to the ground will result in Gail not only failing to attack, she'll be punished with a short "landing lag" recovery state. So aerial attacks are hard it seems. Instead of revamping the system, which I'm still fond of, I've introduced an aerial training course disguised as a mini-game.

So that's a small snippet of some issues I'll sort through with playtesting. Once the game is further scripted, my plan is to do another round of playtesting, followed by fixing. Then rinse and repeat until the whole game is all polished. It seems there's still a long road ahead... So I apologize if I've gotten your hopes up!

--- FANART ---

Three new fan arts popped up in the last 2 months.

The first one is thanks to Cody. G, who's made many fanart submissions before. He continues to improve - really interesting choice of angle and great water effects!

The next two are thanks to Shafiyahh on reddit. Both depictions are of Gale in 2 different art styles and angles. I really like the sparkling effects! Gale also has 2 different eye colors. Which do you think is more fitting?

That's all for now. We'll continue working diligently, and be back with another update come end of September.

[cindylouwho-2]

RECENT NEWS, RESOURCES & STUDIES, early October 2019

Welcome to my latest summary of recent news, resources & studies including search, analytics, content marketing, social media & ecommerce! This covers articles I came across in the first part of October, although some may be older than that.

[I am out of town for nearly a week in late October, so don’t expect another update until the end of the month at the earliest.]

Just a reminder - you don’t need to read everything here! I try to organize the material by topic and provide a brief summary so that you can easily skip things you don’t need to read. 

I’ve tried to improve the layout for better readability, by bolding key words in each paragraph - do you find that helpful, or too hard on the eyes?  Leave a comment below, email me through my website, or send me a message on Twitter.

TOP NEWS & ARTICLES 

14 elements that will help your product pages get sales. Trust badges & reviews can really make a difference. Also, here’s a really simple explanation of how your descriptions should try to sell the product: “Bridge the gap between features and benefits: A feature is essentially a fact about your product or offer. The benefit mainly answers how a feature is useful for your customer. Tell them exactly “how” a particular feature is useful for them, and “why” they should make this purchase. Product descriptions that bridge the gap between features and benefits can lessen buyer’s guilt and ease the buying decision.” 

It’s time for holiday season forecasts! Halloween spending is expected to be steady. While some are predicting up to a 4-5% increase in US November-December retail spending this year, others are worried about consumer debt. There is still “a stubborn wealth gap in the United States that appears to be once again worsening and in fact is "the biggest it’s ever been." The Gini index, a standard economic measure of income inequality, for the U.S. in 2018 was "significantly higher" than 2017, after widening steadily for the last 50 years, according to a Sept. 26 report from the U.S. Census Bureau.” Note that online retailers are finding that the holiday season is less crucial than it used to be, since people shop online all year now. “...the holiday season accounted for almost 24% of all retailers’ sales in the late 1990s, but is closer to 21% today.” Finally, “A late Thanksgiving this year, falling on Nov. 28, means there are six fewer days between Thanksgiving and Christmas than in 2018. In fact, 2019 is the shortest possible holiday calendar scenario”.[emphasis added by me]

Kansas state tax collection on online sales is in question after the lack of a minimum on revenue or orders is criticized. The dictate kicked in October 1st, requiring any business selling anything in the state to register, which didn’t exempt small businesses as other states have done. This is important - if they manage to apply this tax to even the smallest businesses, and win any court challenges, other states are likely to follow suit. 

ETSY NEWS 

Etsy released a new stats page last week, which like most things they do these days, isn’t finished yet. You can read the announcement here, and a more detailed explanation here, including a discussion of the conversion rate numbers now provided. [I don’t find those very useful on Etsy, as I find I get a lot of visits that are not from buyers, such as people checking out my SEO.] Also note that there will be a Q & A thread this week in the forum, starting October 14th at 10 am EDT. 

When a listing is clicked from any search, there is now a link at the top saying “Back to search results” which only goes to page one of the search on Etsy, not the page you were on. It even does this when someone clicks on your item from a search of your shop. 

They made some recent improvements to the buyer app, including integrating shop names into the regular search. No need to tag with your exact shop name! (Mobile & desktop search also work the same way; the app was the last hold out.)

