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abbysfrenchbraid · 4 years

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Truth or Dare

Hi guys! This is a oneshot in which the (female) reader is stationed at an WLF outpost and joined by Abby for a work assignment. They become roommates and the reader starts to develop feelings for Abby but isn’t sure if they’re reciprocated until a night of truth or dare with friends reveals more than Abby intended.

It was inspired by this picture of angry/confused Abby with her hair down shared in the Abby Simp Society Discord server (message me or @theenglishmonster if you’re interested in joining!). Sadly I couldn’t find the editor anywhere, so let me know if you know who I should credit!

4.4k words, a little angst + smut

content warnings: alcohol consumption, smut, mention of sex in public, derogatory language (if you need me to tag anything else let me know)

feedback is very welcome, enjoy!

Truth or Dare

You were laying in the bottom bunk of the bed you had shared with your fellow WLF Abby for the last month. She had been restationed to your outpost and there had only been a few empty bunks left. You had enjoyed having your own room before, even if it was tiny and fitted only two metal locker cabinets and the bed, as well as a small table and chair in front of the 5th story window. As your outpost didn’t allow men and women to share rooms unless they were married, Abby and her patrol partner Manny had to split up when they arrived.

The tall blonde made quite the impression on you; she was always composed and stone-faced, standing straight and towering above most of the other soldiers. The first days you two hadn’t talked much, she had taken the empty top bunk and one of the lockers without complaining and told you that you wouldn’t have to take up with her for long.

After two weeks, she had come in angry and breathing heavily, kicking the bedpost and sinking down next to you on the bottom bunk, putting her head in her hands. Isaac had sent a man named Owen to pull Manny off the job and stay at this post with Abby for the next three months. She had reluctantly begun to tell you about their dynamic, how Owen was her ex boyfriend and Manny had been the only good friend she had in this place. You had felt sorry for her and invited her to come along for some game nights with your friends. She had slowly warmed up to you and was extremely grateful for being able to spend time with you instead of Owen, who had found himself some friends with the hooch experts.

This night was going to be different. One of your friends had managed to trade some home grown mushrooms for the outpost’s best hooch and suggested to play truth or dare. After some reluctancy on Abby’s side, everyone agreed and you sat down in a circle. After the first few sips it suddenly became very clear to you how close Abby was sitting next to you, her left knee touching your right ever so slightly. From that point on, you couldn’t concentrate on anything else but that tiny, sweet, hot spot where your bodies connected.

You had kept your distance from the soldier, sensing that she was not the type of person who enjoyed physical contact with people she didn’t trust completely. Still, you had often thought about what it must be like to sink your head onto the stronger woman’s broad chest and be wrapped into her arms, feeling so small and secure in her embrace. You had pushed the idea away, seeing as Abby was more trustful and open with you now but still kept some doors closed, some parts of her hidden away beneath that perfectly smooth face that rarely showed what was going on behind it.

Nina, a younger girl who had just completed a dare to perform her favorite song for the group, smiled warmly at Abby. “Your turn!” Abby had started to relax and you really liked seeing this loosened up, smiling version of her enjoying herself with your friends. She picked truth.

“How do you like your roommate?” Abby tried to stifle a grin but then she just laughed out loud and your heart felt like it was going to combust. She looked at you and placed her hand on your knee for a second, then seemed to realize what she was doing and quickly put her hands in her lap. “I gotta be honest with you, when I came here I just wanted to get this job over with and leave as fast as possible. That’s why I didn’t even attempt to make any friends or get to know Y/N. But when Manny left, it was extremely kind of Y/N to just take me in and introduce me to all of you, which she was by no means obligated to after I was so cold to her at first.” Abby turned her gaze towards you. “I’d actually count you among my close friends.”

There was a gleam in her eye as she said it and a part of you just wanted to jump on her and kiss every inch of her face for being so open and unapologetic and cute in front of everyone. You restrained yourself and just beamed at her, internally looking forward to going to your room later and talking all night. Only talking of course. The images that shot through your mind, of Abby throwing you on the bed and crawling on top of you, of pulling that braid you had never seen her take out, of her fingers at your throat and in your mouth, you quickly fought them down and cleared your throat.

It was now Abby’s turn to ask, but surprisingly she didn’t choose you. She dared a guy who had made jokes about being stronger than her earlier to arm wrestle her so everyone quickly put together a table and two chairs for the contestants. It was a quick match. Abby let him struggle a little bit, then she gave you the faintest smile and slammed his hand on the table, making everyone jump to her with congratulations and more alcohol. When she sat down again next to you, she made sure to sit exactly like she had before, your knees touching lightly. A wave of affection and pride rushed over you. This was your friend, the woman who had just told everyone how much she liked you. You looked into her eyes to find that feeling in her too, that unconditional warmth and that want for more, a spark of the fire that could erupt at any moment if any of you dared to ignite it. It was like looking into a mirror - there was something fierce in her gaze, drawing you in and telling you to just wait until you two were alone.

When it came to the defeated wrestler’s turn next, he unexpectedly picked you. You were wondering what he was going to want from you when you saw that Aaron, the dark-haired, handsome man who had organized the drinking night, straightened up and winked at his buddy. After you warily picked dare, he shot immediately: “I dare you to kiss Aaron.” While some of the others whooped or giggled, Abby stiffened next to you and changed her position. The spot on your knee that had just been buzzing with electricity from her touch now felt strangely cold and numb.

You gave the triumphant Aaron a defeated half-smile and got up to go around the circle and kneel down next to him. The rules were the rules, you weren’t going to cop out on a kiss and embarrass yourself, as much as you just wanted to grab Abby’s hand and flee. As you looked at Aaron, you could see Abby out of the corner of your eye, looking away with a strange look on her face - was it anger? Sadness? Maybe she just thought the dare was childish. You went in for a quick kiss, but Aaron grabbed the back of your neck and pulled you in, kissing you hard until you finally managed to break free. The first thing you saw was Abby’s face; she looked absolutely furious.

Suddenly the door flew open and you jumped to your feet at the sound. “Well, what’s going on in here? Was that a full on makeout session?”

Of all people, it had to be Owen taking the first step through the door, opening up his arms, bottle in one hand, and grinning in your face. “What’s wrong, sweetheart? Don’t you have a little room left for three more players?” Two of his friends came in behind him, also lightly swaying from the alcohol they must have had beforehand. You felt yourself blush bright red and freeze, not able to say a word.

Right in that moment, something brushed your arm and before you could register what was going on, Abby had stormed out of the room, almost knocking Owen over with a shove of her shoulder as she passed him. By the time you had gathered yourself she was long gone.

“Well, someone clearly didn’t enjoy themselves. More room for us!” Owen tried to sound lighthearted but you could hear that he was a little shaken by the confrontation. Him and Abby had had to work together a few times during the last weeks and they had kept it professional; this came unexpected.

You pulled yourself together. “I’m off too, I’ve had enough of that awful brew.” Before Owen had the time to be offended, you had slipped past him and closed the door behind you. After rounding the corner with a few quick steps, you leaned your back against the wall and took a deep breath. Too much had happened in the last few hours. Where was Abby? What was going on between the two of you? You decided to head back to your shared room, hoping she would be there.

When you opened the door, Abby was leaning against the desk with her arms folded, staring at you distractedly from underneath furrowed brows. As she registered you being there, she straightened up and dropped her gaze to the floor.

You were at a loss for words. Part of you just wanted to go to her and kiss her, tell her it was okay and that she shouldn’t worry about Owen or Aaron or any other idiot trying to come between you. On the other hand, she seemed on edge, angry and disappointed, and you didn’t want to make the situation worse by overstepping any boundaries. Maybe you should have had given her some time alone before barging in like this; after all, this was the only safe space she had in the outpost.

You made the decision to leave it up to her. “Do you want me here right now? Or do you need some time alone? I’m sorry that the night ended like this, I didn’t know he was going to come.”

Abby looked at you with such sadness in her eyes that your heart dropped. “I don’t care about Owen. Whatever, you don’t get it. I’m going to shower, I can’t go to bed smelling like alcohol and sweat. You can stay here, I don’t mind. It’s your room after all.” And with that, she grabbed her towel from the bunk bed and was out the door.

You sank onto your bed with an exhausted sigh. “You don’t get it,” that had been a stab right at your heart. How could you possibly understand what was going on in Abby’s head when she never fucking talked to you about anything? How were you supposed to make a move or tell her how you felt when she looked at you with those thick stone walls almost visible behind her eyes, never letting anyone in? Of course it was the right thing to be cautious and not trust anyone too quickly, people regularly lied and cheated to get what they wanted here and the WLF was certainly not as tightly-knitted and honorable as Isaac would like it to be. But you had been nothing but kind and understanding to Abby, showing her every day that she could feel safe with you and trust you, introducing her to everyone and telling her your secrets and worries every night before bed. Today had been the first time she ever opened up about her feelings and the night had to be ruined by two stupid, insensitive, drunk men.

Lost in thought, you didn’t notice the steps outside the door. Abby came in, wearing one of her token black cutoffs and grey sweatpants she had brought back from a recent protection run. She had given you a smaller pair, still wrapped in plastic and completely new, without any holes or dirt on it. You were so distracted by the pants that you didn’t notice until Abby had crossed the room and hung her towel over the chair at the desk - her hair was down! It was still drying from the shower, long dark blonde strands falling over her shoulders and down her back leaving wet spots on the cotton fabric of her shirt. The soldier usually braided it while it was still wet so as to keep it extremely neat and in its form, meaning you never got to see anything else. She kept her hands on the chair and looked out the window, down onto the small square in front of the building where the night patrol was just heading out the gate.

“Your hair is down.” Wow, insightful commentary from your big brain. You wanted to smack yourself across the face; instead you got up and took a step towards her. She took a deep breath and turned around.

“I snapped my hair tie in the shower. I’ll find something else to tie it with tomorrow. Let’s just go to sleep, okay?”

With pleading eyes she silently asked you to let it go, not talk about it and act like nothing happened tomorrow. But you knew it was going to be different if you didn’t talk about it now. She would become distant again and you wouldn’t get another chance at cracking her shell.

“What was that about earlier? When Owen came in?”

She immediately leaned away from you and crossed her arms, her usual defense mechanism setting in. “I told you, I don’t want to do this now. You know he’s my ex and I just didn’t want to deal with him right now. The evening was going well until…”

“Until what? You work with him all the time, what’s the big deal all of a sudden? I get that you don’t wanna party with him but you could have told me and we could have left without attracting this much attention. Aaron just invited us to have a nice evening and I couldn’t even say goodbye to him properly!”

The mention of Aaron lit a fire in Abby’s eyes, her face forming into a mask of pure disgust and rage. She straightened up to her full height and glared down at you. “Aaron is a piece of shit! Using some stupid children’s game to get a girl to kiss him instead of having the balls to do it himself.” You opened your mouth for an answer but she cut you off. “What, did you actually enjoy kissing him? That grimy little macho? I guess I was wrong about a lot of things then.”

The Wolf wanted to rush past you like she had done to Owen earlier but you grabbed her by her upper arm and leaned into her with your full weight. She stopped dead in her tracks and her bicep flexed underneath your grasp as she jerked back her arm, staring at you with a mixture of hurt and confusion.

“Listen to me! I’ve known Aaron for a long time and I know he’s had a crush on me for a long time. I always shut him down and tried to prevent hurting his feelings because I don’t feel the same for him, you hear that? I’m not into him, I just wanted to play the game and give him this one kiss because he’s not getting another one ever again and he knows it.”

Abby had shrunk down at your tirade and leaned against the frame of the bed, watching you questioningly.

“Abby, I have adored you ever since you set foot in this room and I don’t care if this is going to ruin everything, I’ve had enough. Every time you’re in the same room I can’t concentrate because all I see is you! Tonight you opened up to me for the first time and I was the happiest I have been in a long time. Why won’t you understand that I won’t hurt you, I won’t betray you, Abby, I want you!”

You were practically spitting out the words now, your voice cracking as tears started to build in your eyes and threatened to come rushing down your cheeks. With an angry wipe of your wrist you banned them from your face and stared into Abby’s eyes. She seemed to be processing what you had just said, arms hanging down her sides and no longer on guard for you and the world.

You sighed and let your shoulders drop. “That’s all you need to know. Now you can go to sleep.”

Suddenly there was movement. Abby rushed towards you, slamming you against the wall behind you and pressing her lips to yours. She tasted like mint and the faint aroma of liquor lingering between both of you after drinking all night, but now you could smell her for the first time. Sometimes when Abby had walked past you, she had left a tiny cloud of her musk, smelling like wood, faint sweat and something you couldn’t quite place. Now you could immediately tell it was pine, meaning the badass soldier actually spent a lot of trading goods just for the special WLF base pine soap and you weren’t complaining.

You ran your fingers through her damp hair and felt her shudder underneath your hands, drawing back her head ever so slightly to look at you. She laid a rough, calloused hand on your cheek with utmost care and gentleness, wiping away a single tear that had escaped with her thumb and then softly caressing your bottom lip.

“Is that okay?” Her words were only a quiet breath against your skin, the warmth of her hands almost making you melt like wax underneath her touch. You answered by pulling her in for another kiss, quickly running the tip of your tongue over her closed lips and making her fall into you. You let out a tiny whine and she flinched, releasing you immediately. “Oh shit, I didn’t mean to hurt you. I’m sorry, I can be thoughtless sometimes.”

