#why I would need an art portfolio I don’t know. I am an editor. What do I think I will be doing here

[carpisuns]

theOrEticalLy . if I opened commissions at some point. would there be. a smackerel of interest . ??

[redgoldsparks]

I went all out for Hourly Comics Day 2025! These took between 6-7 hours to draw across three days, and then another at least hour to scan and edit which I wasn't in the mood to do which is why they are a week late lol. Had a wonderful time at Lumacon though and I'm glad I was able to document it! Transcript below the cut :)

insta / patreon / portfolio / etsy / my books / print store / bluesky

Page 1

7:50am: Alarm goes off

Morning phone: check eSIMs, insta, discord, Spanish vocab 

El tiene pelo largo 

Jonathan Van Ness, is that you…?

Drops App 

8am: My friends gave me a delicious new black tea that’s very easy to over steep 

3 minutes seemed too long, but 2:30 was a bit weak… I’ll try 2:45… 

Honestly, I prefer a tea where I can leave the bag in the whole time I drink the cup… 

For the first time in many years I’m actually doing something cool on hourly comics day! Today is Lumacon! This is the show’s 11th year- I think I’ve only missed 1. For the first time, it’s raining on con day!

Page 2

I’m so glad we had another avocado!

This bagel was so chunky I cut it into perfect thirds. Perfection

It’s so rare that I’m awake before my parents… SIP

Should I write about Larrupin sauce? My friend Alina buys this for me up in Humboldt since it’s hard to find… 

Every object/moment suggests a story when I’m paying attention! 

8 to 9am

Page 3 

Pick up Martina! Very cute raincoat (@martinamonster-art )

Chatting and Ateez on the drive 9 to 9:30

OMG why am I drawing cars :( 

LUMACON! 10-11AM 

My newest zine is a recruitment zine for Authors Against Book Bans (AABB). 

I zero in on folks I know to be authors–

Maia: I want you– 

Author: Me? 

Maia: To join AABB! (info zine)

Author: Oh thanks! I will! 

Maia: This zine is so fun to hand out!

Page 4 

Teen: Thank you so much for writing Gender Queen. I gave it to my mom and she credits it for a lot of her understanding. I came out as gender queer a year ago and she said “I love you.” I don’t know if that would have been possible without the book! 

Maia: Thank you for saying that! 

Different teen: I want to buy a copy of your book but I need to make more sales first. 

Maia: Where’s your table? 

Teen: Behind you 

Look. 

I spot some of the cutest round crochet bois I’ve ever seen including a nonbinary bee

Maia: Can I please trade you a book for that bee?! 

Teen: OMG yes! 

You know it’s a good trade when both parties think they got the better deal! 

12pm 

Page 5

I check in with Anna (@thebeanbaguette) 1pm 

Maia: How’s the con so far? 

Anna: Really good! I love how many furries are here! 

Maia: Oh yeah it’s fun

Maia: I had never seen the skull fursuit head before this show… for the size event it’s impressive furry turn out 

Cute goth/pastel couple 

Anna: To be honest, I’d love to get a fursuit head one day… and the hands! 

Anna: But I don’t know what animal…

(Table is covered in cute rats)

Later, another friend comments 

Cynthia: So many furries here! 

Maia: Yes, the per capita is very high… sign of a healthy ecosystem! 

(we all wore masks all day I just forgot to draw them) 

Page 6 

My friend Nic comes to visit & cover my table during my lunch break- 2pm

Nic: Don’t worry I’ll do my best impersonation of you! I’ll even sign books with your name!

Maia: Okay, great, thanks!

Maia: (Has not had water, snack or bathroom break in 6 hours)

Later we chat with Gio, another friend about knowing when a story is done

Maia: I had a publisher reject a pitch basically saying “this isn’t fully baked yet” which… was true. 

Nic: Unfortunately I’m doing that to myself! I’m on the 4th draft of this short story that just needs to be done. 

Gio: But when it’s a personal project how do you know? 

Gio: When it’s my own work, no deadline, no editor, it’s tempting to just keep putting it back in the oven. But at what point are you like, I’m making crackers. I thought it was bread but it turned into crackers! 

Page 7

3-4pm last hour of the con

My parents came! My Taekwondo teacher came! A trans teen who came to my first Gender Queer event in 2019 came! I saw so many friends & my heart is full! Thank you Luma! 

4:30

Maia: I think I’m ready to go…

Table: EMPTY

Martina: Me too! 

Maia & Martina: LOOK 

Anna- nothing packed, stuff fully out

Anna: Haha, you go! I pack slowly! 

In the parking lot & rain 

Maia: I’m really glad you came! 

Martina: Thanks for talking me into it! 

Martina: You’ve been manifesting this since September! 

Maia: Haha yes, 

(I talked both Martina & Anna into applying for this show; Martina’s first zinefest table! 

Page 8

5pm I drive home 

after all the rain, the ditches & fields are flooded 

Maia (texting): I just got home

Anna (texting): I haven’t left the venue yet

Page 9

6pm I should be unpacking but I’m lying in bed looking at my phone! 

Maia: Wow so many hourlies! I haven’t even started! I’d rather read them on tumblr & patreon later. How is my finch doing? 

Nic incepted our entire friend group into the finch app back in January. I’m pretty hooked. In the finch app you make a little bird persona who travels the world & gains experiences. You give it energy & earn points by crossing items off your to do list & completing self care tasks like stretching or drinking water. 

Maia: To be honest, I don’t really need an app to help me do tasks. But look how cute my bird is!!! Also! You can get pets for your bird! I have five! Owl, seal, caribou, ball of fluff, cow

Later, I pet my real cat. 

Maia: Don’t worry you are my actual favorite pet. 

Page 10 

7pm: Dinner with my parents. Big salad, fried tofu. We talk about clay deposits in odd places. 

My dad: There’s that Bentonite clay at Shell Beach! That’s the kind you want for poison oak rashes. 

My mom: And the deposit at school by the office, some teachers have kids use that for crafts. 

8pm: Formatting my January book reviews

I really like the monthly wrap-ups that Storygraph generates. 

Books: 11 Pages: 2855 Average Rating: 3.91

LGBTQIA: 5 Fantasy: 4 Comic: 4 Contemporary: 3 Romance: 3

9pm: I fall into the trap of looking at the news which I’ve avoided all day. Escape to tumblr where I discover some amazing Ranma ½ fanart. Should I reread it? 

10-12am: I draw the first 4 pages of these comics then go to bed! 

In total, drawing these takes 6 or 7 hours across 3 days. -Maia Kobabe 2025 

[naruto--imagines]

Naruto x Reader [Baby]

[A/N] I do not own any of the characters present in this story, nor do I own the GIF that is featured. I do hold ownership over the story itself, please do not re-post it anywhere. Thanks! <3

WARNINGS: female reader, angst

Reflecting back, it’s not the life you wanted at twenty years old. But you wouldn’t change anything either.

You and Naruto had started dating your senior year of high school, and that relationship was easily continued through your first years of college when you found out you were attending the same school. Your relationship went on smoothly. Until you hit a crossroad.

“I was offered a position on the national soccer team,” Naruto confessed to you one night while you were eating dinner at your place. This didn’t surprise you, he was a sensational soccer player. In fact, one of the reasons for attending the school you did was their amazing soccer program.

“What’d you say?” You questioned picking at your plate some more.

“That I needed time to think about it. They only gave me a day.” Naruto explained.

“I guess this is a good time to tell you, I was offered an apprenticeship at a studio. They liked my portfolio and want me to work with a design team to produce patterns for designers and work on art for magazines.” You explained to your boyfriend of three years. “Unfortunately that’s gonna take up the rest of my free time.” With this apprenticeship you would have more money in your pocket, Your current job and scholarships were enough to pay for school and average living expenses, but this was a chance to break into the graphic design business and gain some recognition. You were majoring in English currently, too scared of the possibilities of not having a job after graduation. Even though designing was something you enjoyed and were lucky to have the opportunity to continue doing it.

“So what now?” Naruto asked setting his fork down and looking at you.

“Maybe.” You started hesitantly, not really wanting to finish the thought. “Maybe we should… break up?” You ended with an upward tilt to your voice, clearly showing your hesitation. After saying that you stared at your plate. Not wanting to see his reaction.

“Yeah. I- I think that may be for the best.” Naruto responded with reservation.

So the two of you made the hardest decision possible. After discussing it for a few hours you both realized that neither of you would have time to invest in a relationship, which wasn’t fair to either of you. But you both wanted to stay friends. It was still a commitment to each other, but not one that would be drastically strained due to distance.

With that conclusion reached, the two of you went to bed and spent one last night together as a couple. Desperately, you clutched to each other through your passion filled night. The both of you aware that when the morning came, it would be over and you would each walk separate paths.

And separately you walked. Naruto left the city to join his new team and start his training, and you started your new job. For the first three weeks, you talked regularly. Neither of you had it in your schedules to talk during the day, but at night as you were winding down you would message one another for an hour. Periodically sprinkled in between were some brief phone calls about things that were hard to convey over text or simply from being too excited to text. Then around the fourth week, the messages were less and less. One night as you were scrolling through Instagram you came across pictures he posted from a night out. Surrounded by booze and immaculately beautiful models. Even though the two of you were broken up … that stung. The next day you tried to send him a picture of a new pattern you had been working on. He always enjoyed seeing your art and you had been sending him all of your designs and always received positive feedback. Until now.

Naruto had never left you on ‘read’, this may have stung more than seeing the models. You two had been so close, even if you were no longer dating you thought you would at least be friends. The entire week went on like that. You tried to reach out at least once every day. A few texts, some of your designs, and even a picture of your dinner from his favorite ramen shop. Nothing worked.

After a week of trying, you gave up. The stress over the situation was literally making you sick. To the point where you weren’t keeping down anything after eating. Then you were getting sick in the morning too. A stomach bug you said when you called into work and your internship.

“I don’t know. It’s almost been a week, I think you should go to the hospital.” Sakura said. The two of you had gone out the night before and now you were laying out on your couch clutching your trashcan.

“Well, this might just be the flu or something.” You said pushing your hair back. Sakura sat down next to you and placed her hand on your forehead.

“No. That’s it, I’m taking you to the hospital.” She said standing you up and moving you along with her.

The two of you walked down the street to the train, you leaning against her the entire time and her supporting you in return. Sitting there you felt miserable. Each bump and jostle left your stomach lurching again. The 15-minute ride felt like it went on for 15 hours until you arrived at your stop and stumbled off the train. Glad to be on solid ground again, the two of you walked to the hospital.

“Sakura! I thought you were off today?” One of the nurses asked.

“Yeah, but I had to force my friend to come into the hospital. She’s not feeling too great right now.” Sakura explained to her after she placed you in a chair.

That’s where you sat filling out paperwork until it was time to see the doctor. You waited an hour before you were called back. With your symptoms, they decided to do a blood test to figure it out. And the results weren’t what you expected.

“Congratulations miss. You are pregnant.” The doctor said after looking at the paperwork in hand.

“Wh - What!?” You questioned.

“Yup, the sickness and the fatigue is not from the flu but because you are with a child my dear.”

You heard the words but didn’t process them. In fact, you were currently clutching to Sakura. Knowing she would be able to reiterate the information the doctor was currently rattling off now to you later.

“Hey.” Sakura nearly shouted your name to gain your attention. “Are you okay?” She asked with a concerned look on her face. It was at this point you realized you were no longer in the hospital.

“Uhm, yeah, I think so.” You said looking at the pamphlets you had acquired at some point.  “Or at least I will be.” This changed everything. Literally everything. “I just need some time to think.”

“Hmm, let’s get you home then,” Sakura said wrapping her arm around your shoulder and walking down the street with you.

When you got back to your place Sakura made you soup for lunch. Then the two of you sat on the couch. Honestly, you were glad to have her as your best friend, you weren’t sure how this would have gone without her.

But it’s been a few months since then, and now you were nearing the end of your second trimester. You had to give up quite a bit. You switched to taking online classes and quit your internship after you had enough money to pay for all that you needed in your nursery. You changed jobs from the high-end cafe you were working into an editing job. Granted you were low man on the totem pole so all you really did was review and edit and edit and review. But it was a job you could do from home, and being a single mother that was perfect for you.

“Does he know about the baby?” Sakura asked. She had tagged along with you to your ultrasound today. And now you were getting ice cream.

“Nope.” You said licking at your cone.

“Sweetie why not? He should know.” Sakura said eating her own frozen dessert.

“No, he went off and is living his life, and honestly” you stopped and sat in thought for a moment. “We broke up to follow our dreams. My dreams changed.” You explained rubbing your stomach. “I don’t want to force him to change his.”

“But you should give him a chance to decide.” Sakura chided.

“He hasn’t returned any of my messages in months. I’m done trying to get him to listen.” You stated.

“Okay. Okay. I didn’t mean to stress you out.” She back peddled.

“I know. I’m sorry too.”  You sighed resting your head on her shoulder. “I’m stressed, I didn’t mean to snap at you. Thank you for coming with me today, and every other time.”

“Haha, no problem. I’m glad to go with you. And I am so excited to see my god-son every chance I get!” She exclaimed leaning in close to you and placing her hands on your stomach and leaning in to nuzzle it as well. “Now, let’s get your mama home.” She said standing up and helping you up to walk home.

