#How to Build a Profitable Website

[loverboy-ish]

is cohost worth it.

[professorspork]

idk how to word this properly but wrt the fanfic thing you reblogged earlier. Why do fanfic writers have such different expectations than any other content hosting platform?

Like lets take youtube as a point of comparison, Engagement like comments and likes largely exists to boost the works place in algorithm, thats why youtubers put in calls to action and other engament bait. Few with decent reach even read the comments and the audience shouldnt try to develop any weird parasocial relationship with the youtuber. Fanfic authors ask for likes (kudos, because the websites gotta use nonstandard language for some reason) and comments despite them not having any impact on an algorithm, and seem to want the audience to try and develop a relationship with the author based on tumblr posts like that one.

Why the radical difference in behaviour away from the norm? And honestly with all the (usually) metaphorical blood spilled online about parasociality why are authors really surprised that the audience tries to keep their distance as is best practice with any other content producer?

okay I am going to answer this as kindly and as calmly as I can and try to assume that you are asking this in good faith. because my friend, the fact that you feel the need to ask is, to me, The Problem.

[this is, for the record, in response to this post]

fanfiction writers are not *posting content.* (I also have reservations about engaging with the term "content producer" or "content creator" but let's put that aside for now, I'll circle back to it.) you say "they seem to want the audience to try and develop a relationship with the author" as though it is strange, off-putting, and incomprehensible to you, when in fact that is the point of writing fanfiction. it is a way of participating in fandom. it is a way of building community and exchanging ideas and becoming closer with people.

if authors wanted to solely ~generate content~ that would get them attention (?? to what end, the dynamic you have described seems to equate algorithmic supremacy as winning for winning's sake, as though all anyone wants to do is BUILD an audience without ENGAGING with them, which I cannot fathom but let's pretend for a moment that is, in fact, true) then like. if that were the case why on earth would they choose a medium in which they categorically cannot succeed and profit, because it isn't their IP?

you are equating two things that are not at all the same thing. to the degree that parasocial relationships are to be avoided, and "that person is not trying to be your friend they are trying to entertain you, please respect their boundaries" is a real dynamic -- which it is!! -- like. you have to understand that the reason that is true for the people of whom it is true is because it is their JOB. they are storytellers by profession, and they are either through direct payment, or sponsorship, or advertising, or through some other means, profiting off of your attention. i don't say this to be dismissive, many wonderful artists and actors and comedians and any number of a thousand things that i enjoy very much go this route but they do so as a *career choice.* and so when you violate the public/private boundary with them, you are presuming to know a Person rather than their Worksona. the people who work at Dropout or who stream their actual play tabletop games or who broadcast on TikTok or YouTube are inviting me to feel like i know them to the degree to which that helps them succeed in their medium and at their craft, but there MUST be a mutual understanding that that's a feeling, not a fact.

however.

a fanfiction writer is not an influencer, not a professional, and is not looking to garner "success." there is no share of audience we are trying to gain for gain's sake, because we are not competition with one another, because there is nothing to win other than the pleasure of each other's company. we are doing this for no other reason than the love of the game; because we have things we want desperately to say about these worlds, these characters, these dynamics, and because we *want more than anything to know we are not alone in our thoughts and feelings.* fanfiction is a bid for interaction, engagement, attention, and consideration. it is not meant to be consumed and then moved on from because we are NOT paid for our work, nor do we want to be. the reward we seek is "attention," but attention as in CONVERSATION, not attention as in clicks. we are not IN this for profit, or for number-go-up. there is no such thing: legally there cannot be. we are in this because we want to be seen and known.

like. please understand. i am now married to someone i met because of mutual comments on fanfiction. our close friend and roommate, with whom i have cohabitated for over a decade now, is someone I met because of mutual comments on fanfiction and livejournal posts. that is my household. beyond my household, the vast majority of my closest personal friends are people with whom I built relationships in this way.

you ask why fanfiction writers want THIS and not "the norm," but the idea of everything being built to cater to an algorithm to continue to build clout, as though the only method of reaching people is Distant Overlord Creator and Passive Receptive Audience being "the norm" is EXTREMELY NEW. this is not how it has always been!! please think of the writers of zines in a pre-internet fandom, using paper and glue and xerox to try and meet like-minded people in a world that was designed for you to only ever meet people in person, by happenstance, in your own hometown. imagine the writers of the early internet, building webrings from scratch to CREATE a community to find each other, despite distance. imagine livejournal groups, forums, and -- yes, indeed, of course -- comment threads IN STORIES -- as places where people go to *converse.* in the past, we had an entire Type Of Guy that everyone knew about, the BNF ("Big Name Fan") whose existence had to be described via meme because it was SO DIFFERENT THAN THE NORM. treating fellow fans like celebrities or people too cool for the regular kids to know was an OUTLIER, and one commonly understood to lead to toxicity.

in the past, I have likened writing fanfiction to echolocation. i am not screaming because I like hearing the sound of my own voice, though i can and do find my voice beautiful. i am screaming so that the vibrations can bounce back to me and show me the world. the purpose is in the feedback. otherwise it is just noise.

does this make any sense? can you see, when i describe it that way, why an ask like yours makes me feel despair, because it makes us all sound so horribly separate from one another?

perhaps I will try another metaphor:

a professional chef who runs a restaurant will not have her feelings hurt if you never fight your way into the kitchen to personally tell her how much you enjoyed the meal. that would, indeed, violate a boundary. professional kitchens are a place of work, and you have already showed her you enjoyed the meal by paying for it, or by perhaps spreading your enjoyment by word of mouth to your friends so they, too, can have good meals. you show your appreciation by continuing to come back. if a bunch of people sitting around randomly happen to have a conversation about how much they love the food, it wouldn't hurt that chef's feelings to not be included in the conversation. however: EVEN IN THIS INSTANCE, it is ADVISABLE AND APPROPRIATE to leave a good review! you might post about how much you like this restaurant on Yelp, and it would probably make the chef feel great to see those positive comments. but the chef doesn't NEED them, because the chef is, again, *also being paid to cook.* that's why she started the restaurant, to be paid to cook!

i am not being paid to cook.

i am at home in my own kitchen, making things for a community potluck where i hope everyone will bring something we can all enjoy together. some people at the potluck are better bakers, some better cooks; some can't cook at all but are great at logistics and make sure there's enough napkins for everyone; some people come just to enjoy the food, because that's what the party is for. and if I, as this enthusiast chef who made something from my heart for this reason alone, learned after the fact that a bunch of people got together in the parking lot to rave about my dish but no one of them had ever bothered to tell me while I sat alone at my table all night, occasionally seeing people come by to pick up a plate but never saying anything to me -- of course that would bother me, because I am not otherwise profiting off the labor I put in. this is not a bid to be paid, because if someone WERE to say "hey, great cake!! here's five bucks for a slice" i would say no, friend, that is not the point and give them the money back. i'm not trying to Get Mine. I am in it to see the look on your face. I'm in it so you can tell me what about it moved you, so that I can say back what moved me to make it in the first place. so we can TALK about it.

because what happened in the first place is this: one time I had a cake whose sweetness, richness, flavor, intensity, and composition moved me so much that I *taught myself to bake.* so I could see how much vanilla and sugar was too much, so I could learn how to make things rise instead of fall flat, so I could even better appreciate the original cake by seeing for myself the effort and talent and inspiration that goes into making one even half as good.

learning to do so is a satisfying accomplishment in and of itself, yes.

but I also did it because at the end of the day we should EAT the cake. and it's a lonely thing, to eat alone when a meal was always designed and intended to be shared.

so, to answer your last question: i'm not surprised, i'm just sad. because somehow two things that were never meant to be seen as the same have been labeled "content," and thus identical. and it diminishes both the things that ARE intended to be paid for AND the things that are not, because it removes any sense of intimacy or meaning from the work.

i hope you know i'm not mad at you for asking. but i'm frustrated we've come to live in a world where the question needs to be asked, because the answers are no longer intuitively obvious because we're so siloed.