You stepped forward and grabbed her by the hem of her worn down shirt. “You didn’t hurt me, Abby. Come with me.”

Stepping around her, you crouched back into the bunk bed and threw her an inviting smile. She reacted immediately, crawling into the small space and on top of you, coming down on her elbows left and right of your shoulders and placing one knee between your legs. Your next kiss was more heated than the ones before, her tongue daring to push against yours and mix her mint flavour with the alcohol on yours. She finally dropped some of her weight on you, grinding her thigh against you and making you gasp into her mouth, your eyes flying open to reveal a malicious smile on the blonde’s lips. You hadn’t even noticed the bloodflow to the space between your hips and your heightened sensitivity almost made your vision go blank for a second.

Abby continued to press her thigh between your legs while attacking your throat with kisses you would definitely still see the remains of in the morning but you didn’t mind. You just wanted to be even closer to her, grabbing a fistful of her beautiful long hair and pulling her head back, making her groan and dig her nails into your shoulder.

“You like that, baby? Take your shirt off for me.” Her eyes widened at your commanding tone, but she obliged immediately, pulling the cutoff over her head and tossing it into the corner, then returning to your neck with an even stronger passion. She grabbed your breast with one hand, squeezing it while biting into the skin on your throat, sucking hard and following the trail of marks she had left with the tip of her tongue. You could hardly stifle your whimpers anymore and decided to gain the upper hand again, pulling your foot up and bending your knee in order to squeeze your thigh against her crotch. She collapsed on top of you and moaned into your neck, mumbling curses as she got back onto her forearms and laid her forehead against yours, slowly grinding back against your thigh.

You held the back of her head with one hand and started to gently drag the fingers of the other one along Abby’s jaw, her throat and collarbones, drawing circles around her breast and slowly coming to a point at her nipple, teasing and lightly pinching it and making the heavy woman on top of you whimper into your ear while keeping the friction between both of your bodies. As your hand moved lower, exploring her toned stomach, you wound a few strands of her hair around your other hand and finally arrived at the hem of her sweatpants. You slowly pulled the string and brushed a finger along the line where skin and fabric met. The blonde instinctively lifted her hips up and allowed you to slide your hand inside, finding nothing underneath but soft curls and burning hot skin. You let your fingers wander deeper and they were instantly met with hot, slick wetness, making you moan in surprise and slide your fingers along Abby’s folds, instantly covering them in her juices.

Abby let out a quiet sob next to your ear. “Please don’t tease me Y/N, I’m so close already.”

You pulled her head back and made her look at you, giving her a half-pitying, half-devilish look. “Poor Abby, are so needy you almost came into your pants just from riding my thigh? I don’t know if I should even let you cum, needy whores need to be put in their place. I should ride your face first and then maybe I’ll think about it.”

The soldier had given in completely; Abby was a whimpering mess on top of you, her wetness running down your wrist and her hips desperately bucking forward into your hand, trying to regain some form of friction. “Please Y/N, I’ll be good, I’ll do everything you want, please, please touch me!”

Satisfied, you pushed two fingers inside her, sinking them in entirely and feeling her contract around you as she gasped and went wide-eyed, staring down at you in ecstasy and opening her mouth in a silent scream. You slowly started to move your fingers in and out of her, stroking that tender spot inside her that made her thighs twitch and her eyes roll back into her head. Wanting to pick up the pace, she began to roll her hips back onto your fingers and fought herself back up on her hands, gazing at you through half-closed eyes and strands of hair falling into her face.

“That’s a good girl, riding my fingers like a little whore.” Abby let out a grunt of protest but didn’t stop, sitting up straight and leaning back, placing her hands on your legs to keep her balance. You took the opportunity to pull her pants down to her thighs, revealing dark, shining curls and ivory skin. After taking in the view for a moment you decided it was time to give her what she wanted, placing the pad of your thumb on the spot that had been waiting for any attention from you until now. As you touched the small mound, Abby gasped and shifted her hips forward, losing her rhythm as you slowly rotated your thumb around the pulsing spot.

She took a deep breath and then slammed down onto your fingers mercilessly, riding your fingers with an unhinged expression in her eyes, her face and breasts gleaming with a thin layer of sweat and strands of hair sticking to her skin as her moans got louder and louder. You joined her rhythm, thrusting your hips up and rubbing her clit as you felt her convulse around your fingers and tremble uncontrollably, catching her shoulder and guiding her down to you as she caved in and lost all strength in those beautiful, now useless muscles. You helped her get rid of the sweatpants entirely, the wet spots in the fabric making being naked the more comfortable option. Abby cuddled up close to you and softly kissed the hickeys she had left on your neck earlier.

You smiled down at her and brushed a wet strand of hair behind her ear. “How are you feeling?” The blonde sighed and buried her face in your neck. “Like I need another shower.” She lifted her head, a new thought gleaming behind her eyes. “You think anyone is still up?”

You snorted. “You probably woke up half the hallway. But I don’t think any of them will use the showers in the next few hours, if that’s what you’re playing at.” You knew that Abby hated going to bed dirty or sweaty, she always showered before bed and when she came back from longer missions she wouldn’t even bother to talk to anyone until she was in a clean set of clothes.

Abby pulled your face toward hers and gave you a long, loving kiss. “Of course you can sit on my face first if you want to. I was just thinking of forcing you to be quiet, fucking you against the wall under the hot shower until you can’t stand anymore and making you sit on my shoulders and cum on my face there. I’ll even carry you back here and get us some early breakfast.”

Her words had the desired effect, making you squirm involuntarily and press your thighs together in an attempt to calm yourself. “Fine, who could say no to that? But only if we use your fancy pine soap.”

Abby looked at you in surprise. “You caught that? Well, I like to allow myself that one luxury if I have the means to get it.” She jumped out of the bunk, gave the sweatpants on the floor a kick underneath the bed and threw on a big shirt full of holes along with some boxers, then she gallantly reached out her hand to help you up. You grabbed both of your towels and the small box containing the soap and gave the blonde waiting by the door a peck on the lips.

“Carry me there, too?”

She rolled her eyes and crouched down a little so you could put an arm around her shoulder, swooped you up bridal style and carried you out the door.

#abby anderson #abby tlou #tlou2 #tlou2 fanfiction #abby x reader #abby anderson x reader #abby anderson smut #abby simp society #tw alcohol #owen tlou #manny tlou #pinkchubbiebunnie #f-society-arcade #abbysfirstlove #the last of us 2 #wlf #washington liberation front

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bangtae-sohotddaeng · 3 years

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we’ll be counting stars | k.th. | 1

(^ gif cred: ON THE VOYAGE | pinterest)

pairing: idol!Taehyung x publisher!Reader

rating: nc-17 (for language and themes)

summary: You’d sworn off love and relationships forever. You were here to do your job - work with the biggest boyband of the world. Not forge friendships and...and whatever it was that you and Taehyung were building up with these sneaky glances. It was, to be very fair, your Chief Editor’s fault that you’d landed in this mess. Maybe you should quit your job? Maybe you should quit life -

Oh, he was staring again, and did he freaking lick his lips?

warnings: swearing (reader’s got a potty mouth) + this is set like 5 years in the future + reader has emotional issues, she's a relationship phobe + mentions of weed

genre: so much ANGST ugh + fluff + comedy + some crack

words: 2.1 k

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gimme feedback, much much appreciated!

SIX MONTHS AGO

“Wait a second, really?” You blinked up at the Chief Editor, your boss, in wonder. “Heading this?”

The chocolate skinned, tall woman smiled at you. “Yes, heading this. I’d been looking to hand you something from a really long time, to be honest. This is just the right fit."

You grinned at her, hugging the contract file to your chest. In your thirteen months of employment at the publishing company, through the departmental transfer from HR to Editorial and then the promotion to the Associate Editor position, this was the best thing to happen to you, so far. You finally had a project you were gonna head. You would finally, finally get to handle things on your own—curate your own team, work on an individual project where you made all the decisions.

You breathed out, happily. “I’ll read this thoroughly and report back within an hour, boss. With my sign on it, in all likelihood.”

“I’m counting on it.” Your boss smiled at you.

You looked down at the file. You were going to work with a K-pop group on their auto-biography. You were gonna fly to fucking Korea, for six full months. This was huge. This was awesome. This was what you fucking needed, right now. Your best friend that you had been rooming with for a year was starting to get too comfortable. You were so not up for that kinda shit again.

You looked at the bottom of the front page. Athena had drawn up this contract. Your eyebrows arched. It was no secret that she was your boss’s favourite Acquisition Editor. Some even suspected they were having an affair, despite the gleaming diamond you could see—even right now—on the woman’s finger.

This project had to mean a lot to your boss. And she’d picked you to head it.

“This sounds big, boss,” you mumbled, leafing through the hefty files. You were gonna need a couple hours, maybe, to go through this properly. “And looks big, too.”

“It is big, Y/N. In all the ways. This idea had been brewing in my head for a really long time. I had Athena make the proposal to this K-pop group’s management company, a few months back, and they said yes. She and I had been brainstorming how to approach this. Those guys are pretty tight about their privacy and, um, well. Fraternising policies. It’s all in there, you’ll see.” She pointed a finger at the file in your hands. “We were finally able to draw up the contract with the company’s CEO and Manager. And you were the only one I had in mind when we thought up of building a team and having someone head it so that we don’t have to leave.”

You gave a small, delighted giggle. “Thank you so much, boss. I won’t disappoint you.”

“I know you won’t.”

You got back to your desk and flipped to the first page of the file.

BTS

Your eyes bulged. You had been a busy—and irritable because of all the stupid shit that just constantly kept on happening in your personal life—woman during the past couple of years and really uninvested in anything and everything that had to do with entertainment. This past year had been especially rough ever since your move to the States. You freaking smoked pot when you needed to unwind, what could be worse than that.

But. But—before, when you were a normal, happy woman with a soul, BTS had been kind of a really humongous deal. Did that somehow change in the past couple of years? You strongly doubted it, recalling how huge they’d been growing worldwide, the last time you kept a check. Which you did like crazy.

You momentarily wondered if your boss would still have you as the first consideration if she knew about your crazy ARMY days…

You blinked, coming back from the mental journey, and turned the page. BigHit’s owner was still the same, obviously, but the group members now apparently had individual managers. You blinked, uncomfortable at the knowledge. Reading further, you found something that disturbed you even more.

All the BTS members were done with their Military Service, with Jungkook, Jimin and Namjoon having returned from it just this year.

You swallowed, thickly. A lot had changed in the world outside of the one you’d been living in, too, apparently.

You read through the terms and conditions and your duties, thoroughly. Few points were pretty obvious and things you’d been expecting, but some of them made you frown.

You brought one such issue to your boss’s acknowledgement when you were done reading the entire booklet of a contract, nearly two hours later. You were ready to sign the thing, otherwise.

“And? What about it?” Your boss blinked at you, unfazed.

You sighed, and lifted your left hand up, pointing at your empty ring finger. “No ring, no fiance, boss. They want the team members to be at least engaged. I’m as single as it gets.”

She chuckled at that. “Tell me honestly, are you unprofessional enough to fraternise on your job? Such a high profile one, at that?”

You worried your bottom lip between your teeth. “I don’t think they’d care about what I think, boss, or that they’d even ask.”

Your boss gave an exasperated sigh. “Okay, let me put it in a different way.” You tilted your head to show your interest. “What’s your opinion on relationships, in general?”

You grimaced, unable to help your knee-jerk response. But then you shrugged, trying not to scowl while you said the words you’d started to believe in since the past couple of years. “Well, as I’d informed you through my quite less-than-professional letter at the time of my joining, boss, I think relationships are pointless. Humans keeping relationships beyond professionalism with each other is pointless, actually, because with a personal attachment comes a buckload of expectations, and then it’s just a rabbit hole down the middle of the earth. At the end of which, we burn.”

Your boss seemed to be suppressing laughter. Did the moral of your life amuse her? “You actually quoted the letter word by word, there, Y/N.”

You sighed. “That wasn’t something I’d thought through when I mailed it, boss. The voice input tool turned my rants into a letter. And my frustration over your concerns about fraternising in the office made me mail it.”

Your boss nodded. “Well, I talked to BigHit’s manager over the phone. The company’s not the group’s,” she added when you frowned in confusion at the singular term. “I explained to him about where you stood—taking references from this letter—and explained to him why I needed my most valuable Associate on the team.”

Your cheeks heated up, both due to the huge praise and embarrassment over the exposure of your letter. “Oh, um. Thank you. I guess?”

“Ugh, sign the damn piece of paper and start collecting the damn team, Y/N!”

You’d resorted to staying back at the office till late hours just to avoid your roommate.

When you’d moved to the country, thirteen months back, and decided to share your decade old friend’s flat—feeling lucky as shit that he worked in the same city as you—you and him had been on the same page. You’d both been fed up with the concepts of relationships and entanglements, even the strictly-physical ones, and wanted to just burn away your youth on the grind and pot-smoking weekends.

But then, gradually, you noticed the shift in him. He was trying to get into your pants. It could not end well.

