#and really illustrates something I've been thinking

[ask-whitepearl-and-steven]

I wanted to ask. How "canon" are the Asks that appear in the comic? Like, some of them are simply like, "How's your friend Connie", and then the comic would be about her. But it's general enough where the story would progress regardless if the question canon or not.

And I mostly ask this because I distinctly remember an Asker asking Steven if he knew what the Diamond Authority was.

So if the Asks aren't really canon, and just help illustrate the story, that's fine. But if they are canon, then how does a random Tumblr user know about the Diamond Authority? 🤨

Ahh, it's just something that I thought was funny, but it probably doesn't mean much in hindsight. 😅

You are absolutely right about the fact that it doesn't mean much in hindsight...

I think that ask about the diamond authority was one of the only ones that I let slip through, for the sake of having Steven act confused about it, because I've been otherwise pretty diligent about not answering meta asks.

The truth is that the asks ARE meant to be canon - they're all supposed to be from people who are reading Steven's blog, and are only really aware of things that have currently happened in the comic.

(That's why, if you sent me an ask about something like Rose's identity or the other diamonds, I have chosen to ignore it. I won't let askers hop the narrative fence of the 4th wall.)

But yes, you're right....it's not been really all that consistent.

That's my bad!

[tiredsunrisesmeta]

Damen's Trauma, Akielos, & Cultural Community

I've been thinking about Damen's trauma & the ways he changes because of it and how it connects to his cultural identity: Damen's trauma & experiences in Vere under Laurent do come to strain & complicate his relationship with his past, his country, & his countrymen. His realization of Akielon violence on the border, his growing horror at slavery, his questioning of his father's rule, his acceptance of Kastor's duplicity, his anger at Jokaste's betrayal & his disagreeing with Nikandros's misguided exasperation & confusion at his choices in Kings Rising are some examples of this.

Another conflict ofc is the famous "a kingdom or this" conflict. His singular, unique love for Laurent clashes with his loyalty to his role as king, his country & its customs as particularly illustrated by Damen's actions at the Kingsmeet. An even earlier example, happens in Prince's Gambit after Damen kills an Akielon soldier to protect Laurent. He asks Laurent: "Don't try to use me against my own people." This conflict between his loyalty to Akielos & his loyalty to Laurent is already present relatively early in Damen & Laurent's association. Thankfully, Damen never truly has to choose because Laurent honors Damen's request. 

But despite these many conflicts, I believe Damen's trauma & its resulting emotional transformation ultimately brings him closer to Akielos, not farther from it. Because of his experiences in Vere, Damen is at the crossroads of his past & future self as well as at the crossroads of Akielos as he knew it & Akielos as it will become under his rule. Yet, despite this transformation into a new Damen & a new Akielos, Damen's past & the relationships he had, including their good & bad parts, aren't something he ever completely sheds or ever really needs to.

There's a framing of Damen's character arc that could focus on how Damen's trauma has so fundamentally changed him it puts some kind of uncrossable emotional distance between him and his past life including everyone he knew in Akielos. In this framing, his trauma reveals fundamental truths that he can no longer reconcile. Kastor is not a good brother (& never truly loved him), Theomedes is not someone worthy of Damen's hero worship (& never truly loved him), Jokaste chose herself over him (& never truly loved him), Nikandros no longer understands him (& maybe never did). 

There's a truth to all these observations. Though interpretations vary widely, of course. I, for example, disagree that any of those characters never truly loved Damen. I also think Nikandros understood the old Damen and is capable of eventually understanding the new Damen as well. Nevertheless, this framing of Damen's character arc & past relationships, at its harshest and most extreme, essentially isolates Damen from all his significant loved ones that are Akielon, and not literally (by death or literal distance like in canon) but spiritually.

In this framing, Damen's transformation essentially causes him to "outgrow" these past connections & both the personal & cultural significance they once carried for him. But I think the books refute that framing. While there is strain in Damen's relationship to Akielos & Akielons there is never an outright cutting or diminishing of these bonds & this identity. Many parts of Damen have changed but this does not cause an emotional gulf & disconnect that Damen does not at least try to bridge.

Until the very end, Damen desperately wants to forgive Kastor & keep him as his brother. Until the very end, he trusts Kastor when he should not. Damen, despite his very real wounded rage and new self protective hardness when it comes to Jokaste, nevertheless starts to understand Jokaste's motivations. Damen accepts he does not want to rule as his father did, but he still loves his father & cherishes his father's love for him, and he is not punished for this. Laurent comes to symbolize this by being the one to comfort Damen as he finally lets himself mourn his father. Despite all Theomedes did that ultimately caused the death of Auguste & the destruction of Laurent's life as he knew it, Laurent & the narrative do not punish or disapprove of Damen's grief for his father. Even Damen does not punish himself for it. Laurent also embodies this same empathy when he encourages Damen to bury Kastor in the royal crypt, accepting Damen's true personal wishes no matter how they might come across politically.

Now to Nikandros. It is true that Nikandros does not and can not understand so much of what has changed in Damen when they meet again in Kings Rising. Him & Damen clash on many things, including Laurent, plans & strategy, and bed slaves. Part of this is because Nikandros symbolizes Akielos as it was before Damen was taken from it. Akielos, as it would be if Damen had never left it. Like a rock left in a garden & returned to after many years. This symbolic connection between Nikandros & Akielos is illustrated in Nikandros's introduction in KR: "Damen took in Nikandros's familiar, classically Akielon features, his dark hair and brows, his olive face and straight Akielon nose." Nikandros is the quintessential Akielon. In many ways, he symbolizes home to Damen.