[sk100k]

Affiliate Marketing Done For You Solution: How to Do Affiliate Marketing...

[heritageposts]

🇵🇸 From BDS:

This year’s Israeli Apartheid Week will be the most important since IAW was launched 20 years ago! With the ongoing Nakba at its height, Israel is carrying out the world’s first ever live-streamed genocide against 2.3 million Palestinians in Gaza while it continues to entrench its 75-year-old settler-colonial apartheid regime against all Indigenous Palestinians. Over the past few months, people around the world have carried out inspiring actions building people power to end state, corporate and institutional complicity in Israel’s #GazaGenocide and contribute to the Palestinian struggle for freedom, justice, and equality. With the failure of the international system, under US and Western hegemony, on full display, we will organize IAW throughout the month of March to bring justice from below. Save the date - March 1st - March 30th; an entire month of action and BDS mobilizations to end complicity in genocide, build grassroots power towards liberation and the dismantling of Israel’s settler-colonial apartheid regime. Let’s make this year’s IAW our most impactful ever!

In anticipation of the upcoming Israeli Apartheid Week, BDS has called for an escalation of our boycott campaigns.

To find out how you can join a specific BDS campaign, or how you can contribute towards IAW, you can use the search function on their website to find a BDS-affiliated organization in your country.

If you and your organization have an event planned for Israeli Apartheid Week (IAW), you can register them with BDS here.

🇵🇸 For individuals unaffiliated with an org, you can still support and participate in IAW by:

Boycotting all products from Israel and from companies profiting off the occupation of Palestine. Here are the official BDS targets. For a more extensive list of products, check in with one of the BDS affiliated organizations in your country (they might tell you, for instance, what processed food items at your local grocery store should be avoided).

Share information about BDS on social media, with friends and family, and with your local community.

For BDS targeted brands, refrain from making or sharing any content that helps that company's outreach and branding. No more memes mentioning the brand, no pictures showing their logo, no more free advertising. Boycotting here isn't just about the loss you as a costumer can inflict on the company by not purchasing their product, it's also about damaging the brand's reputation, and limiting their customer outreach.

I highly encourage you to join a BDS-affiliated org, but if for whatever reason you can't, then these are concrete and actionable steps you can take.

Again, for more information about BDS and Israeli Apartheid Week, you check in with the official BDS website.

[kiyomitakada]

i know its a classic. possibly cliche already. but i do wonder about Tumblr In The Death Note Universe probably more than i should

2 notes

💅 toxicbff Follow

if i see one more post attributing kira's powers to ~supernatural powers~ instead of the obvious fact that the cia is doing a coup I'm going to start giving You the heart attacks

💅 toxicbff

of course i saw the news how does that not prove my point further

the idea that all the police around the world could be mobilized by one single person is ridiculous (just look at this list of how many civilian militia there are globally)

heart attack victims don't seize the way "lind l tailor" did

i don't know how to tell you that You Can't Kill People Just By Knowing Their Name And Face because this is Real Life and not the newest grimdark marvel villain

people need to stop being scared of the ~bogeyman in the closet~ and wake up to the fact that usamerica is trying to take over the goddamned world

💅 toxicbff

im going to kill you all and nuke this website

#sayonara you weeaboo shits

2,925 notes

👾 lets-go-geeks Follow

DO TRUMP NEXT

🕵🏾‍♀️ penny-penelope Follow

LIKES TO CHARGE REBLOGS TO CAST

16,375 notes

❤️‍🔥 lovesickened Follow

i know its stupid but im so fucking scared for my brother i heard that seven people died this week at the prison he's in and iinjust dont kenow what to do ihate him for ehat he did to mom but i never wanted him to die

#vent tw #delete later

0 notes

🏎 fastandyurious Follow

if i get a single more comment about why i don't tag "genderbend" on my kiratective fics i'm going to blow up the entire building. we don't know EITHER of their genders. why don't YOU tag your mediocre yaoi genderbend instead

🔆 sparkling-world Follow

…OP, you realize the news reports all consistently use "he," right?

🏎 fastandyurious

of course i do???? just because you see something on the news doesn't mean you have to believe it?????? they don't have any information on kira yet but i'm supposed to believe the fbi knows their gender already??????? also kira is literally a fucking girl's name my classmate in elementary school was called kira

🔆 sparkling-world

Kira comes from the Japanese romanization for "killer," it isn't gendered whatsoever.

Also, evidence shows the majority of serial killers are male, so I'd argue that the statistics favor the fujoshis here.

🏎 fastandyurious

well evidence shows that female serial killers are just more fun to write about and I'd argue that you're ignoring my fucking POINT which is that we DON'T KNOW KIRA'S GENDER and if people don't want to read lesbian kiratective they can FUCK OFF MY BLOG

🥚 i-offer-eggman Follow

I offer you an Eggman in these trying times.

🔮 I-stands-for-le-gay Follow

@lashitpostcalligrapher yo can i get "the statistics favor the fujoshis" on my tombstone

#fandom: kira rpf #ship: kiral #never heard it called kiratective before… #also uh. prayer circle for op's classmate lmaoooo

2,107 notes

💃🏻 modelingmadness Follow

BOYCOTT EIGHTEEN MAGAZINE

THEY ALLOW KIRA-SUPPORTING MODELS AND ARE COMPLICIT IN THIS MASSACRE

SOURCES HERE AND HERE (TRIGGER WARNING: KIRA DISCUSSION)

PUSH BACK AGAINST HEART ATTACKS

🧚🏽‍♂️ harubaru Follow

golly gee ^_^ suddenly i feel like taking to the high seas in a way that the eighteen company cant get profit from. oh no ! who left this link here

🐦‍⬛ kuro--misa Follow

thanks for the link but jesus fucking christ man what happened to free speech. misa-misa's parents were killed by a burglar who kira punished. did you all expect her to just sit there, look pretty, and say nothing about it?

you people only like models when they're nice pictures for you to consume. you only like them two-dimensional and smiling and hot. the second a woman actually speaks her mind she's thrown to the wolves

💃🏻 modelingmadness

DID YOU NOT SEE MY BANNER YOU PIECE OF SHIT

#BLOCKED

140 notes

🐦‍⬛ kuro--misa Follow

lol. lmao even

#they blocked me but whatever #official eighteen site just said misamisa wont be in the next issue #(eighteen sucks but i kind of want to use it more out of spite now) #so much for apologism huh? #god. i feel sick. #hasn't she been through enough.

1 note

🥷🏻 kira-imagines Follow

Imagine you're going home after a long day. Suddenly there's a sound. "Huh? Whose there" you ask, dropping your keys on the floor. Then you feel it. A knife pressing in your neck.

"Don't move kitten" Kira purrs behind you. "You're all mine now…"

#kiraxreader #kiraxoc #kira #kira rpf #kira investigation #kira fucker #kira fudger #kira lover #kira haters dont touch #kira haters please touch #kira supporters please touch #l

5,733 notes

asahi-the-student-deactivated201

Hello, everyone! My little sister told me about this microblogging platform (I admit, I'm a Twitter refugee) and that many of you are discussing the Kira investigation on here. I'm really interested in hearing what your thoughts are!

