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INTERLUDE (dramatic ending)

Actually, I'm not really happy about this ending…

MC was kidnapped… again… There were too many sweet declarations of love for her which I really don't get it, she literally did nothing… Is this her charm or something?

But there were a couple of scenes that made me laugh.

Oh, Jean, honey, it's probably too hard for you to understand. Just take it as a matter of course. (Pat-pat on the head). I'll explain it to you later, babe.

Wolfie, you're thinking too straight. It's a very calculated decision to spend time at the casino. Even Harrison knows that it's very easy to gather information there. Oh, you don't know Harrison… Forget that I mentioned him…

Clavis, is that you? What are you doing in this game?

Honey, I think right about now all women have suddenly remembered that they cannot walk (probably not only women)… I would definitely say that… Why did I suddenly feel bad about it? Oh, damn you, conscience, why now??

That's about it.

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🔝 Start page 🔝

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"The Silver Ship"-Sir James Jebusa Shannon (1862-1923) was an Anglo-American artist.

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From the four stories i got from this event I mentioned in a conversation earlier

one of my favorite group of collection stories (not that my stash of these is big)

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Listen, yes I bully Rafa, yes I hate him but:

DON'T OPEN THIS IN PUBLIC PLS

GYAAAAAAAAAAAAT

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My ancestors, watching me dump an entire stick of cinnamon, two cloves, an allspice berry, and a generous grating of nutmeg into my tea, sweetened with white sugar and loaded with cream, while I sit in my clean warm house surrounded by books, 25+ outfits for different occasions, and 6 pairs of shoes, in a building heated so well I have the windows open in mid-autumn:

Our daughter prospers. We are proud of her. She has never labored in a field but knows riches we could not have imagined.

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you all want a dominant goth girlfriend until she is chasing you towards the sea with the head of another roman countryman fastened to her belt

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me: i deserve a little treat

the treat:

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Stephen King’s Top 20 Rules For Writers

1. First write for yourself, and then worry about the audience. “When you write a story, you’re telling yourself the story. When you rewrite, your main job is taking out all the things that are not the story. Your stuff starts out being just for you, but then it goes out.”

2. Don’t use passive voice. “Timid writers like passive verbs for the same reason that timid lovers like passive partners. The passive voice is safe. The timid fellow writes “The meeting will be held at seven o’clock” because that somehow says to him, ‘Put it this way and people will believe you really know. ‘Purge this quisling thought! Don’t be a muggle! Throw back your shoulders, stick out your chin, and put that meeting in charge! Write ‘The meeting’s at seven.’ There, by God! Don’t you feel better?”

3. Avoid adverbs. “The adverb is not your friend. Consider the sentence “He closed the door firmly.” It’s by no means a terrible sentence, but ask yourself if ‘firmly’ really has to be there. What about context? What about all the enlightening (not to say emotionally moving) prose which came before ‘He closed the door firmly’? Shouldn’t this tell us how he closed the door? And if the foregoing prose does tell us, then isn’t ‘firmly’ an extra word? Isn’t it redundant?”

4. Avoid adverbs, especially after “he said” and “she said.” “While to write adverbs is human, to write ‘he said’ or ‘she said’ is divine.”

5. But don’t obsess over perfect grammar. “Language does not always have to wear a tie and lace-up shoes. The object of fiction isn’t grammatical correctness but to make the reader welcome and then tell a story… to make him/her forget, whenever possible, that he/she is reading a story at all. “

6. The magic is in you. “I’m convinced that fear is at the root of most bad writing. Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him.”

7. Read, read, read. “You have to read widely, constantly refining (and redefining) your own work as you do so. If you don’t have time to read, you don’t have the time (or the tools) to write.”

8. Don’t worry about making other people happy. “Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second to least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway.”

9. Turn off the TV. “Most exercise facilities are now equipped with TVs, but TV—while working out or anywhere else—really is about the last thing an aspiring writer needs. If you feel you must have the news analyst blowhard on CNN while you exercise, or the stock market blowhards on MSNBC, or the sports blowhards on ESPN, it’s time for you to question how serious you really are about becoming a writer. You must be prepared to do some serious turning inward toward the life of the imagination, and that means, I’m afraid, that Geraldo, Keigh Obermann, and Jay Leno must go. Reading takes time, and the glass teat takes too much of it.”

10. You have three months. “The first draft of a book—even a long one—should take no more than three months, the length of a season.”

11. There are two secrets to success. “When I’m asked for ‘the secret of my success’ (an absurd idea, that, but impossible to get away from), I sometimes say there are two: I stayed physically healthy, and I stayed married. It’s a good answer because it makes the question go away, and because there is an element of truth in it. The combination of a healthy body and a stable relationship with a self reliant woman who takes zero shit from me or anyone else has made the continuity of my working life possible. And I believe the converse is also true: that my writing and the pleasure I take in it has contributed to the stability of my health and my home life.”