Sakura had been your largest support pillar. From day one she had been by your side. Every doctor’s appointment, the mornings you spent curled on the floor, and even your first ultrasound (which you cried at). She was even there when you went into labor. And through the twenty-two-hour process.

“OH! No, no no no. Sakura, Ah-I I can’t!” You said struggling through the next contraction.

“Yes, yes you can. You can do it, you HAVE to do it. Your son needs you right now.” She said wiping the sweat and tears from your face.

And you did, you brought your son Asahi into the world. Your beautiful son with your eyes and nose and bright blonde hair. And you loved him.

So that’s where you found yourself a year later.

You were now 20-years old, Asahi had recently turned one, marking almost two years without talking to Naruto. And you were fine. You had your son and that was your sole focus. You had a year and a half left until you graduated and your classes were going really well. Not only that, but you moved up in your job. Being a top editor meant you made more money with more leadership opportunities and could work on larger projects.

Presently, you had finally laid your one-year-old down for bed and now it was time to clean. You started on laundry, no one told you how dirty the clothes of a one-year-old could get. Asahi had three wardrobe changes today, and now that he was walking he managed to find messes all over the place. Once the washing machine was running you went into the living room and began to pick up Asahi's toys that were strewn across the floor. When those were put away you shook out the rug in the middle of the room before grabbing your broom to sweep up all the dirt and cracker crumbs. By the time the living room was cleaned up, it was time to rotate laundry. You placed the clean clothes into the dryer then started on the dishes. When those were washed and put away it was 9:00pm (2 hours after you put Asahi down), and now time for you to get to work.

You pulled out your laptop and began to diligently comb through the newest manuscript you had been sent. You did this for about an hour before you got up to stretch and get a cup of tea. Then it was back to work.

Soon the clock rolled around to 11:00pm and you had managed to breeze through 8 chapters before a loud pounding came to your door. Your apartment was in a decent part of town, although that didn't mean you were eager to open the door this late at night. The pounding came again and you decided to check it before the person woke your son up. Looking through the peep-hole you saw bright blond hair. Then the blond hair moved back and revealed familiar features. You threw open your door and stared in disbelief.

"Naruto?" You sternly questioned the man in front of you.

"HEY!” He yelled stumbling towards you. “You still live here! And you are looking good! Oh, It’s been so long.” He said leaning against your door frame.

“What are you doing here?” You ask him attempting to keep him upright.

“Hehe, I’m drunk and I forgot where my hotel was. And I need a place to stay, so I came here! Do you have any ramen?” He slurred stumbling around you, into your apartment and straight to your kitchen.

“Ah, Naruto I don’t think-” You started, closing and locking your door behind you.

“Hey! I found it!” He yelled.

“Okay, okay, I will make it for you. Just please, go sit on the couch and be quiet.” You said placing your hand on his arm and guiding towards the living room.

“Mmm. Okay,” Naruto said placing a kiss to your cheek and stumbling off to the couch. You fixed up a bowl of instant ramen for him, you still remembered how he liked it, and brought it out to him. The blond quickly sucked it down and handed the bowl back to you. “Thank you. It was really tasty.” He softly murmured leaning against you.

Soon enough he fell asleep pressed against you. You cautiously slipped out from under him and positioned one of the throw pillows in your place. Staring at your ex you shook your head and sighed before turning off the lights and going to your own bed.

“Mama!” That is what woke you up. At 6 o’clock in the morning. Even on Saturdays, you couldn’t get a break. Giving a groan you rolled out of your bed and walked down the hall to your son’s room.

“Morning my love.” You said picking up Asahi and pressing a kiss to his face, smiling when he returned the action effectively smearing slobber all over your cheek. You were still working on “nice kisses”, but he was improving. After that, you placed him on his changing table and got him into a fresh diaper. “There, all better. Are you ready for some breakfast?” You asked the toddler.

“Mm-Mm-Mm!” He excitedly responded while bouncing in your arms. “Bah- Bah!!” Asahi loudly demanded as soon as you walked into the kitchen.

“Okay, mama will get your bottle in a moment.” You told him placing him in his high-chair. You got started on his breakfast of toddler porridge and blueberries, along with making his bottle. “Alright big boy, time to eat!” You said as you placed his breakfast on his tray then pulled off his PJ shirt leaving him in his diaper. Breakfast was his messiest meal of the day and you learned it was easier to put him in the bath after he ate than washing his clothes every day.

“‘Ank ‘ou mama,” Asahi said diving into his bowl of food.

“Mmm, you’re welcome baby.” You said pressing a kiss to his head before going back to the kitchen to make your own breakfast and coffee. You were leaning against the counter sipping on your coffee and eating your toast with eggs when another noise caught your attention.

“Ooft, that was some night! Huh? How’d I get here?” You hear Naruto question before you also hear the springs of the couch creak.

“Morning,” You said as Naruto peeked into the kitchen

“Uh, hey.” He awkwardly responded, scratching the back of his head.

“Sleep well?” You questioned.

“Y-yeah, thanks for letting me crash here.” He said keeping his distance.

“No problem, not like I was gonna make you sleep outside on the ground.” You responded with a small smile and handed him a cup of coffee and a plate of toast and eggs. “How are you feeling?”

“A little hungover but no worse for wear,” Naruto replied taking the mug from you before falling into a silence. Though it didn’t last long.

“Mama!” Asahi screamed from the other room indicating he was done with his food. You placed your cup down and walked over to your dining area. Grabbing a wet wipe you quickly wiped his face and hands before picking him up and carrying him back to the kitchen. You leaned back up against the counter with your son now in your arms and fell back into silence.

“You, uh, you have a kid?” Naruto questioned in disbelief his food and drink now forgotten.

“Yeah, about that, we need to talk.” You said hesitantly. At that moment Asahi turned around and yelled.

“Dada!” before attempting to lunge from your arms. Asahi knew who his father was, you had shown him pictures and talked about Naruto with him (Leaving out the negatives). Lucky enough, you wrangled him in before he fell.

“S-surprise.” You stuttered out, hugging your son closer to you.

“He. He’s mine?” Naruto questioned in disbelief.

“Yeah,” You quietly replied. “Uh, Naruto. Meet Asahi Uzumaki.” You said almost using your son as a shield.

For the first time since you had known him, Naruto was stock still and deathly quiet. His arms were crossed and you could tell the gears were turning in his head.

“Why. Didn’t you. Tell me?” He practically growled. It was a tone you hadn’t heard before.

“I. I tried -”

“You tried! How!?” He yelled startling you and Asahi.

“I sent you a message! You didn’t respond!” You yelled back.

“A text! That was it! You said ‘I need to tell you something’ then didn’t say anything.”

“You! Didn’t! Respond! What was I supposed to think?” It was at this point that Asahi was getting fussy with all of the yelling and there was a knock at the door. “Ugh!” You exclaimed storming over to the door and throwing it open.

“Hey! There’s my handsome man!” Sakura exclaimed as she swooped in and plucked her godson from your arms and placing kisses all his exposed belly. “Why are you still in your pajamas? I thought we were going to the park today?” She asked looking at you and noticing the frown on your face. Then seeing the twenty-one-year-old  behind you. “Oh, Naruto, what are you doing here?” She tenderly questioned unaware of the situation.

“Sakura knew too?” Naruto questioned from behind you. You took a deep breath pressing your fingers to mouth before speaking again.

“Asahi, do you wanna go to the park with aunty Sakura?” You cooed to the little man.

“Yeah!” He cried wiggling to get down. Sakura placed him on the ground and held his hand assisting him to walk back towards his room. You watched the two of them leave before turning to your ex.

“I’m gonna go get him ready, then we can talk.” You said before turning and following after Sakura and Asahi. You quickly got him dressed and packed the diaper bag up before leading Asahi and Sakura outside. Sakura placed her hand on your shoulder giving a gentle squeeze.

“I’ll talk to you later.” She said before grabbing the diaper bag and picking up Asahi. You gently closed the door before facing Naruto. You gesture to the couch and follow him to the furniture. The two of you sat there as the minutes passed. Not saying anything.

“Why didn’t you say anything?” Naruto finally asked hunched over with his face in his hands.

“I tried to. But you hadn’t responded to any of my messages in so long. So I sent one last message.” You tried to explain.

“I was trying to get over you,” Naruto said turning his attention to you. “We broke up. We both decided on going our separate ways, and it didn’t feel like it if we kept messaging.” With him looking at you, you could see the tears in his eyes.

“I was so tired of trying, and trying, and trying, and not going anywhere. So I quit. And I know. Goodness I know I should have told you. But you were off living your life. And you finally reached your dreams, and how could I ruin that?” You asked tears streaming down your face now too.

“I would have dropped out, I didn’t have to go off a play.” Naruto pleaded with you.

“That is my point.” You responded taking a hold of his hands. “You worked so hard to get there, and I couldn’t take that from you.”

“But it was my choice to make.” He said back grabbing your hands in his and holding tight “You should have let me make it.”

“I know, and I’m sorry about it.” You said falling into another silence.

That’s how you two sat for twenty minutes. Just looking at each other.

“I want to be involved in his life,” Naruto said. “My season is almost over. Then we have a three-month break. And I will be in town for the next two weeks.” He explained.

“I’d like for you to be involved. And for you to officially meet your son.” You said with a smile.

“And I want to get back to where we used to be. I’ve missed you.” Naruto confessed leaning in.

“I’ve missed you too.” You replied with a smile. It was then that Naruto wrapped you up in a bone crushing hug. Things were looking better. Sakura came back with Asahi and you promised to talk to her later. After that, you officially introduced Naruto to his son. And he was a natural! Playing with Asahi brought the brightest smile to your face. Naruto happily sat on the floor and played with Asahi while you got dressed. It was only when you came out from your room when you were greeted with Naruto holding Asahi out in front of him.

“What?” You questioned.

“He- uh- he stinks,” Naruto said while pulling a face, causing you to laugh.

“Your first dirty diaper! C’mon ‘papa’ I’ll show you.” You said dragging him into Asahi’s room. “Welcome to fatherhood, better get used to it.” You said once the poopy diaper had been changed.

That was the start of your family forming again. With more discussing and negotiating, you were able to convince Naruto to keep playing. With Asahi being a year old it would be easy to travel with him to visit Naruto while he was out of town. Not only that, it was easy with your job.

After a few months of dating again, you asked Naruto to move in. He said yes, he was either traveling for soccer or over at your place anyways, so it didn’t make sense to either of you to keep paying rent on a place he was never at. Then, shortly after Asahi’s second birthday, Naruto proposed. You said yes, obviously, and your family was complete.

Now you were twenty-two years old, You finally graduated and got a promotion at work along with your degree. You had a rambunctious two-year-old and a loving husband. It wasn’t the ideal start, but it was the perfect finish.

[checanty]

so two questions (love your work for the record. you've become one of my primary inspirations over the years! thank you for exposing us to your talent :D ) with the issues surrounding social media at the moment - cancel culture, censorship, algorithm issues etc. How do you feel this is currently affecting current and upcoming talent? Do you think it will get better or worse and why? for my second question - how can one have a relatively humble career in freelance without the social media fame?

Thank youuu!!

