#best western novels

[oakendesk]

Best Western Novels Aug 1948

Allen Gustav Anderson

#golden age art #pulp magazine art #pulp art #pulp art 1948 #Best Western Novels #Allen Anderson art #byronrimbaud

[neroraven]

just finished Brothers Karamazov by Fyodor Dostoyevsky

#god he's such a MALE writer #can't believe people actually like this book #like I enjoyed some sideplots and characters but the overall thesis of the novel is just... #fyodor be like #dimitri is a hedonist like his father and a piece of shit but the poor babyboy gets sent to jail when innocent boo hoo #ivan is an atheist and a western influence of liberalism so fvck him he's the murderer and the devil actually #and ofc alyosha the orthodox christian who is THE MOST PASSIVE CHARACTER WHO DOESN'T KNOW SHIT AND DOESN'T DO SHIT IS THE BEST BOY EVER #it's almost like a celebration of nativity and ignorance and a condemnation of knowledge #god #fvck this book #and I can't even start to talk about the way he write women #he really was like all the women are insufferable femme fatals and all the mothers are dead and also women have to cure men of their demons #at least we can read it as a perfect portrait of the horrendous world men create #suffer under its rules and terrors #and then cry about their suffering whose sole authors are men themselves #the only character who interested me was ivan but fyodor thinks of him as the devil of the novel so there is that #and i suffer #brothers karamazov #fyodor dostoyevsky #m

[mostly-mundane-atla]

Also I feel like if you were going to accuse me of anti-asian racism for writing sex work into avatar fic, the fact I made up an in-universe jazz band called Yoshiwara's Children or had Jin sarcastically joke that she's in the situation she's in because she ran away from the upper ring to escape the inevitability of becoming a royal concubine instead of the vagueness of "making earth kingdom characters sex workers" which i'll be honest, i'm still not entirely sure if they mean headcanons for Jet and Jin or my own goddamn oc's, and yet.

Also that anon failed to mention my au where Yue and Hahn survive and marry and become wife exchange partners with Sokka and Suki and Sokka and Yue have tender, intimate quality time while Hahn comes to terms with the fact he likes getting beaten and roped up and it amuses Suki to no end. Like no, it's not just the east asian coded characters i write as taking people to bed for social and material benefits, and the native-coded characters tend to get written in more explicit and steamy terms. The only reason you wouldn't see that is if you're only looking where you want to look.

#sex work mention #as if having these earth kingdom characters working any other jobs with racist histories and western perceptions would get me called out #things like cheap restaurants or laundries or laying down railroads #not to mention han bangqing's sing-song girls of shanghai is considered one of the best chinese novels EVER WRITTEN #in no small part because it depicts sex workers as human beings in spite of their customers treating them like consumable objects

[mejomonster]

i have... a penchant... for getting really into books which are out of print. not cause they’re like first editions or collectibles or whatever the fuck (i went to an antique book show recently and was SO pissed there was like 50 Alice in Wonderlands, but no 1900 printed french books you couldn’t even find in pdfs online... in fact, no foreign language books at all what the fuck :c... and 2 gone with the winds, 50 lord of the rings... like i get it, the target audience of an antique show is maybe? idk people collecting expensive books? but for me? the point was to find out of print old books that may never have been digitized. thank the universe for archive.org there’s so many 1800s learn japanese, 1900s learn chinese books with different versions of romanization and then later different amounts of character simplification, theres the ‘nature method’ textbooks that i’ve only seen back in print very recently and only for a few languages and probably only cause nerds like me can’t shut up about them, there’s so many BOOKS i’m into that just... :c good fucking luck finding them if not for the kind efforts of archivists or random chance)

#rant #like. god even kamikaze girls??? a RECENT novel. a novel with a MOVIE #and its like... seems to have only had one print run or whatever #u can find it used. sometimes. thats it #and like ive been trying to find novalas other novels? hhaha i cant even find them used. they're out of stock. #and then like. there's this AMAZING japanese book called Japanese in 40 Hours. #a HERO made a video series of the chapters on youtube i recommend looking at it. and its on archive.org thank fuck #but its basically i think the BEST sparksnotes basic primer for western speakers to begin learning japanese #its quick. it gives a solid foundation of grammar and word endings before throwing u into kana. and its faster paced then a LOT of modern #books ive used. #theres a chinese book called Chinese Grammar by the Nature Method. #i believe the author is Thimm. it was published in like 1929. it is all #traditional characters. its like 300 very compact pages. its a very beautiful small book. #it has a HUGE hanzi dictionary in the back. it is THOROUGH in its grammar explanations and SO easy to understand. #its my favorite chinese grammar book by far. and the sheer VOLUME of words in it #make it a good overall book #not just for grammar but also words. the only weird thing is the old romanization system but once u recognize the hanzi u can #match them to modern pinyin you know better. and just? it is SUCH a good book #even with the outdated bits (like NIN used a lot and le pronounced liao in a lot of spots we'd now use le) #and its out of print. its another book i think i found on archive.org then wanted a print copy of

[aroacehanzawa]

hello i’ve been wanting to ask you about this (but ive been too shy hsuwhsuh) but i finally have the courage today. you convinced me to read orv (im not even sure which post of yours did it for me but it did) and i’ve seen that it's a webtoon! but there are also manga sites that upload its chapters? where do u recommended i should read it? sorry for the bother and thank you for giving me a new media to consume im excited!!

YEAAAAAAHHHH ONE MORE ORV READER. MY PROPAGANDA IS WORKING.

No but that's great, it's such a wonderful story and the manhwa is a really faithtul adaptation that actually got me into the novel in the first place! Personally i recommend reading it on flamescans.org, i believe it's a fan-translation group (all the chapters are for free) but they are incredibly high quality and the translation is arguably better and more faithful to the novel than what i remember seeing on the official webtoon site. They also include extensive footnotes at the end of each chapter explaining the mythologies and historical background of things that come up, as well as comparisons of any changes between the manhwa and webtoon!

#i'm really not sure what version is the translation on webtoon official site but as far as i remember it's different and was a bit sus #like the way they romanize the names in western order and translate terms from the novel weirdly and stuff like that #could've also been a different early fan-translation group i really don't remember #either way flamescans.org does the best translation and like even the special effects are cleaned up and translated??? #if you read it on other manga scanlation sites you will usually see a panel telling you to read on their own website anyway #as for where to read the novel itself. um come back to me when you want to ask that since it also involves a whole black market on its own #orv

[svsss-fanon-exposed]

Exposing SVSSS Fanon: 25/∞

VIOLENCE AS COURTSHIP IS A PART OF DEMON CULTURE

Rating: CANON

A nearly universal trope, especially in Moshang fics, is the fact that courtship is performed through violence in demon culture, and that the misunderstandings between the pair are because of cultural differences. The fact that demons mistreat the targets of their affection is canon, however, it is important for fans to note that this sort of characterization and worldbuilding is rooted in racial and ethnic stereotypes.

This is one of the most-requested topics I've ever written on this blog, and I took a long time to think about how best to approach the subject in a way that both keeps to the intention of this blog (referencing canon & providing quotes) as well as raising awareness to the very real problematic aspects of what is a well-loved and often-used trope in fanon that I don't think most western fans are aware of.

First, the canon analysis:

“If you hold unique feelings for a certain person, how can you make them understand your intentions?” Luo Binghe asked. Obviously, no one dared to tear down Luo Binghe’s facade and expose him directly, but this question was really very…unsuited to the demonic approach. After a long moment, not a single person had answered. In fact, the answer was so simple that any normal human could have given it to you. If you liked someone, you should just tell them. Unfortunately, there was not a single “normal” person on the scene—and aside from Shang Qinghua, there also were no “humans” either. Mobei-Jun thought about it. With the paths his mind was given to take, there was no telling how he had interpreted “unique” feelings. “Beat them up three times a day?” (7 Seas, Ch. 26)

Most of the fandom remembers this passage, and some may think that this is where the interpretation of violence as courtship comes from-- however, that is not the case. This passage might actually not refer to courtship at all-- while that is one possible interpretation, Mobei-jun could also be interpreting "unique feelings" to mean something different than "romantic feelings," since Luo Binghe didn't specify romance directly.

