#9. Sample library

[soundswe]

Impact Soundworks – Ventus Series Ocarinas for Authentic

Download

Embark on a musical journey like no other with Impact Soundworks – Ventus Series Ocarinas, a virtual instrument library that transports you to enchanting realms with the haunting melodies of ancient ocarinas. Crafted with meticulous attention to detail, this collection captures the soulful tones and expressive nuances of these traditional wind instruments, allowing you to infuse your compositions with the mystique and allure of distant lands.

With Impact Soundworks – Ventus Series Ocarinas, you gain access to a diverse array of ocarina sounds, each meticulously sampled and expertly crafted to deliver unparalleled realism and depth. From the delicate timbre of ceramic ocarinas to the earthy resonance of wooden flutes, every instrument in this collection offers a unique sonic palette to inspire your musical creations.

But Ventus Series Ocarinas is more than just a virtual instrument – it's a gateway to musical exploration and discovery. With its intuitive interface and versatile feature set, you can effortlessly shape your sound to suit your creative vision, whether you're composing cinematic soundtracks, scoring video games, or producing ambient electronica.

[thebotanicalarcade]

Beatrix Potter

Writer, illustrator, conservationist, natural scientist

For the inaugural Arcade Feature, I'm excited to tell you about Beatrix Potter. Most people (including me) know her best for her picture books-

-which have sold over 250 million copies since they were published in the early 1900s.

Fun fact: In 1903, Peter Rabbit was the first fictional character to be made into a patented stuffed toy, making him the oldest licensed character.

But what really caught my attention is the work she was doing before Peter Rabbit came along.

Beatrix Potter had a scientific eye for detail, and was able to faithfully depict the world around her. In particular, she was interested in mycology.

In 1897, she put forward a paper to the Linnean Society in London... but as a woman was not allowed to be a member of the society nor attend the meeting when her paper was read. When the society's members did not pay much attention to her work, and fearing her samples to be contaminated, Potter withdrew her paper, which became lost. Only after Potter left hundreds of mycological artworks to a museum in the Lake District, UK, on her death in 1943, were her scientific talents recognized... Potter's precise and beautiful paintings and drawings of fungi are now helping modern mycologists in their efforts to identify species.*

Potter eventually moved away from books in favor of land management and farming. She was a prize-winning sheep breeder and a prosperous farmer, and bought several farms surrounding her own to preserve the unique hill country landscape. Much of that land now constitutes the Lake District National Park.

Keep an eye out for more Beatrix Potter throughout the month of February.

* Fry, C., & Wayland, E. (2024). Introduction. In The Botanists’ Library, The Most Important Botanical Books in History (1st ed., pp. 9–10). introduction, Ivy Press.

More

[doyoulikethissong-poll]

Dusty Springfield - Son of a Preacher Man 1968

"Son of a Preacher Man" is a song written and composed by American songwriters John Hurley and Ronnie Wilkins and recorded by British singer Dusty Springfield in September 1968 for her fifth studio album Dusty in Memphis. The single, released in late 1968, became an international hit, reaching number 9 in the UK singles chart and number 10 on Billboard's Hot 100 in January 1969. "Son of a Preacher Man" was Springfield's last Top 30 hit until 1987, when her collaboration with UK synthpop duo the Pet Shop Boys yielded the huge hit "What Have I Done to Deserve This?". "Son of a Preacher Man" found a new audience when it was included on the soundtrack of Quentin Tarantino's 1994 film Pulp Fiction; a re-release of the single reached number one in Iceland in 1995.

In 1968, songwriters John Hurley and Ronnie Wilkins wrote the song with Aretha Franklin in mind, according to a 2009 interview with Wilkins. Atlantic Records producer and co-owner Jerry Wexler, who was recording Dusty Springfield's album in Memphis at the time, liked the song and suggested it to Springfield for the Dusty in Memphis album. The song was recorded in 1969 by Franklin for her This Girl's in Love with You album. Franklin's older sister Erma Franklin also recorded the song and included it on her 1969 album Soul Sister.

Rolling Stone magazine placed Dusty Springfield's recording at number 77 among "The 100 Best Singles of the Last 25 Years" in 1987. The song was placed at number 43 among the "Greatest Singles of All Time" by New Musical Express in 2002, and in 2004, the song was on the Rolling Stone list of "The 500 Greatest Songs of All Time". Samples from "Son of a Preacher Man" were used on Cypress Hill's "Hits from the Bong" on their album Black Sunday. The song is also featured in the 2016 video game Mafia III.

In 1966, Springfield topped popularity polls, including Melody Maker's "Best International Vocalist", and was the first UK singer to top the New Musical Express readers' poll for best female singer. She has been inducted into the National Rhythm & Blues Hall of Fame, the Rock and Roll Hall of Fame, and the UK Music Hall of Fame. Multiple critics and polls have lauded Springfield as one of the greatest female singers in popular music. In 2020, the album Dusty in Memphis was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant". In its official press release, the library stated that despite its modest sales when first released, "over time, Dusty in Memphis grew in stature to become widely recognized as an important album by a woman in the rock era."

"Son of a Preacher Man" received a total of 85,4% yes votes!

[autistic-pebbles-au]

Does moon keep a botanical garden?

[ Sadly just a lab with tons of every plant sample existing in this universe ]

Although she'd really enjoy such a feature inside her construction, Superstructure Engineers weren't so keen to add something luxurious for the biologist iterator if LTTM's capabilities allow to simulate any biosphere at will.