It wasn’t to say you weren’t attracted to him. You’d jump the gorgeous guy’s bones in a heartbeat, in an alternate universe. But in this one, you’d had a first hand experience of ruining multiple friendships, and you so did not wanna risk another.

That idiot didn’t get it, though.

Hence why you were brainstorming your project’s team at ten oclock of the night in your nearly empty office building.

“Any luck?” Your okay-ish colleague—the least clingy out of the lot—peered at your spreadsheet over your shoulder.

“Why the heck are you so against it, Sana?” you groaned into your palm, frustrated.

“Because I’m ARMY!” she said in an aghast tone.

“So? Dude, that’s nearly 70% of the earth’s population, at this point, I’m guessing.”

“Um, maybe, but. I don’t trust myself to be professional, Y/N,” she morosely mumbled, dropping into an empty chair on the table next to you.

You looked at her from above your glasses. “Why the heck not?”

She ducked her head, her honey blonde hair covering almost all of her face. But you still spotted the red that bloomed across her face. “Because I have a crush on Yoongi, the size of freaking America, Y/N!”

“What? What? That’s your reason?" You covered your mouth with a hand to hold back your laughter. "Lame fucking reason, Sana!” You glared at her when she nervously looked back at you. “Get your shit together, and pack your bags. And give me your husband’s number, I wanna tell him something.”

You hadn’t imagined that picking out five people from a group of thirty would be this hard. You had spent an entire week literally running after these people to convince them. They were all married or engaged save for one, who had plans of proposing to his boyfriend a few months later, during Valentine’s before you convinced him to do it now so that he’d be able to join the team.

You’d come up with a total of four women and two men, including Sana, that were all fluent in Korean. That was kinda one of the biggest prerequisites, other than being in a committed relationship. You’d briefed the lot of them about what was to be done on this trip, who you were dealing with, and how long you’d be off for. They were all on board, now, and the only thing required was your boss’ approval.

And now you were all standing in the Chief Editor’s cabin, waiting for her to finish reviewing the team members’ profiles you’d collected and presented to her.

Your brain was nearly short circuited, at this point. If she said she wasn’t happy with any of your selections you were prepared to tell her to make the new selection herself, because there were only three more married people in this office, and none of them spoke Korean. There were only two more Korean speakers, but they were both female interns who’d be the worst nightmares to put on this project.

You looked at the six people standing next to you, all looking a varied degree of nervous.

But your boss looked impressed as she perused the file. She beamed at all of you, and then nodded. “Prepare for a six months’ stay, people, and prepare to do your best there. The only two real rules to remember are to keep it all a secret until the BigHit people are ready to disclose the news, and not fall in love.”

You all grunted in barely concealed annoyance at the last part, excluding Sana who bit her lip. You rolled your eyes. “It’d be a bigger concern for their partners than it would be to you, if that happens, boss. Don’t worry. We’re all a bunch of professionals, here.” You reassured your boss, shooting a glare at a fidgety Sana.

“I have complete faith in y’all. Now, off you go. Brush up your Korean, spend time with your partners.” She looked at you. “Or just, you know, catch up on lost sleep. You fly to Seoul this Friday.”

Three days from now, oh God.

You all trickled out of your boss’ cabin with furrowed foreheads. You had the most workload out of them all, though, because in addition to preparing to spend six months in a foreign land, you also were to prepare a formal itinerary for said six months. You, of course, were clear on the details because they were mentioned in the contract, but writing them out for your team would definitely take a lot of time.

You briefly wondered if you should employ Sana’s help, before quickly deciding against it. It wouldn’t do you any good to do anything to sway your professional relationship by asking for personal favours.

“Hey, Y/N, all okay?” Simon, the guy that was proposing to his boyfriend early because of you, asked you when you dropped into your office chair with a huge thump.

You turned to scowl at him. “You guys have got to stop asking me that all the time! When have you ever gotten a good answer?”

Simon’s eyes widened, and he quickly shook his head. “My bad.”

You kept squinting at his retreating figure. Another member of your team met your eye, before quickly scrambling away.

You hummed in thought. Did they all think you were a bitch? Maybe you were.

Good. It’d do you some good in Korea.

gimme feedback, much much appreciated!

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series masterlist

Tags: @tangledsparkles

#taehyung angst #bts angst #taehyung fluff #bts fluff #bts imagine #bts au #reposting bc it wasn't showing up in the tags #*mine #f: wbcs

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davidfarland · 3 years

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In the Movie Industry

I was talking once to a movie producer who has about eighty films to his credit, and he was telling me some war stories about how producers and directors had destroyed various actors’ careers. In one case, it was totally by accident. A child actor had graduated to his first starring role in his early twenties, and when he came on the set he acted a bit pretentious, refusing to take advice from his director, treating others with disdain, trying to steal every scene—the usual crud.

Rather than take him to task, the producer suggested to the director that they “give him his head,” the way that you allow a horse to go where it will at times, and then handle the problem in editing. The director did exactly that, and then in editing did his best to “cut the star out of the movie.” He said that he got creative, using the reaction shots from the wrong scenes, and so on. In the end, the movie worked quite well—enough to receive broad critical acclaim and land the young star in a larger movie.

But the actor’s career ended abruptly. The next producer fired the actor relatively early in the shoot, and the fallout in Hollywood was big enough so that the young star never worked again.

I was impressed with my producer friend’s diplomacy. It would have been very difficult to find yourself butting heads with the star of your movie, and then looking for ways to work around the problems that he had created.

In the Writing Industry

Yet I realized that this is something that we do as writers all of the time. Very often, particularly early in a novel, you’ll find that certain characters are a bit long-winded, or you discover that they have problems that seem more intriguing than you wanted them to be, or you get in a mood to really explore a character’s inner life, or to describe a scene in such detail that it kills the pacing.

If you find yourself in one of these traps, don’t be afraid to follow your imagination. Just don’t follow it forever. We’ve all heard of authors who complain that one of their characters just sort of “took over the novel.”

I recall talking to a professional romance novelist who was on her eighth book. According to the outline she had sold to her publisher, her heroine was supposed to fall in love with a young Irish gentleman. Instead, the writer found that a stable boy became far more interesting—so much so that the heroine ran off with him in the end. The author complained bitterly when her editor rejected the novel, patiently explaining that “our readership demands that the love interest fit within the parameters we’ve given you.” She had to go back and rewrite the end.

Because I’ve seen so many people fall into this trap, I have to warn new authors against playing it completely loose. It’s easy to “turn off your internal editor” so much that your editorial skills become atrophied. That’s when you become a hack.

When First Writing a Scene

Let your conversations go a little long. Let your characters repeat ideas. Spend some time over-describing your scene. You can cut out the deadwood in the end, leaving only the most vibrant of the living trees.

In fact, I often recommend that when you’re preparing to write a novel, that you create sketches that won’t be used in your book at all, developing a biography for your character, a background dossier.

Sometimes with major characters, I find helpful to interview a character. By this I mean, I sit down and visualize my character—the way he or she is pacing across the room, the tone of his or her voice, the character’s dress and mannerisms—then I fire questions at random and imagine my character’s responses. For example, in a recent novel I asked a character, “Why are you so attracted to women with dark eyes?” He explained, “When I was young, my brother found a fawn in the woods. Its mother had been killed, and it was starving, so we tried to nurse it back to health. I remember looking into its eyes and thinking, No woman has ever had eyes so beautiful. Even my wife’s eyes only come close.”

Where did the question come from? Somewhere deep in my subconscious. Where did the answer come from? Same place. Yet both the question and the answers surprised me.

The Character Casting Call

Indeed, if you want to take this process one step further, one fun technique in this regard is to use the “casting director’s method for character selection.” That’s where you sit down and imagine that seven people have come to be interviewed for the role in your book. The only problem is, only one of them is just right for the role.

For example, you might be looking for the “handsome hero” for your book. But then you imagine that your heroes come. One might be twenty years too old for the job, and he’s a bit jaded. He’s looking for one last break. Another might be too ugly on the outside, yet so thoughtful and kind that he brings his own enigmatic charm to the table. The next is a sickly kid, a dreamer who is out of touch with reality.

So you interview each character, and if the chemistry is right, perhaps you pick someone that you hadn’t imagined using in the first place. Indeed, many literary writers would say that you must choose someone who doesn’t quite fit. Or maybe you take your handsome hero and give him some of the personality traits that you found in an alternate.

In any case, the point here is that when you’re writing, don’t be afraid to over-write, so long as you edit ruthlessly. In the end, your novel must display only the strongest of your work.

Get the Super Writers’ Bundle at www.mystorydoctor.com

#creative writing tips #free writing tips #writers of tumblr

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shelovescontrol91 · 3 years

Link

In order to lure Camila Cabello to “Cinderella,” Kay Cannon borrowed a page from Prince Charming’s playbook. Sony told Cannon she could direct the film — she had already been writing the screenplay — provided she could convince the pop star that “Cinderella” should be her acting debut. So off Cannon went to Miami to meet with Cabello, having packed a glass slipper she’d bought on Etsy, even though her producers told her that would be “weird,” she says.

“I was there for, like, 30 seconds. And I’m like, ‘I hesitate to do this!’ And I pull out this glass slipper. ‘Does it fit?’”

However embarrassing, the gesture worked. In May, Amazon Studios bought “Cinderella” from Sony — with Cannon’s blessing — and it will premiere on the streamer on Sept. 3. While it’s disappointing that the movie musical won’t primarily play in theaters, the director, who has a daughter too young to get vaccinated, sees only the bright side.

“If the goal is for people to feel joy,” Cannon says, “I think we’re going to reach more people.”

At 47, Cannon is among the still-too-small group of women directors who have a Midas touch for mainstream, feminist comedies. After getting her start as a writer for “30 Rock,” Cannon wrote the three “Pitch Perfect” movies and directed “Blockers,” an emphatically R-rated comedy with a dirty mind and a loving heart.

In summer 2017, Cannon had just completed filming “Blockers” when her agent told her that James Corden wanted to speak with her about a “Cinderella” project. She jumped at the chance — but only because she wanted to meet the late-night talk-show host, not because she had any interest in fairy tales or princess culture. In fact, Cannon was certain that any new “Cinderella” would be a non-starter, since Disney’s 2015 live-action version, starring Lily James, had grossed more than $540 million worldwide so recently. “Nothing’s going to come out of this,” she remembers thinking.

But when Corden and his Fulwell 73 producing partner Leo Pearlman pitched her the idea of a “Cinderella” musical with contemporary songs, saying she could rewrite the fable however she liked, she immediately changed her mind. “I have no poker face,” Cannon says. “And I was like, ‘I want to do this!’”

Cannon’s “Cinderella” has a thoroughly modern message. Ella isn’t interested in marriage, wanting instead to travel the world and be a designer. Cannon also toned down the canonical cattiness of Ella’s stepfamily, and upped the story’s comedy potential. All the while, characters such as the stepmother (Idina Menzel) and the prince (Nicholas Galitzine) are singing songs like “Material Girl” and “Somebody to Love” and “Pitch Perfect”-style mashups like “Whatta Man” with “Seven Nation Army.”

At every step, her guiding principle was “How can it be different?” “I wanted people to get their money’s worth,” Cannon says, “or why do it at all?”

In an interview with Variety, Cannon talks about how COVID-19 affected “Cinderella,” her experience as a woman director and how things have changed in comedy.

The Cinderella story has been told and retold, and had just been a live-action movie when you signed on to write this. How did you want your version to be different? And is it significant here that Camila Cabello is a woman of color?

Yes, I wanted to make sure it was incredibly inclusive. And her being Cuban Mexican is no small thing, and what she represents to millions of people — not only her fans, but to millions.

The story has mostly been told and retold almost exclusively by men: I feel it when I watch. The 2015 Kenneth Branagh “Cinderella” was hugely successful, and it was beautiful. And I love the Whitney Houston, Brandi “Cinderella.” It just feels a little told from their gaze. And I really felt like it was important to me to tell it through my gaze.

Can you talk about creating the Fab G, and what you wanted from that character?

So many amazing actresses have played that role — so I’d written that role to be a man. And, quite honestly, the only one who fit all of everything I wanted was Billy Porter; I wrote it with him in mind. He’s just such a great singer. He’s just so talented. Because I wrote it specifically for Billy, the character kind of came easy. I just wrote it in his voice, and tried to make it funny. I had actually had another song in there, and then as soon as Billy was confirmed, we picked “Shining Star.”

Is the Fab G gender non-binary?

We talked about it. In having many conversations with Billy, I was like, “I think the answer needs to come from you.” He has said “they/them,” and “magic has no gender.” Non-binary for sure.

You started filming in England in February 2020. Tell me about shutting down because of COVID.

We had shot the ball the first week of March, which is something I do not believe I would have been able to do coming back — and it wasn’t a super-spreader. I’d shot all of the Fab G stuff, and all the basement stuff.

It felt like something out of “The Amazing Race” — like, pack up all your stuff! I’d been in the U.K. for like four months, and my family was there. My daughter was going to school there, and my husband was the writer on set. So we packed everything up, and then Camila and her family and my family, we flew back. My husband’s family is in Maine, and so we just stayed in Maine the entire time.

That sounds so nice, actually.

I did all of post in a boathouse in Maine. It was pretty awesome, actually.

During the break, what were you doing?