The "violent demonic courtship" idea actually originates much earlier in the novel, just after the invasion of Qiong Ding Peak:

In truth, Shen Qingqiu didn’t intend to tease; he thought himself very straightforward. The one who’d tampered with Luo Binghe’s dream realm was Sha Hualing. Though she did have some harmful intentions, her underlying motive was obvious. Naturally, she was driven by a young girl’s secret yearning for love. Otherwise, she would have directed her aggressions toward others, not specifically Luo Binghe. Demons were compelled to viciously bully the person they liked. Only if the object of their affections failed to die would the demon accept them. If their target died, that meant they were useless and not worth nursing any lingering affections for. (7 Seas, Ch. 3)

This, in fact, has somewhat more serious connotations than the way I have often seen it interpreted in fanworks-- it is not merely beating up a potential partner, but pushing them to their limits, nearly driving them to death, and it is certainly implied that it is not uncommon for the object of a demon's affections to actually die.

Now that the canonical basis of the idea has been established, let us move on to the second, and arguably more important part of this post: the racism.

I would like to add a disclaimer here-- I am going to discuss this in hopes of raising more awareness in the fandom, but I am not North/West/Central Asian myself, so I will only mention things in brief and somewhat generally-- if anyone who belongs to the affected cultures would like to make corrections, or more detailed explanations, or any other additions to this post on this topic, I greatly welcome that, as I feel it is an important issue that should be addressed.

In Chinese fiction, particularly fantasy genres like xianxia/xuanhuan/xiuzhen, but also in historical and wuxia fiction, there is a pervasive, prevalent tendency for authors to use racial and ethnic stereotypes against Central, Northern, and Western Asian cultures such as Mongolian & Arab cultures in their worldbuilding regarding the North, while stereotypes against Southeast Asian cultures are used in worldbuilding regarding the South. These stereotypes are most typically applied to villains and villainous groups, and are so widespread as to be ubiquitous within the genre. MXTX has used these tropes before-- notably with the Banyue people in TGCF, with adaptations of both TGCF and MDZS including design stereotypes, such as CQL's portrayal of the Qinghe Nie (combining their tendency toward violence and 'unnatural' cultivation method, with design traits typically associated with Northern/Central Asian cultures).

It is worth noting, though, that most authors do not intentionally use these traits as racist stereotypes in their worldbuilding, especially when regarding a non-human species-- in the same way that western fantasy authors use goblin and orc characters and tropes without realizing or acknowledging their racist origins and connotiations, these stereotypes have simply become genre tropes without that direct connection to their origins. Nonetheless, it is still worth noting-- and worth trying not to fall into the trap of leaning into stereotypical traits in fanworks' character portrayals.

Stereotypes include but are not limited to barbaric and brutish cultural traits, association with animals/having animal features, dark or corrupt magical/spiritual practices, certain types of braided hairstyles & other fashion choices, and originating from the far north or south.

Some of the prejudice and stereotyping of Northern Asian cultures likely originates from the fact that in the past, China was invaded and subjugated by peoples from the north (under Mongolian rule during the Yuan dynasty, and under Manchurian rule during the Qing dynasty) as well as having many conflicts with these peoples throughout history. In fact, the Qing dynasty only ended in the early 1900s, so some of this oppression is still in recent memory-- nonetheless, people belonging to ethnic minorities in China are still affected by this negative stereotyping today, so regardless of the origin, racism is still racism and should be addressed, and China today is a majority Han Chinese nation-- even if Han Chinese are considered a minority and affected by systemic racism in other places in the world.

Additionally, many tropes specifically applied to the southern demons, but also used for demon culture as a whole, are tied to stereotypical portrayals of Southeast Asian culture, which is rooted in a long history of Imperial China's invasion and oppression.

All of those stereotypes listed above apply to SVSSS' demon culture. Even in Mobei-jun's name-- 漠北 meaning "northern desert," which is the real-world name for a region in the north of the Gobi desert in Mongolia.

Therefore, it is important to remember that though violence-as-courtship in demon culture is canonical within SVSSS' setting, it nonetheless originates from harmful racial and ethnic stereotypes. It would be a good idea for fans to keep this in mind when creating their fanworks, and to treat the topic with sensitivity-- but I will leave any direct suggestions on how to handle this to those who are actually part of the affected groups.

--

(thanks to @flidgetjerome for additional notes regarding SEAsian stereotyping and author intent!)

#svsss #fanon exposed #svsss demon culture #mobei jun #canon #I don't know if I did a good job addressing the sensitive topics here so please feel free to correct anything I got wrong #or if I've overstepped anywhere #i just want to use the platform i have to bring this to the western fandom's attention since i don't think it's widely known #i will very gladly reblog any additions from fans who wish to weigh in but definitely don't feel pressured to do so

[stsgooo]

The Moonlight Goddess.

✩࿐ summary: the toy that got tucked away, would eventually come back out to play.

warning(s): chapter 48.2 manga spoilers, unedited. wc; 3.2k

pairing(s): jinshi/fem!reader

a/n: caught up on the manga, feeling incredibly deranged. i will Not be speaking about chapter 65 as that was the craziest experience i've ever had at 1 am. also, i'll be reading the light novel soon :)) anyway, i hope you enjoy this random thing i cooked up.

part ii m.list ao3

WHEN MAOMAO SUGGESTED JINSHI TAKE THE PLACE OF A BEAUTIFUL WOMAN, YOU WEREN’T ENTIRELY CONVINCED.

Sure, your master was a beautiful man who had won the lottery of genetics. But you weren’t sure if he could convince beautiful western women that he of the same level, if not above, as them. It wasn’t a slight towards him. A lack of confidence in his abilities. But the mere fact that this issue itself was presented as nonsense. Achievable for a god, perhaps. But not for someone as simple as Jinshi.

It’d been 50 years since the last time the convery had last visited and spotted this beautiful woman. Surely, these girls were aware of the effects of time and how… unkind it could be to some?

It all smelt bad.

“Uh, Maomao, are we sure this is the absolute best approach for this matter?” You had asked as the three others had come to some general consensus amongst each other.

Maomao had stared at you flatly and, for a moment, you ponder if she even knew who you were. “Have you ever dealt with unruly women, Y/N?” She asked in her usual monotonous manner.

You blinked, expression equally as flat as you regarded the younger girl for a beat. Her time at Jinshi’s home had been spent, primarily, with you and Suiren. It was fond to look back on, but the two months had been stressful and the girl was rather difficult to work with. She drug you around on one or two of her little investigations. Much to the disdain of you both. The only compliment she paid you in that time was that you were quick on your feet and able to keep up with. Something that you guessed wasn’t common.

Yes, you are rather unruly, Maomao. Was the reoccurring and unkind thought that passed through your mind.

“I’ve dealt with my fair share of unruly people.” You opted to answer instead.

The girl raised an eyebrow, “Women?”

You deflated, “Many.”

Unfortunately, being Jinshi’s maid had meant you had your encounters with women who, blinded by their fondness for him, would attempt to make random walk-ins. Something strictly forbidden unless it was the upmost emergency. Despite them being the ones in the wrong, it was usually you who suffered the brunt of their abuse until Gaoshun finally decided to inquire what was wrong.

You were quite used to unruly women.

Unknowingly, you'd guaranteed your place in Maomao's plan.

She placed her fingers against her chin, eyes squinted on you. "Do you use makeup often?"

You blink, a weary frown on your lips. "What?"

"Are you familiar with makeup and hair, Y/N?"

"Of course I am." What did she take you for? A lazy uneducated lady?

Maomao grinned, something that was dark and twisted, and you felt like you had somehow stumbled into a terrible trap. "Wonderful, you'll help with Jinshi-sama's makeup!"

"Wha- no, I-I have my--" You attempted to decline, but were quickly cut off.

"That's a great idea," Jinshi spoke up, looking rather delightful as his eyes moved to you. "No one I would trust more with this."

Seeing the glint in his eyes and the kind smile, you knew you could no longer remove yourself from this plan. With a bowed head, you turned to Maomao, prepared to receive your duty.

You suppose this is how you ended up here. Maomao and Gaoshun out to find an outfit that would suit the Moonlight Goddess. And you awfully close to Jinshi's face as you carefully apply the eye makeup.

Silently, you were thankful that he had his eyes closed, as his violet eyes endlessly and innocently staring back into yours would surely make your heart stop. The work had been silent for the most part. The both of you uttering only what was needed: close your eyes, please look up, tilt your head to the side. It was the easy back and forth you both fell into.