Okay, okay, question one: First up regarding the censorship I can’t really say very much since I’m not doing any photography with nudity or any pornographic artwork. I know non sexual artistic nudety does sometimes get flagged, but usually those decisions get gevised if you ask. It’s annoying, but nothing career deciding. I also started sharing my artwork on a website where pornographic (and gore) content was always inaccessible to minors, so this whole thing doesn’t seem particularly outlandish to me. You’ll find your audience, but have to sell ‘under the counter’, you know? Cancel culture on the other hand … it doesn’t really affect me because I’m not usually spreading my opinions far and wide on the internet and my artwork isn’t exactly divisive. Now back in my youth on Animexx (that German website with the adult filter. Where every artwork you uploaded had to be approved by a human being by the way.) I did write and post some questionable things. Hell, I did a whole comic based on a super cringeworthy premise which was rather ableist and contained at least one rape joke. There’s a reason you won’t find it on the internet anymore. I didn’t see it as problematic when I was 15, despite people gently trying to explain to me why it was (In hindsight I understand and am grateful for those folks. But they were patient. they were adults talking to a child. You know.) There’s a lot of stuff I thought was cool and edgy at 15 or even 18 that would make me take a serious double take nowadays. I’d like to think I’ve grown since then. I’d like to think I’m still growing and I’m very aware that a lot of what I think now might have to be seriously re-evaluated a few years from now. Heck, sometimes I catch myself saying stuff and realize it’s messed up a second later.So I’m a bit afraid for young artists out there getting torn apart over stupid (and also harmful) things they say and create. Or artists getting torn apart other stuff they said or created years ago. Like, call them out, yes. but. People can grow. Especially teenagers are not exactly the product of an environment of their choice. It took some depression and alienation (it was horrible, but also, ah, character building?) from my friends to realize some of their jokes were not actually funny and being a sadist is not a cool thing to call yourself. Like the human brain isn’t done rewiring until your mid to late twenties. Let people evolve.  On the other people growing up more involved in social media and ‘cancel culture’ might be used to being smarter about what they say and maybe also a tiny bit less ignorent because they have reason and all the options to educate themselves? There are a lot of pretty amazing teens around. Maybe I was just super slow. (Sometimes I try to imagine being on Tumblr earlier in life and it’s usually a mix of ‘I would have been a better person and all those mental health resources would have helped me so much’ and ‘Nah, I was a brat and would have been eaten alive.’ It’s kind of like people are complicated.)Algorithm issues are horrible, they’re even making a difference for established artists who rely on social media to sell their stuff. BUT. If people do great work and share it, it usually still ends up getting seen.Also, it’s all already different from when I started out. If I was 18 years old today I might look at this ancient 25 year old lady and tell her to stop whining because she can’t deal with all that modern stuff. I don’t want to underestimate the young folks. They’re often underestimated. (Yes, I think teenage me was often horrible and stupid and arrogant, but in other matters pretty smart and actually funny and capable. It’s like you can be a lot of things. Like I’m still all those things and others.)I have no idea what is going to happen. I guess it can always get worse. But if it does get worse we don’t really need to bother with the social media for promotion any more and can go back to blogging on our websites again.It’s doubtful Zuckerberg is going to make Facebook or Instagram ‘better’ again. If anything there’s probably be something new. I mean Patreon and Twitch are already kind of new developments and they work great for some folks! That’s lot of income they wouldn’t have had otherwise! There’s always some good, some bad happening. You get what you get and then figure out to make it work for yourself :/I’m going to let this stand as an answer to your first question because I can already feel myself contemplating in the back of my mind if I actually agree with myself on everything said so far. It seemed right at the time! I’m not doing this ‘opinions on the internet’ game very much for a reason :DQuestion number 2: THIS IS EASY!First up, you can have a great career in freelance without social media fame. Not speaking from experience, but it’s possible. (’fame’ I consider something like 100k plus Instagram/FB or anything followers)Social media fame is important in two cases: When you make most of your money selling small products (say prints, books, but also membership stuff like Patreon) and need to reach a huge audience to sell enough to live on. (because maybe 5% of your audience actually buys things.) And when you actually want to make money being an influencer. There are times where clients hire you as an illustrator AND some sort of influencer because they want to make use of your fan base, but that’s like back in the old days when a famous artist gets hires because they’re already well known to the fans/bring their own fans to the product. That would be a nice position to be in, but it’s not exactly standard procedure.When you’re a freelance illustrator you’re not selling small things to a huge audience. You want a few hopefully high paying jobs. Most clients hire you because you’re good and reliable and fit their budget. They need the art. Not your fans. They don’t care about your fans.And you know, most social media followers will not want or be able to hire you for a 300,00-10.000,00 USD (or more. I guess if you go into advertising you can get more.) job. You need to be more selective. Do the networking thing. Be seen by the right people. How? Well, do your research! Look at who might need your work and send them nice e-mails, postcards, whatever. Have a nice portfolio website. If they’re part of a community, become part of that. Now, social media are still useful for let’s say art directors to find you. But having a small artists all working in the same genre as you do the chances that if they share your work an AD also working in the same genre might be following *them* and see your artwork like this is much higher than if folks not in the ‘business’ share your work even if there is a higher number of them. It’s quality vs quantity thing. One reason I like Twitter is because a lot of writers hang out there. Writers might not be responsible for chosing cover artists (most of the time), but self publishers are. And do like doing cover artworks for self publishers. And writers are friends with other writers and other artists and editors and publishing people and so on and so on. So no, no social media fame needed to succeed, BUT try to be known in the right circles. And be nice and reliable so people hire you again and tell their friends. It happens.  Also, yes I’m definitely procrastinating right now. I should be working on the table of contents for my mermaid book.

[book-coverage]

Book Covers (Are an Act of Trust)

An Interview With Lisa Perrin by Christine H. Lee

We write our books alone. We have control over our words and our narrative. And then someday, it gets published. And then we have little say over how our work is represented. It’s a nerve-wracking thing. You as a writer have had agency over the content of your work. Every word—likely even the title.

But starting with the cover, you learn that the book is in the hands of others and that you have to let go. When it comes to book covers, writers are asked to step back and accept what’s created on their behalf. There’s little input on image, on font choice and size, or colors; in the end, writers may have limited veto power. The reality being: how many times can you veto politely?

There are wonderful covers out there. And there are missteps too. (Consider Japanese fans on the cover of a book written about and by someone Chinese). Bottomline: there is risk in putting trust in others.

I was lucky to have had Lisa Perrin illustrate the cover of Tell Me Everything You Don’t Remember—Lisa illustrated my BuzzFeed essay off which my memoir was based. She “got it” and of course I befriended her. I had to know the person behind the art and the person who, I am convinced, helped elevate my essay to become so widely consumed. Again: I am so lucky.

I wanted to share a little bit of the process behind book covers with you. I interviewed Lisa long ago, well before the pandemic, with the intention of publishing her words in this newsletter. My apologies if some of this is a bit dated. But truly, her perspective on book covert art is heartening—because she is a fellow artist, too, with great empathy for the creative process. With book covers, we are putting our faith in someone else toto take what we have created and put it into an image. But they too are artists.

And I hope what she says enlightens you too. Lisa Perrin’s art is amazing—and while I knew her from my work at BuzzFeed, she has an amazing portfolio of illustrations. She’s illustrated greeting cards for American Greetings, for Macy’s, and book covers for publishing houses. She teaches at her alma mater, Maryland Institute College of Art (and often assigns her students book covers for assessment!). Her work is vivid and inventive—and filled with energetic movement. Truly beautiful imagery that keeps your eye moving. It’s no wonder she’s become popular as a book cover illustrator. And when you read her interview, you’ll also understand the care she takes with how she interprets the writer’s vision.

In this time when trust feels fragile—it’s good to know there are to trust with your words. Thank you, Lisa.

Here’s the interview.

——-

Christine Lee: Part of my intention is to put a spotlight on book cover artists--and the process of book cover art from the illustrator’s perspective. You’ve been such a crucial partner to my work--and I’d love to learn a bit more of what you do--and hopefully publish to my readership.

Lisa Perrin: Hi Christine, thank you for your patience! I hope you are well. I appreciate that you wanted to interview me! :)

CL: Hi Lisa. For so many writers, the accompanying artwork is something to which we aren’t privy in the publishing process. We largely don’t pick the artwork accompanying our published essays or stories--and we definitely don’t have much insight into book cover design. So I appreciate you taking the time to open up what is a black box to us all. For starters--what is the title of your role? And what exactly is it you’re responsible for in delivering book cover art?

LP: I am delighted to talk about and demystify the process! I am an illustrator. I create visual art for many different types of clients, such as editorial, advertising, and surface design, but book covers have become the majority of my work. I think I have done about thirty book covers in the past six years! In the end, I deliver a layered Adobe Photoshop file with the custom-made artwork I’ve created. I am also a hand lettering artist and often hand letter the book’s title.

CL: How did you find your way to designing book covers? You were a working artist prior to working on book covers. Was this a pre-designated goal of yours? Are there any ways in which your work illustrating cards for American Greetings informs your book cover art?

LP: Creative career paths are rarely linear. In college I double majored in English and fine art painting. I think I have always been drawn to vehicles for story telling. I am also a lifelong fan of theater. My first job in high school was reshelving books in the local public library. Picture books often have an “about the illustrator” biography on the back flap of the dust jacket, and I would always flip to that as I was reshelving. I didn’t know anyone who was a professional artist or how to become one. I resolved to go back to school to earn a master’s degree in Illustration at the Maryland Institute College of Art. The program really helped me understand this industry, learn new digital tools for art making, and develop a portfolio.

Shortly after graduating with my MFA, I was hired to be an in-house illustrator for the American Greetings card company. Even though I was working full time, I actively sought out many freelance illustration projects. My time at AG was an invaluable learning experience. While I was there I was able to take lettering classes every week with a master calligrapher. I believe that being an artist who could do both the illustrations and hand lettering gave me an advantage in jobs where words and pictures mingle.

I cannot say that I set out specifically to become a book cover illustrator or a greeting card artist. I had a passion for design and a compulsion for drawing. I just want to put things that I think are beautiful in the world. I think all of these experiences have informed my current work. I often say that book covers are just posters for books. A poster is a classic illustration assignment. You have to convey the information clearly and aesthetically in a way that appeals to the right audience. You need to consider style, tone, and mood, as well as the hierarchy of information, conveying the most important things first. The artist tells you where to look and guides your eye around an image. I enjoy having my work be a part of our visual culture!

CL: Can you describe the process of designing/illustrating a book cover? How much do you know about a book as you make the art? What is your approach to deciding and envisioning what will be the image for the book?

LP: Typically the process begins when the designer at the publishing house reaches out to me or my agent to gauge my interest in the project and my availability. From there I usually receive a brief and a synopsis of the story. Sometimes I am sent a full manuscript. They may include a piece of artwork I previously made as reference, suggesting that they want something similar. They may list some other books that are cut from the same cloth as this one stylistically to help guide me as well. I usually ask a lot of questions at this point as I try to understand what the designer is looking for. There are many people who are part of this process, such as the design team, the editor, the author, and the sales and marketing team. There are projects where they know exactly what they want and other times its more about exploration and finding just the right note.

I usually get about two weeks for sketches. I try to incorporate anything specific that was requested, as well as include some other options as well. I typically send about four sketches. Next, I will get feedback on those sketches to change or revise certain elements. This part of the process can go on for weeks or months. Sometimes we will change course at this time if its not working. Once the sketch has been approved I send in color studies which are rough drafts of what the colors may look like. Once that has been approved, I can then begin to make my final art.

CL: Do you consider the reader or the writer most?

LP: I personally always think about the author when I’m designing. I only have this project for a few months, but for them it’s their baby that they have spent years on. I want the cover to be something that feels like the right home for something they care about so much. People do indeed judge books by their covers, and a dynamic and compelling cover can really help bolster interest and sales.

CL: If you could ever be in touch with the writer as you create your art, is there something you would say? Or do you feel it’s best when writers and illustrators are silo’d (as they currently are)"?

LP: This is a great and really interesting question. My understanding is that authors and illustrators are intentionally kept apart during this process. The author is so close to their work that it can be challenging to see it interpreted in other ways. The publishing house has experience with design and marketing for book covers and know industry trends and so on. I would love to have more contact with the author and hear what they envision and potentially incorporate that.

CL: If you could make the book cover for any book--classic or contemporary--what book would that be? And why?

LP: I have so many dream projects! So far I have only worked on covers for contemporary novels, but I would absolutely love to create covers for some great literary classics. I think a fresh or modern cover has the power to help revitalize and reignite reader’s love for those classic works. I’d be thrilled to make covers for some of Shakespeare’s plays, or Edgar Allan Poe’s dark mysterious stories. I would love to do a series celebrating great women authors! I also love folk and fairy tales, so that would be a very fun project as well!

I am fortunate to be a professor of Illustration at my alma mater and assigning book covers is one of my favorite projects.

[jeffybruce]

Allow me to introduce you to Jonzu Jones

I know I have said this a bazillion times but I can never stop praising the internet for allowing me to expand my web, pun intended, of “friends” to include some of the most prestigious, gracious, intelligent, talented, beautiful and creative people in the world.

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My latest addition, complements of Instagram, is Jonzu Jones! You might say ... who? You might say what is a Jonzu? But, all of your questions will be answered by reading this very articulately written interview.

I am one of those weird people who use Instagram not only for visual stimulation but also as a search engine since I have this peculiar habit of actually reading the hashtags, following them and it is that little idiosyncrasy which leads me to people like Jonzu. Needless to say, the first thing that caught my eye was his incredible physicality and then via countless conversations…. I have to come to learn there is way more to this young man that just his outward appearance. He is a hive of talents and aspirations.

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That old adage about not judging a book by its cover is particularly apt here as this man is so much more than just skin-deep beauty and yes, I am occasionally taken in by that beauty but this time I feel confident that I have made a friend who deserves attention both as model and stylist as you will see in his images.

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So, now that I have gushed about him, he is going to tell you about his life, some of which is hard to believe, and then … well you’ll have to read all of it to find out more… and believe it or not ... this know it all namely, ME, … actually learned something from what he had to say ….

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Jeffrey Felner: Let’s talk about your career path... was this the plan? How did you arrive at your present working situation?

Jonzu Jones: I feel like my career is always taking twists and turns. I had a vague idea from young of what I wanted to do and it has always been in the realm of art and fashion. I am still learning and growing, figuring things out along the way and to be honest just winging it. I will say I had a distinct vision of the man I wanted to be and more and more I became this idealized version of myself that the 12-year-old drew up. Currently I am a freelance fashion stylist, which I’ve been doing for around 7 years and I’ve been lucky to work with some truly incredible artists during that time. Styling came about as a kind of extension of me wanting to be a designer. I studied fashion design in high school and college and for so long I truly believed that was my true innate calling. I may revisit design in the future but styling has really been my big passion. While studying design, I was assisting fashion editors and stylists for school credit and to mold my approach to design. After doing that for a bit and loving it, I branched off as a freelance stylist and the rest is history.

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My second career which is fairly new is being a model. I by no stretch of the imagination believed this could be me as an angsty teen. I was the weird kid most of my life and still in a lot of ways am that same kid. I grew up hating my body, uncomfortable in my skin, shy and awkward as fuck. I was content aiming to be unseen and more behind the scenes but still having a name. Being on set more and more as a stylist and dressing in my outlandish garb, I would on occasion get snapped by the photographer. These unexpected instances unlocked something in me and I guess deep within me was a craving to be in front of the camera more. This was short lived and after a 2 ½ year stint playing house wife, gaining 80 pounds, and losing a lot of confidence, I needed a reboot. After leaving my marriage at 24, I did a full visual reset, getting tatted, ripped from home using Thor’s (Chris Hemsworth) app Center, and jumping full on into modeling. Side note… at this point I binge watched Top Model and was also religiously studying the model greats of the 80s to present times. While on set as a stylist I found myself studying models more than usual as well as photographers’ notes on poses. I am still figuring shit out as a model for sure but I’ve definitely learned a few tricks of the trade that have come in handy. The path continues and not sure where exactly it’s going to lead but I’m sure as hell having fun on this journey.