More holiday marketing tips continue to roll out, including this one on merchandising. It includes a list of holidays at the end (although Canadian Thanksgiving was just 5 days away on the date of publication, so that seems to have been a waste of space). Potentially more useful to some of us is the transcript of the podcast on shopper behaviour during the holidays. [includes links to the podcast if you would rather listen] “9% of our buyers do the bulk of their shopping in late December right before the holidays” and “On Etsy specifically, searches around the holidays spike for gifts in conjunction with a descriptor of the recipient. We see searches like “gifts for grandma,” “gifts for boyfriend,” and “unique gift for a friend” spike.” Finally, “In terms of uniqueness, 90% of Etsy buyers would rather give a unique or one-of-a-kind gift.” They also cover some specific research on holiday shopping patterns in the UK & Germany, compared to the US. 

There is a new help file on search called Beginner’s Guide to Etsy Search, and while it is up to date, I am not sure why it is needed, when they already have a page (they even link to it) called “How Etsy Search Works”, which isn’t as up to date. If they are planning on releasing new instructions, as they told me months ago, they are going about it really, really slowly. 

Etsy Ireland lost money last year, apparently due to the DaWanda deal. “Etsy, whose mission is to “keep commerce human”, faced a wave of criticism from users after designating its business in Ireland as an unlimited liability company in 2015 so that it didn’t have to publicly disclose financial information about the unit. The company has, however, published annual accounts for the subsidiary for both 2017 and last year.”

Meanwhile, free shipping & Etsy Ads have produced quite a stock boost for the main company. “KeyBanc’s comments were echoed by Canaccord Genuity, which earlier this week wrote that the company’s initiatives were driving “robust growth and improving profitability.” Analyst Maria Ripps called free shipping “an important step in bringing Etsy’s platform closer to par” with other e-commerce leaders like Amazon.com Not only will free shipping improve “consumer perception around the platform,” but she estimated that it could add upside of 3%-5% upside to 2020 estimates for both revenue and adjusted Ebitda. The company’s Etsy Ads initiative, she added, “should ultimately attract high affinity customers with strong repeat purchase behavior.”  Also, they noted that no major analysts no recommend selling the stock - most say “buy”, with a few saying “hold”. 

Etsy partnered with Blackrock Emergency Savings Initiative to help US sellers deal with the financial pressures of self-employment. 

SEO: GOOGLE & OTHER SEARCH ENGINES 

Google’s advice on how to get your category pages to rank well is worth reading: among other things, you shouldn’t keyword stuff. 

If you want your content to get the featured “0” position at the top of Google search, you should check out this article on featured snippets, or this Whiteboard Friday from Moz. [video & transcript]

More analysis of Google’s September core update shows that it may not have been as dramatic as the June update, but “your money, your life” (YMYL) sites still seem the most affected. SEMRush said the biggest winners were “DailyMail, eBackPage.com, lasd.org and marionschool.net. The biggest losers were TheFourMusic.com, Monks.org, BraidingClub.com, PascoLibraries.org and RoyalCaribbean.com.au.” Other case studies saw a lot of change in health and medical sites. 

Another study states that websites still get most of their traffic from organic search. 

If your own website isn’t ranking on Google, there are numerous fixable reasons, although some are more difficult than others. 

Google says that HTML sitemaps aren’t necessary to good SEO. 

If you are getting less organic traffic to your Patreon page recently, that could be because their SEO team accidentally de-indexed the entire site. It’s been fixed, but it could affect some pages for the next few weeks, if Google doesn’t recrawl you right away. 

YouTube is the 4th most visited website, so improving your YouTube SEO can provide a huge boost in traffic. 

CONTENT MARKETING & SOCIAL MEDIA (includes blogging & emails) 

Facebook’s experiment on hiding like counts has rolled out in Australia. (Articles looks at the sociological studies behind this)

Instagram launched an account posting tips for “creators”, which the author notes does not focus on making money off of that content. 

They have also expanded their Shopping part of the app, however, which is about making money. 

And IG has released a Snapchat challenger called Threads, a standalone app run by Facebook. Techcrunch did a more detailed review & analysis. Right now, it doesn’t have any ads & they say they have no plans to add them. 

Hubspot uses their own Snapchat account experience as a case study in how to make Snap work for business. (includes video & step-by-step instructions, if you are new to Snapchat.)

Twitter and Tweetdeck had a bad outage for several hours October 1-2, and it still isn't clear what happened. 

If you use Twitter for your business, you should also be using Twitter lists. (I use Tweetdeck to organize mine.)