It made you realize that most of your companionship with Jinshi had primarily been in silence. You simply deciphering exactly what he wanted from the twitch in his brow or the look he would shoot. It'd never really been on your mind before. Although, it had always been an easy agreement between you that shouldn't be brought to question or pondered upon too much. Ever since the both of you were children. Ever since you were just being trained for the duties that would be carried out in the rest of your adult life. You'd both just been in this tiptoe waltz that carried you through life.

He didn't pry too much into your personal dealings and you never questioned his demands as your master.

Life was, in all ways, easy.

But still, you felt as though this plan was toeing a line. Asking too much, underestimating the intelligence of another.

You supposed Maomao was like that and Jinshi would easily follow her word.

Maomao. Jinshi. Maomao and Jinshi.

They are quite the duo recently. You knew it would be nothing good the moment he'd called for her in Lady Gyokuyou's with that glint in his eyes. The eagerness and curiosity similar to that of a child. The way he sought her out at any given opportunity. If you had to guess, you would say Jinshi is rather fond of dear Maomao.

It made you sigh heavily, your eyes narrowed on the liner that looked a little wobbly.

"Any mistakes, you can just retry, don't stress yourself." Jinshi spoke, assuming that your sigh was related to the unsteady line rather than the trail of thoughts plaguing your mind.

You blink, eyes focused on the kind smile that stretched over his lips. A slight pitter-patter took your chest. "No worries, Jinshi-sama, I won't ruin your looks." You shoot back, softly.

Jinshi's eyebrows raised, a soft snort released. "Oh, really? Are you teasing me now?"

"I do have the ability to joke here and there, sir."

"You barely do anymore. Joke, that is." Jinshi observed, a subtle frown on his lips as you applied a bit of glimmer to his eye lids. "You're very serious now, very on edge."

"These are serious times, Jinshi-sama." You replied back smoothly, feeling an indescribable ache in your chest. "I'm sorry if I'm not entirely entertaining."

Jinshi's frown seemed to deepen. And, suddenly, his fingers were wrapped around your wrist and his eyes were open to reveal the clandestine violets that glimmered into your very soul. His hold felt warm and all encompassing, a disorienting welcoming feeling that made you falter in your work. Frozen, you offered him your undivided attention as he appeared to struggle with himself. gave him your undivided attention. His brows were furrowed and the frown on his lips was entirely too childish for the man he claimed to be. His lips parted and he released a sound akin to frustration. He huffed and huffed and huffed. Then he stared into your soul-- still, he couldn't seem to find the proper words for his thoughts.

One of the many things that Jinshi struggled with often is that he simply had a greater outlook on life while being so terribly confined. A childish optimism that should've left him once he was grown, clung to his soul desperately and gave him a more bountiful outlook on people and life. He knew the risks, he knew the dangers, he knew the nastiness of the world, but still stayed kind.

You know it was one of the many things his mother tried to change about him. That and his attachment to things. That was something you'd encountered first hand.

"You have your reservations about this, I can tell."

When he spoke, you weren't entirely sure what he'd say. There were times he was too insightful, too smart for his own good. It used to amuse you, now you only worried when it'd come across as unseemly.

Jinshi stared up at you, glittering eyes kind and approachable, his fingers squeezed gently around your wrist. "I don't want you to feel like you can't speak your mind." He continued as if he had no idea who you were. What you were. What you were to him.

Your gaze bounced between his own, a small frown breaking the perfect exterior you always desperately kept up. Maybe he was still stuck in the past. Maybe he was still enchanted by who you both used to be to one another.

The past was usually more lovely than a future unseen.

"I'm actually told not to voice my mind."

"By who?"

"Everyone."

There's a moment where Jinshi looks as if he's remembering something. Something distinct and obvious. Something that he had completely disregarded in the back of his mind for whatever reason, for however long. It must be pleasant, to not be constantly reminded that the people around you are paid or contracted to be by your side. Must be nice to have a choice.

Master. Servant. Master and servant.

That is all you and Jinshi shall ever be.

"I see," He uttered, eyes briefly tracing the tiles on the floor before fluttering back up to you with a new spark of determination. "But I'm ordering to speak your mind! Freely!"

You stared back flatly in return. Was he oblivious what freely meant? Ordering me and then saying it's of my own volition can't both be true.

Jinshi would put you into early death.

"Well, I, uh," you found his eyes to be too vibrant, to be staring too intensely and too welcoming. You turned your gaze away, desperate to grab some type of bearings over yourself. But, alas, his hand was still wrapped around your own. His skin scorched yours, tainted it with the warmth that was all his. "I think that this plan will not go entirely as you all hope."

"Is that so?" His voice is like a smooth honey, soft and all too endearing.

You hum, nodding, "Yes, uh, I believe they want you to fail, sir. And to have a rather unsavory thing to report back." Jinshi simply hummed in response. You could feel his eyes almost stroking against the side of your face. "I just think that they won't react the way you and Maomao hope they will. This is no slight to your or her intelligence, of course. Just a mere observation."

"I know what you mean, no worries." Jinshin's thumb was now slowly and softly stroking the butt of your palm. A soothing action that brought your eyes back to him. Captured in the way he serenely observed you. "What exactly about this makes you uneasy? Maybe I can ease you."

It didn't sound like an offer, but a promise. If his words weren't enough, his eyebrows were drawn together in careful contemplation. He wasn't going to walk away from this conversation without you both reassured in some capacity.

"What if they want to talk to you?"

Jinshi might had fair and delicate features, and a soft voice, but it wasn't nearly feminine enough to pass. If anything, they'd grow more suspicious. Then they'd report back about what a joke they all were and then Jinshi could suffer some type of punishment for his embarrassment. It wasn't that you were too pessimistic or didn't believe in the little group, but that the women's request felt bad all around.

A set-up if anything.

So, you took a deep breath and focused on that reassuring circle being drawn into your skin as Jinshi contemplated this for only a moment.

"Then I'll have the apothecary cover for me." Jinshi smiled, all too bright and all too reassuring. "We've already decided that I'll swim across the pond-- give me a vanishing effect and she'll deter them elsewhere."

You furrow your brow, all too worried, but bow your head instead of voicing such. "Of course, I have no doubt in you, Jinshi-sama." You reassure.

There was a beat of silence, then, "You're my oldest friend, you know?" You tense. Frozen into you bow, your wide eyes stare endlessly at his feet. His tone is tender, soft, almost hesitant, as if he wasn't sure if he should be speaking these things aloud. Yet, he continued. "You're the only one, beside Gaoshun and Suiren, that has stuck by me without judgement or doubt. I thank you for that, but I also fear that we've grown apart."

"I suppose we have." You uttered, trying to ignore the clench in your chest.

"Even as children, we started to grow apart." He continued to observe.

Because of your mother. Because of her fear that you'd end up like him, like your father. That disgusting and vile man. How could she not know you'd never be like him?

There was a day, a very distinct day, that you and Jinshi had been separated for "his own good". Your birthday. You had waited him eagerly in the main courtyard, being able to slip away from your duties out of kindness from Suiren. You waited and waited, until Gaoshun had approached. His expression downtrodden and dark. He informed you that it was no longer proper for you to play around with the boy you so dearly adored. Said his mother commanded it.

If he plays with a toy too much, take it from him.

You used to be bitter, resentful, and angry over it. Only eight-years-old, you had clung onto any companionship you could and he had given the illusion that he'd be there forever. Until he wasn't. Until you were a toy to be tucked back into the chest, forever forgotten with time.

He would be there forever, but you only merely a pawn for him to use as he pleased. To do work and to never grace the same level as you had when you both were only children, not yet exposed to hierarchy. Pure and innocent.

Now, you were mere servant and master.

Finally, you willed yourself to pull away from his hold, turning around to pick through various hair products. "It's been a long time, Jinshi-sama. We're no longer children."

"Hm."

As you reached for a brush, he pressed against your back. His hands coming to rest against your own with a delicate, featherlike touch. He was suddenly surrounding your ever sense. His warmth enveloping you into a hug that was almost earth shattering. Your lips parted and your eyes wide, you tensed as his lips brushed against the top of your head.

"I think of you often," his words are a whisper against you and your eyes, if possible, widen further as you almost lean back into him. "I sometimes wish I could just reach out and...and hold you, like we used to. Is that so bad?"

"Jinshi-sama, this is rather inappropriate!" You whisper back, not daring to look back at him in fear for how quickly you'd crumble.

He chuckles, the sound vibrating from his chest into your back and sending various chills down your spine. "If I'm making you uncomfortable, then please, tell me."