This makes a little paradox where you need to use a power of your "godlike" imagination to visit a botanical garden, so you can experience "99,(9)% realistic environment" XD

So I can answer that question with " yesn't "

This tiny, impossible to notice, percent of fake reality may seem irrelevant but for the infinite library of botanical knowledge called Looks To The Moon it's still too much.

I'll work on this topic more for sure

[adverbian]

You gotta read the Decameron. I am so serious.

So: It’s 1348. There’s a pandemic. Florence is in chaos. Ten young people — seven women, three men — decide to flee the city and isolate in the countryside for ten days. To pass the time, they take turns telling each other stories. Comedy, tragedy, romance. Funny and sexy, heartbreaking, infuriating, sweet.

(You’ve heard of The Canterbury Tales? Literally inspired by the Decameron.)

Here’s a sample:

Day 9, Story 3: Two guys prank their very gullible buddy (a cis dude) into believing that he’s pregnant. He immediately turns to his wife Tessa and goes:

Day 5, Story 10: Pietro married a woman, but he’s only interested in men. His frustrated wife takes a series of beautiful young men as lovers. One day, Pietro comes home early and catches her with one of them. His wife says “Well, you won’t satisfy me, so I do what I have to do.” Pietro says “Hm. Okay, then. After supper, I’ll make sure we’re all satisfied.”

Fourteenth century MMF threesome?!

Also, the echoes of Discourse in Boccaccio’s author’s notes are fascinating.

Giovanni Boccaccio, to the fourteenth-century antis: “Don’t like, don’t read”

And he really said “mind the tags” and “you can use the back button.” (He really did preface every tale with a brief summary!)

You gotta read this.

Get the Wayne A. Rebhorn translation. (That’s what all of these quotes are pulled from.) There are other free versions online, but they are very archaic and hard to read. The Rebhorn translation is extremely worth the $10, if you can swing it. (If you can’t, ask your local library. Even if they don’t have it, they may be able to get it on inter-library loan.)

(With love and apologies to the group chat, which has been subjected to my repeated Decameronposting. It will happen again.)

[fanonical]

Did you ever get my ask? I asked about what to do when a child loves something by a problematic author. How do you go about telling them if they’re too young? SHOULD you tell them? I’m talking about current 10 year old HP fans and children who like the Coraline movie. What do we do when it’s them and not adults? We forget about the target audience too much when we talk about things like this as if it were exclusively childhood nostalgia of Millenials/Gen Z

For fuck's sake, I didn't want to rise to the bait here, but this is making me mad because it's such a straw argument, so fuck it, I'm taking the bait. For context, this is anon's first ask:

Anon, first off, you are responding to a post that is five years old and about a subject that we pointedly do not post about anymore, and that alone makes me think you're not responding in good faith, but whatever.

Look, I work in a fucking library. We have HP books. If a child comes up to me and asks 'hey where's the HP books' I am not going to a) kick them in the face, b) tell them they're an idiot or c) refuse to answer. I am going to tell them where the fucking HP books are. I don't put them on displays I make, but I don't censor them, because we are legally not allowed to censor books in the library.

But I guess you're asking more if this is a kid who's in my life, as opposed to a kid who I just kinda come across. So, okay, I have a 9 year old neighbour whose family are friends with mine, we play video games together occasionally when her mum and dad need someone to watch her. And this kid reads books! And this kid reads fantasy books.

If I was seriously talking to her about the HP books, I might tell her about JKR! I would say something like 'I used to like the HP books, but then I learned that the author said some really nasty things about trans people like me. Now I don't like them so much any more.' And we could have a conversation about that, you know! I've talked to this kid about transphobia in terms that are appropriate for her age. We've had discussions about gender before. I think she'd listen to me, and form her own fucking opinion about it! 'I don't like the author of the HP books because she has said some nasty things' is a concept you can communicate to a five year old.

But also like. You're kind of acting like by taking away HP from this (hypothetical in your ask) kid they don't have any other books. Which...isn't true? If all copies of the HP books disappeared off the face of the earth tomorrow, kids would be reading other stuff, as they are currently reading other stuff! My 9 year old neighbour is a huge Jacqueline Wilson fan, she loves the Daisy Meadows rainbow fairy books. I want to introduce her to the Morrigan Crow books. We could get retro and start introducing kids to the Edge Chronicles, I fucking loved those books. Artemis Fowl. A Series of Unfortunate Events. There are so many other book series for kids in this world. I work in a fucking library! I can tell you that the kids are into Tom Gates, Dogman, Diary of a Wimpy Kid, Percy Jackson, Babysitter Club, Dork Diaries, and (exasperated sigh) David Walliams books, based on a sample size of every kid I encounter at work. I get asked for all of them far more than I do for HP, actually.

I don't think you'd be ruining every kid's lives by taking away One Series from them. (Particularly not one that's losing some relevancy every day - and I mean that in the sense that it's not an ongoing series, the last book came out in 2007. Nearly 20 years ago. For a nine or ten year old, that's almost double their entire life.) And I don't think you necessarily would be taking it away from them to say 'hey this is the reason I don't like these books'. I trust your average ten year old to be able to have a reasonably mature conversation. You're making it sound like they're all Oliver Twist holding out their gruel bowl saying 'please sir I only read one book'.

