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We didn’t stick around long enough to meet the aliens, but our dogs did.

Keep reading

#other people’s words #other people’s work

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once again, i want to draw attention to the gaza relief & recovery campaign. PCRF are working tirelessly to provide gazan children & their families with necessities (food, clean water, medical equipment/treatment & mental health support). donations to this campaign also contribute towards PCRF's long-term recovery initiative, which includes the planned restoration of healthcare facilities in gaza.

if you're in a position to provide financial aid for palestine, please consider making a donation.

#bump #important

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Between Us Girls by @dallonwrites

Devon’s the new girl running the Duck Pond game, who won’t talk to us. She doesn’t want us knowing she’s here, that she loves funnel cake and uses tampons. We think she’s sweet and wonder how she ended up at a funfair – something we never ask about ourselves. One by one, we help her out. Jeannette cleans off the slushy a child flung at her. Zara rubs her back whenever she pukes beer. Ro keeps telling her, don’t believe Avery from the Orbiter if he gushes about your starry eyes. We help because that’s what us girls do; we check each other’s payslips and hound at Jerry whenever it’s wrong; we guard bathroom stalls, share ibuprofen, check each other’s breasts for lumps.

i have a little 718 word flash piece about a gay girlhood between funfair workers in milk candy review!! a litmag that i love so much and is full of gorgeous flash/micro pieces, such an honor to be amongst them! i also did a 2 question interview about the piece which you can read here <3

We tell her about our childhood bedrooms: Ro who misses how moonlight sheened through her pink bed canopy even if it felt like sleeping in a fly trap, Jeanette who used to drink beer out of her dance trophies; Zara who carved blocky dinosaurs onto her vanity, Maxie who shared with her brother until one day they couldn’t and didn’t understand why. We tell her about the fathers who never looked at us or looked too much, the mothers who miss us or the idea of us girls, us dolly ribboned daughters

#‼‼‼‼‼‼‼‼ #other people's words #other people's work #i LOVE milk candy review and this is so good!!!!!

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you are personally and directly hit by a bus¹ and isekai-ed, via resurrection, into the body of the main character your most recent WIP

reblog and tell me: on a scale of 1–10, how screwed are you right now?

¹ this is, transparently, a plot device, so if you are about to tell me "joke's on you, I never leave my fifteenth floor apartment!" then you may rest assured it will have tremendous comedic value when the bus is launched into the sky and crashes through your apartment wall to flatten you anyway

#well. taking on a murder mystery with a hot suspect. could be worse

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I personally know there are multiple types of editing but I've never seen anyone explain it in a way that actually made me understand what the types of editing actually were (yeah cool that you say {}editing is different from []editing but *how*). So if you wanna explain, feel free to.

Your handy-dandy guide to different types of editing

disclaimer: writers, you can literally edit however works for you. these distinction can be useful to your process, or just if you're looking to hire an editor. Not all editors make distinctions in this way; there are various ways of dividing. But no matter what vocabulary you use, it's best practice to start with broad, big-picture stuff and move towards narrower issues. Some editors do all levels of editing, while some specialize.

Developmental Editing (Is it a good story?)

Developmental editing has to do with the content. For a novel, that means working on the bones of the story. The plot. The pacing. The characters. Do their motivations make sense? Can the reader understand why things are happening? Does the story drag in places, or seem to brush past important elements? Do all of the subplots get resolved? etc. etc. (At this stage an editor is mostly going to be offering suggestions, pointing out issues, and throwing out potential solutions. Beta readers can also be very helpful at this stage to get a reader's perspective on the story beats and characters.)

Line Editing (is it well written?)

Sometimes called substantive editing, line editing is zooming in a little bit more to focus on scenes, paragraphs and sentences. Once we've decided that a scene is going to stay, lets look at the mechanics of how it plays out. Does the scene start to early or too late? Does the writing style communicate the emotions we want the reader to feel? Does the dialogue match the characters' voices? do any of the sentences sound awkward or ugly? Is the movement being bogged down by too much purple prose anywhere, or is there not enough detail? (This can get pretty subjective, so it's important that the writer and the editor are on the same page with taste, style goals, etc.)

Copy Editing (is is correct?)

Copy editing is all about the details. Think grammar and punctuation. Do the sentences make sense? are they grammatically correct? Is the dialogue punctuated correctly? Any misspellings? Should this be hyphenated? Should this be capitalized? Should we use a numeral, or write out the number? etc etc. A significant part of copy editing is matching everything to a style manual (like Chicago or AP) a house style guide (individualized preferences from a publisher, for example), and a project's own internal style sheet (are the character's names spelled the same every time? if we used "leaped" in chapter 4, we shouldn't use "leapt" in chapter 7) Copy editing is still subjective, but less so than the earlier levels, so a copyeditor will be more likely to just go in and make a bunch of (tracked!) changes without consulting the author for everything.

Bonus: Proofreading (did the copyeditor catch everything? are there typos? formatting issues? have any errors been introduced?)

Lots of people say editing when they really mean proofreading. Proofreading is the absolute last thing to get done. It's the one last pass just before something is published. It's important, but as you can see, there's a whole lot more to editing than just checking for typos.

#ref #not words #on words

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From Palestinian poet Najwan Darwish

#poem #other people's words

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Talin Tahajian, “It’s November again” [ID in ALT]

#poem #other people's work #other people's words

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On November 5, 1917, 100 years ago today, Wilfred Owen wrote a gorgeous love letter to fellow gay World War I poet Siegfried Sassoon. It continues to be one of my favorite love letters of all time.

#other people's words #other people's work

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Poetry for ALL

Some personal anecdotes and a plea follow...

