#Chee Writes

[semperintrepida]

Too much writing about sex tries to either make it prettier or more serious, sexier or funnier or shocking, or anything, really, except what it is. On its own terms, sex is information. This I learned from reading Salter… Reading Salter’s sentences, I saw what I knew of sex, that sex is a moment in which you are known and knowable. Whatever it is you desire appears from behind the veil of shame or fantasy or nostalgia, or sheer impossibility, and in its presence, you are revealed to yourself. Porn obscures this; porn is about the fantasy of the viewer, not the mixed fantasies, realities, and disappointments of the actors in the room. Truth might get you off, but porn doesn’t deal in maybes, was never interested in unreliable, unpredictable truth-telling. When my teacher told me to read James Salter, what she meant was that this kind of sex writing is about you, the reader, in a way a fantasy isn’t. It describes sex so that it tells you something about the story and the characters and yourself, all at once.

—Alexander Chee, "Sex and Salter"

[blightbright]

Solas fandom and "genAI"

I recently came back to Tumblr 99.9% because life is stressful and I'm autistic and special interesting about Solas, but I never could keep my mouth shut so... re: so-called "genAI" in fandom spaces:

I say so-called because it is neither truly generative nor intelligent, and it is not really artificial: it is created with the real stolen efforts of living people and real environmental exploitation

I have little interest in blaming everyday individuals (except CEOs, political leaders, billionaires, etc) for the harms of the most popular "genAI" tech, because it's a systemic problem

"genAI" is intentionally confusing and it's ok if people are genuinely ignorant, at first, of how it works or the harm

I also have loved ones who disagree with me

THAT SAID, I urge people to learn more about and consider the harms to society, other people, and one's own process of self-expression, learning, and creativity from the use of "genAI"

I can't control your behavior but I can tell you that your messiest, most "OOC," error-ridden rough draft, or your most wonky-proportioned stick figure fan art is infinitely more precious, valuable, and emotionally, culturally, and spiritually significant than an unintelligent plagiarism algorithm doing it for you, even if it gets less hits/kudos at first. don't give up hope: your own art means something. I encourage you to make fandom a heartfelt space of resistance!

it is important for communities to define boundaries of unacceptable behavior (i.e. use of non-gen AI spellcheck, Google Translate, "genAI" rewrite functions, character "chats," plot/outline "generation," full-blown "generated" pieces... IMO, I'm fine with the first, uneasy but ok with the second, and the rest I actively oppose)

in the absence of clear boundaries, transparency is key! please publicly and clearly disclose ANY use of "genAI" at ANY stage of the process for fan works, because concealment of this is disrespectful and hurtful. if you didn't know before, such is life. now you know.

avoid all bad faith arguments about shipping wars and witch hunts. you have nothing to fear from posts uncovering AI if you do not use undisclosed "genAI": the two works in question did. you have many things to fear from unchecked "genAI" use if you are a writer, artist, or someone who needs our planet to stay alive

the work @durgeapologist, @fangbanger3000, and others have done to raise awareness about "genAI" use in popular fan works is extremely valuable, difficult work, and does not need to be perfectly worded to be earnest, meaningful, and ultimately beneficial for fan communities

bonus point, sponsored by autism: Solas as a character draws on figures from Norse lore including Loki, god of many things including callouts and criticism of powerful systems; Odin, god of words, wisdom, poets, and uncontrollable creative inspiration; and Fenrir, wolfpup god of surviving trauma, seeking praise and social approval from the powerful only for it to result in pain, raging against the system, and freedom. IMO, if I want any character to rally people together for the sake of resisting billionaire tech companies when possible and celebrating old-fashioned creativity, it's Solas. it's in his story's DNA. whoever we want him to smooch.

[planckstorytime]

Your Journey Ends: A Parting Retrospective on Dragon Age (Part Five)

V. There Can Be No Peace

In keeping with the alliterative naming scheme we devised for Origins with “death vs defiance”, I’d like to propose that Dragon Age II’s core thematic tension is between freedom and futility. Numerous characters and groups strive to secure better futures for themselves, often risking their lives for the promise of freedom. Yet time and again, these efforts are met with failure. Very few of Dragon Age II’s stories have happy endings. Whereas Origins usually gave the player ideal ways to resolve quests (expelling Connor’s demon with the help of the Circle, breaking the werewolf curse, etc.) and gave opportunities for each of its major characters to come out on top in the end, DA2, by contrast, drags its characters further down the more they struggle. Whether undone through their own faults or plagued by misfortune, characters in Dragon Age II, despite their earnest efforts to achieve freedom and sanctuary, often end their journeys worse off than when they started.