Anyway. All this to say, I think kids have the ability to have conversations about media. And there are other books in the world. So, no, taking HP or Coraline or whatever away from kids is hardly snatching candy from a baby. Kids are smarter than you think.

[datvtranscripts]

Signs and Portents Pt. 2 Masterpost

Previous: Signs and Portents Pt. 1

In Peace, Vigilance

Pt. 1 - First Warden Jowin Pt. 2 - A Familiar Dagger - Deleted Dialogue

A Warden’s Best Friend

Pt. 1 - Warden Contacts Pt. 2 - Monster Hunter Pt. 3 - Missing Pt. 4 - The Gloom Howler Pt. 5 - Decisions - Deleted Dialogue

On Blighted Wings (Save Minrathous)

Pt. 1 - Find Neve Pt. 2 - Blighted Treviso - Deleted Dialogue

On Deadly Wings (Save Treviso)

Pt. 1 - Find Lucanis Pt. 2 - Blighted Minrathous - Deleted Dialogue

Completing The Veilguard

Pt. 1 - Spoken Like a God Pt. 2 - What the Team Needs Pt. 3a - A Dragon Hunter Pt. 3b - A Fade Expert

The Dragon Slayer

Pt. 1 - Hey Pt. 2 - Bait Pt. 3 - Antaam Plans Pt. 4 - Adaari Pt. 5 - Welcome to the Team - Deleted Dialogue

Where the Dead Must Go

Pt. 1 - Professor Volkarin Pt. 2 - Gathering Wisps Pt. 3- Corpse Whisperer Pt. 4 - The Belfry Pt. 5 - None Better Qualified - Deleted Dialogue

Completing The Veilguard

Pt. 4 - Roll Call - Deleted Dialogue

Something Wrong

Pt. 1 - Foreboding Pt. 2 - Gathering Samples Pt. 3 - Voices in the Blight - Deleted Dialogue

Shades of the Blight

Word from the South - Deleted Dialogue

A Change on the Wind

Pt. 1 - First Warden's Orders Pt. 2 - About the Archdemons - Deleted Dialogue

The Siege of Weisshaupt

Pt. 1 - Nice and Quiet Pt. 2 - To the War Room Pt. 3 - That's an Order Pt. 4 - Traversing the Walls Pt. 5 - Follow the Torch Pt. 6 - Not Much Further Pt. 7 - Trapped Pt. 8 - The Library Pt. 9 - In Death, Sacrifice Pt. 10 - The Dangers of Competence - Deleted Dialogue

Next: The Price of the Past

[pespillo]

Hey you mind giving me a quick rundown of the Emperor's Acolyte AU please? :)

Around 9 years ago, Belos sailed off to the other side of the world to meet with the Titan Trappers, along with Collector and the past Golden Guard. During the time meeting them, Belos came to known that the Trappers had successfully kidnapped the very last Titan known alive, a direct descendant of the Boiling Isles titan, the leader had come to tell them that even if tempted to sacrifice it right after it had been born and found, he knew that they needed to put all their collective effort in raising it up until its first True Cry (their powers awakening) to be able to communicate with the Grand Huntsman and thus bring forth a new era of glory of their cult.

With interest, Belos had kept Collector away from this conversation, but let them known that he had come across the tablet and it was in his possession , ready to be awakened when needed. Thus they thought of striking up a deal ; Belos had more than enough resources to raise the titan for sacrifice, and he would give them the tablet in the given time, and when the time comes after the Day of Unity they would reunify for a grand sacrifice, and the world left behind will be for the Trappers to conquer. With this deal made that baby titan was sent away with Belos back to the Isles, and the GG was tasked with giving the Trappers the tablet (on the notion that it "belonged" to them as a relic), but after he wandered off by curiosity , he saw the shrine of the Huntsman and the carnage of the murals, and decided this was not people to be trusted, believing in the Will of the Titan meant that that child deserved to live, thus the GG purposefully misplaced the tablet back in the Isles (ending up in the depths of the Bonesborough library) and gave the Trappers a decoy (Belos did expect Collector to remain silent for the next decade, and the Trappers expected the tablet to be not activated in any way) .

And so Belos raises Childe (the only kind of name he´s given King), alongside with Hunter right after knowing the GG´s betrayal n swiftly killing him off, Childe has been raised to believe that he was saved from a group of witches by Belos that wanted to kill him, and that actually, all of the witches and demons of the Demon Realm would want to kill him if they knew he was a Titan, that they are parasites to the Isles and he was brought into this land to take him to a new paradise. But that he has to help him to bring the Day of Unity so he can wipe out all these supposed maggots away from his father and lay his soul and divine mission to rest.

Belos routinely experiments on Childe throughout the years, he´s taken off half his horns to drill bone samples, he takes his blood to see if he can use it on a portal, even getting to the point of drinking his blood because it makes him think it gets his curse under control, all while treating him like a pet, and making the child resentful and volatile towards others, like an attack dog, making him think he´s the only person in this world that understands him. Childe has come to known about Hunter being a grimwalker and is under the impression they are dolls that are just made to obey, Belos has told him they dont really feel Real Emotions, just copying what Real People do.

Kikimora has become aware of King being a Titan simply because Belos needed someone to take care of him when he´s busy with Hunter, and she´s been made to make this an oath to obey the Titan´s will (this will backfire for Belos later).