You don't open your mouth, as much as you wished you would deter him, you were rather eager to keep this up for a moment longer. To have something to think about and something to cherish later. Surely, this wouldn't happen again.

Instead, your attention goes to keeping your heart steady as Jinshi gently turns you around. His eyes heavy as he stares at you earnestly, lips quirked up barely. Your hands came up to clutch his forearm, gently squeezing as he did the same with your shoulder. You felt your heart stammer and a sweat collecting on your brow, this was definitely something frowned upon. To be so close and to breathe his same air-- as he exhaled, you inhaled the rich oxygen.

Suddenly, Jinshi's eyebrows furrowed and his fingers reached out, gently tucking some hair from your face. "What did they teach you to make you tremble like this?" He whispered it to himself but, thanks to your proximity, you heard it.

It made your ears redden, your lips pressed together. Did he really not know?

Before you could even speak, the door to his room were opened. Both your heads snapped to the door where Maomao and Gaoshun stood, both varying degrees of expressions on their faces that brought shame to you both. The four of your frozen in your respective places, staring at one another dumbly. Your hold on your master slackened and Jinshi took that as a sign to move first.

Jinshi made a rather odd noise, jumping away from you, face red and wide awkward smile to the two at the door. "Did you find the goods?" He asked as he approached, nervous fingers moving about.

Maomao, bless her soul, decided to ignore whatever it was they had walked in on, moving forward with a bundle of things in her arms. "Yes, Jinshi-sama."

You nervously pulled yourself from the table, turning your back to the three, hoping to conceal the red hue on your face. You really, really, hoped that no one would say anything.

Your hopes were tarnished as Gaoshun stepped up beside you.

The man was family. He'd been there for every milestone, or the rather unruly years when you found yourself in trouble more often than not. You'd grown accustomed to reading into his expressions more than his words. He was more open there, his only weakness.

That's why you withered when you saw that aghast expression on his face. The glimmer in his eyes that said it all-- he knew what was happening.

You ducked your head at the same time you heard Maomao ask, "Why isn't your hair done?"

You mustn't get ideas above your station. You are there to serve your master. Nothing less, nothing more.

That is the first thing that they taught you when you were "of age".

You are to give your life to your master. Any inappropriate behavior will be punished, severely.

That's the second thing they taught you.

There were many things that contributed to your regression. That made you cower away from who you used to be. Going from a loud troublemaker to the polite, obedient lady that lived to serve her kind master.

But as you watched Jinshi, or more correctly, the Moonlight Goddess dance elegantly at the edge of the pond. As you witnessed the light hit just right an illuminate him in a way that would send even the most beautiful angel into a rage. You realized one thing.

You would never tell Jinshi of those things.

Someone as beautiful and perfect as him, untouched from the life that you lead, shouldn't be exposed to the things he confined you to.

All you could do was gaze upon the Moonlight Goddess, utter your most daunting praises and wants, and tuck it all away.

You mustn't get ideas above your station.

You were a lowly maid after all. Someone so dignified and beautiful wouldn't settle for you.

"My hair is still wet!" Jinshi's voice bounced off the walls, a scowl etched on his face.

You bowed your head as you entered, towel tucked in your arms. "I have a towel for you, Jinshi-sama."

As you ruffled his hair with the towel, watching his shoulders relaxed you thanked the Moonlight Goddess.

A coward like you would never belong with a Goddess like him.

#jinshi x reader #apothecary diaries #apothecary diaries x reader #jinshi #Kusuriya no Hitorigoto x reader #Kusuriya no Hitorigoto #jinshi x you #jinshi x y/n #✩࿐ t writes

[phaedraismyusername]

Happy International Lesbian Day! Here's some super brief book recs to celebrate

Books dealing with love, loss, longing and abandonment

This is How You Lose The Time War is a short but beautifully written epistolary novel between two agents on opposite sides of a time war as they slowly fall in love.

Our Wives Under the Sea is one of the most beautifully written debuts I've ever read about a woman whose wife comes home wrong after they thought she'd died at sea and how it feels to grieve the loss of someone who's still in your home.

Lucky Red is a western novel about a young girl working in a brothel who meets her first female gunslinger and falls head over heels for her, and the consequences that come with loving dangerous people.

Body horror galore

Camp Damascus is about a young woman living in a super conservative christian town built around the worlds most successful conversion camp and the horrors that are uncovered there when praying the gay away fails.

To Be Devoured is about a woman whose fascination with the local vultures turns into obsession and the urge to know what carrion tastes like overtakes her life and leads her down stranger and stranger paths.

Chlorine is about a girl whose entire life revolves around being a competitive swimmer, and how abuse, neglect, and obsession with being the best takes its toll on the young women caught up in these destructive cycles.

Flawed character studies

Big Swiss is about a woman who has a kitchen floor reset in her 40s, moves away and starts a new life as a transcriber for a sex therapist and becomes obsessed with one of his clients before inserting herself into this poor woman's life.

The Seep is a speculative sci-fi set in a future where there's been a quiet alien invasion that has given people the ability to make almost any changes to their own bodies and what that world feels like to someone who doesn't want to partake.

Milk Fed is about a woman in therapy who feels cut off from almost everything until she meets another woman who triggers in her a melding of sex, hunger, and religion and where that takes her. Huge trigger warnings for ED content. It gets tough, y'all.

Fantastical wlw books

Bitterthorn is an amalgamation of fairytales retold as a slow burn sapphic love story between a sad young girl from a cursed land and the evil witch who takes her as a companion in the latest of the generational sacrifices made to appease her.

All the Bad Apples may be set in contemporary Ireland but it is a fairytale following a young girl as she travels across the country looking for a sister she refuses to believe is dead and the people she meets along the way.

Gideon the Ninth needs no introduction on this site but for the sake of formatting - lesbian necromancers in space who find themselves in an isolated murder mystery plot. It's not a romance but it is a love story and this series will change your life if you let it.

Translated novels

Boulder is a short character study following a free spirited woman when she accidentally settles down with the woman she loves and how love and resentment can take up the same space in your chest when life doesn't turn out the way you hoped it would.

Notes of a Crocodile is a cult classic coming of age story about queer teens in Taipei in the 1980s. It was written in the 90s so please keep that in mind if you choose to read it.

Paradise Rot is about an international student studying in Australia and her growing obsession with her housemate as they share a space that allows no privacy. I've never read anything that feels stickier.

#international lesbian day #book recs #long post #maybe a too long post #but i had the recs so here we are lol #this is how you lose the time war #our wives under the sea #lucky red #camp damascus #to be devoured #chlorine #big swiss #the seep #milk fed #bitterthorn #all the bad apples #gideon the ninth #boulder by eve baltasar #notes of a crocodile #paradise rot #i ran out of tags 😭😭😭 #booklr

[safety-pin-punk]

Punk History Resources: Vol 2

This is a compilation of resources found and recommended by various alternative bloggers, each of whom are credited for their contributions. This started because I was getting SO MANY asks about resources such as videos, books, and websites to use to learn about punk history. Admittedly, my own list wasn't that long, so I thought it was best to reach out to some others and share their knowledge with everyone. Now, I'm hoping to make this an annual occurrence, where we all share our knowledge with each other. So thank you again to everyone who helped out with this!!

