#<- rarely used yeah right there

[songforaname]

Just gotta get rid of so these browser tabs then I'll move mostly to Linux

-me for the better part of a year now

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[bolithesenate]

I have. So many questions about your version of Tarre but I will try to keep it short

How did the Mando's react when they found out that he was a Jedi?

How did his first Jedi Master die?

Did Tarre manage to finish the tapestry (the one he was trying to finish before the meeting) before the due date or?

Did Tarre one day look up and ask his close circle of Mandos if he was the Mando'alor and said circle had to awkwardly tell him he had been the Mando'alor for a while and they were technically his advisors?

HOW was your Tarre adopted by the Jedi - assuming he has always been a Mando even if he did practice much of the culture? Did he accidentally run away as a toddler and end up in a cargo ship across the galaxy in enemy zone? Did he accidentally set fire at 3 separate houses in the Vizsla Clan and they decided to set him against the Jedi (and did it work even if only for a temple)? Tell me pleaseeee

Also sorry if this is stupid I assume that Tarre has always been a Mando or is he a convert (and if so was it via the god haunting him or was it after he went on the self-imposed exile while everyone thought he was dead)? I'm asking this to make sure I understood everything correctly

okay okay okay. well, let me preface this with saying that I am 1) INCREDIBLY stoked to see someone as invested in cringefail jedi Tarre as I am and 2) I have an incredibly detailed account of Tarre's life in my mind (that I might one day write down in fic form) so you don't know the beast you just unleashed

how did the Mandos react when they found out he was a Jedi?

well, it depends a bit on which Mando. the guy that for a while was his Alor and then became his second in command figured it out on his own after Tarre was a bit too weird about certain things for a bit too long. He mainly was put out that Tarre never trusted him enough to tell him (even tho Tarre himself probably assumed he'd just left the jedi order at that point). Also, it explained just a lot of the general weirdness of the guy, so if anything it cleared things up.

The rest of their inner circle figured it out some time afterward when Fay just appeared in the middle of their dining room, calling him out on his bullshit. I think they were too mortified to see her immediately do a 180° and start a custody war with a literal force-deity to react, really. And again, Tarre being a Jedi explained more questions than it raised (at that point he'd had probably a literal decade of raking up a history of being That Weird Guy TM)

And the rest of Mandalore's populace... I genuinely think many of them might never have known? At least not during their or Tarre's lifetime?

There might have been rumors, sure, but again, Tarre had already collected a lot of weird ass rumors about him by that time, so it kinda was just another one of those? At least this version of Tarre never went out and proclaimed he was a Jedi in some grand sort way. He was way too busy for that. Which I think would explain quite nicely how all subsequent generations of Mandalorians seem to put all emphasis on Tarre being Mand'alor and never really seem to mention his ties to the Order.

2. How did his first Master die?

His first Master, a rodian crèchemaster named Yuumba Doksa, died on a mission where they were supposed to investigate a sudden epidemic amongst settlers on a newly colonized planet. It turned out to be a bioengineered virus commissioned by the Sith, and despite the Force, Tarre had to watch his Master die before an effective treatment could be found. He himself also got infected with it, but because his genetic material was such a wild blend of things, his immune system was a lot more resistent to the virus.

3. Did Tarre finish the tapestry before the meeting?

No.

In retaliation, he just took his loom to all subsequent ones. That was the first in a long list of Weird Things He Just Does I Guess.

4. Did they have to tell him that?

Of course they did.

Actually, and this is getting down into the nitty gritty of my personal headcanons and worldbuilding around Tarre Vizsla, "Tarre Vizsla" started off as two people: Tarre on one side and Marek Vizsla (his alor-turned-second-in-command) on the other. Through a bit of a miscommunication at some point, the spokesperson persona the both were operating under got the name Tarre Vizsla, even though Tarre at that point wasn't a member of aliit Vizsla. House Vizsla yes, but not the Clan. That came later.

So for way too long Tarre just assumed that all these things they were doing, he was doing under a shared name, sure, but they still were two people and Marek was the higher ranking one of them, so naturally he was the one the Mand'alor title actually belonged to.

Until they all had to tell him that 'no, you idiot, you are the one doing all the work here, it's your position. Marek is just here to yell at people and, if necessary, shoot them.'

5. & 6. I'll have to answer together because they share a lot of commonalities

I'm firmly in camp 'Tarre was a convert' (in the end) (kinda).