Now that it is working again, here are the best-performing hashtags on Twitter over the past few years. 

ONLINE ADVERTISING (SEARCH ENGINES, SOCIAL MEDIA, & OTHERS) 

Hubspot’s comprehensive guide to Google Ads is completely up to date for all new developments, and covers search ads as well as ads across Google’s network. [video and text]

They also put out a Facebook ad checklist, with video, text & screenshots. 

And they also did a guide to YouTube advertising. [video and text]

Research and ad placement are key to getting better conversion from Facebook ads. 

Gen Z (younger than millennials) don’t yet have full purchase strength as a cohort, but they influence buying in their households after seeing ads on Snapchat. Since Gen Z shows the least brand loyalty of any generation, it's necessary to reach them in new ways.

Shopify now has an integration with Microsoft Ads, which include all Verizon properties (Yahoo, AOL). More than 116 million Americans use Bing searches each month in some way. 

LinkedIn has improved its ad tools, including audience forecasting. 

Quora has improved ad targeting; they say they have over 300 million monthly users. 

STATS, DATA, OTHER TRACKING 

Advanced tips for site search in Google Analytics can get more out of the data than you thought was there.  

Facebook will likely be paying out $40 million to settle a lawsuit for grossly overreporting video watching stats, including video ads. 

Google Search Console is now reporting a lot fewer links for websites than in the past; it’s not clear if this is a bug or not. 

The Console is now reporting on your videos.

Everything you need to know about Pinterest Analytics. 

ECOMMERCE NEWS, IDEAS, TRENDS 

If you use abandoned cart emails on your website, make sure they are optimized for conversions. 

Ecommerce fraud rates are definitely increasing. “... digital goods have seen such an increase in fraud because they often have a streamlined purchase process that requires less information than other items.”

Google launched its new Shopping pages, which is not the same as Google Shopping but is connected to it, and allows buyers to check out on Google rather than retailer websites. 

Amazon apparently surveyed Handmade sellers recently asking how they felt about Amazon Handmade.

Will Amazon face consequences in the US for its competitive activities? It’s looking more likely now. “Bloomberg reported in August that Amazon was dropping sellers' products in searches on its site if they priced a product cheaper on rival sites, behavior the news service noted could draw antitrust scrutiny.”

BUSINESS & CONSUMER STUDIES, STATS & REPORTS; SOCIOLOGY & PSYCHOLOGY, CUSTOMER SERVICE 

We all have difficult customers occasionally - here are 9 tips on how to deal with them. 

While most web browsing happens on mobile, desktop users are still way more likely to buy. They also spend more than mobile buyers. 

Gen Z members plan on doing most of their holiday shopping in physical shops this year (just like baby boomers), but many will do research online first. Also, “Forty-two percent of shoppers said that low prices are the top motivator for making purchases and 31% said free shipping was also a shopping incentive.”

Offering fewer options can lead to more sales. (The article has great suggestions on different ways to use this info.)

MISCELLANEOUS 

Vimeo app Magisto is facing a class-action lawsuit over holding biometric data without the owners’ permission.

Haven’t heard much about the EU privacy law lately? It turns out that businesses that are GDPR-compliant are more successful than those that are not. The shocker is that only 28% of the companies surveyed were actually completely compliant, so this may be correlation and not causation. Also, the results were self-reported, so maybe not that accurate. 

Here’s a decent list of free website builders, but I strongly suggest doing your own research on any that sound good, as the writeup isn’t very detailed. (The Etsy forum is a very good place for some of this research, as you can ask very specific questions of people who probably have similar needs to yours.)

Chrome is going to block embedded content that isn’t from an https site, beginning in December. [if your website isn’t yet https, get on that right away - it is going to become more & more crucial for being seen.]

[wardog-of-the-endless]

Wardog’s Fic Masterpost

You can find nearly all fics through my AO3 account, but here’s a list of links!

MARVEL

IronStrange- Tony Stark x Stephen Strange

Wishes (Better Left Ungranted)

General-  Tony makes a few wishes, but some are better left ungranted.

‘Till Then

Mature- Stephen Strange is trying to work at Kamar-Taj when his boyfriend texts him... from his Malibu bed. Stephen opens a portal to talk to him about it and they wind up, not really talking about it. ( Tony Stark Bingo Explicit Card A4 KINK: Masturbation)

The Theory of Magic (Series)

General- A get together series in which Stephen Strange has a crush and actually makes a movie. Stories are Complete but the Series is Ongoing, available for expansion via prompts when open.