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JF: Do you or did you have any style or any type of mentors or those who continue to inspire or inspired you as you have matured and why them?

JJ: One of my biggest stylist inspirations is Patti Wilson**. She truly knows how to do avant-garde but also make it sexy, dark, and accessible.

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JF: If you could invite any 5 people to dinner, who would they be and why?

JJ: Lady Gaga for sure. She’s a fellow Aires and I think we’d connect on weird and obscure references.Daphne Guinness because she is a major style icon for me and I need any excuse to roam her probably never-ending closet.Cody Fern because he’s a cutie and his personal style is pretty damn amazing.

If she were still alive, Edie Sedgwick because she really inspired me as a kid as being my glamour girl. It wasn’t Marilyn or Judy; it was Edie with the sickening Smokey eye. Someone not here anymore but David Bowie. Still a huge inspiration to me, visually and aesthetically.

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JF: If you could choose any collaboration or situation, what would it be and why? would it be as model or stylist and why?

JJ: I would say to work with Steven Klein. His work is a huge inspiration to me and I pretty much reference at least 1 of his images in every shoot I do. In an ideal world I’d model for him with Patti Wilson styling me. She’s the one stylist whose decisions I’d never question.

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JF: Can you tell what was your most amazing experience doing what you do and what was the worst experience you encountered and why?

JJ: I think my most amazing experience so far was shooting with Robin Lord Taylor a few years ago. I’ve worked with quite a few celebs and high-profile people but I’m pretty much a comic geek and mega fan of Gotham. Robin’s character Penguin was one of my top 3 favorite characters on the show and having the opportunity randomly to work with him was so amazing. He also really rocked it on set!

Worst experience was working with a specific photographer whose name I shall not mention out of respect but that whole day ended up being a nightmare. His first words to the team was “I usually have a better team I work with normally” so that kind of set the bar for the shit show of that shoot. There’s was a moment where he chucked a pair of shoes because they were not Prada or luxury enough. Besides the fuckery of that day and being that it was a non-paying TFP shoot for a known NY magazine, he actually tried to sue me and a couple other team members from that day for copyright since we posted the final images in our portfolio. Twas messy indeed and in retrospect, I should have probably handled things differently at the time like packing up and getting the heck outta there. New, evolved, and candid me probably would have ripped him to shreds but I was younger and a lot nicer…. still nice but don’t take as much shit as I used to.

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**Patti Wilson has worked with Steven Klein, Steven Miesel,mmmm

[dearartdirector]

Hello I am an illustrator who works in publishing. I am currently working with an art director from a one of the big 5. I have never experienced this before but I have an AD who paints in photoshop on top of my work. I wish they could just tell me what they are trying to achieve instead of asking me to work on top of their work. I'm easy going, happy to make changes and very capable but this boldness is really getting under my skin! What do I do!?

Paintovers are very common in many fields, not just publishing. So do not take it personally, like there is something wrong with you. There are many many reasons why an AD will do a paintover rather than just tell you in words:

—The AD is over there selling your work to their approvers (editors/publisher/author) and those people do not have the capability to visually imagine like artists do, so to get buy-in from them on the direction the art is going to go, the AD needs to show them. Once that is approved you really need the illustrator to not change it too much, or you have to start over with approvals. In many cases an illustration has been saved from being killed by an AD’s photoshopping, so it might help you to realize a paint over is preferable to a kill. Remember, art isn’t only killed bc it’s not good…a kill might happen if a piece of art is gorgeous but just isn’t serving the commercial purpose the approvers need. But an AD is generally going to be too polite to say “well this almost got killed but I saved it like Indiana Jones and the Temple of Photoshop, high five, go team!” – they’re just going to send you revision notes/paints and assume you know you’re both on the same team.

—Most illustrators are crap at following directions. ADs have had it proven time and time again that if you give illustrators a written list (numbered, bulleted, made as easy as possible to use as a checklist) they still miss things. It’s pretty accepted that if you send 5 points of feedback, and illustrator is going to send it back with only 3 done. Maybe you are more careful. But understand that most of your peers are not, and ADs have to manage that.

—Some ADs are better at explaining themselves visually than verbally. Remember, we’re artists too. We’re not always as clear with the words as we are with the images, especially when it’s something complicated or a note we think can be easily misunderstood. Easier to see it.

—Many illustrators have language barriers and it’s easier to show them visually. We don’t always know which ones do and don’t have problems with english, but sometimes we get that feeling from your emails and we make sure to be extra clear.

THAT SAID…I have never sent a paintover without saying “this is a guide, done roughly, so please recreate with your style/ability” — I know no artist wants to get a paintover, so I try to make them as rough as possible to make it obvious I want you to REDO it. If it’s unclear in this case whether it’s a guide or it’s exactly what they want to keep then I would ask this AD if it’s ok if you rebuild what they painted. Chances are, they’ll say yes but want you to keep very close to what they did, for approval reasons. But they very well might welcome a bit more creativity in how they solved the problem (I usually do, and I will tell the artist how close they need to stick to the paintover). 

If you want to be let in on the AD’s thought process, just ask. You can say “I’ve noticed you work by paintovers. Is that a necessary part of your approval process or is it because you are concerned I won’t be able to get all the revisions in text? I’d love to try to save you the effort and take a crack at the revisions without needing the paintovers.” And I would hope the AD answers with some explanation of why they’re working that way. Maybe they’ll be relieved not to have to do a paintover if they can avoid it. Maybe it’ll be the start of a beautiful working relationship. Maybe there’s a solid reason they’re doing it and you’ll understand and not be hurt by it and it’ll still be the start of a working relationship. It never hurts to ask (in a non-hostile way).

Remember, this is a collaboration. An artist and an AD are working together to hurdle all the approvers and make a great portfolio piece that also sells lots of whatever you’re selling. Both sides want that process to go as quickly and easily as possible. ADs aren’t fucking with your work just for fun. They very well could be saving your art from a kill fee.

—Agent KillFee

[angeltriestoblog]

I’ve been thinking and writing and thinking about writing

This time last year, I spent my free time cooped up in my university’s study hall. There, I would drink from smuggled cups of vending machine coffee, in the hopes of converting my lethargy into caffeine, and the caffeine into words. My dream publication at the time had opened up internship applications, and though they set no deadline, I pressured myself to finish all the requirements as fast as I could. Every impulse decision I had was always coupled with this need to execute at the soonest possible time, like my brain knew if I took a second longer, my common sense would kick in and pull the brakes. I guess my failure to think everything through reflected in my cover letter template (lazy), resume (unremarkable), sample works (in retrospect, bland and uninspiring), and the absence of an acceptance letter in my inbox.

I have lost respect for said publication since then, though not because I harbored bitterness in my heart: their failure to compensate hardworking interns as well as the steep decline in the quality of their content should be enough reason. (Looks like I dodged a bullet back there.) Though it can’t be denied that at the time, I was heartbroken. The feeling lingered with me longer than I cared to admit. Despite getting featured on a national broadsheet and accepted into my school’s student paper less than a month later, I still couldn’t bring myself to be fully confident in my skill set because of that one specific, indirect rejection.

Which is why, being where I am now and having achieved as much as I have in a span of five short months feels like the highest form of vindication. Quarantine boredom compelled me to submit an article pitch to the then newly-launched Underdog, an online platform dedicated to the digital native’s latest preoccupation. It was a piece about the boybands I loved and lost (read: the dissolution of One Direction, and every other group I adored with the same degree of intensity), one I was actually planning to post on the blog. But in a span of a few weeks, my idea was accepted, refined, revised, and turned into a full-fledged essay that landed me my first ever paycheck.  

I was still on some euphoric high, emboldened beyond belief, when I chose to take it a notch higher and apply as a staff writer for one of my all-time favorite magazines. During the summer before college, I was paralyzed by a legitimate existential crisis that left me aimless and afraid. I turned to the Internet for solace, and in my search for a voice of reason, I found Lithium Magazine, and their collection of articles which viewed life in the authentic, critical, occasionally self-deprecating way only Gen Z teens know how. I was aware being turned down by them would easily mean a one-way ticket to retirement for me; thank God my inner critic was taking a power nap or else it would have talked me out of it for sure. The day after I submitted my accomplished application form and a far more impressive portfolio of sample articles (by my standards, at least), I woke up to an acceptance letter and just knew life was not going to be the same.

The past four months I’ve spent as a contributor for Lithium have been some of my most fulfilling as a writer. I am constantly being pushed to the limits of my imagination and creativity when it comes to the content I produce. I can’t find it in me to half-ass pitches or beat around the bush in paragraphs: I owe it to the effortlessly talented people I work with, and the impressive body of work they have managed to accumulate over the years. My first pieces for the month of July were about the effectivity of online therapy in a Filipino context, and the irony of being a low-maintenance friend during a time when the need for human connection is higher than ever. This was followed by my personal essay in defense of basic girls: my favorite one so far, and probably my boss’ too, considering that it’s an Editor’s Pick for the month of August. Though I am infinitely proud of them, as they are my first forays into the international publishing world, I know I can (and thus am determined to) do better.

Since then, I’ve churned out articles on an almost-daily basis for an array of online and print zines. I scout for inspiration in the morning and once struck by lightning, I type away until roosters start to crow once again. Most days, I only took a time out for the daily two-hour movie. It seemed like I was working a part-time job instead of nurturing a hobby. But it never felt like a chore to me. I simply love what I do and I feel like the fact that it shows is the reason why sites are kind enough to publish my work. 

You can view my portfolio if you want to see everything I’ve put out so far but here are five of my most recommended, in case you’re too lazy for that!

The story of my coming-of-age based on the usernames I had on social media platforms, for Uniquely Aligned;

An expose on all-girls Catholic high schools in the Philippines and their inaction towards sexual harassment cases, for Ashamed Magazine;

A part-review of Patron Saints of Nothing by Randy Ribay, part-rant on the evident lack in Western media that accurately portrays Filipino life, for Reclamation Magazine;

A piece on why talking about mental health should never be a one-way street, for Gen Rise Media;

A love letter to one of my favorite movies of all time, and its flawed eponymous protagonist, for Mid-Heaven Magazine

On a rather tangential note, I also started expanding my network on LinkedIn, though I wasn’t exactly sure what I was hoping to get out of this exercise. I simply enjoyed the process of generating new variations of the same job descriptions. One day, I was sent an email by Riya, the Executive Director of The Young Writers Initiative, a nonprofit that provides resources for aspiring authors to improve their craft and advance their career. They wanted to recruit me to be a mentor for freelancing for their upcoming summer internship program. I had just woken up then and had to rub the sleep from my eyes to read it properly. Apparently, I was recommended by a connection (hi, Srilekha!) who took my sample works as an obvious display of my credibility in the field. Given that this sounded like an exciting opportunity, I immediately agreed. Everything happened at a pretty fast pace after that, as I got swept up in the process of selecting a mentee and figuring out what I could possibly teach them. I guess I didn’t find the time to process what exactly was going on, and what it meant for me as a writer.

It didn’t take long for the impostor syndrome to hit. And quite hard, if I may add. I was due for an interview with Madison, one of my fellow TYWI mentors and I had scanned the questions she sent me. Though I clearly knew what advice I would give to aspiring freelance writers, or had a routine in mind that allowed me to balance all my existing priorities, my hands felt like they were loaded with cement. I could barely type on the document before me. I must have had a staring contest with my taunting cursor for an hour.

I mean, maybe I couldn’t say anything because I didn’t have the right to say them. After all, whatever I knew, I borrowed from someone else - perhaps an actual authority in the field. Wasn’t I just some girl who got lucky during the quarantine? While the current state of the world forced everyone into stagnancy, I coped best with the help of the written word. Had everyone else been under the same circumstances, I wouldn’t be in my current situation. Needless to say, when the actual feature came out, I spiraled. 

I wish I could claim that I only had to do x and y for the storm cloud above my head to go away. But as controversial as it sounds, I maintain that no writer fully gets rid of impostor syndrome. In fact, let me widen the scope of my statement: no creative can do it. I have never known anybody with both an inclination toward the arts and a strong sense of confidence. It’s like our limitless imagination only raises the already impossibly high standards we hold ourselves against. We never really think highly of ourselves to begin with, so when we meet a goal, achieve something we’ve only ever dreamt of, we bring ourselves down. We invalidate our hard work and dismiss it as an act of charity by the karmic forces of the universe.

Thankfully, I have an amazing support system: my immediate family members and closest friends, always ready to offer reassurance when it’s scarce (hold on, I got these intense Economics war flashbacks GOD). I seriously don’t know where I’d be without them. Actually, I do know. Probably wallowing in pools of self-deprecation. I think I would’ve ended up chickening out of new opportunities on the sole basis of my self-imposed inexperience. My loved ones were the quickest to remind me that I was only a beginner in freelancing but I had been writing since I learned how to grip a pen in my hand. I have prepared for this all my life and I was finally reaping the fruits of my labor. Who was I to shy away from the blessings that were so generously being lavished upon me?