But the familiarity of Nikandros's Akielon face & demeanor are contrasted with Damen's thoughts of his own transformation after his traumatic experience in Vere. Damen thinks "The self that he had been striving to return to was gone." 

Nikandros is Akielos as Damen knew it before his father's death & subsequent enslavement & abuse. And Damen can no longer be in perfect harmony with the Akielos he once knew because he is no longer the Damen he once was. Yet this distance is not meant to be seen as insurmountable because Nikandros is not an unchanging rock, despite his relatively rigid ways. He accepts Damen's changes & decisions, befuddled, disapproving sometimes, exasperated, yes, but he accepts them nonetheless. So as Akielos will change under Damen's leadership, so too will Nikandros. Nikandros (the last remaining Akielon loved one still actively in Damen's life) will stay at Damen's (and Laurent's) side helping transform the new kingdom alongside him. 

So yes, Damen's trauma and experiences in these books has deeply changed him. Has made him more empathetic to the lives & struggles of the lowest castes of society, made him less jingoistic, more critical of his country's practices, made him more discerning of duplicity. It has also caused him shame and continued mental distress & suffering. It's caused him to repress his emotions even more than he already did (something Laurent tries to help him work through in the Summer Palace). It's caused him to harden himself in some ways. But his trauma has not made him incapable of deeply connecting to his past. The new Damen is not one made bereft of Akielon community, connection or identity because of his trauma. Nor is he someone who can only be made whole again by Laurent or Laurent's community.

It's not as if this is an interpretation people actually have of course. It's more that I think Damen completely disconnected from his roots is the natural endgame of the framing of Damen's trauma & transformation that I outlined above. Which is why Nikandros & his continuing friendship with Damen is absolutely integral to Damen & to Damen's story & character arc in Captive Prince. Nikandros embodies Akielos in many ways. All that it was, is & could & will be for Damen.

As an aside: I also find it interesting how this maintaining of the softer parts of Damen (despite his trauma), the parts that allow him to make & maintain connections, affects his relationships with the Veretians in his life. Not just Laurent, either. If Damen's trauma did manifest as insurmountable emotional disconnect or irreconcilable rage, what would his relationships with Jord, Paschal, Ancel, & Berenger look like (in canon & post-canon)? These characters either actively participated in his abuse or watched & did nothing to stop it. Yet, Damen's internal monologue affords them empathy, understanding, comradery, & even in some cases his own guilt at not being truthful about his identity with them. It offers them that when it could have offered them complete contempt or fraught disconnection. This is morally neutral. Damen's internal forgiveness is not necessarily an unquestionable good. It's just who Damen is.

There's a few fics that tackle the possible manifestations of Damen's trauma in relation to these characters, but it seems relatively less explored ground. But I think it's interesting to consider the similarities between Damen's reactions to the Veretians & Akielons in his life.

It's fascinating that Damen's capacity to forgive is mostly reserved for people that have hurt him & not others. (Kastor is one exception to this since Kastor has killed their father & killed most of the people in Damen's household. But, Damen's personal forgiveness is tempered with his understanding that Kastor can not go unpunished. Though I'd still argue house arrest in Ios is exceptionally generous and almost laughably lenient). He can be quite morally stringent about anyone who "hits someone who can't hit back" except if the person getting hit is himself 🤔. There's probably so much I could say, if I put my mind to it, about Damen's capacity to ignore and/or forgive violence done against him, starting all the way back to when Kastor stabs him at 13 to Laurent's abuse to Ancel's assault. But that's definitely for another time!

[softquietsteadylove]

AND you did it again, life interrupted is now my favorite AU thank you so much for writing more of it!! Gil is so sweet and Druig just wants whats best for his big sister 🥹 would love love love to see something where Thena is having a Bad Day and Gil is just being extra kind and gentle and soft w her, maybe even it gets to the point where Thena explains what happened to her and why she’s lost her way a bit. Sorry I cannot stop thinking about this AU but as usual anything you write will make me lose my mind with its perfection!!!

Thena sniffed, sitting at Gil's kitchen as he poured her a glass of water. Her hands still had a slight shake to them, even though it had taken them fifteen minutes to walk to his place.

Gil still didn't know exactly what had happened. Just that one minute she was fine and the next she was trembling with her arms wrapped around herself. He had thrown his coat around her shoulders and gotten her home without further incident. He hadn't asked about it yet, either.

From the moment they walked in, all he'd done was whisper sweet nothings and reassurances and been nice and gentle with her. All he'd done was be perfect.

"Hey," Gil whispered as she took a sip without the glass shaking too badly. He leaned his head down to get a look at her, eyes searching for anything wrong and what he might be able to do about it. "Better?"

Thena gulped, nodding. How did she ever find such a perfect soul as Gilgamesh?

"I'm gonna name off a few things," Gil said softly, hovering close but not too close. "You tell me what sounds good, okay?"

Thena nodded again. Maybe she wanted to tell him he didn't have to coddle her. Maybe she wanted to pretend everything was fine. Maybe she wanted to lie down on his floor and sob until Druig came to pick her up.

"Something to eat?" God, no, she couldn't bear the thought of food (not even Gil's). "Nap?...couch?"

Gil smiled as she nodded. He tilted his brows up at her, "want me to carry you?"

Thena's eyes watered, and it seemed as good as a 'yes' in Gil's eyes, because he didn't hesitate to scoop her up bridal style and carry her to his living room. She pressed her tears into his shirt. "I'm sorry."

"You have nothing to be sorry for," he said as sure as anything. He sat himself down, letting her curl up against him on his lap. He held her gently, but firmly.