12. Write one word at a time. “A radio talk-show host asked me how I wrote. My reply—’One word at a time’—seemingly left him without a reply. I think he was trying to decide whether or not I was joking. I wasn’t. In the end, it’s always that simple. Whether it’s a vignette of a single page or an epic trilogy like ‘The Lord Of The Rings,’ the work is always accomplished one word at a time.”

13. Eliminate distraction. “There should be no telephone in your writing room, certainly no TV or videogames for you to fool around with. If there’s a window, draw the curtains or pull down the shades unless it looks out at a blank wall.”

14. Stick to your own style. “One cannot imitate a writer’s approach to a particular genre, no matter how simple what the writer is doing may seem. You can’t aim a book like a cruise missile, in other words. People who decide to make a fortune writing lik John Grisham or Tom Clancy produce nothing but pale imitations, by and large, because vocabulary is not the same thing as feeling and plot is light years from the truth as it is understood by the mind and the heart.”

15. Dig. “When, during the course of an interview for The New Yorker, I told the interviewer (Mark Singer) that I believed stories are found things, like fossils in the ground, he said that he didn’t believe me. I replied that that was fine, as long as he believed that I believe it. And I do. Stories aren’t souvenir tee-shirts or Game Boys. Stories are relics, part of an undiscovered pre-existing world. The writer’s job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible. Sometimes the fossil you uncover is small; a seashell. Sometimes it’s enormous, a Tyrannosaurus Rex with all the gigantic ribs and grinning teeth. Either way, short story or thousand page whopper of a novel, the techniques of excavation remain basically the same.”

16. Take a break. “If you’ve never done it before, you’ll find reading your book over after a six-week layoff to be a strange, often exhilarating experience. It’s yours, you’ll recognize it as yours, even be able to remember what tune was on the stereo when you wrote certain lines, and yet it will also be like reading the work of someone else, a soul-twin, perhaps. This is the way it should be, the reason you waited. It’s always easier to kill someone else’s darlings that it is to kill your own.”

17. Leave out the boring parts and kill your darlings. “Mostly when I think of pacing, I go back to Elmore Leonard, who explained it so perfectly by saying he just left out the boring parts. This suggests cutting to speed the pace, and that’s what most of us end up having to do (kill your darlings, kill your darlings, even when it breaks your ecgocentric little scribbler’s heart, kill your darlings.)”

18. The research shouldn’t overshadow the story. “If you do need to do research because parts of your story deal with things about which you know little or nothing, remember that word back. That’s where research belongs: as far in the background and the back story as you can get it. You may be entranced with what you’re learning about the flesh-eating bacteria, the sewer system of New York, or the I.Q. potential of collie pups, but your readers are probably going to care a lot more about your characters and your story.”

19. You become a writer simply by reading and writing. “You don’t need writing classes or seminars any more than you need this or any other book on writing. Faulkner learned his trade while working in the Oxford, Mississippi post office. Other writers have learned the basics while serving in the Navy, working in steel mills or doing time in America’s finer crossbar hotels. I learned the most valuable (and commercial) part of my life’s work while washing motel sheets and restaurant tablecloths at the New Franklin Laundry in Bangor. You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.”

20. Writing is about getting happy. “Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well. It’s about getting up, getting well, and getting over. Getting happy, okay? Writing is magic, as much the water of life as any other creative art. The water is free. So drink.”

(Via Barnes and Noble)

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Alan Rickman filmography >> A Little Chaos (dir. Alan Rickman, 2014) as King Louis XIV of France

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Explaining One of VTMB Paintings (part 16)

Louis XIV en Empereur Romain [Louis XIV depicted as Alexander the Great] (second half of 17th century)  by Unknown artist.

So this piece is difficult as the artist and any info on this one piece is very sparse online.

The painting depicts Louis XIV [Louis the 14th also known as Louis the Great] (September 5 1638 – September 1 1715) who was the king of France from 1643 until his death in 1715 which makes him still currently (as of 2023) the longest (verifiable) reign of reign of 72 years and 110 days which is the most of ANY sovereign whose reign we can verify.

The description of his reign as monarch given on the Versailles official website is:

"As sovereign by divine right, the King was God’s representative on earth. It is in this respect that his power was “absolute”, which in Latin means literally ‘free of all restraints’: the king was answerable to no one but God. During his coronation, Louis XIV swore to defend the Catholic faith. To honour this pledge and preserve the religious unity of his kingdom, he cracked down on the Jansenists of Port-Royal and ordered the persecution of Protestants. The previous policy of religious tolerance was abandoned with the revocation of the Edict of Nantes in 1685. Protestants were forced to convert, and over two hundred thousand fled the country. From his base in Versailles, Louis XIV ruled over a centralised, absolutist state which revolved entirely around him. The King lived in the main wing of the palace, on the first floor, in a suite of three apartments reserved for his use. He applied a strict etiquette at court, a set of rules and protocols by which his noble courtiers were obliged to abide. With the help of Colbert, he oversaw the administrative and financial reorganisation of his realm, and also set up manufactures and worked to boost trade. With Louvois he reformed the army and enjoyed a string of military victories. "[1]

It is most likely a replica based of a lost portirt of Louis XIV as a Roman Emperor painted by the well know Frencch court painter Pierre Mignard. This is due to the many compositional similarities to a copy of this work painted after Pierre Mignard death shown below.