In fact, just a few hours ago, I bagged two very exciting contributor roles for organizations that I admire very deeply. I have several pitches in the pipeline as of now, which I absolutely cannot wait to bring to life and share with you guys. As far-fetched as this sounds, this is only the beginning for me. I am so grateful to everyone who has believed in me, read my work (or even a mere paragraph of it because I know how underappreciated the written word can be these days), and left encouraging comments. 

WIshing you nothing but love and light always, always, always,

Angel

[artdjgblog]

Innerview: Cathy Fishel / Print Magazine August 2005 Image:​ Print Magazine​ Note: Interview for the Print Regional Design Annual.

Introduction: Cathy…Sorry you missed me. Sorry to miss you. Thanks for the message (sorry it cut you off in the middle of your phone number). Things are a bit intense as summer brings a new definition of BUSY. Work. Work. Work. Many thanks for the kind words about my work and I. It means so much. Yeah, I am sure it is chore to sift through all of the junk I’ve been dumping on the PRINT headquarters every March for the past three years or so…(I feel like a true failure if I send less than fifty entries). It is funny because just last week I was thinking about the upcoming PRINT Regional Annual and how I had not heard back on if I was selected…and I guess I have been…how many? And what? I am very curious. I had pretty much written it off. Thanks for informing me…I suppose I was supposed to receive notice upon that a while back…what happened there? Same thing happened to me last year. Out of curiosity I called somebody at PRINT last year and sure enough they had contacted me at the wrong address or something like that…I hope that wasn’t the case again. We need to get that straightened out…indeed. Certainly, I am thrilled to participate in this little questionaire. Wow, i’ve always wanted to. You don’t have to worry about smearing my name from anything said. I don’t care. Here we go… ​​01) How has the pace of business/number of jobs been in the past year as compared to the previous year? The pace is as thick as I want it and when I have sleep to deprive. I’ve always held other jobs and currently work a massive sixty-two hour weekly schedule as a groundskeeper and a janitorial supervisor…thus, cramming design into my pockets…and whenever I can squeeze it in my free time or find it under the pillow in the wee morning. I never actively seek my work due to time constraints and exhaustion…not yet, at least…and besides, the majority is word of mouth. Most of the time I just make stuff. Some of the time I get a nice little call or email and then just make more stuff. 0​2) Why is it up or down? The numbers (ups/downs) are slim if you stack them to my three previous so-called “professional” years…of course it’s due to my lack of time…fatigue…getting older…and mostly because I don’t really have a definite connection with my clients like I used to…and I don’t live with bands, attend concerts or am around my clients as much as I used to…(in case you’re wondering, my primary source of work is in the local independent music industry). Also, I am not as twenty-four-seven-gung-holike I was when I first started. I’ve accomplished most everything I set out to do at this point…(perhapsI’m just settling and need to mark a new planner?). 0​3) Has there been any surprises in the past year? Good or bad? Surprises in my work and thoughts come quite often. Sometimes it’s mush. Sometimes they come as sneakeries. The only real surprises come when I get random calls/emails from kind Print editors, designers requesting copies of posters, people wanting to put me in their books, seeing my work in books/magazines next to my inspirations/peers…and recent college graduates persuing job opportunities with my bedroom design operation. It’s all good…never bad…well, the only bad thing would be that I have to shell out good money for the good books that I’m in. 0​4) Has there been an influx of a new sort of work or client in your office? In the design community as a whole? Honestly, the only new things I approach are the things that come with each new day and in thought. I try to treat each design day new. Nothing I do is new to the worlds, other than in my own. I do thumb magazines a bit and I am a bit of a junky with design/culture and such…and I do keep my eyes open at all times…though, sometimes too much of it can make me not like design or anything. It’s getting to be way over-impacted with the idea that everyone thinks themselves to be a designer. Most of the only new sort of work that really kicks me (or I even consider new) comes from scraps of paper I find and hand painted ghetto signage. Though, if we’re talking professional work, I guess there is some good stuff coming out of the local climate. And of course I guess there is always good stuff coming out of the woods everywhere. Others might lump me in there somewhere. I don’t really know or care. 0​5) What is the economic climate like there in general? I was bummed when Quik Trip ended their “Cheap Drink Summer” so soonly…however, I’ve always got the Hostess thrift store two blocks away. I always find free junk in the streets and at work in the trash…and I always find great deals on paper and “whatevers” at thrift stores. No matter if I don’t cash in on design…I’ve always got cheap fuel to burn…and I will always barter for goods and services…if the price is right/not right. 0​6) Have any large clients closed or left the area? Who? Most of the rock ‘n’ rollers are skinny little dudes and I’m the one that’s gaining the weight around my belt and portfolio pit. There have been a few bands that have broken apart and some that have decided to play musician-designer to save money. And combined roles like that don’t always produce wickedly pretty offspring. 0​7) Has there been any changes in the ways that clients do business with designers (good or bad)? Not really any changes in clients. People still owe me money. Most people still don’t want to pay much or even pay at all for design…though, they are eager to push the products I slap myself onto and I give them free press in books/magazines. Oh well, that’s part of the deal and I knew that from the get go. It’s more than thant anyway. And I still love them…I am sure they still love me…I just don’t make enough from it to eat. But, I do have some wonderful clients that I hope to cradle and/or have them cradle me for a long time…we’ll see. 0​8) Is the design community tight-knit? Competitive? Friendly? What? I don’t really associate with other designers due to a lack of time and sometimes, simply want. I do have a few I check in on…but mostly I stick to my own guns. Therefore, I constantly hope my cats and girlfriend understand what the heck I’m talking about. It’s mostly mumbles I’m trying to say though…at least I’m entertained. In terms of the local design community…well, I guess the art/design here in Kansas City is looking pretty good. Even though i’m only in my fourth year, through the visual clutter I can see a few improvements. From what I understand, there is a tight-knit community that I’m not really associated with physically. From the outside, the knit appears to be extremely tight though. These days I like to sit at home and hunch my shoulders…and I like to think and be around people/places/things that aren’t necessarily directly connected to the design world, but they are in my personal one (whatever that means). In competitive terms I guess I fell victim to that last December. One of the best things I’ve ever done was stolen at an exhibition. Poor Mortimer was an only child and I’ve nothing to document him. Either I’m getting somewhat popular or I have a backlash. I’m also getting tired of most of the announcement boards to post posters being smaller than one of my posters (time to break out my little hands). ​0​9) What exciting things are going on in the design community? Honestly, I couldn’t tell you. Well, I’m kind of excited to see where this city is headed to as a whole. There are a lot of expensive things being built…new downtown developments/arena…and a ridiculous addition to the Nelson-Atkins Museum of Art that looks like a giant trash bin and/or trailer home. 10) What are you looking forward to in the next year? Any big changes? Anything that you hope will happen? Well, I am getting married this Fall and thus must condense my apartment. I must lovingly adapt to sharing my artifacts, junk, libraries, wall space and work space with a woman. I also plan to start sleeping on a real bed again…and to quit my night job. She is a good one though. 11.) Why is where you are a great place/lousy place to be a designer? Since I’m a one man show, I can take my design anywhere. Though, it helps to have an outlet to a music community…I guess…if I want to continue with that. I guess with this question, it’s mostly all behind the controller. You’ve really got to chop some trees down to be heard…or just put your head down, barrel through them and not really pay attention. And my real dream is to live in the woods outside of a small town near a big city and have the requests come to my porch via arrows…and to make things for myself. I’ve never been one to worry myself about if I’m in the right place or not. As long as my brain is not too sloshy and polluted, I will be fine. 12) What advantages does the midwest hold as a design source for clients? I was born and fed here. It is ok (at times a bit too honky and wonky). I’m happy with the way things have gone so far. I’ve got a meager following here that I suppose “gets it”…and the norm that says, “That’s different.” Though I haven’t really ventured off much in my design life, or simply, life in general. I hear it’s a mighty treat to get out. And I also hear good things about the midwest’s hospitality and friendliness from outsiders and/or people who get out. Perhaps I’ll pack it up one of these days and try some new turf to ooze between my toes. 13) What is the level of student/job applicant talent? Is young talent staying in the area or leaving? It’s really flattering, funny and somewhat depressing to me that I’ve received many offers from recent design graduates who desperately want to work for me. Some are really talented too…and I must paint my sad tale of no funds or time for me to even consider full-time employment with myself. Maybe I’ll just have them move in for therapy…or start my own school with fire poles to slide through the floors of my apartment building and heaping pile of posters to burn for warmth. -djg

[mentalmars]

Let's Talk Level Design with Vanessa Little - Borderlands 3 Interview

Who are you and what do you do? Hello! I am Vanessa Little and I work as a Level Designer for Gearbox Software!   How did you get started in the games industry? I grew up in a small Mississippi town called Burnsville. As a kid, video games were always a part of my life, and I feel that I can thank my parents as to why I have such a passion for them. At the age of 15, while playing Ratchet & Clank, I realized that it was someone’s job to bring me these amazing worlds that kept me so entertained. It was then that I saw a future in it for myself. Fast forward to October of 2010, I had enrolled in the Game Design Bachelor’s program at Full Sail and I was finally able to begin chasing that dream. At some point it hit me that I wouldn’t be able to remain in my small town if I wanted to be successful and have this be a real career. I made the difficult decision of picking a city and leaving everything and everyone I knew so that I could pursue getting a job after graduation. I picked Seattle, WA. I figured that if I were going to be taking this gigantic leap I might as well go as far away as I can and find a place with many opportunities as possible. By the spring of 2012 I had sold my car, most of my belongings, and was on my way to Seattle. Late 2012, as I was in this new city, scouting jobs for the future, bartending to pay the bills, and chugging away at my assignments when I wasn’t working, I got an opportunity to be a Set Dresser for Rise of the Triad (2013). It was tough working 80+ hours a week between it all, but it paid off when the following Summer I got my first paying job at Wargaming as a Junior Level Designer. I was headed to Austin, Texas! At Wargaming I mostly did a lot of research and development for World of Tanks, early versions of World of Warplanes, and got to see the beginnings of World of Warships. However, the studio only kept our team around for just over a year, and then it was back to the job search once again. Luckily, I got picked up by a lovely indie studio in Austin called Hidden Achievement. Fast forward a little more and in 2016 I got an amazing opportunity to work at Gearbox! It’s been such an amazing journey and I am so happy with where I am, now.   How was it switching from unreal engine 3 to unreal engine 4? The switch was quite easy, honestly. There were a few changes that took some adjusting, like learning to work in Blueprint vs Kismet, but overall, UE4 is a great tool that made some of the tasks much more easy to perform than they once were. The modularity and customization, how running a light build doesn’t put your work on hold, and a lot of other quality of life improvements that I don’t even notice anymore because they make my daily tasks so seamless. I do still have a lot of fond memories in UE3, though. It was my first editor and I taught myself most of what I knew by watching online tutorials. I have tons of fond memories of my early developer days.   How does one get started making a level and how long does it take before a zone is finished? I tried making some levels with Mario Maker but stare at a blank screen not knowing where to begin. Also, creating a 2D level can take up a lot of time. Starting a new level is always a slow process and can still be a little daunting at times. With our maps, you ideally want to have a theme, a biome, an idea of what missions take place, what enemies you’ll fight, possibly some narrative, and a general world location. From the early phases of blocking out the golden path, getting side missions accounted for, challenges, iterating on all of the different combat and exploratory areas to make sure that they feel good and are fun…etc. It can take several months and even up to a year depending on the map and project to get to the point of where everyone involved is happy and you can focus on polish and bug fixing. Of course, though, it really depends on the type of map whether it’s a zone, boss arena, Circle of Slaughter, or a hub. They each have their own set of requirements and some will naturally take longer than others.   I heard that you did a lot of design on Pandora. While that is the starting planet in the game that wasn’t always the case. How did this change impact the level design? My overall impact on Pandora mostly took place in Cistern of Slaughter, Destroyer’s Rift, The Great Vault, and Devil’s Razor. Devil’s Razor was a map that I had inherited from another designer that moved onto other tasks. I added in a few combat areas, cleaned up combat in others, added challenges, and overall landed the map as we got closer to ship. With Cistern of Slaughter, I inherited that map as well, but after it was all said and done, I had reworked so much of it to where in the end, it was mostly my layout. Destroyer’s Rift and The Great Vault were completely mine from the start and it were a lot of fun to work on. Even though they are boss maps, they didn’t go without their fair share of challenges. As for the starting area becoming Pandora when it wasn’t initially so, I think it more impacted Narrative than Level Design. Sure, they had to make a few new maps to account for the change, but overall it didn’t impact the workflow for most of the rest of us. I do love how it turned out, though.   Besides having a hand in creating Pandora, you also worked on the second DLC. Guns, Love, and Tentacles. That Icy planet is on the opposite spectrum of the Badlands on Pandora. How does that impact level design? My impact on the second DLC was relatively small in the grand scheme of the project. I worked with them for about a month to help figure out what the zone map was going to be and to bring down the scale of it. I really enjoyed my short stint working with the Quebec team, however. They are all a great bunch and it was a pleasure getting to help them as much as I could have. I really like how it the maps turned out!   You added cute easter egg for your cat, Logan, to the game. Which we all went looking for a little while ago.  Can you just add those or do they need to be approved? I imagine you can’t just add a “Tannis on a fish” easter egg on each map. I’m glad you liked it! That was kind of a quick thing I added in to be silly, but when I showed my lead he said that I could leave it in. A lot of our designers add little touches like this around the game and as long as it doesn’t pose a licensing issue, we are usually free to add in our own little flair. My only regret is not putting a few more in, but there’s always the next project. Also, I apologize for anyone expecting an X-Men reference, haha. If it helps, he has a very cute X-Men collar (that he refuses to wear but I got photographic evidence before he threw a fit).   Currently, we all just started playing the Revenge of the Cartels seasonal event. It has some secret challenges. What goes into creating those? Because you want puzzles or collectible to be challenging but not impossible. I didn’t work on that particular event, but overall challenges and puzzles depend on the designer as far as where to place them. We work with the game designers to be sure we are incorporating their challenges as they had envisioned, but they sometimes leave it up to us on how to implement them. For puzzles we just have to be sure to stick to the types of mechanics already in the game, be sure not to add anything that doesn’t already exist, and make sure it’s solvable.   Do you have any advice for the new generation of designers out there? My biggest piece of advice is to chase your dream, and you don’t need a degree to do so unless you want to. Full Sail taught me how to learn on my own and showed me how to search out for what knowledge I was after. Nowadays, there are so many different resources online that you can learn how to do almost anything without ever going to a class. Be sure you know what avenue you want to pursue and really focus on that. Want to be a level designer? Work on making interesting blockouts, creating fun combat spaces, challenging puzzles, etc. Want to be an artist? Challenge yourself with different types of art. Want to be a programmer? Learn various languages and stay up to date with what’s current. It’s easy to want to be the Swiss Army knife of game development, but be sure you know how to do one of these really well first, and it will grant you more success when pursuing opportunities. Knowing what you want to do is paramount. Other advice that I will offer is to not take for granted those trying to help you because a good mentor is invaluable. Be sure to start on your portfolio early and challenge yourself to be a better designer with every new project. Above all (and is sometimes the most difficult) remember to have fun. The opportunity of creating entertainment experienced by people all over the world is not only humbling, it is wildly fulfilling. It never gets old watching someone play a map that you helped build and having fun while doing it.   Is there anything you would like to add that I didn’t ask? I just want to say thank you to everyone who played Borderlands 3! It was a massive labor of love for the entire studio and I am proud of what we accomplished. I also wanted to say how grateful I am to have had the opportunity to do this interview. I love sharing my experience with others as I hope it inspires or persuades someone to take that leap. It’s not easy, but the journey is worth it. If anyone needs advice, please reach out to me and I’d be happy to help out as best as I can. . And I’m reachable via twitter @vr00mie or email Vanessa.Little (at) gearboxsoftware.com.