Take perhaps the most deeply flawed individual in the game, Anders. He wants nothing more than to ensure the freedom of mages. In the Kirkwall Circle of Magi (charmingly called the “Gallows”), mages are subject to stringent restrictions, coercion, and violence. As alluded to earlier, it’s described more like a concentration camp than a cloistered academy. Anders’s desire to help the spirit of Justice from Origins’s “Awakening” expansion leads him to adopt the spirit as its new host. But his enmity at the injustice suffered by mages warps the spirit into one of Vengeance, recursively fueling Anders’s righteous anger. No matter what he tries, though, the situation in Kirkwall never gets any better – templar abuses run rampant, and mages succumb to despair and possession by demons. In desperation, Anders resorts to terrorism, bombing the city’s Chantry and killing the moderate Grand Cleric Elthina. His expressed goal is one of accelerationism – by removing the centrist negotiators of compromise through such a brazenly violent act, the templars will aim to punish all mages for his crime, thus forcing them to stand up and defend their lives. In his quest to liberate his fellow sufferers, Anders drags them into a revolution that will only condemn them to more fear, suspicion, and scorn. If that doesn’t seem self-sabotaging enough, Anders can strangely be persuaded by a rival Hawke to battle on behalf of the templars and atone by forcefully quelling the rebellion he started. In either case, Anders’s struggle for mage freedom arguably makes things worse.

Merrill similarly wants to restore the elven people to their former glory, freeing them from the indignity they endure as a migratory, stateless society. In trying to repair an Eluvian – a relic from the ancient elven empire – Merrill deals with a powerful demon. In an attempt to protect Merrill from the demon’s trickery and eventual possession, her clan leader allows herself to be possessed, forcing Merrill to kill her. Depending on player choice, she might also be forced to slaughter the rest of her clan, who turn hostile upon discovering what has transpired. Regardless, Merrill loses her status, her mentor, and her home to her well-intentioned ambitions.

Fenris, having freed himself from slavery, nevertheless finds himself hounded by the envoys of his former master seeking to reclaim him. He winds up spending over half a decade in Kirkwall, lying in wait inside his master’s former mansion, awaiting the chance to kill him. He feels, perhaps correctly, that he will never be free so long as his master lives, and thereby shackles himself to that man’s fate. Upon finally confronting and dispatching his abuser, Fenris learns from his estranged sister that he had previously bartered for the freedom of her and her mother. That freedom, however, was “no boon.” Despite all that Fenris sacrificed for himself and his family, they’re all left feeling hollow in the end.

Sebastian Vael, an exiled nobleman turned Chantry acolyte, inevitably fails his goal to live a peaceful, pious life. He is unable to convince Grand Cleric Elthina to abandon her post, knowing that seditious mages want her dead. As such, she is killed by Anders, and Sebastian commits himself to avenging her, even if that means reclaiming his old title as the prince of Starkhaven.

Even among the antagonists, trial and suffering do not mete out justice or relief. The theft of the Tome of Koslun forces the Arishok and his qunari army to remain in Kirkwall for years, where they’re subject to discrimination, violence, and an unending showcase of the city’s (perceived) uncivilized depravity. As his patience wears thin, the Arishok becomes further trapped by his situation – unable to leave without the Tome (which had been stolen once more by Isabela), and unable to bear witness to Kirkwall’s systemic injustice any longer, his only recourse is to launch an insurrection to seize control of the city. The occupation hardly lasts long, and depending on player choices, the Arishok either winds up dead or departs with the Tome and captive Isabela… only for her to escape yet again with the artifact. Despite everything the qunari suffered in their confinement to Kirkwall, their efforts are ultimately fruitless.

Yet nobody epitomizes failure quite like the main character, Hawke. They flee with their family to Kirkwall to seek refuge from the Blight and begin a better life, only to lose one of their siblings on the way there. Once they reach the city, they discover that their family estate has been sold off, and they’re forced to sell themselves into indentured servitude to earn passage through the gates. The rest of the first act sees them preparing for an expedition to the Deep Roads to hopefully strike it rich, thereby securing safety and freedom for either themselves or their mage sister, Bethany. The plan goes awry, as their remaining sibling either dies of Blight poisoning in the Deep Roads, is saved but inducted into the Grey Wardens, or is discovered by the templars anyway. While Hawke does earn their fortune, it brings them neither peace nor safety. Their efforts to locate a serial killer end in failure (or possibly executing the wrong man). The killer courts their widowed mother, then butchers her as part of a twisted ritual to recreate his own dead lover. Instead of living in their Hightown mansion with three of their family members, Hawke is now all alone.