Remind Me

Study and Practice

Burden of Proof

Absence Makes the Heart

Time Heals All (Series)

General- Stephen Strange and Tony Stark are married. A little Team Cap antagonistic. Part 3 is a little Dark!IronStrange.

What the Doctor Ordered

Cloak and Dagger

Break Rules (Not Oaths)

IronPanther- Tony Stark x T’Challa

Hot Chocolate

General- (Fluff and Flirting)- So a combination of a prompt and a ship. From jacarandabanyan "Hot Chocolate" and bash-it-all's "IronPanther".

WinterHawk- James Barnes x Clint Barton

Nesting On Knives (Series)

Teen- Tumblr Prompt: 1.“Would you ever write WinterHawk?<3″ . Birthday Fic + Tumblr Prompt: All Avengers, clock, poking (+ Tony Stark) 1. Well-Armed (To Hold) 2. A Meddling Affection

WinterIron- James Barnes x Tony Stark

Children of Light

General to Teen- Slowbuild to WinterIron. Deals with the Death of JARVIS, the first activation of FRIDAY, and JARVIS’s eventual resurrection. (Note that J is the “Major Character Death” referenced.) This is angsty because I have FEELINGS about the loss of JARVIS and the fact that we never mourned him in MCU. Stories and Series ongoing.

Son of Stark

To Lose a Child

A Child’s Initiative

I Will Always Find You

General- Tony as Snow White, Bucky as Prince Charming in an AU snippet of OUAT.

Collision With a Dream

General- Bucky's walking along arguing about Russian Lit when he literally runs over his dream guy. Tasha does what she usually does, she makes it worse. That's alright, Tony's apparently the forgiving sort.

(You Wanna) Date My Dad

General- Featuring Harley Keener! "Would you ever write a fic where Bucky meets Harley?"

To Cure a Hangover (You Need Espresso and a Date)

General- Prompt: "Would you ever write: WinterIron with age difference? Like teacher!Bucky with Student!Tony? :P"

I Was Promised a Flying Car

General- Prompt: Would you ever write a fic where Tony and Bucky is bonding over being nerds/loving science? (And doing all kinds of wacky, mythbuster-esque experiments that Tony whips up any time Bucky begins a sentence with "I wonder what would happen if...?")So it's not "science" driven, but science nerd Bucky did spend his last night before deployment at the Stark Expo, staring at a flying car...

Mechanics, Millionaires, Models & More

General- Tony Stark and Bruce Wayne are friends from childhood. When Tony as a single dad catches the eye of the model James Barnes, there’s some mutual Instagram-Stalking and a lot of flirting.

Tony’s First Friend

Coping for An Age

(Walk Walk) Fashion Baby

Milkshakes and Motorcycles

Teen- Bucky, second to the Captain for the Howling Commandos, hears a scuffle around the corner and finds himself with an armful of just about the prettiest little lost lamb he's ever seen. Since Tony don't seem too keen on his now-ex, Bucky's gonna buy him a milkshake, wrap him in a leather jacket, and hopefully show him a good time.

Coffee, Curses, Kisses

General- Tony Stark drags himself out of his workshop on a regular Thursday morning. Well, mostly a regular morning. Except for Clint Barton lying on the breakfast bar in themed underwear. The theme is new, the rest is depressingly familiar. Ok, so maybe the rose petals are new too. (What the hell, Clint?) It's enough to make a billionaire grateful for the Avengers Alarm. Wait a minute, magic too? Fuck, this is just not Tony's day. (Until it really, really is.) (This is a Fill for Tony Stark Bingo 2019 S4: FIRST KISS)

Riding Roughshod

Teen- The Heroic Captain America wakes up in a world that is integrated far beyond what he would have dreamed of when he went into the ice, though he never expected to be a part of it. A pioneer of mixed-race teams back in his own day, the last thing he expects is to be called upon to do so once again, this time gathering a group of heroes from some rather unlikely places. If that weren't enough to worry about, there's a wild-card Soldier with a familiar fighting style making trouble at top-security bases all over the world... and a shiny red and gold suit that doesn't seem to answer to anyone. That's to say nothing of the kid genius that's supposedly behind it. ( This is a Fill for Tony Stark Bingo 2019 R4: Centaurs / This is a Fill for Bucky Barnes Bingo 2019 K3: Tony Stark/ Iron Man)

Love Like Knives

Mature- Winter wakes up Tony when he wants someone to play rough with.This is a Bingo Fill for Bucky Barnes Bingo 2019- U4: [Image: Winter Soldier holding a knife.]