It was like getting a second prep, really. I was working with my editor, Stacey Schroeder, and we were putting together what we had. And then I was able to see what I needed and what I didn’t need. And I was doing a ton of rewriting, and I was doing a ton of prep that we didn’t necessarily have. Because I had all the opening, I had the finale, I had “Somebody to Love,” I had “Am I Wrong,” “Material Girl” — all these big numbers.

Movie theaters have reopened, and this was obviously made with a theatrical audience in mind. How did the Amazon of it all happen?

Sony is a business, first and foremost. I know that Sony loves the movie, and that partnership was really great on that level. So I think it was hard for them to give it up, but I’m really quite happy that people can see this in this safety of their own homes with loved ones. And it is a wonderful theatrical experience, especially with the music and the sound and everything. And it will open theatrically in some theaters.

It not being a wide release in theaters means that we’re not healthy yet. And so that’s what’s the most upsetting — that we’re not healthy.

As you were moving from being a performer to being a screenwriter, did you always have directing in mind, or was that something that you discovered you wanted to do?

I was led to it. When I was at “30 Rock,” by like Season 5, I really wanted to direct an episode. And I was too chickenshit to ask. I was the writer/producer who was always on set — at that point, I’d spent my 10,000 hours on set for sure. And it wasn’t until I had a meeting with Nathan Kahane at Lionsgate, and he was like, “You should be directing your own stuff.” I have such a respect for academics, and I never went to film school, so I just didn’t think I could do it. And then once he put that in my head, I was like, “Yeah, you know what? I can do it.'”

And is that how “Blockers” came about?

Exactly. Yeah, they sent me the script with an offer to direct. And with no questions asked. I didn’t have to do any kind of auditioning.

That is very rare! Obviously, things have gotten better for women directors in the past few years, after years of the most appalling statistics. What obstacles do you feel like you’ve faced as a woman director?

Especially with “Blockers,” I had a very good experience. I feel like the obstacles I have to face really are from the powers that be that still fight me at every level on what women want to watch, or think is funny. Or what is funny — forget gender.

My stuff happens to have female leads, and it’s female driven. So the jokes are coming out of women’s mouths. And I cannot tell you the amount of fighting I have about what they think is going to work, and what they think isn’t going to work. And there’s a lot of like, “I have all the expertise, you do not have the experience.”

And it’s just like, ‘I’ve been working in the comedy side for 15 years now — successfully.” And so what ends up happening is, I fight and fight and fight, and then I just do it and get it in. And then it gets put in front of an audience and the audience laughs. And then they have to say, “OK, that does work.” And you might not think that that’s that big of a deal. Maybe that’s creatively for everybody. Maybe it’s not gender specific. I tend to believe that it is gender specific.

Is that at the studio level?

From my experience, it’s mostly the studio level. And maybe I’m just sensitive to it or whatever. But I just feel like there’s a lot of conversations about what is funny out of a woman’s mouth. What’s allowed. And I feel like no matter how much success I had with “Pitch Perfect,” I think it’s still as much of a fight now as it was then. Which doesn’t make sense to me.

With “Cinderella” too?

Oh, especially with “Cinderella.”

And now we’re back on the record after going off for a bit! I rewatched the “Black Tie” episode of “30 Rock” yesterday, which you wrote with Tina Fey, in which Paul Reubens plays an afflicted prince. That was the moment in Season 1 when I realized, OK, I love “30 Rock.”

[Affects Prince Gerhardt voice] “THANK YOU FOR COMING TO MY BIRTHDAY.”

That was the first thing I ever wrote! You know, professionally.

An unbelievable calling card to have as your first screen credit.

Yes! I was asked recently who is my Fab G, and my answer is Tina Fey. I wrote stuff as a friend she was reading. And I never thought that she would consider me for her staff, and she just grabbed me and was like, “You’re gonna do this!” I thank her every day for giving me that opportunity.

There are so many conversations right now about what’s acceptable in comedy. As a screenwriter who’s done mostly comedy, how do you feel about that?

Right now I think we’re in the muck, and I think we’re striving for equality. And we’re trying to work things out! Of course we should look back at things that were done 15 years ago, and be like, “Oh, no!”

I don’t know if this is a story I should tell. But I can remember getting notes to put the f-slur into “Pitch Perfect” as them being bullied like by the cool athletic guys. And I was like: “No! I can’t do that.” I think I put it in for a draft, and a friend of mine read it, and she’s like, “You cannot have that in.” And I was like, “It’s a note I was given!” I was told to do that, you know?’ And then like realizing, no, it’s unacceptable. You cannot use that word. Even if you’re trying to show that it’s awful, don’t do it.

You have to have your moral compass, and know what’s right for you. And there’s just some things we just shouldn’t tolerate anymore. And they’re just not acceptable. I’m certain if I looked back at stuff that I would cringe, you know? Or just, that’s how people thought then. And I was one of those people. But certainly now if you know better, you do better, right? Is that too soapboxy?

This interview has been edited and condensed.

#kay cannon #camila cabello #cinderella

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longsightmyth · 4 years

Text

Aaaaaaaaaand here’s what I’ve got so far for the current readthrough of ToD for fragments etc. Sharp eyes will note that it has taken me over a year and I still haven’t finished the reread. It’s just very bad, okay? Cut for dash mercy.

June 21, 2018 – page 4

0.61% "Apparently the problem with Adarlan conquering everything was not the conquering, but the fact that they had an evil dictator in charge.

I mean, in fairness, the evil dictator probably didn't HELP, but in the kind of person who considers conquering a symptom of BEING an evil dictator, so?"

June 21, 2018 – page 15

2.27% ""That Sartaq was here... they had to have known, then. Well in advance. That she and Chaol were coming."

That reads like I hit the space bar on my iPhone a couple too many times but I swear to you that is exactly how it's written in the book. I have changed NOTHING."

June 21, 2018 – page 16

2.42% "I'm also still confused about why the captain of the royal guard was sent as an ambassador instead of staying to administer the royal guard."

June 27, 2018 – page 19

2.88% "There are so many fragments, y'all. So many."

June 27, 2018 – page 27

4.09% "For once the angst feels earned here (we know that Nesryn cares and works for the wellbeing of Rifthold and her family and we've seen it). Do I wish there were fewer Drama Fragments? Yes. Still, I'm glad we got this bit from Nesryn's PoV and for once it wasn't All About Celaena OR A Boy."

June 28, 2018 – page 30

4.55% ""My Tumelun. The words told enough about the prince's closeness with his sister."

First of all, OBVIOUSLY. Second, there really is a way to say this as if Chaol is thinking it and not as if you are explaining to the reader. For instance:

"My Tumelun. They had been close, then."

BOOM."

June 28, 2018 – page 30

4.55% "I've harped on this before, and while it's permissible for Kashin in his grief and/or naïveté to have blind spots ("no one within our lands would be stupid enough [to murder Tumelun]") Chaol has no such excuse and neither does the narrative."

June 28, 2018 – page 31

4.7% ""...Aelin had hard lines that she did not cross. Killing or harming children was one of them."

Let me refer you to that time in Heir of Fire where she threatened to burn an entire city's population alive and we were from her PoV so we know she meant it and she SAID IT WITH A SMILE."

June 28, 2018 – page 31

4.7% "Also that time she threatened to burn up the population of Rifthold."

June 28, 2018 – page 31

4.7% "Oh yeah also that manor house she said she'd kill the entire population of if even a tiny word got out about her presence or previous presence there. That place had kids too. I'm pretty sure we saw and/or heard them playing in the yard."

June 28, 2018 – page 31

4.7% "Just because she hasn't threatened or hurt a SPECIFIC CHILD for SPECIFIC REASONS does not mean that she doesn't harm or (in fairness threaten to) murder children. That's just three examples off the top of my head."

June 28, 2018 – page 33

5.0% ""Had not even considered that the shadow of Morath might have already stretched this far."

Chaol, per Queen of Shadows the Valg, whose stated intentions are to destroy the world and rule the ruins, have been out and plotting since BEFORE YOU WERE BORN. You're an idiot if you didn't consider them using over twenty years of time to, oh, WORK TOWARDS DESTROYING THE WHOLE WORLD AND RULING THE RUINS."

June 28, 2018 – page 33

5.0% "Then again the series never considered that before this point either so maybe I should cut Chaol some slack?"

June 28, 2018 – page 35

5.3% "This reads like a dude wrote it, and not a dude who thinks women are actual people."

July 9, 2018 – page 37

5.61% ""Until an unknown healer's daughter from Fenharrow [who had only been training for two years] was approached by healers old and young, who had trained their entire lives, for her advice and assistance."

Look."

July 9, 2018 – page 37

5.61% "If this was portrayed as 'they needed somebody with a hella lot of magic and guided her through things' that would be one thing, but are you telling me this chick is in her second year at the magical equivalent of medical school and all of the surgeons are coming to her for surgery advice?"

July 9, 2018 – page 37

5.61% "I think I commented on this last time but still:

"There were two such vials on the desk now, clear orbs atop silver feet fashioned after ibis legs. Being purified by the endless sunshine within the tower."

You'd think I made a mistake typing with my phone, right? Hit the space bar twice maybe and added an accidental period?

I did not. That's a direct quote from the book."

July 9, 2018 – page 44

6.67% "Are Renia and Hassar married or not, please make up your mind, book. Here Renia is referred to as Hassar's lover but I think later on it says wife without any marriage happening in between so like."

July 24, 2018 – page 53

8.03% ""Chaol had barely slept.

Partially due to the unrelenting heat, partially due to the fact that they were in a tentative ally's fraught household, full of potential spies and unknown dangers- perhaps even from Morath itself - and partially due to what had befallen Rifthold and all he held dear.

And partially due to the meeting that he was now minutes away from having.""

July 24, 2018 – page 53

8.03% "This is what happens when you rush books, don't listen to your editor, and use second drafts at best."

July 24, 2018 – page 53

8.03% ""Chaol barely slept that night. It could have been the unrelenting heat, it could have been the spies and unknown dangers of the house - or of Morath. It could have been the news of Rifthold, and the lack of news that followed. It could have been all of it.

Part of it was definitely the anxiety over the meeting that had yet to begin."

**jazz hands**"

July 24, 2018 – page 54

8.18% ""They'd asked him about the butchering of the slaves in Calaculla and Endovier at dinner.

Or the oily one, Arghun, did. Had the prince been among Chaol's new recruits to the royal guard, he would have easily gotten him to fall in line thanks to a few well-timed shows of skill and sheer dominance. But here, he had no authority to bring the conniving, haughty prince to heel.

Not even when Arghun wanted to know...""

July 24, 2018 – page 54

8.18% ""...why the former King of Adarlan had deemed it necessary to enslave his people. And then put them down like animals. Why the man had not looked to the southern continent for education on the horrors of the stain of slavery - and avoided instituting it.

Chaol had to offer curt answers on the verge of being impolite. Sartaq, the only one of them beyond Kashin whom Chaol was inclined to like, had finally tired..."

July 24, 2018 – page 54

8.18% ""...of his older brother's questioning and steered the conversation away."

Holy mackerel is there a lot to unpack there, but first of all: Arghun for president, y'all.

Second, king is improperly capitalized there. Have fun with that.

Third, why is Arghun the oily conniving one for being like 'yo why the hell did y'all keep slaves?'"

July 24, 2018 – page 54

8.18% "Fourth, it might be poor diplomacy on a technical level, but honestly Arghun and the SC contingent have all the power here. They don't have to worry about being polite, because what are Chaol and Nesryn going to do, leave? (they probably wish they would)"

July 24, 2018 – page 54

8.18% "Fifth, Chaol, suck it up. You participated in and helped to continue a regime that not only practiced slavery but encouraged it. I have no sympathy for your hurt feelings about being called on it. Aren't you supposed to be anti-slavery? Shouldn't you be going 'look man it sucked and was wrong. I know that. You know that. The new king has ended the practice even if he apparently hasn't considered reparations.'"

July 24, 2018 – page 54

8.18% "But no, Arghun is the one in the wrong here apparently?"

July 25, 2018 – page 57

8.64% "I'd forgotten Yrene's 'honey-colored' hands."

July 25, 2018 – page 66

10.0% "Still unsure why a medical professional won't just say the word penis."

July 25, 2018 – page 70

10.61% "Okay I got one mention of male healers existing. Apparently it's almost exclusively a female gift. Why? Who knows. Not the book.

Nothing mentioned about any cultural stuff surrounding it either."

July 25, 2018 – page 71

10.76% "I'm starting to wonder if the author just hasn't realized how self-aggrandizing things sound when written in third person limited or first person?"

August 26, 2018 – page 82

12.42%

August 27, 2018 – page 86

13.03% "Sure of course it's a weakness to care where the only other member of your diplomatic envoy is and if she's gone missing. Of course. It's obviously not just common sense or competence. Why are the 'politics' in these books such nonsense."

August 27, 2018 – page 87

13.18% "Other people have commented on this, but if everyone here is human why does the book keep calling everyone males and females."

August 27, 2018 – page 88

13.33% ""See how he trips over himself," Arghun muttered over Duva, her husband, and Chaol to say to Sartaq.

That makes it look like Arghun is a married woman talking over her husband, when I know that Arghun is an unmarried man. You have to specify in this case. Or you could, you know. Name your characters."