💋 sunny-sayu Follow

let the record show he lasted like. a day

#i think it was the imagines that did him in #bro is so sensitive :p

15 notes

kiyomitakada

the world could be beautiful

[next post]

[ @deathnotetober day 14: trigger ]

[caesarflickermans]

SUZANNE COLLINS: SOTR EXCLUSIVE EDITIONS INTERVIEW

This is a transcript from the Barnes & Noble / Waterstones exclusive edition interview. To my knowledge, they are the same.

Not to be confused with interview on her website, which you can find here.

transcript below

DL: Did you always know you’d write a novel about the second Quarter Quell? If not, what compelled you to return to this particular point in the Hunger Games timeline?

SC: I always start with the underlying ideas—in this case, implicit submission, the uncertainty of inductive reasoning, propaganda, love—and they find their way to the story that supports them. But yes, I think I did want to do Haymitch’s story because I’ve always known that the version Katniss and Peeta saw on the train was very misleading. When I landed on implicit submission and its dependency on propaganda, Haymitch’s was the natural tale to tell. Just like the state of nature debate led naturally to Coriolanus’s story.

DL: The quote at the start of the book from the philosopher David Hume is a very telling one. It starts, “Nothing appears more surprising to those, who consider human affairs with a philosophical eye, than the easiness with which they are governed by the few; and the implicit submission, with which men resign their own sentiments and passions to those of their rulers.” This feels like a key to the entire book.

SC: If all people do is read the full Hume quote and discuss it, this book has been a win for me. This quote invites so many questions. Like, “Do you think Hume is right? As human beings, do we ultimately end up being governed by a few people? Not in, say, a totalitarian state, but in a democracy?” (After thinking about it, every single person I asked about this said yes. No one seemed happy about it.) “But why have we resigned our own sentiments and passions to those rulers? Why are we implicitly submitting to this? Especially since force is on our side, as the governed.” Hume answers that for us. We’re allowing ourselves to be controlled by “opinion.” And that’s where propaganda comes in.

All right, then, “What propaganda do we all consume on a daily basis that maintains this status quo? Is it harder to maintain in an autocracy or a democracy where we pride ourselves on our intellectual or political freedom? How much propaganda does it take to make you think that implicit submission is what you want? Is it inevitable? Is there a way to protect ourselves against it? What would that entail?”

DL: Haymitch is starting at a very different place than Katniss or Coriolanus—while his life has had its sadness, it’s largely been a good life so far. How does that change the stakes within the novel?

SC: Yes, his life has been largely good. A loving family, good friends, the love of his life. A sweet part-time job that may lead to a profitable, if illegal, career. He’s happy except for the shadow of the Games that hangs over them all. So, emotionally, his loss is the greatest because he has the most to lose. And unlike Katniss and Coriolanus, who have loved ones to the end, Snow tries to strip Haymitch of everything: family, friends, lover, job, community, happiness, and the freedom to love anyone. His personal stakes couldn’t be higher.

DL: What was it like to be creating a new work that you’d already loosely outlined in Catching Fire?

SC: Actually, it helped. Younger me provided a protagonist, his arena, his overall arc, and some of the cast, including Maysilee Donner. Having to build off the recap, not having everything to decide, meant some extra challenges on the plotting side, but ultimately it was freeing. I just had to work within what was established. Of course, knowing that the narrative had been manipulated into a piece of Capitol propaganda gave me a lot of freedom as well. 

DL: It’s such an interesting scenario, to have our very reliable narrator understand that he is surrounded by so many unreliable narrators — and that, in fact, unreliable narration is a powerful political tool. The “card-stacking” that helps him a little in the beginning (with Plutarch using the manipulation as an excuse to give Haymitch time with his family) ends up being existentially overwhelming when Haymitch watches the “recap” of the Games and realizes how history is truly written by the victory (and not the Victor). To me, this felt like the biggest revelation to Haymitch — the sheer degree of manipulation. Can you talk a little about how this revelation about propaganda sits within the larger scope of the series?

SC: After he watches the reaping on the train, Haymitch realizes that he’s the Gamemakers’ puppet and that they will manipulate his image and actions to serve their needs. Within the arena, he can only wonder what they’re showing the audience. But the full force of their deception doesn’t hit him until he sees how completely they’ve changed his story the night he’s crowned. Remember, too, that in order to appease Snow and protect his loved ones and, when that fails, to fulfill his promise to Lenore Dove, he has to carry the Gamemakers’ narrative forward as the absolute truth. It’s an enormous burden that he bears alone because all of his allies who lived the truth are dead. Keeping the real version straight in his own head while promoting the fabricated version would require constant vigilance. But deep down, even through his white liquor fog, he realizes it’s imperative that he do it. If he can’t distinguish between the two, the Capitol wins. This foreshadows Peeta’s hijacking in Mockingjay and reinforces the question the whole series asks about the information we’re consuming: “Real or not real?”

DL: If I could give you a time machine back to when you were writing Catching Fire, would you have asked yourself to do anything differently?

SC: No, but maybe in the Mockingjay book. I might have shortened the period between Haymitch being crowned victor and when he loses his family. It doesn’t need to be two weeks. Although it does give Snow an additional window to torment him in the Capitol. But really, he could have gone straight home after the Victor’s Ceremony.

DL: Besides Haymitch, was there any other character from the trilogy that you particularly enjoyed revisiting in Sunrise?

SC: I love doing all of them: Plutarch, Effie, Beetee, Mags, Wiress, Burdock, Asterid. Getting to share who they were and what motivated them. They didn’t arise fully formed in the trilogy. All the characters are on journeys. Beetee losing Ampert, Effie clinging to her Capitol beliefs, Asterid healing the sick in 12, Plutarch still staying in the games. Everybody has their own story.

DL: One of the most fascinating things about seeing the Games play out over time — going from the Tenth to the Fiftieth to the Seventy-fourth and Seventy-fifth — is understanding both the evolution of the Games and the evolution of the roles within the Games. In particular, I’d love to ask you about the contrast between Drusilla and the Effie of the Trilogy. There seems to be a profound generational difference that shapes their view of their role in the Games — and, indeed, seeing the start of Effie’s relationship here made me suddenly understand the dynamic that must have governed District 12 tributes for the next twenty-five years. Can you talk about what makes Drusilla tick versus what ultimately makes Effie tick?

SC: As escorts, both Drusilla and Effie are ambassadors for the Hunger Games. Drusilla who lived through the cruelties of the Dark Days, has channeled her experience into vengeance against the districts. She’s dehumanized her enemy, referring to them as beasts and pigs, and she has no qualms about ushering the piglets into the arena. Effie, born decades after the war, has embraced the Hunger Games as her patriotic duty. She’s been raised on them as necessary evil and a reminder of a war that Panem can never afford to repeat. Unlike Drusilla, she believes all the participants have a noble role to play. That begins to wear thin over the years. Every Games it becomes harder to justify the atrocity. You can see her clinging to good manners for reassurance of humanity’s decency. But in terms of the Hunger Games, Effie being assigned as their escort was a lucky break for District 12. She might be ridiculous, but she’s not malicious.

DL: Even though Maysilee is mentioned in Catching Fire, we really get to know her for the first time in this book. In many ways, she’s not so much defined by her privilege as she is by her lack of control over her life — when we first talked about her, you said she was “indentured into a life she doesn’t want.” What do you think fuels Maysilee, both in the arena and out of it?