Louis XIV as a Roman Emperor (Copy of lost painting by Pierre Mignard)

Whats note worthy is that in both paintings Louis XIV is not being depicted as himself leading his army in contemporary(for his time) battles but instead being depicted as Alexander the Great.

"Alexander the Great, also known as Alexander III or Alexander of Macedonia, (born 356 BCE, Pella, Macedonia [northwest of Thessaloníki, Greece]—died June 13, 323 BCE, Babylon [near Al-Ḥillah, Iraq]), king of Macedonia (336–323 BCE), who overthrew the Persian empire, carried Macedonian arms to India, and laid the foundations for the Hellenistic world of territorial kingdoms. Alexander the Great was one of the greatest military strategists and leaders in world history. He was also ruthless, dictatorial, and ambitious to the point of regarding himself as divine. His conquests of the Mediterranean states, the Persian empire, and parts of India spread Hellenistic culture across these regions"- Summery from Encyclopedia Britannica. [2]

So by depicting Louis XIV as Alexander the Great the artists are associating Louis XIV's reign and his accomplishments with being on the same scale and impact as Alexander the Great. In terms of the pairings place in VTMB this is especially important because the only place this painting appears is in Sebastian LaCroix's office. Specifically it hangs over the entrance way which makes it one of the two paintings LaCroix faces from his desk. The other painting being Pierre Séguier, Chancelier de France (translated Pierre Séguier, Chancellor of France) oil on canvas  2nd quarter of the 17th century (1660 - 1661) by Charles Le Brun (See part 5). And as I pointed out in my explainting of Pierre Séguier, Chancelier de France, LaCroix's is someone who claimed to be “an officer in Napoleons army” yet has a lot of French Royalists paintings. It is also of note as the only other large paintings of this scale that he has in his office are three different painting of Cain slaying his brother Able by different artist yet it is the paintings of  King Louis XIV (whose reign of 72 years and 110 days is the longest of any sovereign in history whose date is verifiable.) and his chancellor of France, Pierre Séguier that he looks directly at from his desk in his Versailles style office. Indicating that these mere HUMAN men*[as far as I know nether were embraced in VTM canon but don’t quote me] are more significant role models to LaCroix then Cane father of all vampires. It also tells us that just how Louis XIV is being depicted as Alexander the Great was used by the artist order to elevate him and his reign as King of France to the same historical significance and prestige as Alexander the Great, LaCroix aspires to elevate his rule as the Prince of LA in Kindred society/history to the same level as both of these human rules have in mortal history if not beyond that. And again despite having three paintings of Cain, all of them at the same height and size yet are to the side rather then across from LaCroix's desk, almost as if they are peripheral. Almost as if Cain's reign as Father of all Vampires and Ruler of the First City of Enoch is below the level of importance/significants of Louis XIV, Alexander the Great and even Pierre Séguier (who wasn't even a reigning Sovereign, just Chancellor of France). The accomplishments and legacy's of all three of these men who were only ever human (again as far as I can tell none of them were ever embraced) are seemingly above that of Cain in LaCroix's mind based on how he's chosen to arrange the paintings in his office, and he may be attempting to hide this fact and would explain why he chose to have having 3 different painting all depicting the Cain slaying his brother Able hanging at the same level as the two painting depicting the legacies of three mortal men.

[1]“Louis XIV .” Palace of Versailles, 17 Feb. 2023, en.chateauversailles.fr/discover/history/great-characters/louis-xiv#the-royal-family.

[2] Walbank, Frank. “Alexander the Great.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 5 Oct. 2023, www.britannica.com/biography/Alexander-the-Great.

[kickingasssince98]

SO UM 👉👈 Marry me maybe?

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so simon mirren one of the writers of versailles posted this and im very !!! what is it !! who can it be !! it's unlikely it will be something louis xiv related although i would be surprised if it is!

i need a historical fashion girlie to tell me what era this is.

that being said he has tagged the versailles cast as well as helen mirren and bella thorne which makes me curious. but also he's tagged some random versailles fan accounts and the château so maybe he just wanted the word out a bit more.

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Up until the 19th century, Louis XIV's ingenious 17th-century cipher was so impenetrable that many important royal documents were effectively locked away in history. The Rossignol brothers, hailing from a long line of cryptologists, were the masterminds behind the Great Cipher, which French royalty used to safeguard diplomatic secrets.

The Rossignol code puzzled cryptologists for centuries. It wasn't until a French army officer took on the challenge head-on that he managed to crack the code after three arduous years of work. As a result, historians gained access to the web of political alliances and military strategies of the ‘Sun King’, Louis XIV himself.