Things get worse when Hawke finds themselves as a pawn between parties trying to stoke fear and hatred against the qunari, provoking a crisis. Even if Hawke tries to recover the Tome of Koslun for the Arishok, they lose it Isabela, igniting the insurrection. Nevertheless, Hawke saves the city and is declared its champion. The peace doesn’t last, as Meredith’s tyranny and Anders’s terrorism reignite the flames of conflict three years later. Kirkwall once again erupts into chaos, and Hawke is powerless to stop it, despite their best efforts. They may even be partially responsible, should they unwittingly assist Anders. Meredith’s own paranoia turns out to be magnified by the red lyrium idol that Hawke and company brought back from the earlier Deep Roads expedition, further implicating them in events. War threatens to devour all of Thedas at the end of Dragon Age II, with Hawke powerlessly positioned at the center of events – and according to some, the center of blame.

“You want my advice? Did you hear what happened to Kirkwall? My advice nearly tore that city apart.”

Failure defines Hawke’s journey. In essence, they tread the inverse of the Warden’s hero’s journey. The Warden stops a war, (potentially) kills Flemeth, and puts an end to a Blighted threat. Hawke unintentionally starts a new war, resurrects Flemeth, and unleashes a new Blighted threat in the form of Corypheus – a failure which precipitates the conflict of Inquisition. I dare say there’s few RPG protagonists that fail quite as hard and quite as consistently as Hawke, and I think that’s novel. It’s borderline innovative to take the standard RPG power fantasy and turn it on its head like that, showcasing a story where a supposed grand hero struggles against external forces, only to fail over and over again. Hawke isn’t some Horatio Alger rags-to-riches caricature, whose diligence and virtue are rewarded. Rather, they’re the bitter Nathanael West-style counterpart – a humanized mockery of an RPG hero. I’ve come to appreciate Dragon Age II more when viewing it through this lens. It’s a tragedy – one where the hero puts up a valiant effort against fate, but fate keeps winning.

Augmenting this, Dragon Age II does a pretty excellent job creating an oppressive atmosphere for Kirkwall. The player can feel the weight of its bloody history, and how its past atrocities ripple across time to beget new ones. From the beginning, refugees are funneled into the city through the Gallows prison, which contains massive statues of weeping slaves from the days of the Tevinter Imperium. Impoverished citizens take up residency in former slave mines, now colloquially known as “Darktown.” There’s even a nearby quarry named the “Bone Pit” after all the slaves that perished there. Hidden codex entries even imply that Kirkwall and surrounding regions are designed to fuel a massive blood magic dynamo, self-perpetuating pain and anguish. DA2 makes the player feel small and inconsequential, simply unable to stand against the weight of this history and the mounting agony of today. At best, players score Pyrrhic victories.

Crafting an RPG around the idea of being specifically disempowering is a risky maneuver, and one that Dragon Age II can be applauded for attempting, to an extent. Because of the aforementioned faults with the game, I don’t think the risks necessarily paid off – or at the very least, the bold changes were judged very harshly on account of their imperfections. The game tailors its quest design and narrative structure around this pattern, communicating the hopeless futility to the player in a way beyond words – by taking the player’s choices, efforts, and agency and throwing them in the trash.

Though I can see more in it now, I initially left Dragon Age II frustrated and full of venom. Its attempts to convey these meanings didn’t gel with me, and by the time I rolled credits, I wanted nothing more to do with the series. I was sure that whatever came next, I simply wouldn’t care.

I had no idea how wrong I was.

Full article: https://planckstorytime.wordpress.com/2025/03/29/your-journey-ends-a-parting-retrospective-on-dragon-age/

[lyqiche]

cuffs pt.2

"resorting to handcuffs.. I won't show mercy when they're off~"

[4lornly]

I wanted you to stay

For me, if not with me

Then, when I couldn't let you love me

You fell in love with this place

And I wanted you that much more

I needed to be enough for you

But I couldn't have loved you if you couldn't love this place even without me in it

I turn right, you turn left

I've never felt closer as the distance between us grows

I watch you in my rear view with tears in my eyes and the radio on

This place isn't enough for me anymore

You couldn't love me if it was

I wanted you to stay

And you did

But now it's time for me to go

--crossroads // 4lornly

[lesbiandiegohargreeves]

Season 3 episode 5 thoughts

MY MAN JIM CHEE IS SO SAD GUYS!!! He’s drunk singing love songs sad!!!