As years pass by Childe knows the DoU is fast approaching, but so is his curiosity about the world around him outside the castle, his illusions of grandeur and arrogance makes him seek out more, things get even dicier when Luz comes into the picture along Eda, thus thats how everything unravels and Childe will come to realize about Belos betrayal and his own past and more.

[ghostofasecretary]

feeling kinda weird that my most successful list-making vessel is currently tumblr but! y'know! it is what it is!

today we got

- 9am meeting

- 9:15-11:45 call friend 2 cowork

- 12pm phone interview

and as for other tasks and projects. well. Oh Boy. We Sure Do Have Those.

- email re: link

- make bed

- try a new perfume sample from your loan library!

- reply to interview request

- get dressed

- log splurge in accounting

- breakfast

- timecard after meeting

- interview prep i guess? well. i read reviews. i know who i am. it'll go fine

okay. no matter how shitty the job i'm interviewing for is and no matter how much i desperately do not wish to leave my kids. i absolutely fucking need this full time job. i could pay my rent, and parking, and get food and meds, and actually save money. do you know how much i miss having savings? i miss it very desperately. so. HOPEFULLY THE INTERVIEW GOES WELL.

- housing application is soooo many steps and for What. (please get this done today) (scary!)

- exchange emails with potential roommate

whee, in person interview scheduled and potential roommate Emailed.

go eat lunch!!

- finish audiobook (woohoo!)

- knit

- put other interviews (+ requirements!!) on calendar

- please. please vacuum. the carpet is SO GROSS. *please* (FINALLY DID THIS! IT'S BEEN WEEKS IF NOT MONTHS! YES! YES!! ALSO CLEANED A ROOM CORNER, GENERALLY TIDIED, TOOK OUT UPSTAIRS + DOWNSTAIRS TRASH, AND STARTED A NEW AUDIOBOOK)

- make and eat dinner

honestly. *extremely* productive day. interviewed for a job, applied for housing, started finding housemates, chatted with a friend, cleaned my room, read a book... great work!!

leftovers:

- Teaching Demo (outline + prep, film, upload)

- what are the steps to doing taxes, just saying "TAXES" is not actually helpful. i already collected W-2s at some point; where did they go? also need to, like. do business accounting (speaking of, did that gift card arrive yet). open FreeFile website and figure out multiple state stuff also?

- do more handwashing? pick the 3-5 Priority Items given your tiny drying rack and dubious ventilation

- typing poetry is Big Stress and needs to Big Happen. pick a time to make it happen, at least?

- ohhh fuck what else. EMAILS. TURN DOWN X OFFICIALLY + email R, P. email S, O, D with good news and thanks and J, T, A with many thanks. email S and R with thanks and updates. (no need to be apologetic about it!) and reply to H? and email J!! (reply to C, maybe?)

- housing app follow up steps? (vax records, photo ID)

[insanitize]

today is Bandcamp Friday. that means Bandcamp doesn't take a cut of their artists earnings for any sales made today, and 100% of your money goes directly to the artist.

that said: hi I'm shadow I am a musician myself 👍 and i am extraordinarily stupidly broke right now. so if it's not too much trouble, i'd like to try and sell you on my music.

i'm an electronic musician with a particular love for analog synth instrumentation, samples, voice synths, and low-fidelity sound. i don't really stick around to one genre, so you'll hear me try pretty much everything once. i tend to write/produce music that i think sounds dark or emotional, but i do like to get fun a lot of the time too.

right now i have 9 releases, and purchasing my full discography comes at a 25% discount. you can choose to pay more if you want to, though. purchasing gives you the option to download everything in your preferred audio format, and it'll save to your library if you have a bandcamp account.

the little money i make as such a small artist has still helped me tremendously. i appreciate anyone who even considers supporting my work when bandcamp fridays roll around. thank you for taking the time to read, and even if my music isn't your cup of tea, maybe consider supporting your favorite artist or your musician friends today!

[soundswe]

Download Karanyi Sounds – Analog Nightmares for Vintage

Karanyi Sounds presents Analog Nightmares, a virtual instrument that transports you to the captivating world of retro synthesis. Explore the rich tapestry of analog soundscapes, where warm basslines, lush pads, and gritty leads reign supreme. Whether you're a seasoned synth aficionado or a newcomer to the realm of electronic music, Analog Nightmares offers a treasure trove of vintage-inspired sounds to ignite your creativity and elevate your productions.

Analog Nightmares meticulously captures the essence of classic Karanyi Sounds – Analog Nightmares Download analog synthesizers, blending authentic samples with modern processing techniques to deliver a sonic palette that's both timeless and cutting-edge. From the warm, pulsating tones of yesteryear to the edgy, distorted textures of tomorrow, each sound is infused with the character and charm of vintage hardware, inviting you to explore new sonic horizons and push the boundaries of your musical imagination.

[accidentalspaceexplorer]

August Monthly Recap:

August was a pretty chill month for me, all things considered, and that meant I spent a lot of time playing games and watching TV and being on vacation, not as much reading books. I read 13 books in August, of which Broken Homes was my favorite (I'm glad I finally got back to the Rivers of London series, I'm really enjoying them!).