SC: Rage. She’s one of the angriest characters I’ve ever written. She’s mad about the injustice of the world she’s born into and not it threatens and limits her life on every level. Before she’s reaped, that just manifests as meanness. But once she’s reaped, she begins to evolve and focus that emotion on the Capitol. She remembers who the enemy is.

DL: Snow makes quite an appearance when he arrives at Plutarch’s apartment. What was it like to see him in this era, after spending so much time with his younger self when writing Ballad?

SC: When I started working on this book, for the first time Snow and I were about the same age. We’re both entering our third act. I could feel his middle-agedness in mind and body, imagine his lost and realized dreams, and sense the cost of maintaining them. He's devoted his whole life to controlling Panem. But the work will never be done. It's exhausting.

Emotionally, he's beginning to reflect back on his life. His loves and losses. His resentment at the Heavensbee library when his own childhood books were burned for warmth, his cynicism over Haymitch's romance, his fear and loathing of District 12. I enjoyed having Lucy Gray's memory rise up and disrupt his life.

DL: And poor Haymitch doesn't even know why he's setting Snow off! But that does lead me to a question about Lenore Dove, who has grown up in a very different Covey world than Lucy Gray. How do you feel her outlook is shaped by her Covey roots?

SC: Lenore Dove romanticizes the Covey's prewar days as itinerant musicians on the open road. She also knows the losses that followed, the murdered parents and orphaned Covey children. And in particular, she's haunted by the fate of Lucy Gray. She wears bright bits of Lucy Gray's dress about her person and keeps her forbidden lyrics alive in private performances for Haymitch and Burdock. The Capitol has never meant anything but oppression and pain for her people; and that fuels her desire to bring it down.

DL: And how did Poe become such a part of the book?

SC: Haymitch's love needed a name. Since she's Covey, that starts with a ballad. I knew she'd died young, as Haymitch mentions this in Mockingjay. So, love of his life - her early death + his relentless grief = Edgar Allan Poe. I’m right back at the Romantic poets again. Even then, I’ve got several poems to choose from — “Annabel Lee,” “Ulalume,” “Lenore,” “To One in Paradise” — but I couldn’t resist “The Raven.”

DL: One of the things I love about Ballad and Sunrise is that they make the series much more about “the long game,” showing that the events of the trilogy don’t happen because the right girl shows up at the right time, but because of decades of planning. In many ways, Plutarch’s extremely ambiguous role is the biggest acknowledgment we have of long-game tactics. I don’t want you to try to pin him down here — I know he is ambiguous for a reason — but perhaps you could discuss his role.

SC: Plutarch’s the master of the long game. In Sunrise, we see him as a young man who’s convinced the government needs overthrowing, but he’s just taking his first baby steps. by the time we get to the trilogy, he’s masterminding the rebellion. He’s built a network in both the districts and the Capitol. He’s found an army in District 13 and allied with Coin. When Katniss shows up, he’s got a Mockingjay for his propaganda. He orchestrates the Airtime Assault that brings down the Capitol. And he manages to do all of this while convincingly playing a Gamemaker.

He doesn’t glorify humanity. At the end of the war, he tells Katniss, “We’re fickle, stupid beings with poor memories and a great gift for self-destruction. Although who knows? Maybe this will be it, Katniss.” And when she asks what, he answers “The time it sticks. Maybe we are witnessing the evolution of the human race.” So, at heart, he’s an optimist. He doesn’t accept that war and self-destruction are inevitable. Plutarch believes that we’re all on a continuum. We’re all ultimately playing the long game. You may fight your whole life for a greater good and never see the fruits of your labor. Plenty of people have done that historically. And so he tells Haymitch, “You were capable of imagining a different future. And maybe it won’t be realized today, maybe not in our lifetime. Maybe it will take generations. We’re all part of a continuum. Does that make it pointless?” I think that’s a question we all have to ask ourselves.

DL: When we first discussed the manuscript, you told me, “Books are part of Plutarch’s privilege.” In seeming contrast, there is the transmission of stories through song that we see echoing within Haymitch. I’d love for you to share more about this and the role books and songs play in the storytelling within this series.

SC: The Heavensbees have enormous wealth and privilege and, largely thanks to Trajan Heavensbee, that has allowed them to collect and protect an impressive library. The only other personal collection we’re sure exists belongs to the Covey. Much smaller, of course, but it’s apparently got some great books in it. Poetry, philosophy, literature, and at least one guide to raising poultry. The only book the Everdeens owned was the edible and medicinal plant guide they made themselves. That expands into the memorial book at the end.

District 12 doesn’t have many books, but they have plenty of songs. Why? Because a book can be burned, but you can’t burn a song. It can be passed along from person to person without a trace, no physical form required. Theoretically, you could commit a book to memory, like in Fahrenheit 451, but that’s a talent not everybody’s going to share.

By the trilogy, the songs have been discouraged as well. Under Snow, the live music in 12 devolves from the Covey performing in the Hob in The Ballad of Songbirds and Snakes to a trio of instrumentalists in Sunrise on the Reaping to a lone fiddler (Clerk Carmine) in the trilogy. Lucy Gray’s songs, which Katniss sings unaccompanied in the trilogy, are held in memory and are passed along orally. Snow would love to stamp them out entirely, not just because he doesn’t like music, but because they’re powerful politically. A protest song like “The Goose and the Common” can articulate an injustice, stir people up, and become a rallying point.

DL: Just because you mentioned it, I’m going to ask: Are Snow and Clerk Carmine the only two people we see in Ballad, Sunrise, and the trilogy? (I won’t ask what Tigris is up to during Sunrise, but whatever it is, I know it’s good.)

SC: Yes, I think it does come down to Snow and Clerk Carmine. A handful of Snow’s classmates might still be around by the trilogy, but they’re not named characters.

DL: I’m fascinated by the surface similarity of Katniss’s, Coriolanus’s, and Haymitch’s family structures. All have dead fathers. All are being raised by a mother or grandmother. All have a single sibling or cousin in their care. But even if the structures are alike, their experiences vary. In what ways do you think they were shaped similarly by this structure and in what ways were their upbringings different?

SC: You see this a lot in books for young audiences, where the protagonist is orphaned or placed outside of parental protection, leaving them to fend for themselves. It requires them to be responsible for their own survival and choices.

Haymitch has always had at least one functional parent, which is not true of the others. I think this has allowed him to be more open-hearted and optimistic than the other two heading into the story. Coriolanus is orphaned during the war and his grandmother does an impressive job keeping him and Tigris alive, but by the time that book opens she lives in her own world and her grandchildren care for her. Katniss loses her mother to grief and depression when her father dies and becomes her family's provider and protector at age eleven. Haymitch doesn't have to take full responsibility for himself until he's reaped.

DL: The role of the sibling (and I count Tigris as a sibling) is also so important within the series, to the degree that, in this book, becoming a "found" sibling is the highest mark of trust. Can you talk about exploring that dynamic within the series?

SC: In Ballad, when Coriolanus is filling out Lucy Gray's questionnaire and there's no place to record her cousins, he thinks, "There should be a place for anyone who cared for you at all. In fact, maybe that should be the question to start with: Who cares about you? Or even better, Who can you count on?" There's the family you're born into and the family you choose. All the protagonists have trustworthy families to begin with, but they adopt "found" siblings as well and those bonds are born of experience. Maysilee for Haymitch, Finnick for Katniss, even Sejanus for Coriolanus. People who care about you that you can count on. They replicate the natural sibling bond and aren't limited by biology. All of them ultimately find siblings among people they once viewed as antagonists.