It's quite possible that one of his parents was a Mando, simply because of the smoothie blend that his genetic are, but they were not around to make decisions when he first exhibited Force powers. So he went through a normal(ish) jedi childhood (minus the truly being bad at jedi-ing) until he went to ilum and came back with an old god as his saber.

But since this was the old republic and things generally were a lot stranger back then, no one - Tarre included (plus, he still was a child back then u know) - really questioned it. Tarre just was one of those Jedi with a weird colored lightsaber. Happens from time to time, right?

(as for why Kad Ha'rangir chose Tarre... who knows what the gods think, right? especially a god that literally is change. The Force works in mysterious ways)

Him properly becoming a Mandalorian was.... well, who can say when exactly it happened. Maybe he was one from birth, just 'temporarily misplaced' due to external circumstances, maybe he became one when a mandalorian god called dibs on him, maybe it happened when an old weaver lady whose backyard he crashed his shuttle in also called dibs of her own, or it's possible it happened when he got his first set of beskar'gam, or when he officially became mand'alor, or when he properly got adopted into Clan Vizsla or perhaps even at some other, small junction of his truly strange life.

Or maybe it never really happened at all? Who knows. I don't think anyone ever made him swear to the resol'nare (if that even existed in that form back then), they just looked at him and said 'yes, this is what peak mandalorian-ness looks like' o(￣▽￣)👍

(half of them were looking at Marek when they said that. that's why the statues look nothing like Tarre)

And I think if you had asked Tarre at the end of his life what he was, he genuinely might have answered with "a Jedi"? Because that's still the thing he grew up with and he only (temporarily) fled from it due to of his own anxieties. Like. All the work he did on Mandalore was because of the things he learned as a Jedi - to help where he can and strive to make a better galaxy for the people around him.

It just so happened that the people around him technically were the Order's mortal enemies.

[not-poignant]

Hi Pia

Feel free to ignore if this is unwelcome, but have you ever thought about publishing traditionally to sublimate your income and draw in new readers? I know you've self published two books already and that you didn't feel like they did very well, but maybe the experience would be different if someone else was in charge of marketing and all the other business stuff?

Obviously everyone's experience is different but as an author myself who's published both trad and self, traditional publishing has been a completely different experience and has allowed me to focus more on writing because I'm not the one responsible for advertising/marketing/financing anymore.

There are a ton of literary agents nowadays that want to represent diverse and lgbtqia+ fiction, some of them even in Australia.

Websites like Reedsy, AgentQuery and Jerichowriters have extensive directories to find literary agents.

(This is lengthy folks so I'm putting the other two parts (and my response) under a read more! Also putting it under a read more so the anon can skip my response since it's very 'here's all the reasons I can't do this' and they just might not want to read that, lmao)

(continued -> )

Trad publishing houses have better resources for marketing and helping authors get more attention than any self publishing website could.

Obviously most authors, unless they're really prolific, don't get a huge advance (the average is between $1000 - $5000) but getting your foot in the door or on the traditional publishing "ladder' so to speak can have a huge benefit for your serials. Because it gives you more exposure. Plus it's in the agent's best interest to find a publishing house that accepts stories that contain darker themes and negotiate the best deal for you.

For some reason places like Amazon and the like accept and keep up more "dark" books that are traditionally published than they do with self pub ones. Maybe because they have more respect or leniency for publishing houses? I have no idea. But you could use this to your advantage. I think I remember you mentioning that writing novels felt quite isolating to you? But you already have 2 completed novels (3 if you count the fae one) that you could potentially revisit or rewrite to your liking and get them represented by agents.

You already have a loyal readership and that's very attractive to trad pub houses and agents.

As well as trad publishing, you could also make s simple website that doesn't require much maintenance. It could be just a landing page that says something about you and then has links to your tumblr and patreon where you're more active. That way you increase the chances of getting your serials found by additional readers and also come across looking more "professional". Not that you're not professional now. You are and I admire you greatly, but the unfortunate reality is a lot of people still judge by appearances and some will be more drawn to an author's website than a tumblr page, at least at first. So I think having a simple landing page would open up another door for you to benefit from.

Trad publishing is work but definitely not as much as self publishing, and you can continue on with your serials. Getting an agent can be time consuming but I personally believe the pros outweigh the cons and I also believe that your stories would be a huge treasure to the growing lgbtqia+ market. Seriously there needs to be more!