"I didn't want..." Thena trailed off. There were a lot of things she didn't want, and having a panic attack in the middle of their date was definitely pretty high on that list.

"It's okay, Thena," Gil whispered, running his hand over her hair and holding her around the waist. "All that matters to me is that you're feeling better."

Thena sighed, burying her face against his shoulder again. He was perfect--too perfect. "Too good for me."

"No," he was quick to deny. He twisted her hair over her shoulder so he could bury his nose against the side of her neck. "You deserve to be taken care of, Thena."

She wished she felt that way.

"You are so important to me," Gil whispered against her cheek, leaving light kisses there. "I asked you out for the same reason I started saving lunch for you."

Thena pulled away now just to look at him curiously.

He smiled that same smile that had first stolen her heart back in the psych ward. It was warm, and gentle, and even when she'd been medicated to heaven and back, she'd been able to feel her heart beating faster at the sight of it. It was all the medicine she needed.

"I did it to see that smile," he said gently, running his thumb along her jaw line, as if to pull her lips into a smile like smoothing a crease out of a fitted sheet. Her smile did appear, and his doubled in size. "There it is!"

Thena let out a small, shaky, watery sounding laugh. But Gil pulled her closer, pressing a kiss to her forehead to express how pleased he was by it, no matter how fragile it was. She sighed, letting his warmth and the smell of his aftershave swim around in her head.

Gil let her take her time, happy to hold her--to have her safe in his arms. He nuzzled her gently, tapped his fingers against her leg, rubbed her back and petted her hair.

Thena pressed her forehead under his chin. "Druig asked me to go with him to tell our father and step-mother that he wanted--wants to propose."

Gil waited for her to go on at her own pace.

Thena resettled herself in his arms. He was so comfy. "I told him he shouldn't try to involve them, but I imagine he still has some slight desire to feel like a family."

"I agreed to go with him, but our father didn't take the news particularly well. He's always been hard on Druig, and this time his temper was just...I had never seen them like that."

Gil ran his fingers through her hair as her breath hitched.

"They were so angry, and they started shouting," she continued, voice pulled thinner until it was a whisper. "Ajak told them to stop, but it just made it worse. Druig isn't big enough to fight him."

Her sentences were becoming fractured again--something she hadn't been able to completely break herself of after being in the psych ward those three months.

"I was scared," she whimpered, and Gil responded by holding her tighter. "I thought they were going to kill each other."

"You got in between them?"

She nodded, and Gil's hand gripped her shoulder. It was just short of too tight, but she could imagine it wasn't pleasant to imagine for him. "I pulled our father off of Druig, clawing at him. He turned around and..."

Gil sucked in a breath through his nose and held it, but he said nothing. She had more to say, and he wasn't about to interrupt her.

"Ajak ended up calling the police," Thena regained some strength in her voice, deep, deep in the memory of the fateful night. "It was agreed that no charges would be pressed if Druig took some time off work, Father performed some community service, and I-"

"Got checked into the hospital?" Gil asked, sounding more baffled than when he'd guessed she had gotten involved in their fight. "Why were you the only one with that punishment?"

Thena shrugged. "I'm sure they were more likely to believe in my hysteria than their anger."

Gil scoffed.

"I suppose in fairness to them," Thena shrugged, "they did arrive to me telling our father I would kill him."

"Well," Gil shrugged as well to match her lighter tone, "it sounds like he deserved it."

Thena let out another - stronger - laugh. How as he so perfect.? She emerged from the memory to look at him properly. He brushed some hair back from her face and let the hand drift over her cheek. She leaned into his touch achingly. "I'm afraid it's not very pleasant. But that's how I ended up meeting you."

"Well, I hate to say anything good came of that," Gil mumbled, as if sharing a secret with her. "But...I'm still glad you ended up in my lunch line."

She laughed again, smiling through the last of her unshed tears.

"I guess that's pretty selfish of me," he whispered, still looking at her with those eyes and that smile--the only things that would bring her comfort when she was in that hellhole.

"It's okay," she whispered back, "you can be selfish."

Gil closed his eyes as she leaned forward to kiss his cheek.

"That wasn't the first time they'd ended up like that, just the worst of them," Thena continued, somewhat easier now. "I've always been spooked by shouting and loud noises ever since my father's first truly bad display of temper."

Gil just nodded, pulling her head against his again. There had been a scuffle in the crowd outside the cinema--that was what had triggered her. "I'm sorry."

Thena shook her head, pursing her lips. "Every time, I think I can move past it-"

"You don't have to," he gripped her shoulder. "I know you might not like it, but it's a part of you. And we don't have to like it all the time to accept it--that it comes with you as a package deal."

Thena wilted against him. "Are you sure you're not a therapist from the psych ward disguised as a cook?"

Gil laughed, his chest vibrating against her shoulder in a very comforting way. "Guess I've heard enough group sessions in the cafeteria to have picked up some things."

Thena stretched out in his embrace like a cat in front of a fire. She was positively worn out from all the events of the day. "You're perfect."

"No one's perfect," he corrected softly, "but I guess...I really want you to feel like you can be yourself around me."

Gil changed his position as well, lying on his side with her still curled up against him. He budged the throw pillow more under her head than his. "I know we didn't meet in a...traditional way."

What an understatement.

"But," he threaded their fingers together, his breath hitting her face as he whispered, "I want this to work, Thena. I want to be here to make you smile every single day--just once, if you don't want to too much."

Thena laughed, her forehead bumping against his in their proximity.

Gil inhaled, looking like her laughter was something that could be injected into his veins for energy. "Maybe a laugh once a day--it is the best medicine."