August 27, 2018 – page 89

13.48% ""Kashin shut his mouth, ever the trained soldier.

And somehow Chaol knew-that fast-that Kashin was not being considered for the throne."

First of all, SOMEHOW? You detail why in the next sentence."

August 27, 2018 – page 89

13.48% ""...he seemed decent, though. A better alternative than the sneering, aloof Arghun, or the wolflike Hasar."

Interesting how being wolflike is positive when it's men but negative when it's women.

Also, Arghun for president. He's the spymaster dude who talks to the viziers. Obviously my vote goes to Arghun."

August 27, 2018 – page 91

13.79% "I hate how Chaol lecturing Nesryn about coming in late morphs into him patronizing her about how they're fighting to make Adarlan safer for her specifically.

Listen, dickface. She's the one who apparently had ROCKS thrown at her in Adarlan. Let her enjoy walking around safely.

Also I hate that he's lecturing her about coming in late."

August 27, 2018 – page 97

14.7% "So. I appreciate that Yrene tries in this one instance to be considerate of Chaol's wants/needs, re: his disability. I appreciate MUCH LESS that it is here specifically in an attempt to contrast Yrene and Nesryn. I wouldn't even be super mad about that except that Yrene is only considerate of Chaol and his wants/needs, re: his disability when Nesryn is around to be contrasted against."

August 27, 2018 – page 97

14.7% "It only counts as a character trait if it's consistent, and it isn't. Instead it's used as a way to shame Nesryn, when Yrene does the same and worse to Chaol multiple times but is excused because 'she means well.'"

August 27, 2018 – page 99

15.0% "This is SO STUPID she is a healer DOING HER JOB why does it MATTER if she goes into his bedroom?"

August 27, 2018 – page 103

15.61% "This is a tiny thing in the grand scheme but "pure as sea-foam" made me laugh because I live in Florida and there is a lot of sea-foam. Almost none of it is 'pure'."

August 27, 2018 – page 109

16.52% "I don't care how many times it shows up. I am going to mark The Hand of the King/ The Hand of Adarlan with a red tab labeled ASoIaF EVERY TIME."

September 27, 2018 – page 113

17.12% ""You must enter where you fear to tread."

Uh-huh."

September 27, 2018 – page 115

17.42% "So while I like the idea of this scene with Yrene and the other healer, the fact remains that it has taken more than 100 pages to show us something that is ostensibly a fundamental part of Yrene's character, and from what I remember we have precious few other scenes of it later."

September 27, 2018 – page 115

17.42% "The trait? That Yrene has a drive to help people."

September 27, 2018 – page 117

17.73% ""How many meals had he himself been positioned by the doors, or out in the courtyard, monitoring his king? How many times had he laid into his men for slouching, for chattering amongst themselves, and reassigned them to lesser watches?""

September 27, 2018 – page 117

17.73% "Okay first of all, as THE (singular, only) captain of the royal guard your place is the organizing, hiring, and inspecting of the Royal guard, not the actual guarding except for special occasions, at which point you would be with the king as the visible face of the king's protection."

September 27, 2018 – page 117

17.73% "SECOND. You have never 'laid into' guards for chatting or slouching. You have in fact completely forgiven them for ABANDONING THEIR POSTS WITHOUT NOTICE because somebody else said it was fine. Your response? "Okay just don't do it again.""

September 27, 2018 – page 117

17.73% "I repeat, they abandoned their posts because a general from a conquered land told them it was fine, leaving their king completely open to attack, and you told them 'okay just don't do it again'"

September 27, 2018 – page 117

17.73% "Am I harping on this? ABSOLUTELY. Chaol's inner turmoil loses all emotional punch because he and the narrative are LYING to us. Instead of pulling my heartstrings, it just makes me angry.

This is also why Maas is the queen of the retcon, by the way."

September 27, 2018 – page 117

17.73% ""No sign - none - of any wicked force, whether dispatched from Morath or elsewhere. No sign beyond those white banners to honor their fallen princess."

I had no idea the wicked forces had a fallen princess, single separate two-sentence paragraph.

Also, it should be 'the white banners'"

September 27, 2018 – page 117

17.73% ""There was no sign of wickedness, from Morath or elsewhere - no sign but the white banners that honored the fallen princess."

It's not HARD, book."

November 30, 2018 – page 121

18.33% ""A summer storm galloped in off the sea just before midnight."

This one might be petty and I freely admit it, but that's kind of a funky way to put that."

February 11, 2019 – page 121

18.33% "I'm back!

I'd forgotten how awful the em dashes were. Like, I remembered they were BAD, I'd just forgotten HOW bad."

February 11, 2019 – page 123

18.64% "Picturing Kat's face in the section with Yrene and the 10,000+ year old document being touched with bare hands is what keeps me going y'all"

February 11, 2019 – page 127

19.24% "For someone ostensibly skeptical, Yrene sure does take every illustration in the book literally instead of even considering the possibility of metaphors or, like. Science."

February 11, 2019 – page 129

19.55% "The irony of Yrene being better at situational awareness and planning what around her could be improvised weaponry than Celaena, who ostensibly taught her these things, is not lost on me.

It's lost on the book though."

February 11, 2019 – page 132

20.0% "Why does everyone in these books have a capitalized Heir"

February 11, 2019 – page 132

20.0% "Also, the Heir Librarian as a title sounds stupid (no that's literally the title, not even Heir to the Librarian or anything)"

February 11, 2019 – page 132

20.0% "All it would take was a week observing the library to know it never closes and Bob's your uncle the 'closing toll' of the library bell jig is up.

I'm just saying."

May 4, 2019 – page 144

21.82%

July 22, 2019 – page 145

21.97% ""Either your lack on consciousness during that initial healing kept you from feeling this sort of pain, or perhaps whatever this is had not... settled."

Or Sarah Janet needed More Drama."

July 22, 2019 – page 146

22.12% "I forgot that apparently the valg magic and therefore Chaol's injury persists because it's feeding on his self hate or whatever.

See kids, all you have to do is be happy and believe in yourself and your disability will go away."

July 22, 2019 – page 146

22.12% ""It was all he could do not to shrink from that frank gaze."

Why not her frank gaze? Like, it's not grammatically incorrect - the sentence before says she's staring at him, it's referring to a gaze mentioned before - but I don't think it's strong writing."

July 22, 2019 – page 146

22.12% "Have Yrene own her frank gaze or have Chaol associate it with her directly instead of disconnecting it. "It was all he could do not to flinch from her frank gaze."

YMMV I guess."

July 22, 2019 – page 147

22.27% ""Yrene's face was an unreadable mask that would have given Dorian a run for his money."

Maybe it's my own failing, but Dorian has never been described as expressionless or unreadable in my memory, or at least not enough to stick out."

July 22, 2019 – page 148

22.42% ""Since [Nesryn's] hair fell only to her shoulders, he had difficulty braiding it back"

French braids are a thing, even if I'd object to them being called French braids in these books."

July 22, 2019 – page 150

22.73% ""A land claimed by a conquering nation, yet loved and nurtured."

Not you too, Nesryn."

July 22, 2019 – page 154

23.33% ""There is beauty in my father's lands," the prince went on while Kadara ripped into that monstrous carcass, "but there is much lurking beneath the surface, too."

Sigh.

"There is beauty in my father's lands," the prince went on while Kadara feasted on the monster, "but much lurks beneath the surface, too.""

July 23, 2019 – page 161

24.39% "Love how Yrene explicitly says "add lots of honey" but is then judgy because Kadja added too much honey."

July 25, 2019 – page 162

24.55% "There's this thing we have where we consider the endurance of pain a virtue, somehow. Even if you agree with that, bad people can still have virtues.

Yrene starts rethinking Chaol's morality because he 'did not break' over the pain when her magic was trying to heal him.

Tldr: pain endurance is not the sole province of good people, and enduring pain doesn't make you good"

July 25, 2019 – page 164

24.85% "Why ARE the valg only trying to kill Yrene if she has the same healing gift as other healers?"

July 25, 2019 – page 164

24.85% "Okay also my disability is not Chaol's disability etc etc but the narrative is poo-pooing on Nesryn and Kadja for helping him into bed when he's so tired he can barley talk, because Yrene would have made him do it himself.

Like, honestly? That makes Yrene sound an awful lot like somebody who would go 'you're out of spoons? Do it anyway'"

July 25, 2019 – page 166

25.15% "Look y'all much as I dislike Yrene on a personal level she isn't WRONG for clearly having 'personal reservations' about Chaol's 'former role in the empire'.

He not only benefitted from but actively worked to keep the aforementioned empire in power. He got FRUSTRATED when the king wouldn't let him guard the king effectively. He wasn't even just some dude off in the hinterlands: HE WAS THE CAPTAIN OF THE ROYAL GUARD."

November 4, 2019 – page 176

26.67% "In all seriousness what is Sarah Janet Maas' beef with the word 'the'?"

November 4, 2019 – page 176

26.67% "WHITE

FUCKING

HORSES"

November 4, 2019 – page 178

26.97% "How does Yrene have a good seat and yet bounce everywhere and keep grabbing the saddle horn"

November 4, 2019 – page 184

27.88% "Oh yeah. This part."

November 4, 2019 – page 184

27.88% ""The skin was leathery - as warm as her smile."

The one time you use 'the' it's in a place that detaches the reader from a living breathing human's human-ness? HER skin, book. HER skin."

November 4, 2019 – page 186

28.18% "The page (well, this and the one before) that made me hate Yrene."

November 17, 2019 – page 187

28.33% ""She means well, my Yrene."

That doesn't matter when she literally asked a disabled man to help her with something and when he got there PROCEEDED TO LECTURE AN ENTIRE YARD ON HIS DISABILITY WITHOUT HIS PERMISSION, WHEN HE LITERALLY PHYSICALLY COULD NOT LEAVE.

And to the best of my recollection she never apologizes."

November 17, 2019 – page 187

28.33% ""Her instinct is to teach other people" How lovely maybe she could do that without LITERALLY HOLDING A DISABLED MAN THERE AGAINST HIS WILL.

"But Myth, she didn't mean to! She just wasn't thinking"

LITERALLY MY POINT"

November 17, 2019 – page 187

28.33% ""But Myth, the author didn't mean to make it like that" Maybe if she'd bothered ASKING a single disabled person instead of watching some youtube videos she might have LEARNED."

November 17, 2019 – page 190

28.79% "And look. I applaud people learning how to defend themselves and teaching others. HOWEVER. Chaol has only taught soldiers, and aside from that the idea that one or two sessions allows you to master several self-defense techniques is unlikely at best. It takes time, it takes repetition, and it takes someone who had more than one morning's instruction herself.

Just saying."

January 4, 2020 – Shelved as: assassin-rolls-do-it-better

May 30, 2020 – page 191

28.94% "It’s hard to tell with this author what distance we are in the narration. Feyre and Yrene both make snide little comments about people not caring or not doing something (in Yrene’s case, Chaol not smiling at her after her despicable behavior, in Feyre’s case Nesta not getting her a gift). I begin to suspect we aren’t supposed to see this as the character commenting on the event but the narration."

May 30, 2020 – page 191

28.94% "UNFORTUNATELY the books are written in close POV’s, Feyre’s in first and Yrene’s and Chaol’s in third. The result is that whatever the narration says is coming from the character.

This is a long way to say that Yrene continues to be terrible."

May 30, 2020 – page 193

29.24% "I don’t have enough orange tabs for this"

May 30, 2020 – page 194

29.39% "Yrene says here “[until that moment] she hadn’t felt like a barnyard animal” and I am not an expert but that seems like a Bad Thing to have about one of the only black women you haven’t killed off, Book."

May 30, 2020 – page 195

29.55% "“Did I do something to you today?”

*squints*"

May 30, 2020 – page 196

29.7% "I’m not going to pretend that Nesryn’s reaction here is perfect, but the book is trying to pretend it’s terrible and it’s not? She’s excited that Chaol can ride, she talks to Chaol directly about it, and immediately accepts that he can and says excitedly that maybe they can go see her family together. The initial disbelief might be disconcerting for some people, but she does several things Yrene does not."

May 30, 2020 – page 196

29.7% "As I said, she speaks directly to Chaol about his abilities (something Yrene doesn’t do), asks if he wants to do something together (permission is something for OTHER PEOPLE to Yrene, apparently, at least in regards to revealing someone’s medical information and literally moving people without their permission) and is immediately EXCITED that he can do something Chaol has specifically said he missed."

May 30, 2020 – page 196

29.7% "For the record these are all low bars to clear, but for all the book tries to contrast Yrene and Nesryn’s reactions to Chaol’s disability and how he works with and around it in Yrene’s favor, NESRYN IS THE ONLY ONE WHO CLEARS THE BARS.

But I’m supposed to be upset that she’s surprised that Chaol rode when he hasn’t been able to lately? Through a city that he’s never been to before? Without telling her?"

May 30, 2020 – page 196

29.7% "Not only are these two the only members of an embassy, they are romantically involved. OF COURSE SHE’S SURPRISED ALL OF THIS HAPPENED WITHOUT HER KNOWING ABOUT IT."

May 30, 2020 – page 198

30.0% "At least she apologizes FINALLY but also says that it’s because so few people come in with his injury that she wanted to show her students.