These are just suggestions and thoughts and like I said before, feel free to ignore. But I know you've mentioned wanting to grow your career in the past and I genuinely believe you can do so with some of these pathways.

~

Okay, my response. Posting this because firstly I think the suggestions could work very well for other authors reading this! And I hope they take the advice to note, and secondly because I haven't talked about this for a hot minute so let's talk about it again.

So the TL;DR is yes I have considered traditional publishing. I have actually been traditionally published in short stories, poetry, and also had my art published on covers and re: interior illustrations. But my Fae Tales works got soundly rejected when I sent them to publishing houses that were doing open calls for that sort of material. I've never heard back from an agent and I never expect to, heh.

~

Now for a bit more detail

I have been traditionally published before (it's how I got my writing out there long before I ever wrote serials), and yes, I have approached publishers with my writing since then. In fact Tradewinds was written for the traditional publishing market, and it got soundly rejected, and then shelved. The reasons it was rejected ran the gamut from 'I don't like that these fae eat humans no one is going to relate to these people' (while the editor then went on to publish vampire books idk) to 'There's too much worldbuilding you can't expect readers to keep up with this' to 'Your stories are too long, no one wants to read characters talking all the time.'

Meanwhile in my online serials I was getting feedback like 'my favourite chapters are the ones where the characters just sit in a room and talk' lol.

The traditional publishing world is also not quite as utopian for most authors as you make it seem. I'm friends with a lot of authors who are traditionally published because that's the world I came from, and unless they're solely in KU and doing generic rapid release formula romances, none of them are making that much money. Certainly not enough to live off. It may have been that you were very fortunate, anon, but I know hundreds more traditionally published authors that left trad pub to make money, and I know about 5 in trad pub personally who are making enough to live off of.

Only one of those is really writing what she truly loves to write, and even then, publishing houses have refused to commit to her entire fantasy series (and she's regularly in 'Top 10/20 Women Fantasy Authors in the World' lists) and forced her to finish the series prematurely. Something I never ever have to worry about in self pub.

The reality is that in trad pub these days, you're still in charge of most of your marketing unless you're one of the big earners for the publishing house. In fact I'd be expected to keep even more of a social media and marketing presence than I do now. I don't do almost any of the things you're supposed to do as an author in marketing to be appealing. I don't have a Facebook author account. I don't have an Instagram author account. I don't maintain or regularly send out newsletters (which automatically puts me in the like 0.05% of authors who make money doing this lmao).

I don't know if you ever have looked that closely into what m/m publishing houses expect from most of their authors, but the newsletter swaps, cover releases, review circuits, interview circuits and more are fucking grueling. We're expected to be responsible for our advertising and our marketing to a fairly massive degree. Some traditionally published in m/m still have to pay for their release blitzes out of pocket. These publishing houses, by and large, do not offer advances. You say most authors don't get large advances. I don't think most authors in this arena get offered advances at all unless they're somehow miraculously acquired by a Big 4.

We're expected to have an already established social media presence because of that (that's why it's so appealing to publishers that we have social media presences already, anon, so we can market, they can save money, and we still see only a minimal cut from the royalties).

And you still have to focus on your finances, because publishing houses like Dreamspinner straight up didn't pay a whole bunch of authors for so long they destroyed careers. They still haven't paid some of their authors. And they're still running a business and people still buy their books.

Trad publishing houses have better resources for marketing and helping authors get more attention than any self publishing website could.

This is true if a) they're a big publishing house and not an indie publisher of which most LGBTQIA+ publishing houses are and b) they're willing to use them on you.

The authors that make the most money get the most resources. If they believe you're going to earn back your advance and move thousands or tens of thousands of units per book, then yes, you will get those resources.

I have been told so many times now - even from friends who run publishing houses, including one who works at HarperCollins - that my work will never be mainstream enough to have broad appeal. They literally told me not to keep trying re: trad pub, because that was my dream for a long time. These folks have given me rock solid advice in the past, it's one of the reasons I'm doing so well now via Patreon + Ream. But they were like (paraphrasing) 'you don't write 60-80k romances and you don't want to and that's not your strength anyway, you're multi-genre which makes you hard to market, you write psychological and literary trauma recovery which is hard to market, you write character studies which are hard to market, publishing houses often don't commit to series anymore if the first two don't move units and if they pulled the plug you'd be contractually obliged to never finish that series until your contract was up.' I could go on, but it was like yeah...actually. Fair.