California Dreamin’ A Beach Bums Verse

Teen- Note: A Special Collaboration Series! This is a WinterIron get together with puns, angst, fluff and more! Note that some fics may include Losers crossover characters! Also make sure to read my partner maevee’s stories!

Don’t Tell (Secrets) -Losers Crossover Fic

(Everyday Is A) Winding Road - Losers Crossover Fic

Mai Tai (Offer You A Drink) 

When You Wish Upon A Stark -Maevee

We’re Gonna Need a Bigger Bucky -Maevee!

Adorato

Teen-James Barnes, the Winter Soldier, has been out of the ice and Hydra’s hands for a month the first time he hears a familiar voice. (A SoulMate AU)

True, Strong and Brave

Teen- Bucky Barnes moves into the tower and receives help from an otherwise elusive Iron Man. But when the team gets called out and things go wrong, Steve gets a reality check as to what has been done in his name. Bucky steps up, he's one of the few who can. (Team Cap Critical; Anti-Wanda)

Tired

General- From a Prompt on Tumblr: Random Sentence- “I’ll do it for you.”

(Were) Whisperer

Mature- In a world where Aliens rain destruction from portals through space, ancient Gods arrive on beams of light, and a certain Billionaire Philanthropist darts around the world in a metal suit: there really is a very high bar for what is considered "weird". Shapeshifters hardly register, having been long known. You’re either a Human, a Were, or a Whisperer. Most people can prove whether they’re the first or the second, a few will lie about being the third. Alternately, there's Tony. Tony Stark is one of the few people pretending the first and burying the third, and he’s more or less in the clear with it until Steve Rogers catches up with the Winter Soldier, and brings him home to Avengers Tower. Tony doesn’t have to say a word, the Wolf knows differently.

An Attraction

Jurassic World AU-  Write... a crossover/au of the last non-marvel movie you saw and marvel (if ships, winteriron?). Essentially Jurassic World & Jurassic World: Fallen Kingdom Snippets with WinterIron. Originally Posted on Tumblr: Expansion Pack for AO3 Rolling Out Now!

Next Year Will Be Better

General- Just a quick story for Tony’s birthday. Pre-Slash Tony Stark/James Barnes, and Tony acting as IronDad to the Spider Son and his Potato Gun Son.

Let’s Go Dancing

General- This is a Marvel Universe-Center Stage Fusion AU that no one asked for and everyone is getting anyway. Tony dances for the American Ballet Company as their featured ballerino, performing under the name Antonio Carbonell. James and Steve are two of the ABC’s newest students, and James gets a chance to meet his crush on his first day. Just his luck, Tony is even better in person. (Natalia may have been setting them up all along.) This is a Fill for Tony Stark Bingo 2019- S1: Dancing

The B Team

Teen- Pepper Potts has had a long day that isn’t over yet, as Phil Coulson has just arrived on the doorstep of Tony’s Malibu Mansion to discuss Iron Man joining a new team. In most instances, it wouldn’t be enough to let him in the door, except he’s brought James Barnes along with him. Of course, he was probably expecting that James would be helping them talk business… But all the Soldier seems to want to do is get busy. (WinterIronWeek Day1/ TSB S2: [Image: Tony Stark working on IM in Workshop]) 

Done

General- Tony has just started prep work to remove the old arm and install the new one he's built, and already James is impatient. Or maybe he just wants to needle his boyfriend a little? Tony gets pretty cute when he's annoyed. (WinterIronWeek Day 2)

A Second Take, A First Impression

General- A drunk Tony Stark meets his Soulmate at a college party, but James is a gentleman (and Rhodey is scary) so nothing can happen until they’re sober. Tony wakes up at an ungodly hour of the morning, confused at his current predicament, and meets his (very attractive, very shirtless) Soulmate all over again. (He wishes he could forget all of this.) (WinterIronWeek Day 3)

Hunting For (You)

General- The Soldier has cleared the last of his required therapies, been gifted a new arm, and turned loose. The first thing he wants is to show Tony, up close and personal. Of course, there's a certain winged pest that is going to interrupt. (WinterIronWeek Day5)

WinterWidow/RussianRoulette- James Barnes x Natasha Romanova

No Fics Currently

Stony- Steve Rogers x Tony Stark

A Guardian of Light

Teen- a.k.a. that time Steve sank the Valkyrie in the Arctic and became a spirit-walking wolf to guide Tony, at Frigga’s suggestion.