DL: With the Newcomers, we see a different angle to the presentation of alliances within the Games — and in some ways, this alliance is in conversation with the alliance that forms in Catching Fire. In many ways, alliances are the unsung hero of the series, especially when we look at the long game. What does Ampert establish with the Newcomers that echoes throughout the series?

SC: Ampert’s laying the groundwork for the rebellion later with the district alliance in the third Quarter Quell. It’s a work in progress. Even in the trilogy, we’re well into the war before the rebels finally get all the districts on board. But Ampert’s message wins out. “We don’t have to put up with living under the Capitol’s rule. We have greater numbers, more power, more strength. We can change our lives.”

DL: I love how within Sunrise we see how Mags’s and Wiress’s mentoring styles contrast — and neither one is at all like Haymitch’s mentoring style in the trilogy. I can’t believe I’ve never asked you this question before, but of all the characters we’ve seen across the five books, which one would you most want to be your mentor?

SC: Haymitch, but not until the trilogy when he pulls himself together. Before that, I think I’d go with Mags, who’s brought home several victors while retaining her humanity.

DL: How thoroughly do you outline before you start writing?

SC: Pretty thoroughly, this time more than usual. I started with Post-its and laid out everything that was established about the second Quarter Quell in the version that Katniss and Peeta watch on the train in Catching Fire. Then I added in a few things that Haymitch mentions to Katniss in Mockingjay. And finally, I overlaid that with the story of what really happened. Additionally, I had to weave in characters and events from the past and the future.

There are a lot of balls to keep in the air. Multiple versions exist of, say, the reaping: the one we live through with Haymitch, where Woodbine gets killed; a second that’s aired to the public after the delay; a third of Plutarch’s card-stacked edit that they broadcast the night of the reaping that includes footage of Ma and Sid; and a fourth version played during Haymitch’s Victor’s Ceremony, which seems quite close to the one Katniss and Peeta view, but it could have been tweaked a bit over time. It’s a lot to keep straight.

DL: In terms of the smaller connections between this book and the other books (like the use of the word sweetheart or the presence of geese in Haymitch’s early story), were these things you knew going into the book from the start, or were they things that happened when you were putting words to the page?

SC: These were things I knew about, but I didn’t know if I’d ever write Haymitch’s story and have the opportunity to lay in their history. So many things are like that when you’re building a world. But Haymitch’s decision to tend geese at the end of Mockingjay wasn’t random.

DL: And, of course, for my final question I need to ask... what do you have against gumdrops?SC: Not a thing.

[millyondollarbaby]

Yandere Veteran!

I give you total honeysuckle Yan!Veteran.

Yan!Veteran who is total jerky- beef jerky. He is aged and tough but a total fox. He can be seen as a total hotty and to others a total dad figure.

Yan!Veteran fought in some pretty serious shit( I don't know shit about the army) but he is home now and wants to live his life and do some actual good. (Not hating on soldiers just saying)

Yan!Veteran who looks for a job where he can actually do something he loves and that's when he finds our non-profit. A non-profit that works on education, environmental impact, and children. He looks into the charity and signs up immediately! Omg- a place that actually looks like they are doing some good? Sold. He may or may not have seen the founders profiles depending on your preference and possibly saw you!

Yan!Veteran who if he didn't see you on the websites profile goes to the interviewer super psyched to get the job because he thinks what you are doing regardless of who you are is super beautiful and he wants to be apart of it! Working with children, cleaning up the planet, being apart of something.

Yan!Veteran who finally meets us! A pretty young thing with the whole world at our feet and disposal(add him to that roster). He couldn't believe his eyes, some beautiful young creature roaming the earth gracing everyone with our presence and actually doing work to change the world? What and absolute angel we are. He should kiss our feet and mewl.

Yan!Veteran who is a total babe when it comes to children. He tries his best and for as awkward as he thinks he is, he is actually such a sweetheart to watch. Not only is he teaching and building bridges for children to grow and connect with our planet but he is totally building and healing himself by being in our program. Just watching him gently show children something you can see how much he cares and its almost like you can see a seedling of goodness sprouting from his poor broken little heart.

Yan!Veteran who might even slightly stutter the first time he meets us. " I-I... It's nice to finally meet you- I'm-" he is really too sweet.

Part 2

[sunshineandspencer]

Cowboy hat rule, Part 3 (Tyler Owens, Twisters)

A/N: This was written as soon as I woke up the morning after seeing the movie, I woke up at 5am for some reason and this was spat out of me. I have no knowledge of it even after rereading it all, but the groupchat liked it so here you are. Also I’m working under the headcannon that you don’t get your hat back until you complete the rule.

Pairing: Tyler Owens x Fem!Reader.

Summary: In between butting heads with Javi’s team and running a successful YouTube channel based entirely around tornadoes, Tyler Owens is introduced to the most interesting woman he’s seen in a good while - and her sister.

Word Count: 946

Warnings: past emotional(?) infidelity (fuck anthony ramos for cheating on his fiancé), talk of beer, slightly suggestive (again, cowboy hat rule)

Parts: Part 1, Part 2, Part 4

I have redone the form for the taglist now that I’m apparently expanding from Criminal Minds

So, apparently, Javi was working for a company that profited off the suffering of people that were most recently affected by the storms. 

Of course, it makes sense. Old white guy, white hair, irritating face, makes sense he’s into real estate. 

What doesn’t make it any better, is the fact that while both her and Kate found out, he only bothered to go and explain himself to Kate.

Nice to know he hasn’t changed. He’s always preferred Kate to her, even when they dated, he always called for Kate first on the radio. 

If she tries hard enough, she can hear them through the wall. 

But she’s not going to try.

Doom scrolling through that old guy’s website and pretending she’s not feeling sick about inadvertently helping this guy was cut short by a knock to her door. 

Shutting the lid of her laptop, she shook her head and pressed the base of her palms to her eyes. 

Getting up and walking to the door, she gave herself a few moments to try and decide what emotion to put on, not sure she’s ready to face her sister or - God forbid - Javi. Pulling it open and leaning against it. 

Fighting the smile, and the genuine relief, when she was met with Tyler. 

“Evenin’ wrangler, what you all the way up here for?”

It’s the second level of a motel, there are a lot of people up here. If he didn’t sleep in the RV with everyone else he’d be up here. 

“Heard you hadn’t eaten, wondered if you wanted a pizza? It was the last one before the lady went home, should still be warm.”

Shrugging, he offers the pizza, margarita. Safe, lots of people like it - thankfully it’s also the only pizza she likes. And God she needs a pizza, and a beer, but she needs the pizza first. 

“You actually- nevermind, come in, bring the pizza.”

As if he’d leave it outside, she holds the door open a little more and he steps in. Taking a good look around the room. 

It’s not like this place has meaning to her, it’s a shitty motel room in tornado valley; they don’t build these with the expectation to last. The most you can do is collect stuff from home and wherever you’re staying and try to give it some personality.

But then his eyes fall on the white cowboy hat on her bedpost. Let’s correct that, his cowboy hat on her bedpost. 

There’s the splash of meaning. 

“You still have my hat.”

She lets out a soft snort, a pretty kind of laugh that she probably hates. 