For some reason places like Amazon and the like accept and keep up more "dark" books that are traditionally published than they do with self pub ones. Maybe because they have more respect or leniency for publishing houses?

They do, but most publishing houses want very formulaic dark romance which is not what I write.

I have a 300k omegaverse slowburn that still hasn't had any penetrative sex in it, anon. Publishing houses don't want that. They don't expect anyone will wait 4 full length novels to get to literally a single penetrative sex scene.

But you already have 2 completed novels (3 if you count the fae one) that you could potentially revisit or rewrite to your liking and get them represented by agents.

If I rewrote them to my liking, trad pub wouldn't want them. They'd be too long! I think agents etc. take one look at me and go 'oh god, no thank you!' I'm not an easy sell, by any means.

Plus I'm very e.e about all of that with the knowledge that they then give me only about 10-15% of the royalties on the sales, vs. self-pub where I get around 70%, or subscription where I around 80% of it. When someone subscribes to me, they don't have to worry about 85-90% of their subscription fee going to a publishing house. I don't have to think about how many thousands and thousands of books I'd have to sell to make the same amount that I do now via subscription.

As well as trad publishing, you could also make s simple website that doesn't require much maintenance.

If it was that simple, I'd be doing it. I don't mean this in a facetious way, I mean it in a: I've made a lot of websites, in fact I run one at the moment not connected to my writing (I've been running it for so long it's now in its 20s and can probably has a driver's license). I find it so tedious that I barely remember to check in on it. But forgetting about it means there's always maintenance to keep up with when I get back to it.

Running websites is simpler than it used to be, but it's still not simple. There's hosting and hosting costs, there's server changes, there's back-end maintenance etc. I'm considering it for down the track, but there's a reason I decided to go the route of Patreon over my own site. There are authors (like Christopher Hopper) who actually do subscription through their own domain, but it's a lot of work.

Even placeholder sites are still work. They need updating, details change, story titles changing etc. Maintaining my Patreon + Ream About pages is enough, they're always both a little out of date, lol.

Not that you're not professional now.

Oh no, I mean from a 'traditional publisher looking at me to see what kind of candidate I am' I'm really not though. Like I said, I don't have the newsletter (100 subscribers who get one newsletter a year is not really a newsletter), I don't have the Facebook/Tiktok/Insta/Twitter/Bluesky/Threads accounts, etc. I write multi-genre across multiple steam levels, and I'm allergic to writing serials shorter than 150k. One of my best performing original serials was an 800k contemporary story with no sex in it but a lot of BDSM. It can't be marketed as clean or sweet, it's not high steam, an entire chapter is 'boy saves snail from rain.' Also he was cruel to animals, so not exactly what I'd call a sympathetic main.

And yet that story did so well for me via Patreon + Ream, because people want the kinds of stories that publishing houses generally don't want and I happen to be writing them.

Trad publishing is work but definitely not as much as self publishing, and you can continue on with your serials. Getting an agent can be time consuming but I personally believe the pros outweigh the cons and I also believe that your stories would be a huge treasure to the growing lgbtqia+ market. Seriously there needs to be more!

Anon I just literally do not believe an agent would want to represent me. I have 0% belief in that. Not from a self-deprecating angle but from a 'I am not a good bet for the trad market' perspective. From a 'I have so many friends who are trad pubbed authors who stare at me like I'm insane for writing serials as long as I do' perspective. From a 'professionals in the industry have told me it's amazing I'm doing so well in serials because there's no way they'd take a risk on what I'm doing' perspective. From a 'just because it's queer and diverse doesn't mean it hits literally any other thing a trad pub is looking for' perspective. I've been doing this for 10 years. There are agents who represent work similar to mine who know what I'm doing and wouldn't touch me with a ten foot pole. They're not missing out on a trick, they know I'm not broad appeal, and they're right.

Also the only way I'd have the energy to manage trad pub is by quitting serials. And honestly, I never found trad pub all that much fun while I was doing it for non-novel stuff. It was fine, and it is nice to have my stuff out there, but it was a ton of admin and a lot of going back and forth between people who really only care about marketing a product, and that's great and what they excel at! But I'm too disabled to turn this job into something crushing just to potentially make more money, I'd rather just quit and go back onto a full Disability Pension. I can't see any way I still get to write the stories I want to write, in the way that I write them, and be remotely appealing to a single reputable trad pub or agent.