The Traitor Queen by Danielle L. Jensen: 4/5

Joyful: The Surprising Power of Ordinary Things to Create Extraordinary Happiness by Ingrid Fetell Lee: 3.5/5

Grit by Elizabeth Hunter: 4/5

The Labyrinth Gate by Kate Elliott: 4.25/5

Sweet by Elizabeth Hunter: 4.25/5

Lady Elizabeth's Comet by Sheila Simonson: 4.25/5

The Night Off by Meghan O'Brien: 4.25/5

Provenance by Ann Leckie: 4/5

Devil's Gun by Cat Rambo: 3.5/5

Moon Over Soho by Ben Aaronovitch: 4.25/5

Whispers Under Ground by Ben Aaronovitch: 4.5/5

Broken Homes by Ben Aaronovitch: 4.75/5

The Ghost Brigades by John Scalzi: 4.25/5

Update on yearly goals under the cut:

Complete series: -2 for the year (+1)

Catch up on backlists: 27 (+1)

Read FIYAH/Nebula/Hugo finalists & awards: 9 books (+1)

Read down TBR: at end of August it’s 1546 (-4!!! for the first time it's going down!!!!! I started doing a thing where I sample books that are only available digitally at my library to see if I actually want to read them and it's working!!!)

Read old top-of-TBR list: 4 (+1)

[ohplagg]

Keeping Track of Time in I Love Yoo

I am back again with another timeline because I guess this is my life now. This timeline, though, is specifically about the events for December 21st 20XX and forward since I've noticed that Quimchee is adding clocks ever since Nol got stabbed, and everything feels like a race against the clock for some reason.

I'm not going to add any screenshots since this is just, as the title says, keeping track of time. Nothing more, nothing less.

Just in case someone is not paying attention to what they are about to read, this contains spoilers up to I Love Yoo's Episode 244.

If more clocks appear in future episodes I might update this.

As always, I love hearing what you guys think so feel free to reach out!

Italic means that it's not known when exactly in the timeline that specific event took place. I still placed the event where it makes most sense.

(Ep. XYZ) means the episode where the time is mentioned/seen.

Saturday December 21st

9:42pm Nol falls from the second floor to a glass table. (Ep. 210)

Before 11pm Nol is rushed to the hospital (Ep. 215)

Kousuke went to Hirahara's hostpital to look for Nol after being spaced out for around 30 minutes. (Ep.213)

Kousuke get's knocked out by a wall.

11:55pm YuJing leaves Rand alone. (Ep. 215)

Sunday December 22nd

12:00am Kousuke wakes up to hear Hansuke arguing with Yui (Ep. 220)

12:19am Meg find's Rand's present for Kousuke in the trash (Ep. 220)

12:22am Hansuke steals the blood samples (Ep. 221)

4:28am Rand leaves to visit Kousuke. Kousuke has been knocked out by the tea. (Ep. 221)

4:21am Nol wakes up. Shin-Ae texts Dieter and Soushi who are out of the hospital (Ep. 215)

4:47am Dieter and Soushi leave WacDonalds (Ep. 225)

5:06am Dieter and Soushi arrive to the hospital (Ep. 225)

5:09am Shinae goes to get Dieter and Soushi/Birthday party starts. (Ep. 225)

5:26am Stalkyoo dance to christmas music at sunrise. Geez, not even 20 minutes? no wonder Dieter was still awake to witness it all. (Ep. 220)

Hansuke visits YuJing and stores the blood samples.

Nana arrives to the hospital and Nol's jail time is pushed for 3 days counting today (so December 24th is his last day of freedom)

Hansuke takes the blood samples to get tested

7:52am Shin-Ae texts Dieter "Is everything okay?" after he and Soushi left the hospital (Ep. 225)

8:21am Shin-Ae and Nana meet (Ep. 225)

Kousuke wakes up, goes with Yui for breakfast, Hansuke and YuJing pick him up afterwards

8:40am-ish Yui arrives to church right after mass ended (Ep. 230)

"Convince me"

Shin-Ae gets picked up from the hospital by her family

Maya and Shin-Ae talk

Kousuke get's medically checked

11:30am Dieter texts Shin-Ae about going to the hospital together during the afternoon. Shin-Ae takes a nap (Ep. 235)

1:30pm Kousuke drops off his phone at his apartment before heading to Nol's hospital (Ep. 244)

3:30pm Dieter texts a sleeping Shin-Ae (Ep. 240)

Dieter comes to pick up Shin-Ae

Dieter talks with Nol

Kousuke arrives at the hospital with Hansuke and YuJing

Kousuke has a panic attack

5:51pm Shin-Ae wakes up from her nap (Ep. 240)

5:55pm Shin-Ae texts Nol "I know I'm blocked but just in case..." (Ep. 243)

The AA 101 Group to which Shin-Ae and her dad go to is at 7:00pm

7:41pm Hansuke and YuJing are hanging out with college friends. Kousuke isn't picking up his phone. Gregory M tells Hansuke that he can get his stuff done by the end of the week (Friday is the 26th) (Ep. 241)

8:35pm Nana, Dieter and Soushi leave the hospital for the day. (Ep. 242)

8:45pm Shin-Ae is at the AA 101 Group and receives a text apology from Dieter (Ep. 242)

Alyssa tells Nol she "really needs to see him"

Monday December 23rd

10:10am Kousuke's secretary looks at his watch and notices Kousuke missed work (Ep. 243)

10:30am Yui get's a text message from Alyssa saying she's going to visit Nol (Ep. 244)