Sitting down on the bed with her pizza and opening it up. Resisting the urge to dive head first into the greasy shit she knows it’s going to be. 

God- she’s never hated New York and her fucking fad diet more than she did right now. 

Luckily, she’s not in New York, she’s in Oklahoma and a cowboy just bought her a pizza, she couldn’t turn it down now could she. 

Offering him the first slice, she gives him a smug little grin, tilting her head. Acting all innocent as if she doesn’t know exactly what it means, his stupid cowboy hat has kept pride of place since she stole it.

“And you know how you have to get it back. Otherwise it’s staying on my wall. Add it to the collection.”

She’s not had a collection of guy’s cowboy hats since she was in college - it was a pretty decoration, and she loved watching the guys find their hats once they left. 

But he doesn’t know that, and she liked the upset glint in his eyes at thinking there are still some hats waiting for their owners. 

He took the slice and sat with her, and the itching silence caused her to sigh. Able to see his kicked-puppy look in the corner of her eye. Cursing her inability to say no to a pretty face, or even allow herself to hurt someone in the slightest.

“I’m joking, by the way. The only hat I have is my own, and that’s in Texas.”

Whether he knows it or not, Tyler Owens visibly relaxed at being told that. And that sends a concerning rush through her chest. 

Something she really does not need right now, especially not with her sister and ex-boyfriend’s voice coming through the wall. A little louder now, probably an argument. 

Her head turns, staring unseeing at the ugly painting above the bed. Not really paying attention, but knowing the words would come back to her later. When she really didn’t want them to. 

Honestly, he’s barely said a word since he came in, still surprised he actually convinced himself to bring her the pizza. And now he’s sat on her bed.

Not wanting this odd little dream to disappear before he could grasp it fully. 

This woman is a wisp of smoke, the angry clouds before a tornado forms, unpredictable and dangerous. Unpredictability and danger, the two things he’s dedicated his life to.. he wouldn’t mind making her a third. 

Nudging her foot with his, he dipped his head down to finally meet her gaze. Habit from wearing the hat, the damn thing somewhere off in his periphery. 

“I have something I want to show you, if you’ll let me. It’s a hell of a lot better than anything this place has given us yet.”

“Like what?”

He doesn’t appreciate her dull tone, but knows she didn’t really mean it. Not when her gaze slowly returned to his, the fractals of guilt swimming in her eyes. 

“A home away from home for you Alpine, trust me.”

Want more?! Good!

[ferronickel]

Y'all wanna hear about some inter-office drama?

So when we're not on set, the company I work for is based out of an office building that is also home to a number of other businesses. For the most part these other companies seem pretty nice, and our hallway is just us and a non-profit so it's quiet.

Cut to about six months ago when a marketing company moved in across the hall from us. They have been the biggest source of disruption/entertainment these past few months.

They play music so loud the entire building can hear it, at all hours of the day

From the glimpses I've seen of the interior of their office, the only decorations are a framed photo of the word "hustle" and a single large canvas print of a lion.

For a long time their website was just various stock photos and generic information, except for a long blog post they'd made advocating for using AI to data mine customers in order to better target ads.

They are constantly hiring. Like, I see people going in to interview at least once a week. And they only hire young people, just out of college, who dress like they're auditioning to play a part in Wolf of Wall Street or something. I suspect they are somehow an mlm (of the pyramid scheme variety, not the gay kind), or maybe they're sacrificing these hires to some sort of business demon.

I'm supported on this second theory by the fact that at least once a day they gather and shout these semi-unintelligable chants (again, so loud the whole building can hear). There are multiple, but I caught one of these chants once and they were saying "Last one in the field is the last to make money". As I'm typing this they've been chanting/shouting for the last five minutes straight.

Only a few of them have keys to unlock their doors, so frequently there will be small gaggles of wall-street-wannabes in the hallway waiting to be let in. Unfortunately their attempts to knock of the door go unanswered due to the aforementioned loud music.

As far as I can tell, their actual job is selling 5g internet door-to-door. This involves some sort of mass migration around noon, where they all have to change out of their slim fit suits into polo shirts and slacks, before piling into cars and driving off. They commandeer the only bathrooms on the floor so they can change, making them inaccessible to the rest of the building.

Okay, so, all that to give you a sense of who these guys are. Now, our poor neighbors, the non-profit across the hall, has had to share a wall with them this whole time and has filed a lot of complaints with the building managers. A month ago, the building told the business bros that they had to stop shouting and turn down their music, or they'd revoke the marketing company's lease. The business bros have apparently failed to do that, as I just saw a notice of lease termination on their door and now they have 5 days to move out. However, so far, there has distinct lack of motion towards moving out, and they're making even more noise than usual. So I'm just sitting here with popcorn waiting to see how all this shakes out.

[dumb-patrol]

Hello Canadians

If you are someone who thinks AI needs to be regulated, I encourage you to email your Member of Parliament about it. I just sent mine an email today. The more emails they get, and the more MPs that get emails, the more likely it is that our concerns will be addressed. It is our job as citizens to demand the change we want to see. If you don't know what to say, here is what my email said:

Hello [MP]

I am a resident in [Riding] who is writing to you today because I feel passionately that the government needs to address the issue of AI, and soon. What is the government doing to protect people's jobs from AI? Prime Minister Carney's platform says he wants to "incentivize AI adoption" and "calls for AI to slash repetitive tasks and reduce costs in the public service. " But what about the people whose jobs it will take? People need to be able to work, and giving jobs to computers that people could, and have been, doing doesn't help anyone but company's bottom lines. It certainly doesn't help the person who lost their job. Also what about the environmental impact of AI? Interesting how no one cares about the environment anymore when it comes to increasing profits for multi millionaires and billionaires. Additionally, what is being done to combat how AI can be used to create fake news and spread misinformation? Me, and others like me, don't want the government to incentivize AI use and to build water and energy wasting data centers, we want the government to regulate AI in order to protect people's jobs, to protect the arts, to deal with the copyright violations AI is rife with, to protect the environment, and to limit the spread of misinformation.

Thank you for your time,

[Your Name]

feel free to change it up if you want obviously but if you're struggling to come up with what to say here's how you can start.

If you don't know who your MP is you can find out using this website: https://www.ourcommons.ca/Members/en

(I encourage American's to do the same, but idk how their politics work and if you can just like email your representative in America like you can in Canada)

[thegreatyin]

Thinking of finally starting Fallen London. What do?

sorry this took multiple days to answer. i started grabbing links and immediately got distracted.

Starting Fallen London is a very easy task. All you have to do is visit the official website and register an account! From there, simply follow the tutorial and set off on your neathly adventure.

That's it. That's all you need. Yes, really. With very few exceptions, Fallen London is free to play, and with over 4.5 million words and counting, you'll never be completely out of things to do in the Neath. And you can do so very many things indeed! Build a railway to hell! Learn the language of the gods! Fantasize about kissing bats! Take your batkissing to the next level and become one yourself!

If you ever feel lost, I highly recommend consulting the official fan wiki for tips, tricks, and a nearly-complete encyclopedia on all items and their sources. Their beginner's guide in particular is great. There's also my own list of newbie advice for more specific guidance, and if you still can't find what you're looking for I'm always happy to answer questions directly on Tumblr (eg; "how do I beat Mr Pages to death with a brick?")

Above all else? Make sure to take your time with it!! Rome wasn't built in a day, and neither will your Fallen London career. There are very few choices you can't take back, and even fewer that don't lead to something interesting or even infinitesimally profitable. Fallen London is a game that's meant to be digested and savored like a good meal. Don't stress about endgame achievements or missed collectables- just go at your own pace and see where the Neathly road takes you.