So then you ASK, Yrene, what is this bullshit?"

May 30, 2020 – page 199

30.15% "“She hadn’t considered - his feelings. That he might have them.”

Excuse me, what?"

May 30, 2020 – page 199

30.15% "Yrene is worried that if she leaves the ‘rift’ between her and Chaol will never be repaired because “Healers and their patients required trust. A bond.”

It’s too bad you have repeatedly fucked that up with unprofessional, unthinking, and downright cruel behavior then isn’t it, Yrene?"

May 30, 2020 – page 199

30.15% "I’m sure some people reading this statuses will think I’m being too harsh, but let me explain: Yrene is a healer who has dealt with this kind of injury before. That’s why she was textually assigned to Chaol. Yrene is not a family member who knows nothing of medicine or patient treatment and is feeling her way through learning how to respectfully assist someone with a disability."

May 30, 2020 – page 199

30.15% "Yrene is a PROFESSIONAL, she keeps telling us. She is The Best. She has dealt with this before.

There is literally no excuse for accidentally doing this. Had Yrene been a new healer tossed into this because she just happens to have magical power enough for it and was still a student, I would buy that she maybe hadn’t had the experience to think about it. If she was portrayed as a consummate professional who..."

May 30, 2020 – page 199

30.15% "...did not care about her patients’ feelings so long as she healed their bodies, I would buy it.

She isn’t. The book keeps trying to tell me she is The Best because of temperament and skill and power, but it fails to realize that doing so puts Yrene in a terrible light because all of those things mean she should KNOW BETTER."

#myth rags on throne of glass #myth reads tower of dawn

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calamity-bean · 4 years

Text

Also, re: Little Women (2019)... I remember seeing posts (or mentions of posts?) being very upset with Bhaer for criticizing Jo’s writing. And I have feelings about that! I totally understand that we writers are sensitive about our work, about the heart and the effort we’ve put into it, and that we empathize with being defensive about criticism and dismissive of people who critique when they themselves are not writers. I feel that. But honestly, some of Bhaer’s lines during that conversation — “Has no one ever talked to you like this before? Do you have anyone to take you seriously, to talk about your work?” — struck me more than almost any other lines in the film, because they reflect so well what I feel is a good approach to the author–editor dynamic.

I haven’t read the book since I was a kid, so I’m really limited to the newest film for my perspective on him and Jo and how his critique of her writing is handled, and honestly, my thoughts are more on the general concept of editing/critiquing than on their relationship specifically, but... There is a bad critic/editor in this film. It’s not Bhaer. It’s the publisher who clearly does not take Jo seriously as a person/writer and pressures her to heavily alter her style in order to produce work that she knows is not what or how she wants to write, because that’s what he considers marketable. Marketability is not a bad thing in and of itself; popular work, trope-heavy work, mass-market genre novels like romance or cozy mysteries that tend to follow certain plot formulas, these are not bad or unskilled things. Many readers love reading books/genres that get disparaged as “trashy” or “light” or not “serious,” and many writers love writing those things, and that’s great! But in this case, the publisher’s view of what was marketable (which was ultimately proven to be very flawed anyway) pushed Jo to produce work that I think we are to understand she, herself, was not proud of. Proud of being published, yes, but not really proud of the work itself, and clearly not what she wanted to be doing or the best she was capable of. And that, unless I’m missing something, is the work that Bhaer critiqued.

I think editors (and beta readers, critics, etc.) are important. I am an editor, so yeah, I could be biased in that; but I’ve been on the other side of the equation many, many times, too, having my own writing and art critiqued in workshops and competitions and the workplace and etc. The relationship between a creator and the people who help them review, reconsider, and refine their work is important. It can bring valuable insight, experience, and technical skills that can truly transform a manuscript into something so much stronger than it started out as. But the relationship is also complicated. Giving critique that is constructive rather than destructive is a skill that requires empathy and humility as well as intelligence and discernment. Listening to critique and deciding what (if anything) to do with it takes resilience, discernment, and humility as well. And editors are not infallible or one size fits all.

I think a vital skill for any writer (any creator, really) is to learn who/what is worth listening to — and who/what is not. We should not take every negative remark from every random reader to heart. Even when it comes to pros, an editor might be very good at working with certain writers and within certain genres but absolutely useless or even harmful when it comes to other writers or genres. Even when we try to be objective, we are human and inevitably bring at least traces of our own biases, interests, and abilities. But from a writer’s perspective, the ideal editor, I think, is not one who tries to force a manuscript into fitting their own idea of what the writing “should be.” The ideal editor is one who makes an effort to understand what the author is trying to do, how they’re trying to do it, and what the manuscript itself is trying to be — and then works to strengthen the manuscript in alignment with those goals, not against them.

And that is why I loved when Bhaer asked Jo, “But do you have anyone to take you seriously, to talk about your work?” Because that’s... what a writer should want. That’s the lead-in to a constructive approach: not blind praise, not flat rejection, not shoehorning the work out of shape to fit a preconceived mold, but someone who wants to talk with and listen to the writer so they can understand them and their work. That quote struck me both as a writer and as an editor. I try to avoid being as subjective as Bhaer is when he leads by simply saying it’s not good and he doesn’t like it; flat, nonspecific statements like that aren’t really helpful. But then again, he’s talking to a friend, someone he feels he can be honest with, and editing does sometimes involve difficult conversations about aspects of the manuscript that are, well... not good. If you’re aiming to be a professional writer, as Jo is, you’re probably going to have to learn to have these difficult conversations, even though they can feel very personal and emotionally charged. Trust me, I get that; I’ve had my own share of raw feelings after having my work critiqued. In some cases, I ultimately decided the criticism was not really relevant and/or merited, and I set it aside unheeded. But in other cases, it proved invaluable in helping me grow.

God, I’ve rambled longer than I meant to, but like, bottom line here: The critique is not unsolicited. He offers to read and review her work, promising upfront to be honest. Jo accepts. And the work he’s so unimpressed with is work that she herself knows is not the sort of thing she wants to write! He recognizes her talent but he also recognizes that this particular work does not truly reflect that talent, and perhaps part of the reason she’s so upset by it is that she herself is not very proud of that work either. Did he start out pretty blunt? Yeah. But I think his overall approach was in service of trying to get to the heart of Jo’s abilities and artistic goals. Support, reassurance, and positive reinforcement are invaluable to any writer, but at certain points of the process, so is critique that forces the creator to really review their own work. At any rate, I don’t think it’s harmful for a critic to treat a professional (or aspiring professional) writer seriously and to encourage honest conversations about what the writer is going for, uncomfortable though those conversations can sometimes be. And just because a lot of us sympathize with being a writer/creator does not mean that giving agreed-upon, solicited criticism makes a character bad.

#oh my god i didn't mean to write this much #and i'm months and months late to whatever discourse there ever was about this anyway lol #this is really less about the film/characters than it is about my general philosophy on writing and editing? lmao #but i mean i GUESS it's also lw meta #though i don't really feel qualified to claim any expertise on the book or the film(s) or the characters or etc #i just have like... thoughts about writer-editor dynamics i guess #and about the fact that there's a diff btw the kind of convos about your work you should be prepared to have when you're an amateur #versus when you are (or are trying to be) a pro #long post #op

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songtoyou · 4 years

Text

Chapter One: West Bridgewater

Paring: Ransom Drysdale x Fabiola Rossi (OC)

Rating: This story will mostly be rated 18+ as it is revolves around a relationship that is Dominant/submissive. For each chapter, I will do my best to rate it accordingly, but please know that the overall story will have very adult themes.

Warnings: None for this chapter

Word Count: 2,305

Description: Huge “Ransom” Drysdale always thought of himself as a powerful man. With his family’s money and status, Ransom could get away with anything. He had the power and control others would envy. Ransom could get any woman he wanted with a snap of his fingers. He was always in charge. He commanded attention. And he hated it. Never having a job in his life (thanks to his mother, father, and grandfather always there to supplement his bank account) or any real-life goals, Ransom felt incomplete and directionless. That is until Fabiola Rossi entered his life and turned it completely upside down.

A/N: I have not seen Knives Out. This is an AU of that world. I do not own any of the characters created by Rian Johnson. I have always thought of Ransom as a sub rather than a Dominant and this idea has been on my mind constantly that I needed to write it down. Anything in italics are to represent Ransom’s thoughts.

I do not permit any of my fics to be distributed on other sites without my permission.

Updated for grammar and punctuation edits.

What is a dominant-submissive relationship all about? As mentioned previously, there is an energy dynamic between the two partners. It is the Dominant’s duty to protect and guide his or her submissive. The submissive, also called “the bottom,” relinquishes some or all control to the Dominant. He or she is playing out their own kinds and fetishes through the guidance of a Dominant. No actions or scenes can be played out unless the submissive has consented to everything the Dominant plans to do during a play session. A D/s relationship is not solely about sexual activities but exploring new and interesting ways to connect beyond sex. For example, the Dominate can set up simple rules that the submissive must follow, such as asking permission to stay out late or have ice cream for dessert. A healthy D/s relationship can lead to a life of self-improvement.

“You got some mouth on you…I bet a ball gag would fit nicely around those pretty lips of yours.”

For some reason, Ransom could not get that comment out of his head. It was so unexpected and out of leftfield. He never had a woman said anything so bold towards him. No stranger to bondage with the opposite sex, it was always Ransom who was the one in charge. Women were more than happy for him to lead the charge. It was the only time Ransom was ever put to work, so to speak. Fabiola Rossi had managed to not only mystify the spoiled playboy, but he was not determined to find out more about her.

So, Ransom did one any person in their mid-30s did when trying to find information about another person, he stalked her social media. He came up short. No Twitter, Facebook, or Instagram that he could find of her unless they were private.

“This is Fabiola Rossi. She is an inspiring editor herself. I have taken her under my wing as a mentor.” Ransom remembered from the night before when creepy old Charlie Van Houten introduced his grandfather and him to Fabiola.

Of course, Fabiola had a LinkedIn page as she was a young working professional. Ransom saw that she graduated with a Bachelor of Arts in English and a minor in Psychology at Boston University. He noticed it had only been five years since she graduated from the university, so he suspected she was in her late twenties. Most of the jobs Fabiola received were internships or part-time positions. Not unusual for graduates looking to enter into the workforce. There was not much to offer due to the Baby Boomers not wanting to retire or companies being stingy with providing decent living wages or health benefits.

“Intern. Van Houten & Thompson Publishing. March 2019 to current. Performs proofreading and editing of manuscripts and additional documents before the final publication,” Ransom read out loud as he continued to look through Fabiola’s profile.

He got up to reach for his coat to pull out his wallet. Inside was a business card of Charlie’s that he gave Ransom before leaving his grandfather’s party. Charlie told Ransom to keep in touch and that they both could talk about possibly working together.

“If you have been working on anything, send it over. In fact, send it over to Fabiola. She’d probably love to read it and give you feedback. Give him your email address, honey. Any work you send over to her will be in great hands,” Ransom remembered Charlie saying to him last night. He looked over the business card and traced his thumb over Fabiola’s handwriting of her email address.

He could not understand why this particular woman intrigued him so, despite only meeting her briefly the night before. However, Ransom knew he had an itch to scratch, and it was better to get it taken care of now before things got too out of hand. Before he became too obsessed.

Turning on his laptop, he waited for it to boot up. Opening his email account, Ransom began composing a new email to Fabiola. He kept it short and simple by asking if she was still up looking over what he was currently working on.

Hi Ms. Rossi,

It was a pleasure meeting you last night. Hope you are doing well. If you are not too busy, do you mind if I send over the story I am currently working on? I do not want to impose if your schedule is too busy, but Charlie had such high praise for you, and I would appreciate the feedback and insight from you.

Talk to you soon,

Ransom

He clicked the ‘send’ button and waited. Thankfully, he did not have to wait too long for a response back.

Hi Ransom,

I am so glad you reached out. Please call me Fabiola.

Yes, I would be more than happy to beta read anything you send over.

Sincerely,

Fabiola

“Hook, line, and sinker,” Ransom said to himself with a smirk plastering over his face. He knew exactly which of his work he would send over. It was one Ransom had finished a while back. A story about the measures of what a mother would do to prove her child’s innocence when they are accused of a crime. It was one of his more personal pieces of work. He was somewhat anxious to get feedback on it. He sent it over to Fabiola as an attachment. Now, Ransom was in wait and see mode. ‘Who knows how long until she gets to actually reading it,’ he thought to himself.

Three long agonizing days later, Ransom finally heard back from Fabiola when he checked his email that afternoon.

Ransom,

How are you?

Sorry I have not gotten back to you sooner. Your story is amazing! I could not put it down. I actually read it twice. It had me on the edge of my seat the entire time and had a lot of heart. You are such a good writer.

I do have some suggestions for you if you do not mind. However, I do not want to merely give them to you via email or comments in the document. Would it be okay if the two of us meet up for coffee sometime this week? It would be easier to talk to you about the recommendations face-to-face.

Any suggestions on where we could meet up? I don’t mind traveling to your neck of the woods if it is more convenient for you.

Fabiola

Ransom was thrilled that not only did she like his work but was willing to meet him in person. He quickly wrote her back suggesting a meeting at a little coffee shop in West Bridgewater. It would only be a 34-minute drive for Fabiola to get to him. Honestly, Ransom was a bit taken aback that she was willing to drive all the way out to the boonies to talk to him in person.