Shield Studios Ltd.

General Audiences- All the Avengers in a non-powered voice-acting AU for an animated show called "Assemble" staring their Marvel counterparts. Tony/Steve have a mutual admiration/crush but it's not actually romantic and can be read as gen.

Assemble!

Phil’s Failed Plan

You’re Welcome to Try

The Vague & The Unmistakable

General Audiences- Looking back on it, there are several things that should have tipped Steve off that today was his Birthday. (Starting with the fact that it's suddenly clear Tony engineered every one of them.)

Stucky- Steve Rogers x James Barnes

No Fics Currently

Stuckony- Steve Rogers x James Barnes x Tony Stark

On The Wing

Teen- A Wing AU for Stuckony. Stories are Complete but the Series is Ongoing, available for expansion via prompts when open.

Fluttering

Turtledove

(I’ll) Be Good

Mature- So when the tumblr prompt "Would you ever write...ABO winterironshield with alpha Tony?" meets my Kink Card S2 Square "Alpha/Beta/Omega Society" this is where we end up.

Allergic to Coddling

From the Prompt: "Would you ever write Tony Stark having an allergic reaction to something and the rest of the Avengers babying him to the point of ridiculousness because they just love him so much?" Sort of Stuckony, sort of Everyone is Poly Because Avengers? Your choice.

Poly Avengers- Everyone Loves Everyone

Everybody Loves Me

From the Prompt: "Would you ever write a TonyXEveyone fic? Not exactly everyoneXeveryone, but everyone *in love* with Tony only?" Note this is a Partial Fill which may be expanded on later. Featuring Tales of Suspense Hawkeye/Comic Clint Barton, aka deaf and a dumpster kid until the end.

Non Romantic- No Shipping

Shut UP, Bucky!

Teen-  From the hellscape of Discord Discussions I bring you: QueenWuppy: "During World War II condoms were not only distributed to male U.S. military members, but enlisted men were also subject to significant contraception propaganda in the form of films, posters, and lectures. A number of slogans were coined by the military, with one film exhorting "Don't forget — put it on before you put it in." "guys i was doing research and and steve and bucky were subjected to this". AKA Bucky makes SO MANY COMMENTS about Super Soldier Sized Protection. So many.

The Most Powerful (Pillowfight)

General-  In which Carol and Tony (aggressively) support each other and then do battle (with pillows) for their honor. Or each other's honor? It's unclear, things got out of control. (James Rhodes loves these idiots way too much.) (This is a fill for the TSB 2019 Square: T2: A BATTLE/FIGHT/CONFRONTATION)

We Can’t Plot Murder All The Time

General Audiences- From the Prompt: "Would you ever write Deadpool/Tony (IronPool? DeadMan? IronDead? Dunno their ship name :b)" AN: I don’t ship them so this is a non-romantic.

The Losers

A Touch of Grace

Gen to Teen- Cougar has a bad feeling right before the Fadhil operation, and he admonishes Jake to be careful. Jake mostly pays attention, but Cougs is pretty distracting. (Slight D/s tones and Subspace.)

If I Touch You, Will You Listen? (Cougar’s POV)

If I Listen, Will You Touch Me? (Jensen’s POV)

Tag (You’re It)

Teen-  Jake hacks a new system for the express purpose of getting the Losers prank dog tags printed and delivered. Mostly because his Unit is full of people that make bad decisions, himself included. And also? To flirt with Cougar. Jake is willing to do stupid, stupid things in order to flirt with Cougar.

You And Tequila (Make Me Crazy)

Teen (and Up)- Fortalvarez Tequila is a family business that's been in operation for a hundred and fifty years. Currently, under the management of the family matriarch Constanza, the business will soon be passed to her beloved grandson Carlos. The problem is, Constanza does not care for modern technology or the fact that all of her grandbabies (but especially her favorite) are single. Her solution is a single advertisement for a new Social Media Expert, which is about to be answered by the very handsome (and rather impulsive) Jake Jensen.