Continue reading on https://mentalmars.com/game-news/lets-talk-level-design-with-vanessa-little-borderlands-3-interview/

[iamfunke]

Finding your Passion

Today I want to speak on something more theoretical. Finding and subsequently chasing a passion. 

It’s important to note that I’ll be using the word ‘passion’ rather flexibly, and more-so referring to pursuing an interest/hobby. I’m a very passionate person, but i’m not a very pervasive person (ergo somebody who can chase one thing for long). Let’s break things down by explaining how my interests work first.

I’m very passionate about the arts. Film, Music, Naked ice sculptures with comedically disproportionate genitalia, Animation, pretty much all your standard stuff. But I was always very bad at actually staying focused long enough to learn those things. I would see other people do it and think, “wow, I wish I could do that.” 

This is the first step to finding a passion, knowing what your passion is. A lot of people feel like they don’t have a passion. I think it’s more like they don’t have self discipline. People say they don’t have motivation, but I like the phrase that “motivation doesn’t exist- only self discipline.” (motivation does exist, but it’s unreliable in the grand scheme of development) Good self discipline is the ability to keep yourself from taking the easy route, and to stay focused when trying to get into something. I’m not by any means well self disciplined myself, but I am very aware of what my limitations are and what it takes to get things done.

Anyways, First you need to get yourself in the mindset that even if there isn’t something you’re stoked on learning, that you at least want to try and learn/improve at something. Anything at all. From there, it’s all about trying new things until something catches your attention. I wanted to learn how to cover songs I like, so I got a guitar. I learned how to make covers of songs I like. From there I used that knowledge to learn how to make songs from scratch. From there I learned what programs and what the process is like for improving things.

Or another example, I like cartoons so when I was a kid I would trace posters of shows I like and try to shade them with a pencil. From there I tried to learn how to draw freehand. From there I started doodling on every paper I used in school. From there I have a drawing tablet, and now I can try to learn even further into the process.

Or another example, I liked watching youtube videos so I looked up what the best programs were, picked one (incidentally one of the less ideal ones) learned how to do basic editing, and from there the knowledge compounded over time as I made more and more stuff. Now I like to try and incorporate all my abilities on my channel. I make all of my own graphics, animations, I do all my own editing and sound mixing, and so on. It’s far from a high level operation but I would confidently argue that i’ve done well to at least establish myself through that effort.

I won’t lie, It is a long and tedious process. That’s why I amass a collection of hobbies as opposed to just getting extremely good at one over the course of a few years and working off that. I’m an impatient person. I can’t handle long-term planning on that level. But I know my weaknesses, So I try to stay fresh in all my hobbies and use them practically as much as possible. If you’re somebody who prefers to have a single or handful of hobbies, then I say more power to you. utilize that, if it’s a passion with a potential long-term future, see what successful people do to live that way. Video editors either run an entire channel or edit for an existing one (ergo build a portfolio). Artists run on commissioned and paid work (ergo build a portfolio.) Musicians play live and sell merchandise (don’t get your hopes up on those record sales, kid.) And maybe you don’t want to do it as a job, that makes sense too, doing hobbies for a job can make them suck sometimes. In that case just focus on trying to get more experienced in it rather than cutting even (this is cop out advice but it’s true and really does require pushing yourself). Not everybody is born talented, shape yourself by making your own circumstances. Improve, grow.

And if you really at the end of the day can’t find a passion worth pursuing, there’s nothing wrong with putting your support behind somebody you can live vicariously through. That’s why this post is sponsored by Skittles. Use the code “FUNKe” at skittlemykiddle.com for 15% off your first purchase of the New 50Ib. Skittlesoarus™ Crate, a crate filled with 17,000 skittles. All of the skittles come pre-licked and colorless. No refunds.

[therealdanadistortion]

HOW TO BECOME A MUSIC PHOTOGRAPHER

I get this question a lot, More than any other question.

The short answer, as Nike said: “Just do it.”  I said it better: Just (fucking) do it!!

And now for the longer answer…

THE BEST CAMERA IS THE ONE YOU HAVE

To shoot shows, you will need a camera (anything other than an iPhone!) and maybe few lenses. I know that not everyone can afford a great camera right away. It’s okay to start with what you’ve got. The best camera is the one you have. Anything from a point-and-shoot to a cheap DSLR. And I’m a big believer in used cameras. If that’s all you can afford, go for it.

I started on a Nikon D60 and it’s one of that company’s cheapest DSLRs. I got it for free after collecting points from my credit card company. It served me very well and I shot a great portfolio with it in less than a year.

Another question I get a lot is: Canon or Nikon? Those are the two big players in the world of professional photography, and I honestly think it’s a matter of personal taste. Usually the brand  you start with is what you’re gonna keep using, and I think you should know your playground before you go out there and play.

A good way to figure out what equipment you might like best is to rent. Rent different cameras— Canon, Nikon, whatever. And then rent different lenses and explore. Find what works for you. Cameras and lenses are fairly cheap to rent so it’s a good way to try out equipment without making a huge financial commitment.

From my own personal experience, I will say that Nikon has a faster focus motor, while Canon has more a rich and vivid color palette. All brands have their pros and cons, and a big part of photography is a developing your own style. The best way to do that is try out different options and see what you like. No one knows better than you.

I also think it’s true that using a cheap camera is like driving a stick shift. It’s harder, but it will make you a better photographer. If you can get nice clear images on a cheap camera, can you imagine what you will be able to get with a professional one?  

LEARN HOW TO USE THE DAMN THING

When I just started I knew nothing about how to use a camera. Photography is both an art and a science, and knowing what you’re doing is a big plus. You don’t want the camera to control you, you want to control the camera. Since music photography is full of the unexpected—from the venue to the lighting to the movement—you really want to be ready for what might happen. Knowing your equipment will help you be ready.

If you can afford to take photography classes, go ahead—but it’s not a must. The Internet is the beginning photographer’s best friend, and there is a YouTube tutorial on almost any photography topic you can imagine. Read about photography, watch videos, ask questions, and most important—practice, practice, practice. The best knowledge comes with experience. Just grab your camera and shoot your little heart out.

I always recommend avoiding the automatic settings on a camera. There is no reason to use automatic settings if you are planning to become a professional photographer (and yes, aperture and shutter priority ARE automatic settings). If you won’t learn how to use manual settings, you will always stay in the same place with your photography. Don’t be afraid of making mistakes, that is how you learn. It took many black frames for me to know what I was doing, but eventually I got the hang of it and I can’t even describe the satisfaction I felt when I realized I finally knew how to use the damn thing!

If you want full control of your images, don’t be afraid to switch your dial to M. Now let’s see—do you have it in you???

OK, OK I GOT THE HANG OF IT…NOW HOW DO I GET INTO THAT PHOTO PIT?

Dream big, but start small. A good friend (a powerful person in the music industry) told me when I just started, “I’m not gonna help you, Dana. You need to start at the bottom and work your own way up.” As much as I hated this answer and rolled my eyes thinking, “Why can’t this bastard help me, dammit?” I now think it’s one of the best pieces of advice I have ever gotten in my life. I’m not a patient person, but now that I have actually accomplished a thing or two with my work, I understand where he was coming from. This advice didn’t make me work hard—it made me work harder. If he had helped me back then I would probably not appreciate where I am now half as much I do.  

So you have a decent camera, you’ve learned a thing or two about how to take pictures, so now how the hell do you get that precious photo pass? Well, you probably won’t…not when you’re just starting out. Space in the photo pit is very limited, so why would a band/PR company/magazine editor wanna issue a photo pass to you when you have nothing to show yet? Yes, that leads me to the next thing…..

DEVELOP YOUR STYLE

After taking photos for a while, you will develop your own style. Don’t try to shoot like your favorite photographer. Unless this person is dead they are probably still shooting, so why would you want to copy their style?

Photo editing is a huge part of a photographer’s style. I spend hours and hours editing my images. I love the contrast between shooting out in the crazy field and then sitting in my studio, relaxing and listening to music  while editing my photos.

When using editing software, I don’t recommend using presets and please don’t go crazy with effects. Create your own look and style. Experiment and play with contrast, colors, and brushes. And just like with cameras and lenses, find what editing software works best for you.

I use Lightroom, as it’s easy to be organized (which is not a great quality of mine; I’m pretty messy). I also use Photoshop. These two programs work well together. Many of my fellow photographers use Adobe Bridge and Aperture. Don’t limit yourself. Watch online tutorials, read reviews, and ask yourself what is it that you’re looking for and need. Most editing software packages offer a free 14-day trial, so you can download and try before you buy.

BUILD A FANTASTIC PORTFOLIO

The best way to get yourself out there is to have a memorable and outstanding portfolio. Start shooting whatever/whenever you can. Your uncle’s band, that local band who really needs new photos for their Facebook page, a festive parade (it’s not music, but parades are colorful and full of unexpected movement). These are all great places to start building a photography portfolio.

As for bands and artists, buy tickets for the shows you wanna shoot. There are many venues that are not restricted about cameras, and the venues that do restrict them usually have a bag check. So even if you bring your camera and the venue won’t let you shoot, just check your camera and enjoy the show. You will learn which venues you can shoot in as you go.

Go to as many shows as you can. Get there early with all those fanatic fans, stand in line for hours, and get to the first row. I sometimes get better photos standing with the crowd than from the actual photo pit.

Remember, a camera is not a gun. No one will call the cops on you. If they catch you, they will ask you to stop shooting and put the camera away. In this case, be respectful (or go to the back of the room and continue shooting from there). I have been kicked out of several venues for shooting when I wasn’t supposed to. Hey, you gotta work hard and do crazy things to get your photos, so if you don’t have the balls for it find yourself something else to do!

The more you shoot, the better you get, the more you have for your portfolio. One great shot from each show is all you need when you’re starting, but you’re gonna feel amazing once you can choose from the many great shots you’ve taken.

When you have at least ten different photos of ten different artists that you are completely satisfied with, you have the beginnings of a portfolio. Later on, when you have more variety, your portfolio should be a combination of big names and great moments you’ve captured. You want to show energy, composition skill, and anything else that will make you stand out from other photographers. Be creative and try show as much variety as possible. Most likely when someone looks at your portfolio, they will look only at the first few shots, so these matter the most. Try to avoid using the same artist within the first twenty photos.  

There are many free portfolio sites such as Zenfolio, Portfoliobox, and others. Choose a template and start uploading your work. Don’t be lazy, what are you waiting for?

THE MOMENT YOU’VE BEEN WAITING FOR

Now that you have decided you are serious and have the talent, you can start asking for “real” photo passes and shoot from the golden photo pit…that magical place all music photographers strive to get to. E-mail the bands and PR companies directly. Introduce yourself and your work and ask kindly to shoot the bands you like. If they don’t respond, don’t be afraid to follow up, but don’t nag. Annoying people are not welcome anywhere.