The two decided to meet up on Saturday afternoon at The Bridge Coffee House, a new town establishment. A Starbucks it was not, thankfully.

When Saturday finally rolled around, Ransom dressed in his usual simple attire: gray cardigan, white long-sleeve shirt underneath, dark blue jeans, and Louis Vuitton black loafers. He gave himself a look over in the mirror one last time; he exited the house, got in his 1972 BMW 3.0 CSi, and headed to the coffee shop.

Once there, Ransom ordered an espresso and settled in a seat near the corner, but still visible for Fabiola to see him. As Ransom waited for Fabiola to arrive, his leg was shaking underneath the table. He was nervous, which was an unusual feeling for Ransom. Women hardly ever made Ransom nervous, but the woman he was meeting was for business, not pleasure.

‘Note yet at least,” Ransom thought to himself as he sipped his espresso.

The ding of the bell on the entrance door made Ransom lookup. There Fabiola was wearing a white long-sleeved fitted sweater with light blue jeans, white sneakers, and a light gray messenger bag slung over her shoulder. She looked around and noticed Ransom. Giving him a smile and wave, Fabiola made her way over to him. He stood up as she neared the table.

“Hi. How are you?” she asked and stuck out her hand for Ransom to shake.

He reciprocated the gesture and replied, “I’m good. Do you want something to drink? My treat.”

Fabiola accepted Ransom’s offer with an iced tea. “Is there a restroom around that I could use?”

Ransom pointed to where the restrooms were, and Fabiola excused herself while he got her iced tea. Paying for the iced tea, Ransom went back to the table and proceeded to wait again.

“That was quite a drive,” spoke Fabiola as she sat down in the seat across from Ransom, “Gorgeous scenery. I tend to not venture too far outside of Boston much.”

“Yeah, it is a nice quiet town. Not much goes on here.”

“I’m kind of surprised that you don’t choose to live in Boston. Figured you would want to be in a more urban area,” said Fabiola.

Ransom shifted in his seat to cross his legs, “I used to live in Boston during my 20s. Decided to move here a couple of years ago. Helped clear my head a little.”

Taking a sip of her iced tea, Fabiola asked, “Is that when you really began to write?”

Ransom let out a small laugh and cleared his throat, “Yeah…I just…needed a hobby to preoccupy my time.”

“Well, I have to tell you that it was a good idea,” said Fabiola as she began to rummage through her bag and pulled out a binder to place on the table.

“This story is outstanding,” she complimented.

Ransom felt the heat on his cheeks from her praise. It felt good to have someone appreciate his work, which was not a feeling he was used to.

“I do have some questions if you don’t mind me asking? Nothing bad, just some clarifications.”

“Sure. Ask away,” Ransom responded casually. He was doing his best to not seem too eager.

“What made you decide to have the main character a mother rather than a father? I ask that because, normally, male authors tend to write the protagonist as male. You don’t really see many male authors write crime novels with a main female character,” Fabiola pointed out and went on to tell him, “You also wrote the character really well. Like, she feels like a real person. She was fully developed and fleshed out. I was totally rooting for her throughout the whole story. And the side characters are nicely written as well. Each chapter kept the reader on its toes. You never knew what to expect. Nothing felt forced or out of place. Nothing dragged on. Here is a copy of my notes. Nothing too major. Only certain suggestions like clarification or more descriptive details for certain paragraphs.”

Ransom looked at her incredibly detailed notes. “I appreciate you doing this. Thank you,” Ransom said earnestly.

“Do you plan on getting that published?” Fabiola asked him.

Letting out a light chuckle, Ransom told her that most likely he would not.

“Why?”

“I prefer to write for myself. Not for an audience. Plus, there is the likelihood that I’ll get compared to my grandfather or people thinking that nepotism is involved,” answered Ransom as he continued to flip through Fabiola’s notes.

Fabiola merely sat back and took the time to really look at the man before her. With dark hair and blue eyes, a strong jaw, and a somewhat crooked nose, Fabiola could not deny that he was handsome. Before the meeting, Fabiola asked Charlie about what he knew about Ransom. Boy, she got an honest earful from Charlie. While Charlie complimented Ransom, there was a hint of pity in his voice.

“He’s got so much potential, but he wastes it with booze and women. The poor boy did have a stint in rehab when he was younger. It’s so parents of his. Always giving him money instead of love and affection,” Charlie shared with Fabiola.

“You don’t want to fail at the one thing you believe you are actually good at,” Fabiola stated to Ransom and added, “So, it is easier to not put yourself out there in the first place.”

Scoffing, Ransom sat back and stared at Fabiola. Now it was his turn to really look at the woman before him. With her long dark hair, brown eyes, and slender figure, he had to admit to himself that she was beautiful. But he could tell that there was more to this woman than meets the eye.

“You like to think you have me all figured out, don’t you? You think I’m some poor little rich poor?” Ransom asked with a hint of defensiveness in his voice.

“Yes,” Fabiola simply said as she folded her arms to rest on the table and continued, “You’re not some riddle, Ransom. You are quite easy to figure out. Just as I mentioned to you at the party, you are bored. However, it is not the excitement that you seek. Instead, you want guidance. You want someone to look after you and care for you. You want to surrender control. Am I wrong? Tell me I’m wrong, and I’ll shut up.”

With his silence, she had her answer.

“I can give you what you need, but to do that, we need to develop trust between one another,” Fabiola communicated and reached out to grip one of Ransom’s hands. She entwined her fingers within his.

“How much?” Ransom spoke up as they looked at their entangled hands.

Fabiola shook her head and clarified, “Nothing. I’m not proposing you sex Ransom. I’m proposing to you something completely different. What do you know about BDSM or a D/s relationship?”

#chris evans #ransom drysdale #ransom drysdale x ofc

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wellesleyunderground · 3 years

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Wellesley Underground Interview with Founders (Sara Hess ‘08 and Shavanna Calder ‘08) of Feminist Fashion & Beauty Magazine, MUJER!

Need a break from the politics? Dive into the making of Issue No.2 of MUJER! Magazine. Interview by Camylle Fleming ‘14.

1. Wellesley Underground (WU): Tell us about the origin of MUJER! Magazine and bring us up to speed on the November launch.

Sara Hess ‘08, Editor in Chief: MUJER! has been a long time coming for us. Ever since Shavanna and I were swapping clothes from each other’s closets when we were roommates at Wellesley, we’ve had an interest in fashion and over the years we’d often played around with the idea of doing a fashion related project together. MUJER! came about in late 2017 when I had reached a point of being really frustrated with fashion magazines (all of the ads and the Photoshop, the lack of any real content and focus on hyper consumption). I also was disappointed to see that several of the fashion bloggers I’d followed over the years and enjoyed for their authenticity were following the same route as they transitioned from blogs to Instagram and started posting highly stylized Photoshopped pics that were all sponsored and very phony. Finally, I had recently turned 30 and it then occurred to me that I was older than nearly all the models I saw in the major fashion publications, which is insane when you think about it. I told Shavanna what I was thinking of doing-- a feminist fashion and beauty mag, all models 25+, no Photoshop on their faces or bodies, more racial and ethnic diversity, a focus on more sustainable production and consumption and no ads. Shavanna is an amazing stylist and has a great eye for design so I was super excited when she agreed to be creative director. I was living between Mexico City and New York at the time. I had developed some contacts in the fashion industry in Mexico and really admired the fashion scene there, which is one of the reasons we went with the name MUJER! It took us about 6-7 months to produce the content for the first print edition which was published in September 2018.

2.WU: How did fashion and beauty become sites of contestation and rebellion for you two?

Sara: I grew up in a small town in rural Pennsylvania and was constantly getting in trouble for breaking the dress code at my public school. It’s ironic because I was definitely a major nerd-- not your typical rebel. In junior high, I was really upset to find out I had not been accepted to the National Junior Honor Society. I asked one of my teachers why and he told me that it was because the shorts that I wore to school were often too short. Honestly, it was not my intention to be risque. I was just awkwardly going through puberty and had legs that were too long for my body and it was impossible to find shorts that were long enough and didn’t look dorky. After that, I went through a punk rocker phase, where again clothing is a form of rebellion. I was totally into the early Gwen Stefani punk looks. I would get picked on a lot by classmates but then a few months later everyone would be wearing what I had been wearing before, which would be my cue to change styles because I never wanted to look like everyone else. For me, it became a way to stand out and to push back against conservative influences.

Shavanna Calder ‘08, Creative Director: I can’t say that I’ve thought of fashion for most of my life as a site of rebellion. I just wore what I liked and (especially as a kid) what was on trend.

I had hip surgery 5 years ago and have struggled to be able to wear heels after that. In some ways that forced me to rethink how to dress for formal situations (without heels). Though I am working towards wearing heels again through physical therapy (my profession requires it), I’ve found a certain level of pride in showing other women that we can still look dressed up/professional etc. without wearing heels. Also embracing flatforms has been fun!

I think beauty, more so, has always been a site of contestation and rebellion for me as a Black woman. Growing up and having hair that was different than most of my friends. Makeup and hair supplies that we had to drive an extra distance for. Reading different magazines than my friends because teen vogue (at that time), seventeen etc never catered to me (thank God for Essence). Now, being natural, my hair oftentimes is a point of rebellion/contestation as I educate and ask for the things that I need as a Black artist instead of accepting the burden of sitting in silence.

Founders Shavanna + Sara (above)

3. WU: On social media, you’ve discussed the initiative of “showing women as they actually exist in the world”. Can you describe some of the images you two grew up with and how they are in conversation with MUJER!

Shavanna: In some ways growing up when I did, I feel like I did get to see images of women (more often) without photoshop and a ton of contouring etc because that just wasn’t on trend. It’s one thing I miss about the early 2000’s. That being said, the rest of the content oftentimes centered around ways to get men, look flirty etc etc. For us I think “showing women as they actually exist in the world” goes beyond imaging to the content of the magazine (the stories and issues that are discussed) as well as the lack of harmful ads encouraging women to alter their bodies by buying certain products etc. We are able to highlight a diverse group of female identifying folx and the complexity of us instead of the monolith that I often see portrayed.

4. WU: What are the ways in which your Mexico City base contributes to the core principles of MUJER!

Sara: Mexico City is just my heart and soul. I don’t know how else to describe it. It makes me turn to mush as though I’m talking about someone I’m in love with. The creative and design scene here is out of this world funky and unique and I really feel that I can wear anything going out here at night. People are elegant and cool and put a great deal of thought into how they present themselves. The fashion scene is authentic and fun and nowhere near as pretentious as it is in other parts of the world. We try to reflect this creativity and sincerity in MUJER! as well.

Shavanna: Additionally I’ll say that people have really embraced us there. There is an openness, flexibility and sense of collaboration that has made it super easy to throw any ideas we have out there and run with it (more than I’ve seen in other parts of the world).

5. WU: For those of us who are new to publication production, can you walk us through the steps of creating content, finding models, artwork, all without the filler of advertisements?

Sara: We are also new to magazine production, ha! We started by basically bringing together people we knew from the fashion world here in Mexico City. I have a dear friend, Jenny. She’s a stylist from Sweden and was working on the sets of reality shows here so she kind of kicked me into gear to do the first beauty shoot. She had a lot of experience doing shoots so she helped me get a great photographer and scout a location and models. We’ve really been blessed with meeting all of the right people at the right moment. We found a wonderful lead graphic designer, Celina Arrazola who happened to know the neighborhood where all the printers are and was an expert in hand binding books. Advertisements were never an option so we self-finance the production, which was and is intense.

Shavanna: Yes, as Sara mentioned we’re incredibly new to this and are (honestly) still figuring a lot out as we go. However, generally we come up with ideas/stories together that excite us, that we haven’t seen in other fashion magazines. We then reach out to female identifying folx to help us realize these ideas (because we want to support female entrepreneurs as well). The hardest part will be figuring out how to make it sustainable (and take the more of the financial burden off of Sara) and we’re in the process of sorting that out the best way we can!

5a. WU: Okay, same question. Add COVID, go:

Sara: Now, because of COVID, our plans to do another print edition were derailed so we decided to do a digital edition-- everyone featured sent in their own photos and instead of printing we created a PDF version of the magazine, with Celina’s excellent graphic design of course.

It essentially made printing the way we did with the first edition impossible. That was a very manual process that involved visiting the printer in person multiple times and Celina handbound the magazine, with me struggling to be useful to her by folding the pages. This time we went all digital.

Shavanna: In addition we had to become creative since we could no longer conduct shoots or interviews in person. Everything was done via email (except for Sultana’s shoot which happened pre-COVID). All other photos were submitted by the women in the issue. Whilst I missed many aspects of being in person, in some ways the challenge allowed us to lean in to our mission of showing women as we truly are. It also allowed for us to have a remote intern via Wellesley which was awesome!

6. WU: How do you want to grapple with the plurality of feminism(s) in the pages of the magazine?

Shavanna: By being truly intentional about seeking out diverse voices. By celebrating those voices and by taking our readers feedback to heart. Outside of the folx who are interviewed or featured in our magazine we attempt to employ women in the creation of the physical product as well (design, photography etc). The end result is something that has been touched by women from various parts of the world and from different walks of life.