Link to Volume 1

@whatamibutabutteredcroissant @unfriendlybat @ghost--in-a-machine @mushroomjar

YOUTUBE:

Part 1 of The Decline of Western Civilization (It recieved mixed reception from people in the scene) (whatamibutabutteredcroissant)

Part 3 of The Decline of Western Civilization (Focuses on the gutter-punks of 90s LA) (whatamibutabutteredcroissant)

BOOKS:

Some Wear Leather Some Wear Lace by Andi Harriman and Marloes Bontje (It's mostly goth/horror rock/post punk/deathrock but I feel like it's adjacent enough for it to merit a read) (unfriendlybat)

Spray Paint the Walls: The Story of Black Flag by Stevie Chick (whatamibutabutteredcroissant)

Kids of the Black Hole: Punk Rock in Postsuburban California by Dewar Macleod (whatamibutabutteredcroissant)

We Got the Neutron Bomb: The Untold Story of L.A. Punk by Marc Spitz and Brendan Mullen (whatamibutabutteredcroissant)

Left of The Dial: Conversations with Punk Icons by David Ensminger (whatamibutabutteredcroissant)

The Art of Darkness: The History of Goth by John Robb (A comprehensive history of Goth) (whatamibutabutteredcroissant)

Punk Zines by Eddie Piller and Steve Rowland (whatamibutabutteredcroissant)

The High Desert by James Spooner ( A graphic novel memoir of how the authro came into the scene) (ghost--in-a-machine)

Let Fury Have The Hour by Antonio D'Ambrosio (About the band The Clash) (anonymous submission)

MOVIES / DOCUMENTARIES:

Masque (A 10 minute doc about the Masque club in LA) (whatamibutabutteredcroissant)

ARTICLES:

History of Anarcho-Punk and Peace Punk (mushroomjar)

Late 80s and Early 90s Puerto Rico Hardcore Punk (mushroomjar)

The Jewish History of Punk (mushroomjar)

Japan's Impact on Punk Culture (mushroomjar)

The Forgotten Story of Pure Hell, America's First Black Punk Band (mushroomjar)

The Black Punk Pioneers Who Made Music History (mushroomjar)

Why Poly Styrene is Punk's Great Lost Icon (mushroomjar)

Alternative to Alternatives: The Black Grrrls Riot Ignored (mushroomjar)

Abandoning The Ear? Punk and Deaf Convergences Part II (mushroomjar)

Race, Anarchy, and Punk Rock: The Impact of Cultural Boundaries Within The Anarchist Movement (mushroomjar)

Street Medic Handbook (safety-pin-punk)

ZINES:

Sticking To It (safety-pin-punk)

So You Say You Want An Insurrection (safety-pin-punk)

All Power To The People (safety-pin-punk)

How to Survive a Felony Trial: Keeping Your Head up through the Worst of It (safety-pin-punk)

Collectives: Anarchy Against The Mass (safety-pin-punk)

Social War on Stolen Native Land: Anarchist Contributions (safety-pin-punk)

A Civilian's Guide to Direct Action (safety-pin-punk)

Critical Thinking as Anarchist Weapon (safety-pin-punk)

Security Culture: A Handbook for Activists (safety-pin-punk)

Betrayal: A Critical Analysis of Rape Culture in Anarchist Subcultures (safety-pin-punk)

ETC:

The Anarcho-Stencilism Subreddit (people upload stencils for others to use for free) (mushroomjar)

I would love to make a Vol. 3 post next year, so if you have resources and want to share, PLEASE message me!! (Preferably DMs)

#punk 101 #punk culture #punk history #punk #punx #punk resources #resource list

[asksythe]

Hey just read your lovely hands fanfic and the concept of the blood pool being a prison for malevolent entities barred from the cycle of reincarnation is so COOL , is it a thing implied between the lines and we western audiences lack the cultural context to recognise it ?, or is it something you came up with if so can I have permission to incorporate the concept into my own fan works?

It is a cultural thing. It's not even implied in the novel. It's just outright stated. But it's one of those hundreds of tiny cultural details that probably fly over the head of the international audience.

Remember when the Wen people came back as bloody corpses to protect Wei Ying and fought back the fierce corpses riled up by the repaired Yin Hufu?

In this part, the novel describes the events following the first Sige of the Burial Mound. After the hundred cultivator houses slaughtered these defenseless elderlies, women, and children, they threw their corpses into the blood pool, thus forever barring them from reincarnation.

The phrase the novel uses is 永不超生 (lit. to never again be reborn, to be barred from the cycle of reincarnation forever). That's not a figure of speech. The novel is being literal. The Burial Mound itself is already a prison for all kinds of undead and ghost wraiths. The blood pool, by the novel descriptions, amounts to a maximum security cell. A ghost in the Burial Mound can eventually let go of their grudge/resentment and enters the afterlife/reincarnation. But anybody thrown into the blood pool doesn't have this option.

永不超生 is commonly portrayed in Chinese culture as a punishment by the authority of the underworld. That's not a judgment that a mortal is allowed to make.

The fact that the Hundred Houses carried out 永不超生 on the Wen is a detail that speaks of both their arrogance and their awareness of their guilt.

The Hundred Houses are well aware what they did to the Wen remnants is a sin. The custom of the time is, if you profess yourself to be the righteous side and slay someone seen as 'evil/villain,' it's customary to hang their corpses up for all to see.

Remember Nie Mingjue beheading Wen Xu and hanging Wen Xu's head at the gate of Uncleam Realm for all to see? NMJ is not doing that just because he has a vendetta against the Wen. He's doing that as part of ancient customs to declare to all that 'his kill is righteous,' that he doesn't need to hide it, and that Wen Xu and the Wens are villains that need to be put down.

That's the principle. Justice has no need to hide.

But not only did the Hundred Houses hide the corpses of the Wen remnants, but they also imprisoned their souls, hoping that would keep the Wen from coming back as grudge wraiths or for the karmic cycle itself to snap back for this sin.

The Hundred Houses built up the Wen remnants to be this evil army at Wei Ying's beck and call. So they need to be put down. But the truth is that they were just a bunch of elderlies, women, and children who spent all their lives being doctors (as they belong to the Qihuang branch, with their own pacifistic philosophy).

Had the Hundred Houses performed the custom and showed their supposedly righteous kill to the world, then the truth would out. That they were either liars or stupid, and that they best be prepared to repay for their transgression on both innocent Wens and on the authority of hell itself.

And that, my friend, is why the second Burial Mound Siege ended the way it did, and why the vast majority of those same cultivators left Wei Ying alone afterward. What do you think those same cultivators think when their victims break out of the supposedly unbreakable maximum security cell to save Wei Ying (another of their victims)? And then those same Wen souls entered the afterlife?

The Western vernacular for this part is: Karma is a tenacious bitch with a long memory. It doesn't matter how much they lie about their crime and act like they are righteous or how good they think they hide the proof of their deeds. Heaven and hell itself are watching.

....Sorry, I have some strong feelings about the treatment of the Wen remnants.

That is to say, feel free to incorporate it in your works.

#ask sythe #wen qing #wen remnants #wen ning #mo dao zu shi #mdzs

[howtofightwrite]

Sorry if you’ve already answered this, I’m having trouble finding different posts in your blog.

I know a lot of your asks are more practical-related, but how do you suggest fully encapsulating the horror and tragedy of war in a (fantasy) battle scene? I really need that emotional and gory impact but it also to seem reasonably realistic.

My favourite references are Battle of the Bastards in GoT and scenes from Lord of the Rings.

Thanks!!

Martin and Tolkien are not two authors I’d ever expect to find together when discussing thematic and abstract concepts like the horrors of war in their writing. One of them is extremely deep, and the other is a puddle. Neither of them are particularly “realistic” but only one of them claims that pretense while drawing from real history. If you’re wanting horrors of war, you’re much better off moving away from Martin and taking a gander at the actual War of the Roses.

Let me explain.

Tolkien served as an officer during World War I. By sheer body count, The Great War was one of the most bloody and brutal wars in human history. As a point of reference, over a million soldiers died during the Battle of Somme. Perhaps as importantly, World War I killed the cultural concept of the Summer War. Before World War I, the British upper class viewed war as a game. War was an adventure, something young men did between reaching manhood and getting married. Watson from Sherlock Holmes is an excellent example of the end result for this particular outlook. They figured they’d go off, have some jolly good fun, get a few scars, and be back in a few weeks in time for tea. What they got was a meat grinder. Two of Tolkien’s close friends died during the war. He also lived through the bombings during World War II while working as a professor at Oxford, he experienced the devastating effects that war had on the civilian population first hand, and, likely, saw a few of his students die. Despite his hatred of allegory, the man was working through some shit in The Lord of the Rings.

If you’re interested in learning more about World War I or even about effectively demonstrating the horrors of war, I do recommend reading All Quiet on the Western Front. I read it once in high school (more years ago than I’d like to admit here) and, much like Elie Wiesel, it has stuck with me. It was also such an effective anti-war novel the Nazis banned it and it was one of the first books they publicly burnt, so you know it’s good.

Back to Tolkien.

What they don’t tell you about fantasy is that it’s real life, just with elves and dwarves and magic. The real world forms the foundation of fantasy and it’s the humanity of the emotional experience in war, the good and the bad, with both ends cranked all the way to eleven that really makes Tolkien’s work so impactful. LOTR is operatic by design, but what keeps the narrative from falling into melodrama is the core thematic message underneath the pageantry. One of the major themes is hope, which gets symbolized in light, and hope’s interplay with despair, symbolized in darkness. Not just a rosy view of it either, but the genuine struggle to keep the light burning against all the overwhelming reasons to give up or give in. Tolkien allows his characters to be corrupted and redeemed, their struggle with temptation before ultimately choosing the better path or failing and falling into darkness. He commits to the idea that hope can be restored in the unlikeliest of places.

