Alisa U Zemlji Chuda
TVSTRANGERTHINGS
Misplaced Lens Cap

tannertan36

romaโ
Three Goblin Art

#extradirty
wallacepolsom
Claire Keane
almost home
sheepfilms
Aqua Utopia๏ฝๆตทใฎๅบใง่จๆถใ็ดกใ
he wasn't even looking at me and he found me

Andulka
macklin celebrini has autism

titsay

Kaledo Art
Monterey Bay Aquarium
cherry valley forever

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@starcut-sand

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at a restaurant and this place is so fuckin wisconsin the waitress just offered us beer battered cod w a side of applesauce
Overlock Stitch by @clothes_reetzy
Damn, that's useful
i always see โtag fav fruitโ posts but iโve never seen a fav veg post so rb & tag your favourite vegetable
ten years ago as part of my creative writing degree we had a class on professional development where we learned how the publishing process works for different mediums and how to choose an agent and what the role of a publishing house is and back then, the advice was "self-publishing has its advantages but a traditional publisher will provide editorial support and market your book and if your book sells well enough they want to invest in your future" and now basically none of that is true anymore. books make it to shelves with noticeable errors and structural issues that could be addressed with one or two more rounds of developmental editing, authors are expected to do more and more of the marketing themselves to the point that they are expected to be social media influencers in their own right, and publishers appear to be prioritising flashy debut novels with huge advances they don't outsell, which means the author is less likely to get a follow-up deal.
Obviously a publisher is a business and a business needs to make money, but the idea used to be that you'd have a couple of very successful authors who bring in so much cash that they subsidise the new kid who is building a back catalogue of books that sell okay until they get name recognition and pay for themselves. I was told back then that a couple thousand pounds was very reasonable for a debut novel because you want to get royalties for the sales exceeding your advance and that way the publisher sees you as a profitable investment. The last couple of years I keep hearing about six figure book deals for debut (!) literary fiction (!) novels, what on earth?
I'm not saying that the publishing industry is uniquely awful or that it's worse than it's ever been or whatever, but especially in a time when reading and talking about books is trendy and there is so much money in books, it feels very, I don't know, symbolic? Prioritising flashy one-time projects over sustained and sustainable growth. Investing only enough resources to make your product fit for sale but not enough to make it good because people will buy it anyway. It's frustrating to me as a reader and as an aspiring writer and as a person existing in a capitalist system.