Thena, lying on her side, staring at this wonderful, perfect man, shook her head. He blinked at her denial, but she smiled so wide her cheeks hurt, "you."

Gil's eyes slid closed as she leaned forward, touching her lips to his ever so gently. He returned the kiss, soft and sweet as it was--nothing demanding or intense. Just a little exchange of affection. His eyes fluttered open and he had this dopey smile on his face.

Thena let her eyes drift down between them to their connected hands. She flexed them a little, to test if it was really real. But his fingers slid down to clasp around her hand more firmly.

Gil pressed a kiss to her forehead, "tired now?"

Thena nodded, shimmying to properly nestle herself into him.

Gil wrapped an arm around her, letting his hand spread over her back as if that alone could protect her from today and every one to come. "I'll be right here."

Thena smiled against his shirt, drinking in the scent of his detergent and the warmth of his arm around her. "Perfect."

[violetscanfly]

This has probably been done before but I haven't seen it so! Today I offer you Alien Stage except wangxian👽

[moonviewer]

"I will keep going forward, no matter how hopeless it might seem."

(please do not repost my art and just leave a link to it if you'd like to share instead, thank you!)

[erufin-art]

My contribution to the Meat Store Era Sophie thing

Second one is also inspired by this ↓

[forgetfulmachineart]

[ID: Teen Gojo pouting and crying shiny tears. He's resting his chin on is arm on a desk and his circular glasses are in his hands. Some of the star tears float off and some drip down his face. /End ID]

⭐ Star Boy ⭐

[kyouka-supremacy]

Mmmhh...

[miisfits-toys]

I have, in an attempt to figure out how printing works, decided to print and bind the first 2 chapters of my comic <:-)!!

Came out to be 18 pages (including front/back) and 5.5x7.5 inches. Not bad for hastily putting it together...!

So strange (but good!) to have my own creation in my hands. I hope to take a crack at it again once my current story-line is complete. Have the full "book," you know?

[blujaydoodles]

doodled this about a month ago while snuggled up in a big leaf blanket with fingerless gloves and a mug of hot cider, and folks can you guess what I'm doing right now,

[grasshoppergeography]

Hey All,

I've been away for some time, as we've been working really hard on something quite exciting:

let me present to you the world's first ever global ocean drainage basin map that shows all permanent and temporary water flows on the planet.

This is quite big news, as far as I know this has never been done before. There are hundreds of hours of work in it (with the data + manual work as well) and it's quite a relief that they are all finished now.

But what is an ocean drainage basin map, I hear most of you asking? A couple of years ago I tried to find a map that shows which ocean does each of the world's rivers end up in. I was a bit surprised to see there is no map like that, so I just decided I'll make it myself - as usual :) Well, after realizing all the technical difficulties, I wasn't so surprised any more that it didn't exist. So yeah, it was quite a challenge but I am very happy with the result.

In addition to the global map I've created a set of 43 maps for different countries, states and continents, four versions for each: maps with white and black background, and a version for both with coloured oceans (aka polygons). Here's the global map with polygons:

I know from experience that maps can be great conversation starters, and I aim to make maps that are visually striking and can effectively deliver a message. With these ocean drainage basin maps the most important part was to make them easily understandable, so after you have seen one, the others all become effortless to interpret as well. Let me know how I did, I really appreciate any and all kinds of feedback.

Here are a few more from the set, I hope you too learn something new from them. I certainly did, and I am a geographer.

The greatest surprise with Europe is that its biggest river is all grey, as the Volga flows into the Caspian sea, therefore its basin counts as endorheic.

An endorheic basin is one which never reaches the ocean, mostly because it dries out in desert areas or ends up in lakes with no outflow. The biggest endorheic basin is the Caspian’s, but the area of the Great Basin in the US is also a good example of endorheic basins.

I love how the green of the Atlantic Ocean tangles together in the middle.

No, the dividing line is not at Cape Town, unfortunately.

I know these two colours weren’t the best choice for colourblind people and I sincerely apologize for that. I’ve been planning to make colourblind-friendly versions of my maps for ages now – still not sure when I get there, but I want you to know that it’s just moved up on my todo-list. A lot further up.

Minnesota is quite crazy with all that blue, right? Some other US states that are equally mind-blowing: North Dakota, New Mexico, Colorado, Wyoming. You can check them all out here.

Yes, most of the Peruvian waters drain into the Atlantic Ocean. Here are the maps of Peru, if you want to take a closer look.

Asia is amazingly colourful with lots of endorheic basins in the middle areas: deserts, the Himalayas and the Caspian sea are to blame. Also note how the Indonesian islands of Java and Sumatra are divided.

I mentioned earlier that I also made white versions of all maps. Here’s Australia with its vast deserts. If you're wondering about the weird lines in the middle: that’s the Simpson desert with its famous parallel sand dunes.

North America with white background and colourful oceans looks pretty neat, I think.

Finally, I made the drainage basin maps of the individual oceans: The Atlantic, the Arctic, the Indian and the Pacific. The Arctic is my favourite one.

I really hope you like my new maps, and that they will become as popular as my river basin maps. Those have already helped dozens of environmental NGOs to illustrate their important messages all around the world. It would be nice if these maps too could find their purpose.

[dduane]

I just received a copy of a book I've been very much looking forward to by a favorite author, but the quality of the book itself is... not great. Cheap paper, weak binding, even a weird illustration of the main character on the cover that I'm having trouble believing the author approved. Obviously, I don't want to leave a bad review on Amazon or GoodReads or anywhere, as I'm 100% certain the content is as excellent as her other work. But how can I best let the publisher (Baen) know I'm disappointed without threatening to never buy her books again? Because, well, if this is the only option, I'm gonna keep buying them even in my disappointment.