If you're ever in need of a tutor, you can find all four of my accounts here, here, here, and here. Of them, the Scoundrel is the one with the most to offer new players (particularly if you need coins for Heart's Desire) but they're all open to send menace reduction and/or general social actions if you need it!

Hopefully this ask was helpful. If not? Here's THE CHURCH CUBE to stare at as a consolation prize.

Look at it... so majestic... it brings a tear to the eye....

[anotherscreed]

SORRY I FORGOT ABOUT THE MULTIVERSE THING. anyway this is like my fourth time trying to get this damn link to show up on this site so hopefully the fourth time'll be the charm or whatever since the third wasn't-

[A link is attached to a news website, apparently for the digital version of the Castelia Times. Upon clicking on it, the first thing that comes up—unless there is an adblocker involved—is a pop-up informing the website visitor that this is one of their five free articles for this month, and that they should consider subscribing to support journalism.

Once they've dealt with the pop-up as they will, though, the title of the article becomes clear: Anonymous Leaker Reveals Aether Foundation Involvement in 2017 Alolan Ultra Beast Crisis.

It becomes immediately clear after a handful of paragraphs that the reporter is not fond of Aether's recent expansion into other regions from Sinnoh to Unova and therefore is absolutely delighted that an anonymous hacker found and leaked security footage stored on Aether's own servers.

Previous leaks/data dumps provided by this particular hacker have ranged from revealing that a professor at Blueberry Academy was far more concerned with her ancestor's conspiracy theories than the well-being of her own students to leaking emails making it clear that the upper management of Silph Co. was not only aware of Team Rocket's plans to take over their Saffron City building but thought it would ultimately increase profits in the long run to allow the team to do what they wanted.

This, however, is something a little bigger. There are two main videos that have been shared with the wider internet, seemingly taken from security camera footage in the Alolan branch of the Aether Foundation.

According to the reporter, viewer discretion is advised, and they have provided warnings for Pokémon abuse, child abuse, and—for some reason—a woman named Lusamine Aether, who is apparently the current president of the Aether Foundation.

In the first video attached, Lusamine is shown verbally berating a young girl, referred to as Lillie, who looks very similar to her. She refers to the girl as disappointing in comparison to her companion—a girl of similar age referred to by Lusamine as Selene—before claiming that she doesn't have any children who would "reject her love" and that maybe if Lillie had been better, she could have saved Cosmog, something that seems from context to be a Pokémon that Lusamine will be forcing to "use its power."

The second video attached seems to pick up close to where the last one left off, albeit in a different room, and in one where there are numerous Pokémon implied from what Lusamine says about them to have been frozen solid and "preserved" while they were still alive. The girls from earlier are horrified before a boy in black who bears significant resemblance to both Lillie and Lusamine rushes in with another friend in tow.

The exact words "All I ever did was give you two all the love I had, and all you did was betray me! You have no right to ask for my attention now!" are uttered by Lusamine, before she declares in response to the other boy (who is apparently named Hau) that they once were family, perhaps, before her former children (who she describes as wretches) left her.

She then forces the Cosmog inside a container to use its power at the expense of its own wellbeing, opening Ultra Wormholes all over Alola in addition to one right there, before ordering someone working for her to "quiet those children for me" as she doesn't "want to hear from them again," which is a wild thing to say about a group of preteens (and one kid who looks like a young, particularly edgy teenager).

The reporter's article concludes with stating that neither the Aether Foundation's main branch nor their Unova branch have responded to a request for comment, and they're frankly unsure of how to get in touch with the hacker Sedici, but that the Alolan government is taking clear evidence of Lusamine Aether's involvement in the Ulra Beast Crisis very seriously and there are rumors of the International Police getting involved.]

[theriverbeyond]

THE ANTICAPITALIST MESSAGING IN HADESTOWN TOOK ME SO COMPLETELY BY SURPRISE IN SUCH A GOOD WAY AND I HAVEN'T SEEN ENOUGH PEOPLE TALKING ABOUT IT BECAUSE ITS SO GOOD AND IT WORKS WITH THEIR STORY SO WELL

YEAH EXACTLY Im like... is it all just so obvious everyone decided it's redundant to mention or??? HELLO???

And I was sitting in the audience as one does and Chant was actually the song that reframed the entire show for me -- up until then I was like "aw :') theyre falling in love and are doomed, I should google all these lyrics later" but that song just... I felt like I was being hit in the face w a fish, honestly!!

"In the coldest time of year/ Why is it so hot down here?/ Hotter than a crucible/ It ain't right and it ain't natural"

"In the darkest time of year/ Why is it so bright down here?/ Brighter than a carnival/ It ain't right and it ain't natural"

Persephone's lyrics here are so specific -> a "crucible" is an ancient tool that can be used to create art but also industrialized into mass production, a "carnival" something that is inherently about celebration and festivity and joy but it is also a thing that can be commercialized almost beyond recognition. Capitalism is ravenous and will never be satiafied or sated, it will steal & exploit every scrap of art and joy that it can, then corrupt it all into hollow immitations that it then sells back to you on websites like SHEIN and Disney+.

"It ain't right and it ain't natural" hits so hard in this song because nothing is as natural, or as "right", as death -- so obviously Persephone is NOT talking about the literal underworld to the literal god of the dead. She's talking about how we need to stay warm and safe and dry in the winter, but we don't need fresh summer fruits imported from thousands of miles away. We need to stay cool and safe and hydrated in the summer, but we don't need to steal water from another state to keep the golf courses green. The winter is natural, the cold is natural, seeking warmth and light is natural. What is unnatural is this overconsumption, this never ending, never satisfied hunger.

And then of course you have Hades' parts,

Here, I fashioned things of steel/ Oil drums and automobiles/ Then I kept that furnace fed/ With the fossils of the dead

And wasn't it electrifying/ When I made the neon shine!/ Silver screen, cathode ray/ Brighter than the light of day

And obviously "fossils of the dead" is a reference to Hades being the literal god of the dead, in the ground, in the underworld, and it is also a reference to the modern dependence on oil and fossil fuels, but TO ME it is also about how capitalism relies on the exploitation of workers. In this show, the "fossils of the dead" are literally Hades' subjects. They're the workers of his factory town, and he both exploits them and is fully dependent on them, just like how the furnance of industry/capitalism relies on YOUR body, YOUR labor, it eats you when you're alive and it often continues to eat you when you're dead.

And then like "wasn't it electrifying" -> it's EXCITING what technology and industry does, but the problem is the overconsumption and the overproduction ("Brighter than the light of day") beyond what anyone actually needs or even wants. It ain't right and it ain't natural!!!

Every year, it's getting worse/ Hadestown, hell on Earth!

And the wind is so strong/ That's why times are so hard/ It's because of the gods/ The gods have forgotten the song of their love

Lover, what have you become/ Coal cars and oil drums/ Warehouse walls and factory floors/ I don't know you anymore

And it all keeps building in this song, re-emphasizing that Hades is not who he once was, that he has changed. Which again is not only commentary about consumption vs overconsumption, and how so many things started as wonderful ideas that could save people and help people and help make the world better were corrupted and turned into profit machines, killing machines, etc. "The gods have forgotten the song of their love" UGH

I also think the Themes are magnified because this is presented extremely directly alongside Euridyce's growing desperation, especially with the context that Euridyce DOES, in fact, "sell out" to Hades' promises.