[embossross]

2024 in books: fiction edition

literary fiction published 2014-2024

Nefando by Monica Ojeda (⭐⭐⭐⭐⭐) - book of the year but warning it is the most triggering book i've ever read. i sobbed and could barely function for a full day. it's so painful. csa tw

Hurricane Season by Fernanda Melchor (⭐⭐⭐⭐⭐)

Tentacle by Rita Indiana (⭐⭐⭐⭐⭐)

Annihilation by Jeff VanderMeer (⭐⭐⭐⭐⭐)

Toño the Infallible by Evelio Rosero (⭐⭐⭐⭐⭐)

The Maniac by Benjamin Labatut (⭐⭐⭐⭐⭐)

If an Egyptian Cannot Speak English by Noor Naga (⭐⭐⭐⭐⭐)

Outline by Rachel Cusk (⭐⭐⭐⭐⭐)

La Bastarda by Trifonia Melibea Obono (⭐⭐⭐⭐⭐)

Scattered All Over the Earth by Yoko Tawada (⭐⭐⭐⭐)

Afterparties by Anthony Veasna So (⭐⭐⭐⭐)

A Passage North by Anuk Arudpragasam (⭐⭐⭐⭐)

Lincoln in the Bardo by George Saunders (⭐⭐⭐���) - rating this was the biggest challenge of the year because the highs are extraordinary but the lows are miserable. i literally hated it while reading it but then returned to it more than almost any other book this year.

black moses by alain mabanckou (⭐⭐⭐⭐)

crooked plow by itamar vieira junior (⭐⭐⭐⭐)

behold the dreamers by imbolo mbue (⭐⭐⭐⭐)

the north water by ian mcguire (⭐⭐⭐⭐)

dr. no by percival everett (⭐⭐⭐⭐)

birth canal by dias novita wuri (⭐⭐⭐⭐)

transcendent kingdom by yaa gyasi (⭐⭐⭐⭐)

my year of rest and relaxation by ottessa moshfegh (⭐⭐⭐)

the gospel according to the new world by maryse condé (⭐⭐⭐)

manhattan beach by jennifer egan (⭐⭐⭐)

the archive of alternate endings by lindsey drager (⭐⭐⭐)

the inheritance games by jennifer lynn barnes

(⭐⭐⭐)

the aunt who wouldn't die by shirshendu mukhopadhyay (⭐⭐⭐)

deacon king kong by james mcbride (⭐⭐⭐)

four minutes by nataliya deleva (⭐⭐⭐)

blood red gy gabriela ponce padilla (⭐⭐⭐)

boulder by eva baltasar (⭐⭐⭐) - i appear to be the only person not dazzled by this book and feel left out of the party, but i just don't get it.

burnt sugar by avni doshi (⭐⭐)

you glow in the dark by liliana colanzi (⭐⭐)

the pisces by melissa broder (⭐⭐)

our wives under the sea by julia armfield (⭐⭐) - another beloved sapphic book that left me bored out of my mind. the writing about bodies felt very 2018 tumblr (non-complimentary)

the touch system by alejandara costamagna (⭐) - just pointless. one star is probably harsh though.

divided island by daniela tarazona (⭐) - i will admit i might be too dumb for this book

fiebre tropical by juli delgado lopera (⭐)

a door behind a door by yelena moskovich (⭐) - and the razzie goes to...!

literary fiction published 1971-2013

The Luminaries by Eleanor Catton (⭐⭐⭐⭐⭐)

Kassandra and the Wolf by Margarita Karapanou (⭐⭐⭐⭐⭐)

The Savage Detectives by Roberto Bolaño (⭐⭐⭐⭐⭐)

Ahab's Wife, or the Star-Gazer by Sena Jeter Naslund (⭐⭐⭐⭐⭐)

In a Free State by V.S. Naipaul (⭐⭐⭐⭐⭐)

The Remains of the Day by Kazuo Ishiguro (⭐⭐⭐⭐⭐)

If on a Winter's Night a Traveler by Italo Calvino (⭐⭐⭐⭐)