Well, the first thing I thought when I read this was "Wow, I'm really glad I don't have anything in print from Baen at the moment except a couple of anthologized short stories." :)

As for the rest of it, let's take it point by point.

Adding a cut here, because this will run a bit long. Caution: contains auctorial bitching and moaning, painful illustrations of cases in point, and brief advice on how to complain most effectively. (Also links to paintings of cats.)

Cheap paper: This has been an accurate complaint since well before COVID—and it's often been worse since, with supply chain issues also being involved. That said: one way publishers routinely save money on printing books, especially the bigger ones, is by going for thinner/cheaper paper. I remember one of our UK editors going on at great length and with huge annoyance—during one of those late-night convention-bar bitch sessions—over how the only way they could get some really good books published (because Upstairs insisted on reducing the per-copy production costs) was by reducing the paper quality to the point where you could nearly read through it. Sacrificing decent text size(s) also became part of this. Nobody in editorial was happy about the result: but there wasn't much they could do.

Bad bindings: Similar problem. Sewn bindings used to be a thing in paperbacks... but not any more: not for a good while, now. These days, it's all glue. Even hardcovers are showing up glued rather than sewn. Don't get me started. :/ (This is why I so treasure some of the oldest paperbacks I've acquired, which are actually sewn.)

Crap covers: I've had my share of these—though my share of some really good ones, too. And one of the endless frustrations of traditional publishing is that the writer routinely has little or even no influence over what the cover will look like... let alone how much will be spent on it, or (an often-related issue) how good the execution will be.

There are of course exceptions. If you're working at the, well, @neil-gaiman -esque level or similar in publishing, a lot more attention is going to be paid to your thoughts. You may even be able to get "cover veto" written into your contracts, so that if you disapprove, changes will get made. But without actual contractual stipulations, the writer has zero legal recourse or way to withhold approval. (And I bet even Neil has some horror stories.)

The normal workflow looks like this. After a book's purchased, its editor and the art director discuss what it's about and what the cover should look like. The art director then hires an artist and tells them what to do. After that, the artist executes their vision and gets paid. It is incredibly rare for a writer to have any significant input into this process. And as to whether or not they approve of the final result, well... the publisher mostly just shrugs and goes back to eyeing the bottom line, muttering "Who told them they get a vote?"

Now, I've been seriously lucky to occasionally be an exception in this regard. In particular, my editors at Harcourt (when Jane Yolen and Michael Stearns were editing Harcourt's Magic Carpet YA imprint) would ask me what I thought would be a good idea for the next Young Wizards cover, and I'd think about it a bit and send them back a paragraph or so about some core scene. They'd then talk to their art director, and after that send their notes and mine to Cliff Nielsen (who started doing the covers for the hardcover and mass-market paperback editions of the series in the mid-90s) or to Greg Swearingen (who was the artist on the digest-format editions). And the results, by and large, were pretty good. ...I also think affectionately of the UK artist Mick Posen, who insisted on seeing pictures of our cats before painting the covers for the Hodder editions of The Book of Night with Moon and On Her Majesty's Wizardly Service (the UK title for To Visit The Queen).

But this kind of treatment is a courtesy—not even vaguely suggested in the books' contracts, and very much the exception to the rule. And for every writer who's midlist, there are times when the luck runs out. For example: one time I wrote a book that was an AU-Earth-near-future fantasy police procedural, thematically pretty dark—dealing with issues of abuse of megacorporate power, institutionalized bigotry, and (explicitly) attempted genocide. And the cover, done by an artist who's a good friend and some of whose fabulous art hangs in our house, came out looking like this. It was... let's just say "not ideally representative."

So I was glad, when my local workflow allowed it, to recover the current, revised version of the book with something at least a little more apropos. But the original cover's not the artist's fault. He did what the art director told him... as a cover artist must do to get paid, and (ideally) to get hired again. At present, that's how the system works.

...So. You've got a badly-built and -presented book on your hands. How best to make your feelings known in some way that might make a difference down the line? (As you make it plain that you'll keep buying this author's books this way if you must.)

First of all: when (as part of my psych nursing training) we were taught how to complain most effectively, we were told that the first and most basic rule of the art is this:

Only Complain To Someone Who Can Actually Do Something About Your Problem

So I salute your desire not to waste your time taking the issue to the reviews on Amazon, or the pages of Goodreads... because they can't do anything. The odds that anyone from production at Baen is reading the comments there strike me as... well, not infinitesimally small, not being hit-by-a-meteorite-while-in-the-shopping-center-parking-lot small... but really low.

So: write to corporate.

In your place I would go online and rummage around a bit to find out who's on record as the publisher at Baen. I would then write them a letter on paper. And I would lay out the problem pretty much as you laid it out up at the top.

The tone I think I'd choose would be the more-in-sorrow-than-in-anger approach. I'd say, "I write to comment about your recently published book by [X Writer], whose work I love. I have to say, though, that I don't think the cover on [X Book] is terribly representative of the quality of the prose inside. And also, the construction and production quality of the book itself was a disappointment to me because [here spell out why].

"I'd really like to see [X. Writer's] books succeed with you, and I'd like to buy more of them without wondering whether I was going to be disappointed again. But if this is typical of how they're being produced, I'd also be concerned that the state of these books is setting up a situation in which the author's sales will be damaged, and you would stop publishing them... which would really be a shame. Whereas on the other hand, better production quality could keep previous purchasers coming back and buying, not only more books by this author, but books by others whom you publish."