11:05am Meg mentions how she is heading to the library soon (Ep. 243)

A bit before 11:45am Alyssa arrives to Nol's hospital to talk (Ep. 243)

Between 11:45am and 12:25pm Nol and Alyssa stay quiet (Ep. 243)

12:25pm Alyssa and Nol finally start talking and Yui arrives. (Ep. 243)

Shin-Ae will arrive to the hospital around 2pm (Ep.244)

Nana mentions she'll arrive around 3pm. (Ep. 243)

[asexual-levia-tan]

the library sample had about 2 chapters (+ the prologue obvs), but the book itself is only 9 chapters long

a bit of a concern. I know some chapters are longer than others, but that feels incredibly short

[duckprintspress]

How We Plan, Implement, and Publish Anthologies: Max Jason Peterson’s Planning Approach

Last week, I posted my personal notes from the Press’s Patreon Panel about lead-editing multi-contributor projects such as journals, anthologies, and fanzines. This week, I’ve got the notes from a second participant in that panel, Max Jason Peterson. He generously provided this write up so I could post it as a guest post on our blogs!

-

Most of my editing experience has been on behalf of nonprofits, who had their own budget, marketing, graphic design, printing, and distribution in place. I did spread the news and actively call for submissions. I also handled mailing (or arranging for mailing of) contributors’ copies.

This is not all my editing experience, but it’s what I’ll be discussing. It occurred under various bylines such as C. A. Gardner, Lyn C. A. Gardner, and Adele Gardner.

I’ve organized it along the timeline of when it occurred.

(read more)

Virginia Library Association (Virginia Libraries)

9 years; coeditor (with Cy Dillon) of VLA’s quarterly print journal, 2003-2012

The journal is archived online by Virginia Tech. Some issues are now only visible in HTML (transcription imperfect); others can also (or only) be downloaded as PDFs (for accuracy and original formatting).

Sample issues:

52.2, Welcoming Everyone

54.3, For the Love of Reading

56.4, The Particular Delight of Special Libraries

Sample interviews:

“History and the Work of Memory: An Interview with Luisa A. Igloria”

“Painting out of the Past: An Interview with Jay S. Paul”

Cy and I rapidly hit upon the idea of having themed issues. We actively promoted and solicited for submissions to these. For each issue, themed or not, we took turns or collaborated to provide an opening statement bringing the issue together.

This job often required a great deal of developmental editing. Since it was a professional journal rather than a newsletter, we sought a somewhat more formal style of writing. While many articles arrived in near-perfect condition, others held a more colloquial style and underwent rewrites. Cy and I also conducted interviews, wrote additional articles and book reviews, and covered sessions at VLA conferences (as well organizing coverage of other sessions from volunteers).

We worked to a deadline, as the journal was mailed to the entire membership on a quarterly schedule. From the beginning, often by email, sometimes by phone, Cy and I discussed each issue and the articles we had in mind (ones we’d solicit, or write, or had received over the transom), including our progress, division of labor, issues that arose, etc. We each solicited and/or developed articles by others, as well as conducting interviews and writing articles and book reviews. We each did the copyediting for the articles we’d brought in, and divided the editing for those that came in on their own. For each issue, one or both of us would create an introduction, which often became an article in itself.

While Cy and I did contribute book reviews from time to time, for many years the journal was fortunate to have a book review column organized by Sara B. Bearss and written by staff at the Library of Virginia. When Sara retired, Cy and I took on the task of organizing this column as well.

Throughout, Cy and I were always brainstorming future articles and special issues, which we would discuss and plan along with our ongoing work. Once we decided upon a theme and timeframe for a special issue, we would announce it in our introduction and put out several calls for submissions to the membership via the newsletter (while that was still in operation) and the general VLA listserv.

As coeditors of the journal, we were also part of the VLA Council and would attend their quarterly meetings and provide them with reports. We also found it helpful to announce upcoming themed issues and general calls for submissions, asking the council members to spread word among their contacts.

Cy and I set a timeline for each issue, though we did have a certain amount of flexibility. We needed a schedule so we could follow up with people who planned to provide articles (who might have queried us, or whom we might have asked to write about a topic they’d engaged with recently). We also needed to schedule times for interviews and make sure we received books we’d be reviewing (and, later, coordinate this with the other reviewers as well).

For the articles written by others, I would send changes back to the authors for approval wherever and whenever needed. Some articles only needed light copyediting; others might go through a few rounds of revision with the authors. Sometimes I requested additional content, including images or more exploration of an interesting point. I had a lot of background in this sort of work from my time as editor for The Mariners’ Museum.

Once Cy and I had everything ready, I assembled all the content into a big file and did a final copyediting sweep. For issues that included conference coverage, both of us selected images from those provided by VLA’s official conference photographer, Pierre Courtois. Many articles had visual elements as well. I sent all of these things to our graphic designer. The graphic designer sent us galley proofs. Both Cy and I reviewed the galleys, and I did the final proofreading. Once all changes had been made, the graphic designer sent the issue to the printer, along with the VLA mailing list, so the issue got mailed directly to the members.

The mailing list included extra copies sent to both Cy and myself (we specified the number we needed per issue). When the issues came back from the printer, I mailed copies to contributors I’d worked with, including those who were not members of VLA, such as the interviewees and subjects of book reviews. Cy did the same.