Usually press credentials are given to photographers shooting for specific outlets, but you never know, and how will you know if you don’t try?

When I first started, I heard Thurston Moore of Sonic Youth was playing a small venue in Brooklyn. I knew that Sonic Youth was playing Terminal 5, a bigger venue in the city, a few weeks later. I went down to the Brooklyn show and when I spotted Moore hanging out in the crowd I went up to him and with no shame introduced myself and said: “Thurston, I’m a huge fan of your band—is there any chance I can photograph your show at Terminal 5?” He said right away, “Of course, contact my manager and I’ll take care of it.” So that’s how one of the very first bands I shot was Sonic Youth. Not only that, but Thurston was kind enough to get me an “All Song” pass, so I shot the whole set AND I got to shoot the opener Dinosaur Jr. Double success! Sometimes you can’t leave things to chance. I say go ahead—get what you want.

GO GET ‘EM TIGER

Now that you’re photographing on a regular basis, it’s time to shop for a publication.

It took me about a year to create a decent portfolio. I used photos taken on my D60 and my point-and-shoot. Don’t rush it; you need to be ready before you approach a publication. Everything has its own pace and you will know and feel when you’re ready to work for someone other than yourself.

Now that you have work to show, it’s time to get professional and start sending your stuff out there. Get “real” access. E-mail the bands, PR companies, venues, and publications. Your ultimate goal as a music photographer is to regularly shoot on assignment for blogs and magazines. Do your research first—figure out which blogs/magazines you like best. Most likely they all have people who are already fighting for those photo passes, but if you have something new and fresh to offer (not to mention loads of talent), they might consider using your fabulous skills.

DON’T TAKE NO FOR AN ANSWER

The competition is enormous. In the world of music photography, you constantly have to fight for your spot and prove yourself over and over again. Many of your e-mails will be ignored. Don’t take it personally, just keep trying.

For instance, I knew I wanted to shoot for BrooklynVegan.com. I was a reader and a big fan of this blog way before I even started shooting shows. I e-mailed the editor many times and was completely ignored until I had a set of photos I thought he might want to publish. I used my photos as an undeniable winning card and found my way into the blog. BrooklynVegan is still my number one publication for my photos. I love everything about that blog, and I’m very proud to be a regular contributor.

So to sum up: be respectful, but don’t take no for an answer. Let your talent speak for itself. Setting goals is always helpful. Knowing exactly what you want is an important first step. Now that you know the steps, go get ’em tiger!

NOW THAT YOU ARE AN OFFICIAL MUSIC PHOTOGRAPHER

A few last tips:

* Get a good health insurance! The pit and music venue can be a dangerous jungle.

* Be nice and respectful to your fellow photographers. Be aware if someone is behind you if you lift your camera. Look to both sides before you reposition yourself as you don’t want to shove your lens in someone else’s frame

* Be kind to the fans! I have made quite a few friends and met wonderful people talking to those awesome people in the front rows. Don’t forget—they waited a long time in line and spent good money to see their favorite artists. Introduce yourself, tell them about your website and what you do. They are the ones who are the most interested in your photos. And you never know who you will meet!

* Come early and shoot the opening bands. They need your coverage and it’s a great way to get introduced to new music. And it’s more than likely you’ll soon be shooting them as the headliners.

* Wear comfortable clothes and shoes. The photo pit is not a catwalk. You don’t want your hair in your face or sore feet after standing and waiting for the show (which can be hours if you’re shooting Lauryn Hill!)

* Have your business cards handy; you never know who will be standing next to you at a show.

* Don’t rant about the lighting. It is what it is. The show is not for you, it’s for the fans and the music is the most important thing. Some bands prefer red lights or playing in the dark. You can’t change it. Go with it. It is what it is.

* WORK OUT on a regular basis. Being a music photographer requires a lot of running around and carrying heavy equipment. Working out sure gets you in shape and keeps you going, especially at festivals where you will be running from stage to stage. I used to hate working out but once I started I can never go back! I work with a trainer and also do Soulcycle, which is a fun way of combining two of my favorite things: biking and great music. Now that I work out regularly, I lost weight and festivals are all of a sudden much easier. It’s healthy and you don’t take up as much space in the photo pit. How can you argue with that?

And the last and most important tip: LOVE WHAT YOU DO!

There is not much money in music photography, so if you don’t like music, why on earth are you doing this? Enjoy the music, enjoy the show! At the end of the day, music is the best thing about music photography.

©all photos by Dana (distortion) Yavin. All rights reserved 2013

[rummitummi-blog]

The state of undervalued design in SG

I’ve thought about this for a really long time, and something I’ve come to realise after being Melbourne for 10 months is that design is so completely underrated and undervalued in Singapore, and I do think it is part of the reason why our design/arts scene is so underdeveloped for an economically thriving city.

Just this morning, I went for the Melbourne Art Book Fair and checked out a whole bunch of independent writers, poets and artists, and then I bought 2 copies of this indie magazine that I really liked. It didn’t come cheap- at $25 a copy, I debated with myself if I really had to have it because it’s not a need, plus I’d have to lug it back home to Singapore in May. But then I texted my sis and she kinda reaffirmed that I should get it, because really, how many of such high quality magazines can we find back home?

I spoke to Beth, the editor and designer who started the magazine and learnt a little about her motivations for starting it, and how she basically quite her full-time job to do this. Later on, at a panel discussion that I managed to catch, the 4 different indie magazine editors talked about how they made their magazine, and about the different hurdles they had to jump over to make their magazines a reality.

A little about what I learnt

1. Publishing a magazine (without the ugly ads we hate in commercial ones) is really expensive. I still remember all the times in uni when we had to print our portfolios and each 30 page a5 booklet with perfect binding would cost something like $75 and up, and sure even with bulk copies, the prices don’t go down that much unless huge print runs are made (like commercial mags). So I do think that as readers, if we love the content, we shouldn’t be cheap about asking why the magazine is so expensive. If we don’t pay for it, who’s going to feed the editors and contributors? My principle is to pay for value. Honestly, after asking myself, the only magazines that are rip offs are the commercially “mid-range” priced ones with boatloads of gossip and fodder that do nothing for your brains.

2. None of these publishers were willing to compromise quality just to feed their readers stupid ugly ads that had no place in the publication. This is why I love indie magazines! They all wanted to put out only the best content, and if they were going to have ads, that the ads actually appealed to their readers and were relevant. Seriously, many indie magazines have to put out the highest quality content because it’s so important to sell each copy when they are mostly self-funded.

3. The publishers produce great content and pay their writers, photographers, designers to produce that high quality print we love, so why are we always so cheap? I have so much respect for the people who start something and remunerate fairly, and then only paying themselves last. In no way am I being sponsored but I do think there is a reason beautiful independent magazines cost so much - it is more than just the content but the presentation, and the user experience! The paper stock we love, the on-point colours, and binding, they have their details cared for. It’s the reason why some magazines are just more enjoyable to read because you don’t notice how easy it is to flip through it. 

A good way to think about it is that if we don’t support the people who make things we love, the work they do is going to be unsustainable for them and then, magazines (or crafts, etc.) we love will disappear. ):

Which leads me to the 4th point, or my tiny epiphany..

4. We don’t have enough money, and never will feel like we have enough, but support for the arts is important unless we want beauty to die out. For years, I’ve heard all my friends and fellow design practitioners complain about how the art and design scene in Singapore SUCKS BIG TIME. How everything is so sterile, so commercial, and made for the masses. “Singaporeans go to museums to take insta-worthy photos and call themselves cultured”, is something I’ve heard over and over. But if we expect only our government to fund the arts scene, how far can that go? Isn’t that why all the creatives who are serious about their craft and wanting to be at the top of their game leaving the country?

Most times (and alot of times in Singapore) people like to be cheap and have everything for free, and we all know a creative sibling, relative, or friend whose work we think is absolutely gorgeous, but who is always busy with projects and yet still struggling financially and not being paid his/ her dues. Shouldn’t we as consumers, try to change that by actively validating their work and not asking them to do things for us for free? Or by asking for “discounts” all the time?

-

What are your thoughts about paying for creative works? Or what is a fair payment for your photographers, designers, videographers or architects, etc ?

[mariajustinteriordesigns]

Paris: 5 Must-See Spots For Design Lovers

Paris is always a good idea. Especially in Springtime. And yes, this is all beginning to sound extremely clique because I’m also writing this post on Valentine’s Day. All I need now is to mention the film, “Amelie”. Okay, too late. This is definitely the cheesiest intro to a Paris story…

I promise this gets better. Much better. Because I have 5 incredible tips for you for next time you travel to the (clearing throat), city of lights. But first, back story…

New issue of HOLLY!

Okay so did you know that in the latest issue of HOLLY magazine (shown left, click on the image to buy it directly, it will ship to you no matter where you live because we want the WHOLE WORLD to have it), anyway, in this issue of HOLLY there is a HUGE story about me in Paris?

Maybe the “me” in Paris isn’t so interesting to you (ha ha) but trust me when I say THE STORY (wow) took weeks to produce and it’s definitely worth the 5 Euro mag price just to have the Paris Story because the tips are really so good and there are about 13 pages of PARIS in this magazine. That’s enough to make any Francophile swoon. It’s the best travel story ever. I feel strongly that you’ll book a flight immediately after reading it. It’s that good.

So now I wish to tell you a little bit about how we produced this story, who photographed it and how I ended up going home with an afro in my suitcase.

Okay, so it was around midsummer last year (2019) during an editorial meeting that the HOLLY team decided that I will go to Paris for my next travel story. I definitely had no problem saying Oui to that. But why Paris? Well, besides the obvious (food, fashion, design), I wanted to pick a location that had deep, personal meaning, like the previous two travel stories I’d done. If you remember, the first city was Hannover where I live, Copenhagen was next because my husband works there and I have a lot of clients there, and then Paris because this is the first city that I fell in love with when I was 22.

After deciding on Paris, we had to find the RIGHT photographer. I am picky and the magazine is very picky when it comes to who we hire. It cannot just be a “friend” or someone without a portfolio or anyone off the street. They definitely run a very strong and successful publishing house for a reason – their expectations for all freelancers is high – particularly for photographers because magazines are primarily visual and sell based on how appealing they look.

The lovely HOLLY photo editor, Lisa N., came to me with several portfolios to suggest. She knows I love a certain aesthetic and style and so she shows me what she imagines I’ll love instantly. She’s so good!

Though in the first few months of working together with my team, before they eally “knew” my style, it was a more difficult and long process for us all. I felt bad rejecting certain suggestions and I know it was hard on them (and on me because I don’t like to turn people’s ideas down). But I also came into this project with a very strong vision of my own and I didn’t want to lean in too much and lose my own style and flair. Plus, they hired me to help create a magazine called HOLLY so my input has to be there because without that, there isn’t a project.

Still, I have always viewed this a team project and I value and respect my team. However, when issue one came out in January 2019, I knew it needed to evolve aesthetically. We all knew. It needed to be more “me” somehow and now we are there. The current issue, January 2020, is different from the January 2019 issue and the team and I see that and love it. We know this came through a lot of hard work but the change was needed in order to embrace fully what I, and my community, represent online: creativity, curiosity and international flair, handmade, attention to detail and the love of being at home and making it a nice place. And yeah, THE COMMUNITY has to be part of the magazine just like it’s part of decor8 online.

So back to Paris and photographer selection. Lisa N. showed me some portfolios and the minute I saw Oliver Fritze, I felt a connection. Not only does he shoot for my favorite French magazines MilK and MilK Decoration, but I loved that his photos were not so warm and cozy, or “yellow” as many Paris photos are often shown in magazines and books with warm lights and pastel balloons, they were more cold and “fashion” with a blue-tone to them, but also very detail-oriented, a little abstract, and I could see he had the potential to capture emotion but to make it still feel like how Paris feels to me: Chic.

I wanted to present Paris in HOLLY mag with this more cool, blue tone since I first went to Paris as a young woman in winter, and I photographed the city on my Canon film camera back then in black and white. Over the years, it’s rare that I’m in Paris when it’s warm. Now that I think about it, I’ve been to Paris about 20 times in my life and it’s always during sweater or even wool jacket weather, so showing Paris in the middle of January in HOLLY, shot by the great Oliver Fritze, would definitely capture my vision of Paris for a shopping and eating story.

Once we discovered Oliver was originally from Germany and spoke German, I was thrilled. I thought he was French, speaking only French, which would have presented many challenges for us to work together. Later, I was told he is fluent in English, French and Italian too. Oliver was getting more and more interesting to me with such a diverse background – he speaks 4 languages and has lived in 3 countries (that I know of) and when we had a chat on the phone, I knew immediately that he was a professional that I could imagine working with for 3 days. Because honestly, you have to work so closely with a photographer when you are directing a story, the last thing you want are communication problems or to work with someone who is a pain in the ass (!).

Once we booked Oliver, I booked my tickets and found a hotel. Then the research period began. I turned over every stone to find the best places, referring to previous spots I’d visited as well like Bonton, Merci and many more. Several of my favorite spots had closed, so I researched for weeks to find great places where Oliver and I could take photos for this story.