As quite a few of you know, I’ve been engaged in disability awareness and rights campaigning and other work since sometime in the 90s, so when I was given an opportunity to support and host an event dedicated to making performance poetry as accessible as possible in 2018, I jumped on it.

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Poetry for All is the brainchild (and heartchild, and soulchild) of Rose Drew, who I first met through one of Richard Tyrone Jones’s Utter events in London. She’s an extraordinary writer and performer, and a powerhouse of an events host and organiser. Within about 30 seconds of watching her on stage, I knew I wanted to be like her when I grew up as an artist. When she got in touch three years later to ask if I’d like to help out with what turned out to be the inaugural event, I threw myself into providing as much support as possible with enthusiastic abandon, and we pulled together a line-up which included the extraordinary performers Raymond Antrobus and DL Williams (“DeafFirefly”), both of whom I’d performed with before and was keen to see again. 

Now, there’s a whole section on our new website about the history of the events where you can read the facts, but I want to say here that, personally, that first event in March 2018 (coincidentally on my birthday!) was an absolute eye-opener – seeing how poetry events could expand and develop the ideal of accessibility in ways I hadn’t considered. It was also extremely inspirational as I realised that, well, I was allowed to write about my disabilities. Seeing and hearing artist after artist sharing so much and so eloquently unlocked something in me that I didn’t even know I’d been repressing:

I’m allowed to be an openly disabled poet. I’m allowed to express my neurodivergence. I can tell my truth. 😱🤯

Bit of a culture-shock, but I owe so much to the poets and to Rose (and to Dave Wycherley, BSL interpreter extraordinaire – that’s a hard and physically/ mentally taxing job as it is, but to do that with poetry? on the fly?! breathtaking...) for helping me get to that starting point, knocking down the walls of my own internalised ableism.

So, apart from a paean to self-expression and why representation and finding tribe matters, and a screed of gratitude for new friends made and old friendships strengthened through the course of these events, why am I writing this? What’s with the hashtag? “Plea...?”

Well, so far, since you ask, all of our events have had local funding in York, where they’ve taken place exclusively so far. Rose applied for Arts Council England funding for this and next year for a tour comprising several venues and a host more disabled artists and BSL interpreters from various parts of the UK (all getting paid properly!), but we found out last week that we’d not got the money. Any of it. So our forthcoming event on 24th November in the gorgeous National Centre for Early Music is in jeopardy and, since the thought of Rose (herself a disabled artist on low wages) having to pay for this out of her own pocket was not to be supported, I threw myself at a plan of creating a (somewhat last-minute) Crowdfunder, so that we can at least pay for the venue, the artists’ and interpreters’ fees, the travel and accommodation expenses of those of us coming from out of town, and the costs of producing merchandise to sell. We’ll be producing an anthology in print and ebook form, as a joint publication between indie publishers Stairwell Books and Allographic Press. And, if we exceed our funding goal, there’ll be video and audio available of the event to boot!

We’ve created a frankly very exciting range of pledge rewards for people wanting to support us (all the way from £1 and £2 options, since money is tight, especially for disabled folk, right now, to more chunky ones like private mentoring, workshops, and a publishing package), and we’ve got three weeks(!) to raise our £1,500 to cover the shortfall from ticket and merch sales. Eeep! So, if you’re able to and would like to help us, we’d be ever so grateful. The campaign is here:

https://www.crowdfunder.co.uk/p/poetry-for-all-2023-fundraiser

And if you have absolutely no funds to share with us at all, we’d be incredibly grateful if you shared on social media, with friends, on blogs, all of that!

Thanks for reading all this, and have a great day!

#ref #not words #on words #poetry for all

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Day 23 of asking Mike if he uses notebooks for his screenplays & to show us a picture of his outlines.

I do not use notebooks, I prefer typing. Here are the first few pages of the outline for the Hill House pilot, hope you enjoy!

#other people's words #other people's work #mike flanagan

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Kyla Jamieson, “In Exile I Draw the Tower Card,” in Body Count

#poetry #other people's words #other people's work

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Have You Been Long Enough At Table, Leslie Sainz

#poem #other people's work #other people's words

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#on words #not words

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doomed by the narrative but not to death. doomed to survive. doomed to stay alive inside the story. doomed to never escape the narrative, not even through death. you are allowed no exit. there is no way out for you and there never was. you couldn’t die if you wanted to. the narrative has a hold on you and it won’t let go. death is too sweet a doom for you. the story has something much worse in mind. there is no way out.

#not words #on words

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hi!! i'm isabel cañas, i'm a full-time writer living my best chaotic life between nyc & pnw.

tbh i'm here for a good time, not an organized/professional time. that said! one! must! hustle!

i wrote a Gothic horror novel called the hacienda. think the haunting of hill house in 19th-century mexico + a healthy dose of the hot priest from fleabag s2. out now!

i have a new novel out in august 2023 called vampires of el norte! it has hot vaqueros, monstrous vampires, western vibes, and heaping dose of romance

aaaaand i have some book-sized surprises in store for 2024 and 2025 👀

i also write short fiction! here's a selection of my favorite things i've published, available to read free:

six goats: bite-sized sapphic high fantasy

there are no monsters on rancho buenavista: a feminist twist on an old mexican monster folktale

my sister is a scorpion: magical realism that stings

the law of take: tristan & isolde, but make it space fantasy

a land of saints and monsters: more vampires, this time in late medieval anatolia

no other life: sapphic vampires in 16th-century istanbul

the weight of a thousand needles: a retelling of the fairy tale the needle prince

xx

#other people's work #other people's words

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vampire story with either no vampires or only vampires depending on how you look at it

#analogued #tis the season for #vampire #vampires