There is no food left to find/ It's hard enough to feed yourself/ Let alone somebody else

Desperation forces her hand, she turns to Hades because he offers salvation, and she ends up just another nameless worker turning the gears of his machine. And I feel this is so similar to how when rich people are like "Just do XYZ", or telling people to bootstrap, or selling quick fixes to desperate people, when the reality is they got where they did due to a combination of luck, pre-existing social/monetary capital, etc, and buying into their promises of wealth will only make them richer and you more dependent and vulnerable.

[copperbadge]

Howdy! I am considering submitting manuscripts I've written to a publisher or possibly self publishing. The publisher states on their website that authors must maintain an active social media presence. I'm not normally a social media type, Tumblr is my only one. What would you reccommend for such? Is it worth it to pay someone to make a website for me? Thanks and many virtual kisses for Dot and Deebs!

Honestly, I haven't submitted to a publisher since before a lot of modern social media existed. :D

It is my understanding, but this is secondhand information, that publishers want you to have either a twitter or a tiktok, preferably both, where you're frequently active and have a high follower count, because they want you to be able to publicize your book on it. One of many reasons I don't even consider trad publishing anymore is that I don't want to spend a significant chunk of my time filming videos for the sole purpose of hawking my books.

Now, as I said, that's an inference I've drawn; you may want to speak to someone who has been trad published recently to get the inside scoop (readers if you work in publishing or have been published recently, feel free to add commentary; remember to comment or reblogs, as I don't repost asks sent in response to other asks). I do have an author website but I built my own; I don't know what the going rate is for paying someone to build one these days but most website platforms are pretty intuitive to use -- I built mine on Wordpress and I'm building a new one on Wix currently, and at this point both are very drag-and-drop oriented. I do think a website is a good thing for an author to have, but I wouldn't pay someone to build one for you until you've taken a swing at DIY and decided it's not where you want to spend your time and energy.

In terms of self-publishing, the good news is that none of the rules apply; this is also the bad news. :D Because the thing about selfpub is that you either pay or DIY for...everything. It can be very inexpensive; when I publish a book the only direct monetary cost is what I pay for an ISBN and a proof copy of the book, which I will make back in the first 10 sales or so. However, I am "paying" in man hours in terms of typesetting, cover design, uploading the PDFs to lulu.com, proofing the initial copy, correcting the proof and reuploading (which usually involves further typesetting), and of course all the publicity -- website design and redesign, copywriting, tumblr posting. And while my profit per copy sold is well above what most authors with traditional publishers will make, that's because the publisher is doing a lot of the work for you. And, because I don't have an active twitter or tiktok or a publisher, my books are not very widely publicized. Undoubtedly I sell fewer copies than I would if I had a robust twitter following, but catch me touching that rancid wasteland without inch-thick gloves on.

So -- I think it's probably pretty important to understand that I have deliberately rejected trad publishing for good but not lucrative reasons, and I'm considered at best an iconoclast and more commonly a crank for having done so. If you can go the tradpub route, I would, but I also wouldn't put any money you're not prepared to write off as a loss into that pursuit. Definitely I would see if there's anyone in the industry you can reach out to who can answer these questions with a more thorough understanding of what publishers look for in an author and how to go about achieving that than I possess.

In any case, good luck! It's a journey regardless and I hope you enjoy your time on the path wherever you end up. And I'll give the cryptids a special cuddle for ya.

[queerliblib]

Hey I'm sure this is too complex a subject to discuss with a single answer but I felt that sending a DM is probably too forward - how do you start a project like this? An online library people can access through Libby, I mean. What steps are involved and how many people/how much funding did you need to get it off the ground?

hello - yes it’s a bit complex, we can’t get too far into the weeds, but here’s some context! it took a lot of planning and a community of people with the right skillsets (library -specifically collections & digital licensing etc, nonprofit fundraising, social media, business, graphic design, etc) working as a team to bring things together.

Some of the big steps we took were: 1. make a website & socials 2. figure out non-profit status 3. build a following 4. decide on vendor/platform/tech needs 4. pay someone to build us a better website 5. fundraise! (our opening, minimum-viable-product, fundraising goal was 15k in summer ’23)- of course that’s evolved a lot since then 6. set up membership process & policies, set up vendor contracts 7. buy books & launch library! 8. continue buying books, dealing with holds, handling media inquiries, keep socials and website up & accurate, continued fundraising etc….

it’s been one whole year!!!* since we opened as a fully functional digital lending library and closer to three since we started planning

[strangebiology]

"How do I do your job as a side hustle?"

[Excerpt from Authors of Nonfiction Books in Progress]

Recently I talked to someone who wanted to get good at social media. When I told her I have 315k followers across platforms, she said, “How do you do that!? Teach me your ways!” She was interested in making money from social media. I was also invited to lead an online course on social media or book writing as a side hustle.

It reminded me of all the times I’ve heard, “How do you find so many bones?” or “How did you get that award?” or “How do you get a book deal?” or "How do you make money from writing?"

I LOVE talking about this stuff. I WILL talk about these topics for hours. And I LOVE the implication in the conversation that I'm good at something.

I also really respect the positivity in general that comes with someone asking if they could do that. It is good to ask how someone does something rather than resigning yourself to "I'm not good at that stuff." (AND the people who ask me are polite and respectful of my time! So no hate at all!)

BUT! I realized that people aren't liking the answers I give.

I used to enthusiastically give detailed tutorial answers to "how do you do that?" I often got interrupted when I did that. “Yeah yeah yeah, I don’t have time for that!” People don’t have 60 seconds to hear a summary of steps of how to do something, but they think they have time to learn to do it well? It can take years.

I realized people expect me to advise some quick tips they can employ over the weekend, and they’ll have the skill/award/grant/contract in a couple of days with no previous relevant experience. Or maybe there’s a website where they can download these skills, like in The Matrix.

Now I try to find one-sentence answers that imply a huge amount of homework for them. How do you get a book contract? “Build a writing career.” How do you get a lot of followers? “content is king, audience is queen.” How did you get that award? “Do something that would win that kind of thing.”

(Also, I don't make much money on social media, so I don't have advice for making it a side hustle.)

I asked other science writers if they often get asked how to make their career (science writing, book writing, social media, etc) into a side hustle, wondering if I'm wrong to say "I don't recommend it as a side hustle." The professionals I talked to agreed that they would say the same thing. Some said they feel it's a bit ignorant and disrespectful to think someone else's career is something anyone could do, and profit significantly from, after a 1-minute conversation and little work.

Even people who have been writing for years are struggling to find work in this field. It's hard. I have an MS in Science Journalism that I will likely never finish paying for--I'm not saying everyone needs that, or even that it's very common in this field. It's not. But geez, if science writing were a skill you could get in a 60-second phone call, I would have done that!

Imagine if I said to you, "I've got some free time on Thursday, I think I'll start doing your job on the side. How hard could it be?"

It can certainly be worth it to learn these things, and there are some things you, personally, might be 90% of the way to achieving! So, maybe a 10-minute conversation can help you start the process of capitalizing on your existing skills! I just encourage you to realize the answer to “how do you achieve X” is almost always “a ton of work and practice.” 

Maybe ask more specific questions after you've already done significant Googling. For example, “What’s the title of the award again so I can look for it?” “What science writing communities do you recommend?” I can answer those.

PS. I'd love to hear if you've had similar or different experiences! *Is* your job something you recommend to anyone as a side income? Or are you constantly battling that assumption?