This phrasing, as you'll have seen, walks a bit wide around the issue of your further purchases, while directing attention toward the bottom line... which will routinely be what the publisher's looking at from day to day. And—being, one has to hope, in possession of the wider picture as regards what's going on with their production costs—maybe they can actually do something about it.

Anyway, nothing ventured, nothing gained, yeah? It's worth a try. All you can do is hope for the best.

And finally: please know that I admire your commitment to the author: whoever she is, she's lucky to have you. It's a terrific thing to have readers who'll willing to spend the time to hunt you down, and who're willing not to judge a book by its cover. :)

[vanessagillings]

I’m posting the ever-so-rare photo of myself alongside one of my characters based on my childhood because today is World Autism Acceptance Day, and I wanted to show my little corner of the internet who this particular autistic person is:  

I was officially diagnosed in February, at age 38 (I’m now 39). A lot of people thought I couldn’t be autistic.  Some people who know me in real life still don’t.  And until around 10 years ago, I didn’t think I could be either, because I was nothing like the stereotype media portrays. I was told that autistics lacked empathy (untrue), and never played make-believe (also often untrue) and only enjoyed STEM.  I was — and am — an empathetic artist -- and make believe?  I can spend days sketching finely bedecked bears brewing tea or carefully choosing the right words to weave tapestries of fiction — though perhaps my hyper focus was a bit of a red flag.  Even so, how could autism describe me?  I was a good student.  I got straight A's. I didn’t act out in class.  I can make eye contact…if I must.  And lots of girls hate having their hair brushed with an unholy passion, right?  Clearly I swim in sarcasm like a fish, so autism couldn't be why I was so anxious all the time, could it?

If someone had told me when I was younger what autism ACTUALLY is — instead of the nonsense I’d seen on screens — I would have seen myself in it.  I didn’t hear that autistics have sensory issues until I was in my mid-twenties, which is when I first began to really research autism symptoms, and I had almost all of them:  sensitivity to light, smells, fabrics, temperatures, textures, and certain touches, all of which make me feel anxious, I fidget (stim), I never know what the hell to do with my hands or where to look, I talk too little or too much, I have special interests, I have entire animated movies memorized shot-by-shot and can remember the first time and place I saw every movie I've ever seen but I often forget what I'm trying to say mid-sentence, I echo movies and tv shows (my husband and I have a whole repertoire of shared echolalias, making up about 20% of our conversations), I was in speech therapy as a kid, I have issues with dysnomia and verbal fluency, I toe-walk, I can't multitask to save my life, I like things just-so, I’m deeply introverted but not shy, I need to recover from all social interaction — even social interaction I enjoy — and I find stupid, every day things like grocery shopping, driving and making appointments overwhelming and intensely stressful, sometimes to the point where I struggle to speak.  It turns out, I am definitely autistic. My results weren't borderline. Not even close. And while these aren’t all of my challenges, and not everyone with these symptoms is autistic, it’s definitely something to look into if you present with all of these things at once. 

So why did it take me so long to get diagnosed? The same bias that exists in media threads through the medical community as well, and because I'm a woman who can discuss the weather while smiling on cue, few people thought I was worth looking into. Even after I was fairly certain I was autistic, receiving an official diagnosis in the US is unnecessarily difficult and expensive, and in my case, completely uncovered by my insurance.  It cost me over $4000, and I could only afford it because my husband makes more money than I do as a freelance illustrator — a job I fell into largely because it didn’t require in-person work; like many autists, I have been chronically underemployed and underpaid, in part due to physical illness in my twenties, which is a topic for another day.  But it shouldn’t be like this.  It shouldn’t be so hard for adults to receive diagnoses and it shouldn’t be so hard for people to see themselves in this condition to begin with due to misinformation and stereotypes. Like many issues in America, these barriers are even higher for marginalized groups with multiple intersectionalities. 

It’s commonly said that if you’ve met one autistic person, you’ve met one autistic person.  This is why it’s called a spectrum, not because there’s a linear progression of severity (someone who appears to have low support needs like myself might need more than it seems, and vice versa), but because every autistic person has their own strengths and weaknesses, challenges and experiences, opinions and needs.  No two people on the spectrum present in the same way.  And that’s a good thing!  No way of being autistic is inherently any better than any other, and even if someone on the spectrum struggles with things I don’t — or can do things I can’t — doesn’t make them more or less deserving of respect and human dignity.

But speaking solely for myself, the more I learn about autism, the happier I am to be autistic.  I struggle to find words and exert fine motor control, but my deep passion and fixation has made me good at art and storytelling anyway.  I find more joy watching dogs and studying leaf shapes on my walks than most people do in an entire day.  More often than not, the barriers I’ve faced weren’t due to my autism directly, but due to society being overly rigid about what it considers a valid way of existing.  My hope in writing this today is that maybe one person will realize that autism isn’t what they thought — and that being different is not the same as being less than. My hope with my fiction is to give autistic children mirrors with which to see themselves, and everyone else windows through which to see us as we actually are.

If you’re interested in learning more about autism or think you might be autistic, too, I recommend the Autism Self Advocacy Network  autisticadvocacy.org and the following books:

What I Mean When I Say I’m Autistic by Annie Kotowicz

We're Not Broken by Eric Garcia

Knowing Why edited by Elizabeth Bartmess

Unmasking Autism by Devon Price, PhD

Loud Hands edited by Julia Bascom

Neurotribes by Steve Silberman

(trigger warning: the last two contain quite a lot of upsetting material involving institutionalized child abuse, but I think it’s important for people to know how often autistic children were — and are — abused simply for being neurodivergent).