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An Archive of Our Own, a project of the Organization for Transformative Works
Normally I like to get all my other obligations done before I post a new chapter, but Iโm going to my cousinโs wedding tomorrow and I wonโt be back until some undetermined time on Saturday, so I wanted to get Rumi torture chamber chapter eight out now so you guys wouldnโt have to wait ^_^ย Especially given that this is actually the shortest chapter in the entire fic so far.
tumblr has been the most consistent thing in my life since i was like 14
in service of my favorite pastime, taking a joke feminist analysis of a joke post too far to be a joke anymore:
not only is the house hers too. but does SHE even really want the chintz? or is the chintz part of her duty as a wife, a design choice made for the approval of in-laws and houseguests, part of keeping the home as it's expected to be? is "he" actually having his Primal Masculinity restricted by his wife's Feminine Sensibilities, or is she an easy scapegoat now that he's consciously experiencing the effects of the restrictive society that she's been dealing with the whole time?
The closer to the modern era you get the more fascinating "lost at sea" becomes as a backstory element. Being lost at sea in 1612 is a downright normal kind of lost to be. Being lost at sea in 2012 is like, okay, back up โ I need to hear this one.
I saw someone on X point out something and I've been tossing it over in my head. I may need an objective eye for it.
Would you agree that it's Jinu's fault that Mira and Zoey raised their weapons at Rumi? There's def lots of things to consider there and initially I'm like, yes and no? Because technically it was Jinu's plan that led to MiZo finding out about Rumi's patterns and demon side in the worst way possible. But then again, no, because blaming others for your own decision or reaction is rubbing me the wrong way. They're big girls, they can think for themselves
No, I'm with you, anon. It's absolutely true that Jinu holds responsibility for putting Rumi, Mira, and Zoey in that position in the first place--but what Mira and Zoey do once they're in that situation is entirely their own choice. They could have chosen to hear Rumi out, to give her the benefit of the doubt, to recognize that she was panicking and help her calm down enough to explain instead of cutting her off before she could really formulate what she wanted to say. Jinu didn't, like, hold them at gunpoint and force them to react badly.
Like, did Jinu make the situation look bad? Yes, and that is on him. I don't mean to downplay how he betrayed Rumi. But, bluntly, he was playing on fractures that were already present within the girls' friendship. He was playing on the distrust that Mira and Zoey already had for both demons and for Rumi at this point. We can't act like Jinu somehow magically made Mira and Zoey distrust Rumi, or hate demons. They already did--Jinu just put them in a situation that brought those problems to the surface. And then they made a choice of how to handle those problems. And that's on them.
It frustrates me, honestly, the amount that certain fans will go out of their way to make everything Jinu's fault and nothing Mira and Zoey's fault. I'm not even saying this as a Jinu fan (although you know I am), but as a Mira and Zoey fan, as well: why the hell do so many people want to gloss over the girls' complexity? Mira and Zoey have real flaws that negatively impact the way they treat Rumi. And that, to me, is way more interesting and raw and real-feeling than if they're just these perfect passive background characters that have things Happen to them. I've said it before, but it's a common criticism of Mira and Zoey (even outside of the fandom, in mainstream conversations about kpdh) that they're not very fleshed-out compared to Rumi or Jinu. And I think the reason why it can feel that way is because Mira and Zoey tend to be reacting to plot events more than acting to create events in the plot. Mira confronting Rumi in her room is one notable exception, which helped to give her character a lot more presence and depth, but overall Mira still is a much less active character than Rumi and Jinu are... which is a problem.
So with all that in mind, I simply don't get the appeal of making Mira and Zoey even more passive. They chose to raise their weapons against Rumi, they didn't have to make that choice, and that is interesting. It is an interesting point to their characters. It gives them complexity. These are characters who care a lot about doing the right thing, and they try so hard to do the right thing that they end up doing the wrong thing in this scene because they've been taught that it's right. And that's interesting!!
Sigh. Anyway.

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had to make a phone call to make a doctors appointment 10 dead 10,000 injured
Well as a "fan" I would be "serviced" by some THEMES AND MOTIFS #themesandmotifs #artwithmeaning
Itโs vitally important that people remember that no matter how many followers someone has on here theyโre still literally just some person with a blog and not, like, The Authority on anything.

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i hate it when people mistake "etymology" with "entomology." like, i know where they coming from but it still bugs me
on its surface the statement "romance novels should decenter amatonormativity" sounds kinda ridiculous but I really stand by my opinion that intense amatonormativity is one of the biggest problems of the genre
like, you can write a story about romance while also acknowledging that it is not the center of the universe and of each person's life. But a lot of romance novels don't cross that bar, and it makes them feel... cheap. It's similar to a "show don't tell" issue for me? If all your side characters are constantly telling the main character how they need to get laid/fall in love because they're [repressed/too uptight/clearly lonely/the only member of their friend group who hasn't/etc], if the main character is constantly thinking about romance despite insisting that it's not important to them, they're a workaholic, whatever, if the love interest is emphasized more as a love interest than as a person... the stakes feel fake. I feel like you're shoving the idea that this lack of romance is a problem that needs fixing! down my throat, and it doesn't convince me. It's kind of uncanny valley, tbh. Like, amatonormativity is real, but lots of romance novels seem to take place in a mirror dimension where the entire world is just playing a supporting role in the Concept of Romance. Which makes the whole world feel flat and fake and unnatural.
also it makes your characters insufferable but that one's more of a subjective opinion on my part I guess