#annagomez

💕 𝗠𝗬 𝗚𝗢𝗢𝗗𝗕𝗬𝗘 𝗚𝗜𝗥𝗟 - 𝗔𝗩𝗔𝗜𝗟𝗔𝗕𝗟𝗘 𝗡𝗢𝗪 💕

I am so excited to share that My Goodbye Girl by Author Anna Gomez is 𝙊𝙐𝙏 𝙉𝙊𝙒!

READ TODAY ↳ https://books2read.com/MyGoodbyeGirlAG

PUBLISHER ↳ Rosewind Books (a division of Vesuvian Media)

··· 𝐀𝐁𝐎𝐔𝐓 𝐓𝐇𝐄 𝐁𝐎𝐎𝐊 ···

When Tessa Talman first meets Simon Fremont, not only is she attracted to him, she's intrigued by how different their lives are. He's a dedicated scientist, practical, pragmatic, and grounded. She's a head-in-the-clouds romance author. 𝘼𝙨 𝙩𝙝𝙚𝙞𝙧 𝙧𝙚𝙡𝙖𝙩𝙞𝙤𝙣𝙨𝙝𝙞𝙥 𝙜𝙧𝙤𝙬𝙨, 𝙩𝙝𝙚𝙮 𝙢𝙚𝙚𝙩 𝙞𝙣 𝙥𝙡𝙖𝙘𝙚𝙨 𝙖𝙧𝙤𝙪𝙣𝙙 𝙩𝙝𝙚 𝙬𝙤𝙧𝙡𝙙, 𝙬𝙝𝙞𝙡𝙚 𝙘𝙤𝙣𝙩𝙞𝙣𝙪𝙞𝙣𝙜 𝙩𝙤 𝙡𝙞𝙫𝙚 𝙞𝙣 𝙙𝙞𝙛𝙛𝙚𝙧𝙚𝙣𝙩 𝙘𝙤𝙪𝙣𝙩𝙧𝙞𝙚𝙨.

Though their feelings for each other deepen, their priorities remain the same. Simon is in a hurry to be financially sound and settle down, but Tessa is enjoying her freedom and newfound success. 𝙉𝙚𝙞𝙩𝙝𝙚𝙧 𝙞𝙨 𝙬𝙞𝙡𝙡𝙞𝙣𝙜 𝙩𝙤 𝙜𝙞𝙫𝙚 𝙞𝙣, but as each goodbye gets harder, Tessa begins to wonder whether fame is the path to happiness, or if she has everything she needs in Simon.

Just as Tessa finds the courage to go after her own happily ever after, the unthinkable happens, separating them in ways she never imagined.

𝙏𝙤 𝙢𝙤𝙫𝙚 𝙛𝙤𝙧𝙬𝙖𝙧𝙙, 𝙨𝙝𝙚 𝙢𝙪𝙨𝙩 𝙡𝙚𝙩 𝙜𝙤 𝙤𝙛 𝙩𝙝𝙚 𝙥𝙖𝙨𝙩 and determine once and for all if love is truly more powerful than the pain of goodbye.

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“Elizabeth Ellcesor argues that the prevalence of social media and social networking interfaces must necessarily impact the way we understand the construction of stardom and star texts. [..] The affordances of the twitter interface contribute to the perception of shared group between Collins and his fandom,” (Stein 410-411).

In her chapter,  #BowDownToYourNewGod, Lousia Stein discusses the creation of unofficial transmedia through the building of fan communities by specifically focusing on the ventures of actor Mischa Collins. In the above quote, Stein points out that fandom has evolved with the creation of social media platforms. She states that these platforms allow fans to form communities around stars, like Mischa Collins, to not only feel connected to the star on a personal level but to come together and form transmedia around this beloved star. What is particularly relevant to Stein’s discussion is the difference between official and unofficially produced transmedia and the tensions and fears that come from those with creative control over the show. Stein begins by discussing Collins’ role on the show Supernatural, and how in his time on the show he built a dedicated fan base via Twitter, which encouraged the creation of unofficial transmedia for the show. The reason this is threatening to producers is because this transmedia is often now in line with the image of the show that the producers had, it is as if they fear a hostile takeover from their fans. Stein goes on to discuss how Collins’ used his star power and created fan community to do work in support of fans such as the creation of a scavenger hunt and a web series. However, I believe that Stein’s point about tension between fans and producers in transmedia exposes an important division in the creation and production of transmedia. What we have studied is that transmedia, as a marketing tool, can save a show and launch it into heights of success not expected of certain genres. However, as we have learned, the production of good transmedia is creatively taxing and often difficult for showrunners. Some embrace unofficial transmedia because it comes in the form of free promotion, while others fear it getting out of hand and taking the focus away from the original text. It comes down to an issue fan interest going beyond a place where producers can profit. The question then becomes, who is entitled to create transmedia, those who own the intellectual property rights, or those who are passionate and wish to take the show beyond its limits? Stein concludes by discussing the ephemerality of transmedia, web campaigns, and social media platforms. It will be interesting to observe the relationship between fans and producers as transmedia becomes more commonplace and as fan presence becomes larger and more visible.