Boromir’s death is, perhaps, one of the best examples of Tolkien’s philosophy in action. Boromir is a character we’re not sure of, he wants the one ring from the outset, he’s the only one advocating that it shouldn’t be destroyed. The hearts of men are easily corrupted. When he tries to take the ring from Frodo, he falls into his worst instincts and breaks the Fellowship. But then, against the overwhelming flood of Uruk-hai, Boromir tries to save Merry and Pippin. He fights wounded, shot again, and again, until he’s felled by twenty arrows and he fails. Yet, in his failure he restores Aragorn’s hope in his people, gives him a reason to fight for Gondor, and inspires the audience to believe in Man’s potential for greatness.

Tolkien could have left Boromir in the dark, but he didn’t. He could’ve given into cynicism, but he didn’t. In every adaptation, Boromir’s death never fails to get me bawling. Boromir is both good and bad, both dark and light, his best and worst instincts are driven by the same underlying, sympathetic reason—his desire to save his people and fulfill his duty to his father.

On the whole, I find Tolkien’s presentation of the human condition and war to be more compelling and realistic than Martin’s. Tolkien’s underlying themes have more in common with All Quiet on the Western Front, Saving Private Ryan, and HBO’s Band of Brothers. For all that his characters often feel larger than life (by design, he’s telling an epic) there’s always a grounding quality that allows the audience to connect with them. Whether we agree with Tolkien’s core thematic message or not, Tolkien genuinely has something to say about warfare and its effect, both on personal and world changing levels, and he communicates that message very well.

The irony about the “horrors of war” isn’t about the horrors of war. Thematically, the “horrors of war” is about who we choose to become in the face of them when trapped in the crucible. Do we rise to our best selves? Do we fall to our worst? When every illusion about who we believe we are is stripped away, what’s left? It’s an existential question, not a “realistic” one.

You can’t write about the horrors of war in fiction if you have nothing to say about war, humanity, and its effects. All you’ll end up with is gore for shock value. The world becomes hopelessly depressing, and, in the end, all the blood turns brown before it’s finally shat out.

Hi, Martin.

Don’t get me wrong, Martin is a very skilled writer. His prose is genuinely beautiful and his first book in ASOF, A Game of Thrones is actually a pretty decent deconstruction in the traditional fantasy narrative and a fairly realistic treatment of how events would go for the standard well-meaning fantasy protagonist. And that’s… the deepest we get.

Martin comes out of the 24/Joss Whedon death for shock value school of writing and the land of Iron Age comics that doesn’t have anything to really say beyond, “people suck.” Underneath it all is a level of cynicism in the human condition that would make Garth Ennis blush. The deaths are just shock value. There’s nothing more to it than that. Once you’ve acclimated to the gore, there’s nowhere else to go and nothing else to think about. Ironically, out of his contemporaries, Robert Jordan is better at giving both war and death in his narrative lasting effect, driving character growth, and real meaning.

Martin and Tolkien are opposite ends of the spectrum in their approach to war and their outlooks are utterly incompatible. One of them is a complete cynic and the other is facing himself honestly, openly, fearlessly, and without a smidgen of irony. (The true irony here is that the latter is the Englishman.) Following Martin’s blueprint won’t bring you to a Tolkien outcome. Tolkien’s genuine emotion is the subject of mockery in Martin’s world. Season 8 may’ve been clumsy and infuriating, but it was the natural end of Comic Book Iron Age cynicism. There are no good people, people with power can never be trusted, and all heroes, no matter how noble, reveal their true colors as villains in the end. As Christopher Nolan said, “You either die a hero or live long enough to become a villain.” This philosophical outlook may be sold as realistic but it’s really just Political Both Sidesism, Fantasy Edition.

The irony is that the real history Martin draws from, The War of the Roses, is simultaneously crueler, kinder, more noble, more horrific, more impactful, and ultimately more hopeful than Martin’s own work. And this was post the Hundred Years War and all the wars that preceded it.

I bring you, the Duality of Man.

If you want to write a realistic battle scene, start with real war. If you want to write about the horrors of war, start with real war. Pick a war, any war, and dig in. Reading the experiences of others is a way to gain insight into experiences you yourself don’t share and start to process the different philosophies born out of those experiences. The horror of war is a human one.

The most important lesson is that you won’t get there by focusing on the battle itself. To truly feel the impact, every character needs to be carefully built from the very beginning with a through line to every horrific event that happens to them. If you want to learn how to do that, then you need to go study every single war movie from good to bad (including the jingoistic rah-rah ones) like Apocalypse Now, Saving Private Ryan, Battle for Iwo Jima, etc, to really start internalizing the underlying storytelling structure and character design formula that makes those films tick. There’s no one better at portraying the horror and humanity of war than the war film industry. Part of what makes the best of these films really good is their willingness to allow their characters to be emotional and vulnerable. Which you won’t find in a lot of fantasy novels that run on machismo, but is the secret sauce that gives Tolkien his impact.

Having the confidence to allow your characters to struggle, be vulnerable, experience humiliating circumstances, and appear weak is an aspect of writing that a lot of men and women struggle with. Cynicism is a form of self-protection to keep those emotions away, to keep one from being emotionally invested, and is a means by which we protect ourselves from being hurt. We may portray cynicism as the more realistic reality but it’s just a cloak we hide behind. Martin’s approach to warfare is less realistic than Tolkien’s. Tolkien’s characters approach warfare with an eye toward protecting their civilians, safeguarding their future, or, in the case of his villains, focus on genocide. War for Tolkien is the eradication of civilization and the destruction of the future. Characters from experienced combatants to innocent civilians are willing to risk their lives for a world and for the people who matter to them. Martin has the Summer War. It’s there in the title, A Game of Thrones. An entertaining charade of musical chairs. And while all of his characters are chasing power, almost none of them have any sort of vision or goal for the future beyond the accumulation of more. In Martin’s world, the only way to truly win is not to play, but in the real world playing is the only way to create the world you want. Cynicism ends with no seats at the table and no means to change or save anything.

It’s funny because England during the War of the Roses had been in a state of near constant warfare for hundreds of years with their own domestic powers and France prior to the War of the Roses kicking off. The concept of a Summer War didn’t really exist for the medieval nobility. Much as we joke today about war being a game for medieval nobles due to their ransom protections, it really wasn’t. The peasantry was also much, much more dangerous en masse than they are in ASOF. They drove traveling monarchs to hide in monasteries plenty of times and, while that’s funny, it’s not actually a joke.

Now, picture Joffrey dragged off his horse in the middle of a riot and having his skull crushed by a local fishwife right before being trampled into a bloody, unrecognizable pulp by sharp hooves.

Or enjoying the Agincourt bathing route.

You’re welcome.

-Michi

This blog is supported through Patreon. Patrons get early access to new posts, and direct access to us through Discord. If you’d like to support us, please consider becoming a Patron.

#how to fight write #Michi answers #writing advice #writing reference #writing tips

[d10nsaint]

FROM EDEN.

-> Kim Dokja & Cale Henituse with a reincarnated! reader

saintspeaks;“I SLITHERED HERE FROM EDEN JUST TO SIT OUTSIDE YOUR DOOR”-Hozier. JAIDJSKADJ I LOVE THIS SONF OMFG. Also, the ‘you’ in the Kim Dokja x reader only read twsa, but the ‘you’ in the Cale x reader read tcf.

Kim Dokja

A reader of TWSA is all you were — well, one of the two committed readers. You werent supposed to read it, in fact, you stumbled apon it on a sad friday night. But when you met Kim Dokja, the lone reader, you realized why you were never supposed to touch that story.

You’d only survived this far because you binge-read the chapters, and had your handy phone with a save file of the story!

You were living quite comfortably in the apocalypse, traveling alone because you couldnt commit to a group. You knew that the moment that danger came towards you and the group you’d abandon them, so traveling alone was the best option.

Until you were traveling in the underground subway and came across Yoo Junghyuk— the main character himself.

The only thing that happened between you two was a harsh glare met with ice-cold eyes in response.

The only thing that you were thinking was, ‘you dont scare me, bitch.’

And he just stormed off.