Thanks for reading 💛

[kozachenko]

Finally decided to play around with my old lineless style again! Also figured out a way to draw Reimu that I actually really like!

Artist's Notes;

I've mentioned in a few earlier posts that I've been wanting to draw in my lineless style again for a while as a way to test what I've learnt from my previous style in regards to lighting. I did the face first and then for a while was thinking about doing a full body illustration of Reimu just to draw her outfit again. I'll talk about the face first since that's the first drawing I did in this batch.

For the longest time I really couldn't find a way to translate Reimu's face into my style. I was able to make her clothes work out well, just not really her face. I did like elements of how I drew her face a few other times, namely the tiny eyebrows and her pupils, but they didn't really feel like Reimu to me, or at least how I imagined her in my head. I then realized that it was less of a problem with the entire face and moreso the eyes, and it took me quite a bit of trial and error to make something that I was happy with. Also, as much as I thought the tiny eyebrows were cute, it didn't really make sense with her character. Like, from what I know about Japanese history, plucking your eyebrows was something that nobles (rich people) would do, and since Reimu is...neither of those things, I decided to just give her some thicker eyebrows instead (I will be saving the plucked eyebrows for another character though, so they will return). After I got to a face I was happy with, my next challenge was the hair. I did the front part first and liked that enough to continue, and then after more trial and error I realized that deep down I was a short-hair-Reimu-is-best-Reimu-truther this whole time because once I gave up on the long hair and gave her shorter hair something just clicked in my brain. And so, after drawing her outfit in again (this time without the yellow tie which is kinda sad but I'll find a way to incorperate it into future designs because it just was not making sense to me in context with the rest of the outfit) and finnicking around with the bow, I came to a version of Reimu's face that I actually liked. I thought that it made more sense for her character to have her cut it short, mainly because she's doing a bunch of Youkai extermination and she has to keep her hair out of her face somehow. I still wanted to make it kinda messy though, as Reimu is probably too lazy to clean it up herself. I think another reason I like it so much is because in Forbidden Scrollery, Moe Harukawa gave Reimu short hair and that really suited her, so I guess that was just a subconcious reason as to why I liked it so much. I also think that the shorter hair helps to separate her a lot from Marisa, as I think Marisa looks really good with longer hair. Speaking of, now I wanna do a drawing of her and Reimu together to really solidify how I draw them (unlike the previous version where it was just them standing). As much as I do like the face, I am concerned if she looks too much like how I drew Keiki now, but that might just be a product of the stylistic choices I made with her eyes and I might just be overthinking it. I am hyperaware of same face syndrome so that's probably the reason I'm so concerned about it lol.

Now for the fully body drawing. I was struggling to think of a good pose for her, so I just took a picture of myself and used that as a reference while still making slight adjustments for readability's sake. This is another case of, "I've looked at this too long and can spot every single issue with it" but this time I'm still happy with the final product mainly because this was a test drive for how I want to develop my lineless style in the future and for what it is I am more than pleased with the result. The main reason I deviated away from my lineless style was mainly because I was having a hard time with the lighting and making it interesting, and I am so glad that I've finally found a way to make it work! I'm especially happy with the clothes, as I think clothing folds are really fun to draw. I was somewhat inspired by the works of J.C. Lyendecker and the way he draws clothes, though admittedly it is not a one to one, since I mainly wanted to try implying the shading of the clothing folds with shapes (I do really want to do a study of his style one day as his art is incredible). So for the sleeves, I drew in a bunch of triangles where I wanted there to be a strong highlight, roughly coloured in the inside, and then blended them all so it looks like a more subtle. On both of these drawings, I also added in a noise filter to give it some texture (as that's what I used to often do with my drawings) and while I do like it, I might want to experiment with making it more subtle in the future, as it's pretty noticeable in both these drawings. Overall, I'm really happy with the lighting and colours of this drawing, and while I could nitpick several aspects of it (her hand holding the gohei looks too tense, I tried making her look like she was standing on the balls of her feet but the positioning of her Gohei's trail of papers ends up making it look weird, and I could've put more effort into the hair and bow and so many more things), this is more of a piece for me to experiment with my style again, and I'm excited for when I get a new idea for a piece, as I really wanna try some more stuff out with this style!

[biceratops7]

hold- wait a fucking minute...

Beelzebub is acting really freaking weird in this scene.

Ok so I encourage you to rewatch it cause I can't really properly illustrate it in gifs, but they don't sound irritated, or even particularly intimidating. We know Beezlebub to be a very dry person, even in moments they want something and need to manipulate/ convince someone for it. So this abnormally animated and even somewhat friendly demeanor doesn't strike me as part of buttering Crowley up to get him to help them.

This is a weird line. We know Beelzebub isn't like Shax, they've been around a bit more and have a better grasp on things like tone and figurative language. There's almost no way they're unaware that saying this would immediately clue Crowley in to the fact that Heaven and Hell do in fact have communication, so they must want him to know. For whatever reason, it's important to them that Crowley knows they're a reputable source.

And then I remembered where I've heard that tone before.

It's nearly the exact same one Crowley uses to tell Aziraphale that he needs to protect them. It's the kind of tone you use when you need someone to read between the lines and understand more than you can safely tell them. Beelzebub is fully ready to believe Shax when they say Gabriel's in the bookshop, and acknowledge later that Aziraphale was a very fitting and likely candidate to harbor him. They know full well Crowley doesn't want jack shit to do with Hell, and would probably be offended if anything by anyone referring to his "nasty little heart". That is merely a performance to mask what they're really trying to tell him, which is that Aziraphale is in danger.