Also *gestures to everything in this article*

[retros-artandstuff]

vriska + a transmasc dave doodle

[willowcrowned]

seriously considering learning to gif just so I can find a single gifset of magneto’s god-fearing man speech from x men (2000)

[rosylix]

＼(_ _)

[shima-draws]

WAIT WAIT WAIT

DID LUFFY JUST USE HAKI FOR THE FIRST TIME???

[tswwwit]

Does reincarnated Dipper ever go and work in medical? - as a doctor or nurse or pyschologist. I think that would be funny. I'm sure Bill would *looove* that.

He definitely could! Dipper does love helping people.

And it'd be delightfully frustrating for Dipper to try and navigate his chosen profession while hooking up with a guy who's into intestinal origami and mind-breaking. Bill might be knowledgeable, but he offers a lot of highly inadvisable advice.

[ocpdzim]

what you’ve got to understand about working conditions in education (and also other care-oriented careers) is that if they’re shit, two things are true at once:

that does not ever excuse being cruel to a kid, no matter what

until those conditions are fixed, education will continue to suck absolute shit

this is because when working conditions for teachers are really bad, many of the good teachers who recognize when they are reaching a point where they can no longer be the sort of teacher the kids deserve due to burnout WILL quit. they will do the responsible thing and go away for their own sake and the sake of the kids. and you end up stuck w a combination of new teachers who are trying their best but won’t last long, burnt out teachers who are trying their best but have nothing left to give and therefore aren’t very effective at actually teaching, and cockroach shitheads who take out their misery on the kids.

we have all had terrible experiences with bad teachers, many of them flat out traumatic, but for fuck’s sake please try to look at the systemic underpinnings of the problem for one minute. spitefully declaring that teachers don’t deserve good working conditions or even the right to complain about bad working conditions because ms. whoever in 5th grade was a bitch is only going to create more of her. if you want good teachers then we need an education system they can survive in

[asgardian--angels]

you know it's bad when tumblr's being the more mature social media site when it comes to rancid takes on izzy's death

[aenslem]

he does look good on his knees 👀

[visdiefje]

I'm pretty sure my experiences haven't changed from when I last asserted my identity labels but my view kinda has I guess

[b4kuch1n]

small update! much less sick now, fully on the mend. the comic's literally 3/4 done but I will not be posting it (along with all the other s&co stuff Ive been doodling) this week, in accordance with the global strike. I'll be finishing up and rounding out the rest of the e-sim donation comms instead, as well as highlighting similar drives and other fundraising efforts. thank you for your time

[falinscloaca]

one of the most important aspects to be learnt of being a political thinker online, a passive or active viewer of sociopolitical discourses and marginalization, is that just because you find someone to be “wrong” on a subject, have a bad take on a words definition or have shitty political/strategic takes, or just be fucking annoying to you personally, doesn’t make them stop being from the same marginalized group or group-of-groups as yourself. tragically sometimes a comrade-in-arms also just fucking sucks without it being a cishetero bourgeois psyop or a more-particularly-advantaged-yet-still-marginalized-group punching down. like there can be “self-hating” people from demographics actively trying to oppress said demographics but 9 times out of 10 Kaleb from My Discourses isn’t a Dennis Prager rubbing elbows with literal nazis he’s just that dipshit who thinks Judaism as a social category necessitates matrilineal affiliation (even though the people that actively hate Judaism as a social category don’t conceive of it as such). For example I mean.

this should really go without saying but good fucking god my own time in the ‘strangers with a word or two in common trying to kill each other online’ trenches neeeeded

[vaguely-concerned]

trying to look for a ttrpg group in spaces where I can't just go 'listen I want to play this shit in the tumblr fandom kind of model (gay subtext extremely welcome bordering on essential, mutual unhinged character psychoanalysis, we could create a novel of a backstory together to make this sadder, let's all play with our OC dolls together and also sometimes dice are rolled I guess)' and be readily understood and/or not be immediately side-eyed or denigrated for my inherent unavoidable tumblerinaness feels like such an annoying debuff to deal with on the quest. like I know my people exist out there but how do I express myself in the right way and wade through all the copious not-it (not for me) dynamics to find them!!!