My Tender Matador (⭐⭐⭐⭐)

Happiness As Such by Natalia Ginzburg (⭐⭐⭐⭐)

All the Lovers in the Night by Mieko Kawakami (⭐⭐⭐⭐)

Written on the Body by Jeanette Winterson (⭐⭐⭐⭐)

The Transmigration of Bodies by Yuri Herrera (⭐⭐⭐⭐) - the way he nails how people would react to the covid pandemic 7 years early is wild in an otherwise pulpy mob thriller

shalash the iraqi (⭐⭐⭐⭐)

the disaster tourist by yun ko-eun (⭐⭐⭐⭐)

mother to mother by sindiwe magona (⭐⭐⭐⭐)

the route of ice and salt by josé luis zárate (⭐⭐⭐⭐)

pussy, king of the pirates by kathy acker (⭐⭐⭐)

awake by harald voetmann (⭐⭐⭐)

the raven king by nora sakavic (⭐⭐⭐)

touch by adania shibli (⭐⭐⭐)

cold nights of childhood by tezer ozlu (⭐⭐⭐)

the foxhole court by nora sakavic (⭐⭐⭐)

akhenaten: dweller in truth by naguib mahfouz (⭐⭐⭐)

the rooftop by fernanda trías (⭐⭐⭐)

tell them of battles, kings and elephants by mathias enard (⭐⭐)

sea of lentils by antonio rojo benitez (⭐)

literary fiction published start of time-1970

The Ice Palace by Tarjei Vesaas (⭐⭐⭐⭐⭐)

Masks by Fumiko Enchi (⭐⭐⭐⭐⭐)

Down and Out in Paris and London by George Orwell (⭐⭐⭐⭐⭐)

Girl Upon Heaven's Pier by Eeva-Liisa Manner (⭐⭐⭐⭐⭐)

Final Exam by Julio Cortázar (⭐⭐⭐⭐⭐)

Two Novels: J and Seventeen by Kenzaburö Ōe (⭐⭐⭐⭐⭐) - J is an easy 5 star but Seventeen is more of a mixed bag

The Member of the Wedding by Carson McCullers (⭐⭐⭐⭐⭐)

Sense and Sensibility by Jane Austen (⭐⭐⭐⭐)

night on the galactic railroad and other stores from ihatov by kenji miyazawa (⭐⭐⭐)

the wild geese by Ōgai mori (⭐⭐⭐)

the phantom of the opera (⭐⭐⭐) - despised this while reading but my god did it leave an impression. the phantom swimming around with his reed just lying in wait makes me burst out laughing once a quarter "do you choose the GRASSHOPPER, Christine???" he's so stupid

madame bovary by gustave flaubert (⭐⭐⭐)

orlando by virgnia woolf (⭐⭐⭐)

mr. president by miguel ángel asturias (⭐⭐)

four stories by h.p. lovecraft (⭐) - the racist stench is just emanating off these stories and they're boring too for good measure

the mysterious correspondent: new stories by marcel proust (⭐)

[kirkwallguy]

i mean even you love bellara. i love how loveable she is wlhekehdk all of these characters deserved so much better, you can really tell their writers cared for them, and their writing could only be as good as possible given the situation that is... veilguard. lol. i think the only way i can put it down is that they did write their characters as much as they could given such a narrowed down, sanitized environment. let's not forget these are people written the characters from the past games after all. because where you get the most "???" reactions you can also see that they cared, it shines sometimes, but the game itself cast shadows.

(this doesn't mean we shouldn't criticise the writers though, i'm very much against this thought)

capitalism kills art, corporation needs to get done with a game to focus another game that sells more. there are higher authorities than the writers for a big studio that makes AAA games. which is kind of why i think veilguard criticism doesn't mean anything for dragon age itself because, well, it just doesn't, to put it in the most plain way, unfortunately. they're good for aspiring writers or media readers, though.

hmm honestly and i think past a certain point it's impossible to know what happened since we'll never know exactly how much ea meddled and what the climate was like at bioware. i think it was a series of choices that were made by lots of different people, including the writers, that just happened to come together to make a bad game.

i agree that without crunch and ea fucking bioware about the game would have been better and i don't begrudge any writers who were kind of over it by the time they got down to writing. but i don't see care for the world or characters shining through the cracks like i do in the other three games and i think a lot of people involved just didn't do a good job.