My team back at HOLLY also compiled suggestions. And in the end, a shoot list was provided with a map to both Oliver and I from my team. We met in Paris and began working together immediately on a Sunday. Each day we wrapped up around 8pm. It was an intense but wonderful three days. Oliver felt like a long-lost brother to me, albeit a much cooler and sophisticated version of how I’d often imagined my older brother would be. I loved that he has a family and a wife, and that he was so tied in to art and design. I also liked how he enjoyed hosting me in Paris, I didn’t feel like a burden or a tourist - he instantly made me feel like I was part of the city. I loved his spontaneity best. Sometimes we’d find a good place just by walking around and he’d say, let’s go here, do you like it, want to include it? And we’d just ask the owners and start shooting. It was a great adventure for me to get out from behind my laptop and explore. We really worked well together. He also shared secret spots, like the pet shop where magazines “rent” pets for photo shoots, the restaurant under the bridge that’s built into stones (it’s in the magazine!), the food halls at Le Bon Marche (that I’d never known before) and a section of Paris that has about 500 African beauty salons and afro shops (where I bought an afro for a costume party I was hosting a week later). Speaking French, he was able to get us everywhere without hassle. We rode the metro, taxis, buses. We walked and walked, talked and talked and worked so hard to produce the PARIS story that you can see now in the magazine. It’s full of beautiful things, so I hope that you’ll check it out.

Now, for the grand finale, the fireworks, the moment of truth (le moment de vérité)… I want to share 5 places we went to that were really special to me, to show you photos that didn’t appear in the magazine because I think they are really lovely and worth showing. Ready?

1.    25 Hours Hotel (Terminus Nord )+ NENI (to eat!)

I must start with a good, affordable, hotel because that’s what we want most when we travel to Paris. A great bed, fantastic shower, delicious breakfast, ideal location, safe and secure, wonderful decor… This place has it all. I loved having breakfast each morning at Neni. It’s a gorgeous spot to eat inside of the hotel and is open day and night. The food is exquisite but the breakfast buffet was most impressive.

2.    Amelie

What a cool concept. You can walk-in and try your luck at seeing the whole gallery, or you can call or email in advance for a special appointment. Basically, you get to walk around the living gallery of the owner, Amélie du Chalard, who bought this property just to live in the roof and use the rest of the space to sell art, sculpture and other beautiful things. This is everyone’s dream come true - her magical life - to live in Paris surrounded by art and so much beauty. You really can’t miss this place. It’s not in the tourist guidebooks, so count this as your super special, precious gem of a tip.

[limejuicer1862]

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger. The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

Vivien Jones

Vivien writes short stories, poetry and plays. Her first poetry collection – About Time, Too – was published in September 2010 by Indigo Dreams Publishing. She also won the Poetry London Prize that year. A second collection – Short of Breath – was published in 2012 (Cultured Llama Press) She has twice performed as a Poetry Double  with Jacob Polley and Jen Hadfield. She has  two short fiction collections in print, and numerous other publication credits, nationally and internationally. She currently divides her writing time between creating award-winning plays and devising and leading writing workshops – especially in museums and historic properties.

The Interview

1. What inspired you  to write poetry?

Not so much inspired, as required to, when as a mature student at the University of Glasgow (Crichton Campus)  I took a Creative Writing course with the poet, Tom Pow, I was asked to produce a portfolio of six poems. I had written poetry as a teenager, with plenty of angst and little restraint, and even had them read at the old Traverse Theatre when it was in the Grassmarket in Edinburgh, but I had written no poetry since. ‘Write what you know,’ everyone said, so my first pieces explored no grand themes but were about cooking and nurture, and family life. Once started I couldn’t stop and with the generous encouragement of Tom and my fellow students I began to extend my range. This was thirteen years ago and I have been writing poetry amongst other things ever since.

2. Who introduced you to poetry?

At Plympton Grammar School in Devon, two of my English teachers, the intimidating ‘spinster’ (that’s how she proudly described herself) Miss Blake and the rebellious Jack Bevan put books my way – the classics of English poetry from Miss Blake; the mischievous questing of comtemporary poets from Jack. So I learnt respect for form from one and the fact that anything and everything is fit subject of poetry from the other.

3. How aware were you of the dominating presence of older poets?

I didn’t know any actual poets at that time – once I did in 1960s Edinburgh the ones I met were all men and pretty egotistical. They would flirt but not engage in conversation about literature with someone so young and female. I have always remembered my astonishment at reading the verse of Gerard Manley Hopkins and the warmth of recognition in the poetry of DH Lawrence.

4. What is your daily writing routine?

I’m very fortunate in having ‘a room of my own’.   My husband and I are both self-employed and work at home so I can write at will. I do a lot of writing project leading so much of my work is planning and organising. reviewing and editing. I’m also one of three editors of our regional arts magazine called ‘Southlight’. I’m more likely to write for myself in the mornings after a prolonged shared breakfast when he heads for his workshop and I head to my room.

5. What motivates you to write?

The non-stop picture show in my head. It was only when I resumed writing at university that I realised that not everyone has this experience. When a particular idea strikes me I seem able to pause the action and examine it – thus when I write about my childhood I’m seeing it with sound and colour. I feel I have to do something with such vivid stimulus.

6. What is your work ethic?

I’m a fast worker – too fast sometimes, I have to make myself work at review  and re-drafting, but I’m also a hard worker and like the projects I lead to be well-planned and structured. I like to work in peer groups and spend time in making sure that everyone has a voice and equal speaking time. This is very important with new writers who need to work from where they are. For my own work I have a couple of trusted writing friends who are also good, honest critics. 7. How do the writers you read when you were young influence you today ?Reading and drawing were such important parts of my childhood, much of my playtime spent in one of the other, so my reading was absorbed into my growing self very deeply. I don’t really know that I can identify what influence they were except to say I loved the writers who wrote of real life rather than talking animals (eg though I have come to admire the later Mrs Heelis, I couldn’t stand the tweeness of Beatrix Potter or many of the children’s classics  – I think the fame of such books often reflect the love of adults looking back) and it’s been a strong thread in my own writing. So it was probably the feisty books I found to read to my sons that pleased me more

8. Who of today’s writers do you admire the most and why?

Toni Morrison – for ‘Beloved’ especially, in which she explores each corner of the human heart in all its complexity. I re-read it, at least in part, most years. Alice Walker for similar reasons.

John Le Carré – for the eloquence of his prose and the fine detail in the ideas he persues.

Jackie Kay – especially her poetry which looks at difference in ways which broaden understanding. She is one of very few writers who can write about music and its intoxication.

Philip Pullman – for his fresh, unsentimental imagination used to create a fabled world for children (and adults) and for his fierce defence of the need for children to read quality literature.

Not many truly of ‘today’, not because I don’t read them but because it takes me time to take them in and I realise there are few poets in my list. That’s because I find it hard to measure poetry against itself. In no special order I also like :

Ian Banks, Sebastion Faulks, Alice Munro, William Boyd

9. Why do you write?

I want to leave something behind. Being a young woman in the 1970s first wave of feminism had a deep and lasting effect on my desire to write of women’s experience where it differed hugely from men’s, and was largely unvoiced. I felt there were gentle things to say, subtle negotiations to be made and I wanted to make a plea for equality between genders rather than replacing the dominance of one over the other. I think we need to learn to love each other from a stance of respect which makes demands of both, and teach our children those values. So I write to persuade.

10. What would you say to someone who asked you “How do you become a writer?”

Write. Read. Listen. Join a writing group, preferably in person but there are lots online. Construct a writer’s CV by sending work to a steadily expanding list of publications. Not sure about entering competitions which can be expensive and are totally unpredictable but if that’s something that appeals then try that. There are lots of pamphlet competitions which could be a first step, and can be added to that CV. Once you have some history of publication apply to be on your national equivalent of the Scottish Book Trust Live Literature scheme, which will allow you financial support to go to writing groups and schools as a leader.  My advice would be don’t self-publish – I know many people do and there’s less stigma about it these days but it remains unedited, and can disqualify the work from counting when making funding applications. But above all, write.

11. Tell me about the writing projects you have on at the moment.

Drama : ‘Transgressions’ – two short plays in performance in November 2018

Poetry : ‘Finding a Voice’ – working with other writers giving voice to the women subjects of 19th/20th century photgraphs for display in the Ewart Library, Dumfries. November 2019, and development as a theatre piece.

‘Records of War’ – an 18th month project in Annan and Dumfries with writers in response to an exhibition at both museums on WW1. Also an associated reading event – ‘Little is known….’ based on the centena I wrote for the Imperial War Museum/26 Writers Collective Armistace event. November 2018.

Title TBC : writing project with Gracefield Art Gallery, responding to 19th/20th century paintings by women. March 2019.

‘ Embedded’ Putting together a third poetry collection – have a potential publisher interested. 2019/20 Details :

http://www.vivienjones.info https://www.facebook.com/vivien.jones1?fref=ts&ref=br_tf http://www.southlight.ukwriters.net e-mail : vivien@freeola.com

Publications :

Poetry – collections ‘Hare’ erbacce press 2008 ‘Something in the Blood’ Lapwing Press 2008 ‘About Time, Too’  Indigo Dreams 2010 ‘Short of Breath’ Cultured Llama 2014 Short Stories – collections

‘Perfect 10’  Pewter Rose Press* 2009 ‘White Poppies’  Pewter Rose Press 2012

*Pewter Rose Press closed down in 2017 I still have some copies of both collections.

Wombwell Rainbow Interviews: Vivien Jones Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me.

[ameliamike90]

Chinese writer for a highly popular online travel magazine (Based in Malaysia) job at TripCanvas Malaysia

We are one of the fastest-growing online travel magazines that feature unique content that inspire people to rethink about travelling in Indonesia (https://indonesia.tripcanvas.co).

Since our debut in July 2014, we have been experiencing a steady traffic growth, and we now have more than 1.4 million visits each month on our website. In addition, we have an active and highly engaged Facebook community of 50,000 and counting. Majority of our readers are from Indonesia, Singapore, Malaysia and Australia.

Our mission is to serve travellers and the travel industry. Although we are focus on Indonesia, we adopt a global mindset and focus on scalability. With the depth of knowledge we have about travellers, we launched our Thailand site (https://thailand.tripcanvas.co) in April 2016 and have since attracted over 400,000 monthly readers.

Driven by a team of travel-passionate writers and editors, we’ve been curating and creating travel stories about Bali, Bandung, Yogyakarta, Lombok, Bangkok, Chiang Mai (and many more destinations coming up) that you’d seldom hear from anywhere else. We pride ourselves as experts in creating engaging content that gets people talking and sharing all over the web.

Our slogan, “Not Your Usual Travel Guide” explains very well what we stand for to create unique travel content that would inspire people in an unconventional yet powerful way.

The team at TripCanvas has solid track records of past success and badass skills like SEO, sales, marketing, etc, and tremendous travel industry insights that will help propel the business to greater heights.

The key things that binds us are these –

We LOVE travelling!

We are not afraid of failures, and we are here to learn.

We are very open individuals.

We’re here to build a kickass company based on hard work and creativity.

Most importantly, we have fun doing this!

1. Research on travellers’ behaviour and uncover hidden needs, hence finding successful story angles.

2. Identify successful content and influencers on social media. Study what works and what doesn’t.

3. Researching for new story ideas on a daily basis, but don’t worry if you face difficulties in generating new ideas, as we will guide you along the way.

4. Produce and edit stories according to our best practices, including crafting engaging headlines, sourcing for good photos/videos

5. Identify different ways to tell stories, i.e. album post, videos, infographics etc.

1. Strong command of Chinese language.

2. Savvy with online tools such as Google Suite (Docs, Sheets, etc), advance search, Facebook and Instagram.

3. Your writing style has to be aligned with the nature of the articles: sharable content with the potential to go viral (i.e. buzzfeed-style writing, fun and witty). Hence you must be familiar with the concept of viral content and know how to engage readers.

4. Understand the travel needs of Malaysians and Singaporeans.

5. If you have travelled to Thailand or Indonesia before or have a very good understanding of the Thailand and Indonesia tourism landscape, it is a huge plus.

Why join us?

1. Your work can have an impact on thousands of travellers, as we are set to become the best go-to travel guide for Thailand and Indonesia.

2. We have great guidelines and best practices that we have documented along the way, and we have a team of wonderful people who can mentor and guide you on writing for the digital generation and creating viral content.

3. You will learn about different types of travellers’ behaviour and how to pitch a successful story.

4. You can establish your online portfolio as we are one of the fastest growing online travel magazine in Southeast Asia.

5. Perks include possible media trips.

We are a young company and our working culture is fun. There will be experienced mentors guiding you along the way, providing you with many experiences you won’t be able to get even in some multinational companies. If you want to be a travel expert and are eager to learn the art of viral writing, this opportunity is for you!

If you are interested, please send us your resume illustrating your past writing experiences, provide us with writing samples (preferably stories written for travel blogs, or travel-related content) and your expected remuneration.

IMPORTANT: Before you apply, make sure you read this spreadsheet and understand our expectation. It’s not about writing another “me too” article. http://bit.ly/1nkiDar

Place “I am awesome” in the subject to let us know that you read through till the end. :)

StartUp Jobs Asia - Startup Jobs in Singapore , Malaysia , HongKong ,Thailand from http://www.startupjobs.asia/job/40614-chinese-writer-for-a-highly-popular-online-travel-magazine-based-in-malaysia-editorial-job-at-tripcanvas-malaysia Startup Jobs Asia https://startupjobsasia.tumblr.com/post/178471629789