You hadnt thought much of the encounter—in fact, you never wanted to meet him again. But, of course, fate just had to have you two cross paths again. But, this time he had a companion with him.

And lord, was he the most handsome man you’d ever seen— even though you could barely make out his facial features.

But he’d never been in the novel. An he seemed just as surprised by your appearance too — because you didn’t have a sponsor, and you’re too strong and seem too knowledgeable for an average person.

The idea of you being the other reader lingers in his mind— but he quickly dismissed the thought as he kept walking past you, following Yoo Junghyuk.

Cale Henituse

You were a normal girl who reincarnated into a noble Lady from a small kingdom in the Western Continent. Since you reincarnated into such a small kingdom, you had no reason to change the story unless it came charging at you.

…and it did.

You visited Lady Amiru in the Ubarr territory.(bad idea number 1)

The moment you started talking to her about using a boat to sail at night, a wolf-looking guy came charging at you, screaming about smelling ‘strong’. You’d never done any training or fighting, and only acted like how a normal noble lady should in these kinds of stories. But, you realized he wasnt looking at you, but behind you. And guess who was behind you?

Cale Henituse—who was hiding behind a rock????

You’d recently been reincarnated so you didnt know much, but what you did know was that some things had changed. One of those things? Cale Himself.

You avoided the Henituse house like the plague— if you got too close to Cale, you’d get tangled up in the story, and you couldnt have that. Excusing yourself the moment you saw the fiery red hair, you ran off of the sandy beach to the room lady Amiru let you use during your stay.

Cale was extremely confused—who the hell were you? why were you here? did you know about the ancient powers? Why did you need a boat?

He let out a deep sigh, wondering why he just keeps walking into trouble—he could just feel you being another wall between him and his slacker life.

#manhwa #leigetalks #saintspeaks #leigewrites #manhwa x reader #x reader #lcf x reader #lcf #lcf fic #trash of the count's family #tcf fic #tcf #tcf cale #tcf x reader #cale henituse smut #cale henituse x reader #cale henituse #kim roksu #kim rok soo #kim dokja #kim dokja x reader #kim dokja smut #orv #orv kim dokja #orv kdj #orv au #orv x reader #orv spoilers #orv manhwa #orv yjh

[nanowrimo]

Beyond the Word Count: A Book Editor's Guide to Writing a First Draft

Every year, we’re lucky to have great sponsors for our nonprofit events. First Draft Pro, a 2023 NaNoWriMo sponsor, is a beautifully designed writing app for fiction writers. Today, they've partnered with Kelly Norwood-Young, former book editor for Pan Macmillan and Penguin Random House, to bring you some pro tips on writing your first draft:

In my career as a book editor, I’ve reviewed hundreds of manuscripts. I've seen the joy of authors creating compelling tales, but also how disheartening it can be to rewrite a disjointed story. I’m here to give you some strategies to address common pitfalls so that you not only reach your NaNoWriMo goal, but also lay the groundwork for a manuscript that truly deserves to be called a gripping novel.

1. Have a plan.

Even if you’re more of a ‘pantser’ than a ‘planner’, it's really helpful to have an outline. I have two favourite approaches for this: the structure-first approach, and what I call the ‘Phoebe Waller-Bridge approach’.  

The structure-first approach

There are a lot of narrative frameworks for story structure, but the most foundational in Western fiction is the three-act structure. Here’s a handy guide that breaks each of the classical three acts into a day-by-day guide to NaNoWriMo: 

8-day guide to Act 1

14-day guide to Act 2

8-day guide to Act 3

The Phoebe Waller-Bridge approach

I love this quote from Phoebe Waller-Bridge: ‘I’ve never thought structure first. I’ve always thought material first, jokes first, character first ... But knowing the end really helps. Then you just go as far away from the end emotionally as you possibly can.’  

Sketch out your major story arcs, your character’s desires and conflicts, and the world they inhabit. The more you know your story's world and inhabitants, the less you'll stray into scenes that lack purpose or create plot and character inconsistencies. 

2. Keep the story moving.

Each word needs to propel your story forward. Superfluous details or tangents that don’t serve the narrative stall the momentum you’re trying to generate for your reader. 

There’s a trick you can use to move your story forward, called the question of reversibility. Ask yourself: How difficult would it be for my character to reverse their decision? The harder it would be for them to turn back, the more you’ve moved the plot forward. 

3. Plant clues carefully.

Plant important elements early and make sure every element, however subtle, serves a purpose (i.e. Chekhov’s Gun). 

Be sure to set up necessary components for your climax so that you can steer clear of Deus ex Machina (having that strong outline will help you here), and avoid red herrings unless they serve a clear, meaningful purpose (e.g. you’re writing a mystery and your readers expect some false leads). Misleading your readers without a payoff can erode their trust.

4. Write for the reader, not yourself.

‘There is only one thing you write for yourself, and that is a shopping list,’ insists Umberto Eco in On Literature. Even if writing, for you, is a therapeutic outlet, a form of self-expression, or a way to leave a legacy, you’re still writing to say something to someone else. Your story simply won’t be as strong if you forget your reader’s perspective. 

5. Keep daily editorial notes for your future self.

While editing should wait until at least December, end each day with a brief reflection, noting any off-course deviations, potential inconsistencies, areas to research further, or moments of inspiration to revisit when you start editing. 

These daily notes will be invaluable during the editing process, helping you to remember insights that are no longer fresh when you come back to the manuscript later.

6. Embrace the first-draft mentality.

There’s a lot you can do to ensure that your first draft is the best it can be before the end of November—but just as important is to understand that all first drafts have flaws.

As a book editor, I've witnessed manuscripts transform, sometimes unrecognizably, from their first drafts. Embrace the uncertainty and creative detours—because it's from this beautiful chaos that your story will find its true voice. 

Kelly Norwood-Young is a seasoned book editor and proofreader with comprehensive experience across various facets of manuscript editing. Her background includes roles at Pan Macmillan and Penguin Books, extending into a successful freelance career working with award-winning authors. Kelly's work, known for its precision and sensitivity to the author's voice, has been integral to the success of both new and established writers globally.

Try out First Draft Pro: All NaNoWriMo participants can use the discount code NANOWRIMO2023 for 20% off a premium subscription to First Draft Pro! Offer expires January 31, 2024.

#nanowrimo #writing #first draft #writing advice #by nano sponsor #first draft pro #kelly norwood-young #plot #planning

[crooked-wasteland]

The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse: The Heart of Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, decades before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

#helluva boss critical #helluva boss criticism #helluva boss critique #vivienne medrano #vivziepop #vivziepop critical #spindlehorse critical #spindlehorse criticism #vivziepop criticism #helluva boss #perpetuating abuse #narcissistic abuse #abuse breeds abuse #essay writing

[pendwelling]

Venetiaan vs. Riester fashion🌷

(ft. model Yeseo and Cédric's imagination~)

Additional notes! :D

Venetiaan fashion:

Inspired by 16th-century Western aristocratic clothing (as confirmed by Sookym). Supporting that, both Losna and Werner have been shown wearing furs and robes!

Round cheongsam-like collars

Wide and flowy sleeves/arms/silhouette

Buttons are distinct from Riester's

Riester fashion:

19th?-century inspired

Suits, vests, button-ups! Neckties are in style since the collars permits it, unlike Venetiaan's high and round collars

Typically slim silhouettes for men (with the exception of cloaks and tailcoats)

(Honestly I just think of it as the typical RoFan webtoon visual fashion LMFAO)

This is just my interpretation haha, it's sorta what I gathered from the info given by Sookym in both in-novel and their notes! Distinct fashion/culture between Venetiaan and Riester has always been interesting to me, especially since Jesse (and Johann) have been noted to switch clothing styles once they become more concretely affiliated with the Riester Empire. (I tried giving Jesse more colourful/darker attires for his Venetiaan wardrobe like in my references pics, but his palette works best with whites/light colours so I couldn't bring myself to do it wkdhdkdksk)

When we first meet Johann, he is distinctly from Venetiaan, wearning its clothing and even greeting Jesse, the prince from said country, as "Your Highness" (which is what people from Riester call Cédric) rather than "prince-nim" (which is what they call Jesse, and what Jesse calls Cédric), displaying his nationality and the royal family whom he serves. He only begins dressing like a citizen of the Empire once he pledges his life and abilities to serve Empress Frédérique and become one of her people!