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Science Fiction and Fantasy Poetry Association

SFPA provides detailed guidelines to all editors, covering the expectations of work to be performed and deadlines for all aspects, such as when/how submitters will be notified of acceptance/rejection, delivery of the content to the graphic designer, publication dates etc. The selected editor agrees to these terms.

Eye to the Telescope, Arthuriana

Issue 27, Jan. 2018

Eye to the Telescope is the online journal of the Science Fiction & Fantasy Poetry Association.

Each issue focuses on a theme proposed by that particular guest editor. To become a guest editor, you submit a proposal to SFPA with information about your suggested theme as well as your credentials. Once you’re accepted, SFPA gives you a slot and a timeline. Selected poems are purchased at the SFPA rate; there’s a budget cap for the issue, of which the editor must be mindful. 

SFPA continually refines its guidelines. Here are the current guidelines for guest editors of Eye to the Telescope (including how to apply for the job).

The editor is generally expected to help publicize the issue, including spreading the news through all professional and personal channels available to them, both to call for submissions and share news of the publication. The editor also has a chance to participate in nominating published works for awards, such as Best of the Net and the Pushcart Prize. Because Eye to the Telescope has a different guest editor per issue, each editor will submit suggestions from their issue, and the SFPA Executive Committee then decides what to nominate.

As submissions arrived, I evaluated them and decided whether to pass immediately or hold some for further consideration. Some editors send a blanket rejection at the end to all poets at once; this is probably a better workload than what I did. I sent individual responses as the poems arrived, for two reasons: in a few cases, I wanted to run a possible change past the poet with no pressure on either side; and by sending rejections as the works came in, I invited the poets to try again if they wished during the open submission period.

I did end up with a large core group of strong poems that I wanted to include. The existence of a budget cap meant I had to make quite a number of hard choices. However, all the poems in the issue are ones I absolutely loved.

As I accepted works, I got in touch with the poets immediately to make sure the work was still available and the terms acceptable. I had a shortlist longer than my ability to publish, just in case any declined (I notified these poets that their work was held on the shortlist). As soon as I had the contents firmed up, I sent regrets to the remaining poets whose works I’d held but couldn’t use.

Then I assembled all the poems and wrote an introduction for the issue. I proofread, getting in touch with the poets as needed, and sent the material to the webmaster to create the mockup. I shared this proof with the poets for their review. One of the poets raised a few concerns, which we addressed. And then the issue went live and I helped spread word about that (and got a chance to help nominate some of the poems).

Dwarf Stars 2022 (coedited with Greer Woodward)

As with ETTT, SFPA has guidelines for editors which are regularly updated. A link to the most current “Dwarf Stars editor guidelines” may be found here.

The editor of the annual Dwarf Stars anthology is also the chair for that year’s Dwarf Stars Award. The anthology itself is the voting tool for the award. So achieving the deadline is imperative.

SFPA has set a specific nomination period when submissions may be sent (open from April 1-May 1). (This has since been revised so that people can send nominations any time using a form, as well as submit directly to the editor during the open submissions period). Anyone may nominate as many works as they like by anyone (including themselves), provided the work was first published in the previous year as a poem of 10 lines or less (100 words or less for a prose poem) containing speculative content (with the broadest definition of speculative).

Although many nominations did come in via email, the editors are expected to be familiar with a broad range of work published, to scour both literary and speculative journals for eligible works, and to be sure to consider the global field of speculative poetry. We did our best to peruse all the journals we could from around the world. From the very beginning, I reached out to both literary and speculative contacts and venues to spread word of the submissions period and request journals from editors.

Excerpts from the introduction [with additional comments in square brackets & italics]:

We sought far and wide to find qualifying poems, reaching out to organizations, editors, individual poets, and lovers of speculative verse. From 88 individuals who sent their own work and that of others, we received nominations that resulted in 1,371 qualifying poems covering the work of 408 separate poets and multiple issues of 171 journals and anthologies. As part of this mix, we ourselves carefully reviewed and collected work from multiple issues of 78 different magazines, and consulted all the SFPA members’ Rhysling-eligible files.

[These are files prepared for the Rhysling Award; some members had Dwarf Stars eligible poems but did not submit these works directly to us.]

Every single poem, as well as the cover art, was carefully rated by both of us and rose to the high spot through multiple rounds and styles of voting and discussion. Since we had such a large pool of poems we both loved, we found ways to showcase not only our convergence, but also where we shine as individual editors […]. We also decided to include one work per poet, so we might include as many poets as possible. Ultimately, we selected 120 small-but-mighty poems […] from multiple issues of 55 different publications, journals, anthologies, and collections. Our poets bring the world to us, currently hailing from Australia, Canada, England, Germany, Greece, India, Ireland, Israel, New Zealand, Pakistan, Scotland, Singapore, United Arab Emirates, United States, Vietnam, and more. We’re so grateful to cover artist Elisabeth Alba, who created Oberon, the Wizard Cat. We did a lot of looking to find him, scrolling through 700 or more images […].

[I leaned heavily on my membership in the Society of Children’s Book Writers and Illustrators, particularly the Illustrators Gallery, in which I also take part. The fact that I was a fellow member helped when I reached out to our shortlisted artists and inquired whether they’d be amenable to their work being used for our cover. Our first choice, Elisabeth Alba, a pro artist frequently published by Llewellyn,agreed in part because SFPA is a nonprofit.]