Without this detail Crowley very well could've turned Gabriel in to Heaven instead of Hell, he certainly doesn't see much difference between the two. Beelzebub is the reason he decisively doesn't, and races home in a panic.

And I think it's genuinely so sweet, this moment of understanding and comradery between them that goes unnoticed, even to Crowley. They drop the shtick and make sure that he knows the book of life is a real threat, and you only need to be merely involved in hiding him to be erased from it. Because to them, there's also the very real possibility that Crowley knows about Gabriel while Aziraphale doesn't, so they're double checking Crowley will not to tell him and instead go straight to them. There’s just something so protective in it.

[ellecdc]

I'm back with another request!!!

This one is remus×femreader bc we love remi in this house

Basically, remi and reader are arguing about something stupid (something to do with books) and there's a lot of flirting going on whilst arguing. Remus starts becoming a little amused while arguing and tries to hide his smile (we all know he has eyes that glitter when he's happy). Reader gets annoyed and starts going off on him and Remus kisses her to shut her up. The thing is, the reader has never been kissed before. And she REALLY likes him. So she's shocked to say the least. She stares at him in disbelieve and Remi's like "what" and she goes "you kissed me" "ik" Remus says plainly. "I've never been kissed before" reader whispers while looking down, ashamed. Remus feels bad so he takes her by her shoulders, tilts her chin up, and kisses her again. Properly.

Thanks, love! Here are some flowers for you 💐

soooo cute - hope I did your idea justice!!

Remus Lupin x fem!reader who has never been kissed

CW: fluff, narrative around consent

“I cannot believe you just said that.” You deadpanned, staring at Remus with a fiery glint in your eye as he watched you very clearly try to fight off a smile. 

“Why would I not say it?” Remus asked incredulously as you repositioned yourself on the sofa to angle your body towards him for better arguing.

“Because it’s so incredibly wrong.”

“Well now that’s ignorant.”

You scoffed disbelievingly at him. “You did not just call me ignorant.”

“Nope, wrong again.” He laughed. “I said your statement was ignorant.”

“In what sodding world did Amy and Laurie make any sense?” You asked then, slapping your hand against your knee to punctuate your question.

“Uhm, this one? Obviously, that’s why it’s canon.”

You pursed your lips as if you were restraining yourself from bodily launching yourself at Remus; he really wished you wouldn’t.

“Author’s don’t get it right all of the time.” You said instead of telling Remus to go fuck himself. 

“I don’t think that’s true; this book has become a classic for a reason. Louisa May Alcott didn’t write these things by accident, there was intention and purpose behind these characters and their choices.”

“Yes, and the purpose was to drive readers mad!” You nearly screeched.

“Or perhaps it was to illustrate to young women that they don’t need to settle for their childhood friend.” He countered. 

“It wasn’t settling! She loved him back!” 

Remus couldn’t help but smile then; between your passion, how cute you looked when you were wound up, and the fact that you were screaming about love made his own heart beat in double time. 

“You’re sodding laughing at me.” You narrated with a disbelieving head shake, clearly misinterpreting Remus’ lovesick expression for humour. “Remus Lupin! Stop laughing at me!” You shouted playfully, landing a few good whacks on his arm with the book as he pretended to shield himself from you. 

“Okay, so not only do you have horrid takes on classic literature, but you also use classic literature to assault people? What has the world come to?” Remus teased as you continued your attack. 

“You. Are. Infuriating!” You spat, punctuating each word with a whack as you moved to stand on your knees for better access to Remus.

Better access indeed he decided as he quickly grabbed your wrists, rendering your weapon utterly useless as it hung limp in your hand.

“I’m infuriating, am I?” He asked you quietly.

“Exhausting.” You agreed, matching his volume.

“Exhausting?”

“Troublesome.”

“Is that so?” 

“And completely unromantic! I mean, how could-”

But he never got to hear what your next argument was about how perfect Laurie and Jo would have been together before he quickly slotted his lips against yours.

For how energetic the conversation had been, the kiss was decidedly not; it was soft, gentle, tentative, and Remus only hoped you couldn’t read him like a book for how utterly in love he was with you. 

And entirely too soon was Remus pulling away from your face, still holding your wrists as he looked between your eyes.

“You…kissed me.” You whispered; the statement sounding nearly like a question as you looked at Remus with a mixture of shock and bemusement. 

Remus felt his stomach drop; was he not supposed to? He should have asked first; fucking arse. Had he read this all wrong; were you not into him like that? Had he been projecting his own feelings onto you, merely expecting you to reciprocate feelings he’d never properly expressed? 

“Yes…I- was that not okay?”

“I…I’ve never been kissed before…” You admitted quietly, arms falling limp in Remus’ hands as he loosened his grip. 

“Oh dove, I’m sorry. I- did…you want to be kissed?” He asked, leaving out the ‘by me?’ 

You looked surprised at his question; the corner of your mouth turning upwards as you examined Remus' face. He hoped to Godric his cheeks weren’t as red as they felt. 

“Very much so.” You whispered.

Feeling hopefully brave by the way your fingers were fiddling with the cuff of his sleeve and the way your eyes were fixed on his lips, he moved his hands to your waist and encouraged you to straddle his lap. You positioned yourself immediately, as if being in his lap was the most natural thing in the world, watching as his hands trailed up to your shoulders and down your arms, guiding your hands to rest on his shoulders. 

“Yeah?” He asked under his breath. 

“Please.” You whispered back.

“Oh pretty girl,” he cooed; pushing a lock of hair behind your ear before hooking a finger under your chin to pull your lips towards his. “It’d be my absolute pleasure.”