[arcade-chaos]

∇ -. old age/aging headcanon for Sun and Moon

I think in the general canon they would feel scared about aging at the start. Aging in the daycare means soon the ones they have grown fond of will leave them- it's normal of course they need other experiences (the daycare isn't the best place for actual learning) but that doesn't mean they won't miss people.

When they get out aging is a process. They've seen grandparents and even a great grandparent or two, but the world is so full and there's no longer a neon bar stopping anyone from continuing to interact with them. They can form bonds and keep them allowing them to grow sweeter by the minute.

When they're getting older, aging is a gift. Oh sure the creaky joints suck terribly and finding parts that actually fit his model is going to be a chore in of itself but there's something so... Loved about it. To be loved is to be changed, and to live is to age. Moon misses being completely silent, his ankle squeaks whenever he steps now and Sun still hasnt gotten the trick of his weak wrist from where it popped out years ago but watching the other people in his life go through the same thing they're finally facing with that calm determination... It makes it so much easier. And they can see it through to the end, together.

[pastellmochi]

[hyperfixating-rn-brb]

art for the most heartbreaking book I've ever read.

[planckstorytime]

Your Journey Ends: A Parting Retrospective on Dragon Age (Part One)

*The following contains spoilers*

“One day, someone will summarize the terrible events of your life so quickly.”

– Flemeth, Dragon Age: Inquisition (2014)

I. The Calling

At the end of my previous essay on Dragon Age: The Veilguard (2024), I alluded to the fact that I wished to return to the first threegames in the franchise to see if they still occupied the same spaces of import for me as before. In that time, BioWare’s workforce experienced even more cuts. Many of the creative leads of the Dragon Age team, including lead writer Trick Weekes, were laid off after The Veilguard failed to meet EA’s (frankly unreasonable) estimations. Former writer Sheryl Chee insisted that “DA isn’t dead because it’s yours now.” Which radiates that “farm upstate” euphemistic aura that confirms it is, in fact, dead. At the very least, I wouldn’t expect to see the franchise again in the next decade, and perhaps that’s for the best.

For all of its faults, The Veilguard wrapped up most of the major story threads. Artificially extending the series’s life might be crueler than mercifully euthanizing it. But where does that leave us? More importantly, where does that leave me? These developments definitely complicate the already difficult emotions embroiling my proposed retrospective. I’m not sure what answers I expect to find on artistic epitaphs, but there is a comfort in knowing the absolute extent of an experience – that, barring supplementary materials, these four installments represent the totality of Dragon Age’s lifespan. The absence of an unknown component makes the text feel familiar, friendly, even among parts I previously found distasteful. Death has a wondrous effect on perspective, turning the sweetness bitter and bitterness sweet. That somberness lingers, but along with it comes a previously unknown appreciation.

Having already thoroughly covered my feelings on The Veilguard, I intend to revisit each of the first three games, one at a time, and provide both an analysis of their major themes as well as a reflection of my own relationship to the works in question. The latter point is especially relevant. Dragon Age has stuck with me through the best and worst parts of my life, and my perspective on it has shifted and flipped multiple times. In order to understand its personal significance, we will need to catalog this changing relationship sequentially – and then, maybe we can determine why, after all of its faux pas and disappointments, it still matters.

Full article: https://planckstorytime.wordpress.com/2025/03/29/your-journey-ends-a-parting-retrospective-on-dragon-age/

[ceeturnalia]

[coffeeworldsasaki]

Oh Sylvia Feketekuty wrote the short story in nevarra and luck in the garden!!! I love luck in the garden, in case Dorian appears I hope she's his writer because she really had his tone perfectly

[lesbiandiegohargreeves]

Happy Valentine’s Day!

It’s also my 10 year ao3 anniversary!

https://archiveofourown.org/users/djaqsscarlett/profile

If you want to please read my Bern/Jim post s2 fic the ache of missing you, I’m very proud of it/it’s the longest continuous fic I’ve ever written, still working on chapter 14

[nataliewaitesnotesapp]

“So if you are reading this, and you’re a writer, and you, like me, are gripped with despair, when you think you might stop: Speak to your dead. Write for your dead. Tell them a story. What are you doing with this life? Let them hold you accountable. Let them make you bolder or more modest or louder or more loving, whatever it is, but ask them in, listen, and then write. And when war comes — and make no mistake, it is already here — be sure you write for the living too. The ones you love, and the ones who are coming for your life. What will you give them when they get there?” — Alexander Chee