A number of the poems we wanted to include were ones we found rather than having sent to us. And some of those sent to us were nominated by others, not the poet. So we did have to do some legwork to find some of the poets. In many cases I reached out to the editors who’d published them. A few we were unable to reach by the tight deadlines we needed to meet. But we had such a long list of poems we wanted to include. In order to stay on schedule, I had to give deadlines by which we needed interested poets to respond to verify that the work was eligible, that it could be reprinted, and that they wanted us to do so, as well as be available to review the proofs. When the deadline passed for those we couldn’t reach, we contacted the next ones on the list.

We did have some technical difficulties with the official email address for submissions, which was set up to forward to the editors’ actual email addresses. Fortunately, some people got in touch with us through alternate routes to let us know that submissions were randomly bouncing from the official email address. But this meant that we needed to respond to all nominations immediately (rather than sending a blanket thank you) so that people were aware of whether their messages had reached us.

Considering this number of poems was challenging for a number of reasons—including not only the agreement of two editors, but multiple nominations for the same works. I created spreadsheets galore to tackle everything, including whether we’d responded to people who’d nominated work, titles and publication details for nominated works, who sent it, and the contact details for everyone involved. And then, whether it had been selected, whether we’d let the poet know, and whether they’d agreed, etc.

I created massive files of eligible works for both of us to consider and vote on. We held several rounds of voting as we narrowed down our selections. (We did the same with our potential cover art—which has the earliest deadline.)

With the acceptance letters, we asked the poets to confirm or provide an official copy of their work. I assembled these into one big file and proofread, getting in touch with the poets as needed, and giving them all a chance to review their work at multiple proof stages. Meanwhile, Greer and I created the introduction for the book. Then I sent everything to SFPA’s graphic designer, F. J. Bergmann. In addition to Greer and myself reviewing the proofs, I sent them out for the poets to review and passed on the changes. We were up against the deadline and had a lot of proof reviews at the last minute.

I also wrangled the mailing addresses for all the included poets to receive their contributor copies. When there were issues, there was some back and forth with me acting as go-between.

I obtained and passed on information about contributors’ discounts and postage breaks if ordered before printing. I was told that there were quite a lot of additional orders for this edition of Dwarf Stars.

Dwarf Stars 2022 contains truly exceptional work. Please check out the winners and honorees here.

It’s well worth mentioning that in addition to taking second place in the 2022 Dwarf Stars Award for his poem “Colony,” Jamal Hodge is the first black man to win or place in the competition.

[zenzhenart]

Tav Backstory Ask Game

1.Is your Tav Baldurian? If yes, did they grow up in Baldur’s Gate? If no, where are they from? No, they are from another plane of existence and spent most of their time living on a demiplane maintained by their Patron.

2. Does your Tav have any siblings? Are they close? No siblings, though in a previous incarnation they've had a sister.

3. Who was your Tav raised by? Mostly by their Patron before he was a God of nature and took in many strays.

4. Is your Tav close with whoever raised them? One might say they are closer than ever.

5. Is your Tav religious? Were they raised that way? Yes, as they were once in service of a god and raised for that purpose.

6. When did your Tav learn their abilities/skills? Mostly from study during their time in their demiplane and the rest from their pact.

7. Did your Tav travel a lot pre-tadpole? Too much, they are constantly traveling to different planes to establish doors and collect things their Patron requests.

8. Does your Tav have any pets? They had one had a pegasus in their childhood. They currently raise flumphs and kenku on their demiplane.

9. What did they do for work/to get by? Their demiplane is fairly self sufficient enough to host a small village of kenku servants and scribes. Their work in turn is to maintain the space and its portals to the other planes.

10. Was your Tav in a relationship? How did it end? Yes, it was fairly transactional and business like. To their knowledge it ended amicably. But in a traditionally romatic sense, no.

11. Did your Tav know or know of any of the other characters? Only WIthers, as they had met in the past.

12. Is your Tav a guild member? No, the tend to operate outside outside the realm of the guilds.

13. Was your Tav well known by others or did they stick to the shadows? As to not bring too much otherworldly influence that would alert the gods they kept to the shadows.

14. Does your Tav have any childhood friends? They've had a few, most past with time, others are unable to keep in contact.

15. Do they have any sentimental items? The pair of gold earrings they never take off.

16. What’s your Tav’s favorite childhood memory? Taking a nap on the lap of their guardian, under the soft sun, not a care in the world.

17. What’s your Tav’s worst childhood memory? The day their mortal friend passed and was taken to the Fugue Plane.

18. What did they want to be when they were younger? When they were younger they wanted to be a solar to better serve all that is good.

19. Any memories that stick out to you/your Tav about their life pre-tadpole? The time they got stranded in extradimensional space with limited supplies and ended up having to eat their own boots.

20. Did they know any nobility? Yes, but any nobility they knew are long dead by now.

21. What kind of education did your Tav have? They were mostly home schooled as they had access to an impressive library in their demiplane.

22. Does your Tav have any children? To their knowledge no. But they did raise kenku.

23. Share any hcs/anything you want to say about your Tav’s backstory In their demiplane, they have amassed a library of multi-planar knowledge from their travels and books transcribed by their kenku scribes. They are never without a notebook and have a tendency to study the flora and fauna of wherever they end up. Sometimes collecting samples goes well, hence the flumphs. Sometimes you want a dragon and your murder of kenku say no.