And as for Yeseo, he only begins to be dressed by his attendants in the attire of the Empire following his 'resurrection', and we can see more of this sort of shift when he goes from being addressed less as "prince-nim", and more as (마마—) "gungju-nim" (palace lord). There's also him eventually being referred to as the Moon of the Empire, instead of the Moon of the Holy Kingdom 🥹

I'm really fond of the webtoon because if there's one thing it does right, it is absolutely how it captures the lighthearted charm, atmosphere, and vibe of the original novel—though one thing im lowkey sad about is that the visual distinction between Venetiaan and Riester culture via clothing seems to have been lost :') It's a small detail on the surface, but it's actually a pretty significant and symbolic shift when Jesse gradually begins to be dressed less like "Prince Jesse Venetiaan", and more as "Marquis de Sérénité of Riester", the Palace Lord of Juliette :')) But of course, making a webtoon is hard work and I still immensely appreciate the artist's work nonetheless (btw I am eternally grateful for them giving Yeseo an ahoge/hair antenna, it is GENIUS chara design and so so so very cute, i love webtoon jesse so much hahajhsjh)

#when the third wheel strikes back #서브 남주가 파업하면 생기는 일 #twsb #섭남파업 #jesse venetiaan #jung yeseo #cédric riester #cedjess #cedyes #twsb fanart #my art #venetiaan holy kingdom culture #riester empire culture #i love how sookym portrays the cultural differences between the two countries

[specialagentartemis]

Black Women writing SFF

The post about Octavia Butler also made me think about the injustice we do both Butler, SFF readers, and Black women SFF writers by holding her up as the one Black Woman Writing Sci-Fi. She occupies an important place in the genre, for her creativity, the beauty and impact of her writing, and her prolific work... but she's still just one writer, and no one writer works for everybody.

So whether you liked Octavia Butler's books or didn't, here are some of the (many!!! this list is just the authors I've read and liked, or been recommended and been wanting to read) other Black women writing speculative fiction aimed at adults, who might be writing something within your interest:

N. K. Jemisin - a prolific powerhouse of modern sff. Will probably have something you'll like. Won three Hugo awards in a row for her Broken Earth trilogy. I’ve only read her book of short stories, How Long ‘Til Black Future Month? and it is absolutely story after story of bangers. Creative, chilling, beautifully written, make you think. They’re so good and I highly recommend the collection. Several of her novels have spun out of premises she first explored through these short stories, most recently “The City Born Great” giving rise to her novel The City We Became. Leans more fantasy than sci-fi, but has a lot of both, in various permutations. 

Nisi Shawl - EDIT: I have been informed that Nisi Shawl identifies as genderfluid, not as a woman. They primarily write short stories that lean literary. Their one novel that I’ve read, Everfair, is an alternate-history 19th century that asks, what if the Congo had fought off European colonization and became a free and independent African state? Told in vignettes spanning decades of political organization, political movements, war tactics, and social development, among an ensemble of local African people, Black Americans coming to the new country, white and mixed-race Brits, and Chinese immigrants who came as British laborers.

Nnedi Okorafor - American-Nigerian writer of Africanfuturism, sci-fi stories emphasizing life in present, future, and alternate-magical Africa. She has range! From Binti, a trilogy of novellas about a teenage girl in Namibia encountering aliens and balancing her newfound connection to space with expectations of her family; to Akata Witch, a middle-grade series about a Nigerian-American girl moving to Nigeria and learning to use magic powers she didn’t know she had; to Who Fears Death, a brutal depiction of magical-realism in a futuristic, post-war Sudan; to short stories like "Africanfuturism 419", about that poor Nigerian prince who’s desperately sending out those emails looking for help (but with a sci-fi twist), and "Mother of Invention" about a smart house taking care of its human and her baby… she’s done a little bit of everything, but always emphasizes the future, the science, and the magic of (usually western) Africa.

Karen Lord - an Afro-Caribbean author.  I actually didn’t particularly like the one novel by her I’ve read, The Best of All Possible Worlds, but Martha Wells did, so. Lord has more novels set in this world—a Star Trek-esque multicultural, multispecies spacefuture set on a planet that has welcomed immigrants and refugees for a long time, and become a vibrant multicultural planet. I find her stories rooted in near-future Caribbean socio-climatic concerns like "Haven" and "Cities of the Sun" and her folktale-fantasy style Redemption in Indigo more compelling.  And more short stories here.

Bethany C. Morrow - only has one novella (short novel?) for adults, Mem, but it was creative and fascinating and good and I’d be remiss not to shout it out. In an alternate-history 1920s Toronto, scientists have discovered how to extract specific memories from a person—but then those memories are embodied as physical, cloned manifestations of the person at the moment the memory was made. The main character is one such “Mem,” struggling to determine who she is if she was created from and defined by one single traumatic memory that her original-self wanted to remove. It’s mostly quiet, contemplative, and very interesting.  (Morrow has some YA novels too. I read one of them and thought it was okay.)

Rebecca Roanhorse - Afro-Indigenous, Black and "Spanish Indian" and married into Diné (Navajo). I’ve read her ongoing post-apocalyptic fantasy series starting with Trail of Lightning, and am liking it a lot; after a climate catastrophe, the spirits and magic of the Diné awakened to protect Dinetah (the Navajo Nation) from the onslaught; and now magic and monsters are part of life in this fundamentally changed world. Coyote is there and he is only sometimes helpful. She also has a more traditional second-world epic high fantasy, Black Sun, an elaborate fantasy world with quests and prophecies and seafaring adventure that draws inspiration from Indigenous cultures of the US and Mexico rather than Europe. She also has bitingly satirical and very incisive short stories like “Welcome to Your Authentic Indian Experience” about virtual reality and cultural tourism, and the fantasy-horror "Harvest."

Micaiah Johnson - her multiverse-hopping novel The Space Between Worlds plays with alternate universes and alternate selves in a continuously creative and interesting way! The setup doesn’t take the easy premise that one universe is our own recognizable one that opens up onto strange alternate universes—even the main character’s home universe is wildly different in speculative ways, with the MC coming from a Mad Max-esque desert community abandoned to the elements, while working for the universe-travel company within the climate-controlled walled city where the rich and well-connected live and work. Also, it’s unabashedly gay. 

And if you like audiobooks and audio fiction (I listened to The Space Between Worlds as an audiobook, it’s good), then Jordan Cobb is someone you should check out. She does sci-fi/horror/thriller audio drama. Her works include Janus Descending, a lyrical and eerie sci-fi horror about a small research expedition to a distant planet and how it went so, so wrong; and Descendants, the sequel about its aftermath. She also has Primordial Deep, about a research expedition to the deep undersea, to investigate the apparent re-emergence of a lot of extinct prehistoric sea creatures. She’s a writer/producer I like, and always follow her new releases. Her detailed prose, minimal casts  (especially in Janus Descending), good audio quality, and full-series supercuts make these welcoming to audiobook fans. 

-

Nalo Hopkinson - a writer who should be considered nearly as foundational as Octavia Butler, honestly. A novelist and short story writer with a wide variety of sci-fi, dystopian futures, fairy-tale horror, gods and epics, and space Carnival, drawing heavily from her Caribbean experiences and aesthetics.

Tananarive Due - fantastical/horror. Immortals, vampires, curses, altered reality, unnerving mystery. Also has written a lot of books.

Andrea Hairston - creative and otherworldly, weird and bisexual, with mindscapes and magic and aliens. 

Helen Oyeyemi - I haven’t read her work but she comes highly recommended by a friend. A novelist and short story writer, most of her work leans fairytale fantastical-horror. What Is Not Yours Is Not Yours is a collection of short fiction and recc’ed to me as her best work. White is for Witching is a well-regarded haunted house novel. 

Ashia Monet - indie author, writer of The Black Veins, pitched as “the no-love-interest, found family adventure you’ve been searching for.” Magic road trip! Possibly YA? I’m not positive. 

-

This also doesn’t include Black non-binary sff authors I’ve read and liked like An Owomoyela, C. L. Polk, and Rivers Solomon. And this is specifically about adult sff books, so I didn’t include Black women YA sff authors like Kalynn Bayron, Tomi Adeyemi, Tracy Deonn, Justina Ireland, or Alechia Dow, though they’re writing fantasy and sci-fi in the YA world too.

And a lot of short stories are out there in the online magazine world, where so many up and coming authors get their start, and established ones explore offbeat and new ideas.  Pick up an issue (or a subscription!) of FIYAH magazine for the most current Black speculative writing.

#books #book recs #science fiction