7. WU: Can you share the story of how the magazine gained its title? How do you respond to any pushback and claims of appropriation from Latinx individuals for your usage of the word “Mujer”?

Sara: For starters, we were founded in Mexico City and at least half of our readers are native Spanish speakers. The publication, like many of its readers, is also bilingual. For the interviews and articles that are originally done in Spanish, we leave them in Spanish, only translating key quotes into English and vice versa for pieces that are originally in English. The title is also a global call to women that goes beyond the English-language paradigm.

8.WU: The fashion and beauty industry can carry both an air of superficiality and apoliticism. Tell us what people get wrong about the experience of working within it.

Sara: I think this is hard for us to get into because we are not really working in the fashion and beauty industry-- we are working parallel to it and trying to pick the piece we enjoy while also creating something new and different for women that makes them feel empowered, not inadequate.

Shavanna: Yes neither Sara nor I really work within the industry (nor have we prior to the magazine). I’ve worked as a stylist from time to time, but that’s about it. For the most part we’ve been consumers who were unhappy with what we were consuming and figured we could do something about it.

9. WU: In an effort to not over-glorify the value of success and “making it”, let’s talk about failure. Can you share with our readers what went wrong in the process of producing MUJER!?

Sara: Before our Chilanga shoot, Shavanna and I got horrible food poisoning. Like, nearly had to go to the hospital.

Shavanna: Yes we were living on pepto bismol and had just started eating plain bread and pasta the day of our shoot, but we powered through! Honestly this magazine has felt like a contribution to society that we were meant to be a part of, so despite obstacles that have come up, we know that we can’t be sidetracked.

10. WU: How do you react to the “self-care” trend and it’s correlation to the consumption of beauty products? Relatedly, how do you two take care of yourselves?

Sara: I’m an introvert who fakes being an extrovert, but I definitely know I need alone time so I try to make space for that. As of late, I try to use more natural/ organic beauty products and just less of everything period. Also sleep. Sleep is so important. Finally, I’ve decided I will deal with drama in my professional life because I feel like that’s where I’m making a contribution that’s important but I try to minimize drama in my personal life as much as possible.

Shavanna: I try to take care of myself by reminding myself that rest is ok and necessary (so hard). Practicing my faith/meditation. Asking for what I need. Going to therapy (physical and mental health). Exercising. Connecting with loved ones (friends and family). Being kind to myself.

11. WU: As a follower of your Insta page, I find myself lingering on your original posts, staring into the faces of the individuals you capture. It makes me realize how my brain has been trained to see the same faces featured in public spaces, so much so that they’ve become invisible. Can you share the favorite photos that you’ve captured and why they stand out to you?

Shavanna: My favorite photos are of Wellesley alumna Solonje Burnett. I’ve always admired Solonje’s fearlessness and creativity and I think we truly captured her essence in these. Though she is beautiful, the interview is about so much more and highlights her as the complex, multifaceted woman that she is (instead of just her beauty routine or what her house looks like).

12. WU: What does the day in the life of an Editor-in-Chief look like? How about a Creative Director?

Shavanna: We’re very collaborative. I don’t think we really have hard and fast rules as to who does what necessarily as much as it’s a partnership. One of us will propose an idea (in between juggling the rest of our lives) and we’ll discuss pros and cons and greenlight what works best and aligns with our values. We also just hold each other accountable. Right now there isn’t a typical day in the life as well just because we both have other jobs (though it would be amazing for Mujer! to continue to take off in a way that allowed us to devote more time to it).

13. WU: Both of you currently have worked with higher education institutions (Harvard + NYU). Can you tell us a bit about your “day jobs” and the types of opportunities they have afforded you in relation to the Magazine?

Sara: While I was working at HBS, I co-authored a case study on Monocle magazine which has helped to inform some of our thinking around the business model for MUJER!

Shavanna: I worked for almost 7 years at NYU, first at Stern and then within the Faculty of Arts & Science. In terms of opportunities? I’d say actually, for me, anyway the two aren’t related. My time at NYU influenced my acting career more so than Mujer! by giving me some flexibility and certainly financial stability.

14. WU: Lastly - a question you ask your features in the upcoming digital issue: how have you been gentle with yourself during this time?

Sara: Uff, I have been eating a lot of ice cream and taking breaks when I need to. I turned off the New York Times news alerts on my phone. I still read the news everyday but this has helped a lot.

Shavanna: Uff indeed. Hm sometimes I remind myself that the fact that I’m functioning is enough. This quote from Audre Lorde has been getting me through: “Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare.”

Working out and going for walks, journaling, therapy, being in touch with my spirituality, limiting myself on social media (or at least certain groups or accounts), listening to my body in terms of what it wants (whether that be food or change of environment). Talking to friends when I have the energy always brightens my day and constantly reminding myself to take things one moment/day at a time. This is all incredibly hard and I’m grateful to those who have been gentle with me when I struggle to be gentle with myself.

Check out the MUJER! Covid-19 digital issue here: https://www.mujerrev.com/mujer-sale Given the increase in domestic violence and gender based violence around the world during the pandemic, a portion of the proceeds from the issue will go to two organizations helping womxn that are survivors of domestic abuse and human trafficking: Women of Color Network - Blue Lips Campaign and El Pozo de Vida.

MUJER! Homepage: https://www.mujerrev.com/ MUJER! Instagram: https://www.instagram.com/mujerrev/

#wellesleyunderground #wellesley college #mujermagazine #fashion #beauty

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tiesandtea · 4 years

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The London Suede Come To America (1995)

"Some days I wake up and I feel absolutely bullet proof," says Suede mainman Brett Anderson. "When I wrote 'So Young' I wanted a song that was like that... pure raging excitement."

By Michael Goldberg, Addicted To Noise (ATN), San Francisco. Archived here.

ATN was founded by Goldberg, who previously worked as an associate editor and senior writer for Rolling Stone, in 1994. It was one of the first online music magazine that offered audio samples and video interview clips with its editorial content. The first issue came out in December 1994. (x, x)

In the midst of a February/March club tour of America, ATN caught up with Anderson in Detroit for a frank chat about naked men in dog collars, the New British Invasion, the Sex Pistols, and his drug(s) of choice.

Suede leader Brett Anderson is a wisp of a man, who claims not to court controversy despite provocative album cover art and such lyrics as "I want the style of a woman, the kiss of a man." Yet he's caused plenty of controvery. Consider his comment to Details that he's "a bisexual man who's never had a homosexual experience." Sexual ambiguity sells, as has been clear since Elvis appeared on the scene some 40-plus years ago.

Suede bring Bowie's Ziggy Stardust sound (and androgyny) into the '90s. These Brits know how to make hits. "So Young," "The Drowners," "Metal Mickey," and "Animal Nitrate" were brash, infectious pop confections that begged to blast from car radios. They flew up the charts in Britain upon release.

Dog Man Star, the group's second album, is a song suite, an hour of metallic bang-a-gong rockers and ethereal ballads. Anderson can sing as trashy as the late Marc Bolan, but he can also hold his own crooning with the likes of George Michael or, going back some decades, Bing Crosby. And he's not afraid to go against conventionin fact, he seems to relish it freely admitting that he liked Kriss Kross records and just can't understand the popularity of grunge rockers Pearl Jam and neo-punks Green Day and the Offspring.

Anderson and bassist Mat Osman grew up in Haywards Heath, a bland suburb located 40 miles south of London ("Quite a horrible little place," Anderson told one reporter). His father took odd jobs; in recent years he's driven a taxi. His mother died of cancer in 1989. His father was a fan of Liszt, going so far as to name Anderson's sister Blandine, after the composer's daughter. He first heard both the Beatles and the Sex Pistols playing on his sister's phonograph.

Anderson felt like an outsider from as early as he can remember. And he always wanted to be a rock star. In fact, he says he assumed everyone wanted to be rock stars, and was flabbergasted the first time he met someone who didn't.

Away from the raucous punk and post punk scene of the late '70s and early '80s (he was 7 years old in 1977, the year of the Sex Pistols), Anderson romanticised being in a band, and dreamed. Ask him his influences and he doesn't hesitate: the Beatles, the Stones, Bowie, the Sex Pistols, the Smiths, "and punk bands like Crass."

In 1985, at age 15, Anderson strummed an acoustic guitar and sang on the street for spare change. He says he played in "hundreds" of bands [clearly an overstatement] but eventually landed in London with Osman. They placed an ad in the New Musical Express which brought them guitarist/songwriter Bernard Butler, and some time later replaced their drum machine with Simon Gilbert.

By April of 1992, before they'd even had a record released, Melody Maker put them on the cover, declaring, "The Best New Band In Britain." Funny thing is, they lived up to the hype.

And they've managed to survive their 15 minutes of fame. Anderson expects the group to record another album following spring and summer tours of Asia and Europe, then return to tour America in the winter. The album won't be released until next year.

Addicted To Noise: I found it interesting that "So Young," off your first album, was about that feeling of invincibilty experienced when one is "so young," a sentiment more recently expressed in the Oasis' hit "Live Forever."

Brett Anderson: "So Young" came from our first flush of success and the desire of everyone around you to kind of settle you down. The desire of people to almost build a rock star career, and to actually take all the joy out of it, the pure joy you get out of being in a band that people love. It was one of those songs that I wrote with an audience in mind. There's certain songs that you have to hear sung back at you. One of the things that I loved about "The Drowners" [their first UK hit], it was written as a quite personal thing but the way the song works best is when you've got 2000 people singing, "You're taking me over." I did have in my head the vision of 5000 people singing back to me with "So Young." I love that. It was supposed to be quite anthemic, it was supposed to be quite stupid. I didn't want to be turned into some kind of intelligent, literate pop star, you know what I mean?

ATN: Why not?

Anderson: I don't think there's any place for intelligence in music. I can't see the point. Music's instinctive and it's natural and it's dumb. It's real dumb.

ATN: What were you trying to communicate in that song?

Anderson: There's just a feeling of absolute invincibility that you get sometimes, especially if you've been in bands a long time and it's taking you a while to actually convince people. Some days I wake up and I feel absolutely bullet proof. I wanted a song that was like that. That was actually almost pure raging excitement.

ATN: The cover of your latest album, Dog Man Star, depicts a young man lying naked on a bed. Who is that?

Anderson: The picture is from a book of photographs I've had for a long time. It's actually the husband of the photographer who took it and it was taken the day after they split up. It's a beautiful picture. It's something I've had for a long time and we've never made a record that really fit it, and then we did. It was one of those things where I took it into the band and everyone went "Ah, that's the one."

ATN: Both album covers are controversial in their own way.

Anderson: They're not meant to be in the slightest. You should see the original of the Suede album. The picture we used is actually cropped. The original full picture, the woman on the right is naked in a wheelchair and the other one is kneeling to kiss her. It's a beautiful picture. And we got the right to use it. But one of the things we did was to phone up the two models in the picture to check if they were all right with it because it's an image that's going to be seen all over the world and one of them didn't want it used. Which is fair enough. It's a twenty year old picture, or whatever. But I just liked the mood of it so we cropped it. But it wasn't intended to be controversial. I mean one of the things people always say is it's so androgynous. Which is really weird, cause in the original you can tell it's two women. But anyone who is shocked by two women kissing in 1995 is a fucking half-wit.

"If we wanted to be controversial we'd have called the album I fucked dogs," says Anderson. "It's fucking easy to be controversial and difficult to be good."

ATN: Yeah, but that's what's so interesting particularly about America. I've lived in San Francisco all my life and in San Francisco, as you know, is a very sexually liberated city. But you go to Kansas, or some of these places you go through when you tour, and it's like the Stone Age.

Anderson: I know. America is definitely like three or four different countries. No, there was no intention to be controversial. I'm not really interested in being controversial. If we wanted to be controversial we'd have called the album I fucked dogs. It's fucking easy to be controversial and difficult to be good.

ATN: In putting two women kissing on the cover of that album, what did you want to say?

Anderson: Nothing. It's a beautiful image. I don't give a fuck about things like that, what people will think. One of the funny things about that is you had all these people phoning me up going, "Yeah, we think we're offended by your album cover but we're not sure. Cause we don't know what it is." Oh, well it's a man kissing a woman. "Oh." Only kidding, it's two women. "Oh, we're offended then." No, no I was joking. It's actually a man and a woman. "Oh we're not offended then." It's the same fucking picture. It's not for me to think about. I'm not going to think about it.

ATN: But you got that kind of reaction to the first one and then you put out Dog Man Star. You're saying you weren't courting controversy with that cover?

Anderson: Not in the slightest. It's because we come from Britain where no one gives a shit. Really. And to think that a semi-naked man is in any way controversial is one of the great horrors of this century. You should have seen the original fucking cover for Dog Man Star, man.

ATN: What was that like?

Anderson: It's from One Hundred and Twenty Days In Sodom . You know that film? Passolini?

ATN: I haven't seen that.

Anderson: It's fantastic. It was the naked man in a dog collar snarling at the camera. That was a fucking brilliant picture but we couldn't get the rights to that. So perhaps we should have gone with that and then I could be discussing controversy with you. I don't think it's a big deal. There are people who are professionally outraged nowadays . That's their job. But no one's actually outraged. They just think they ought to be.

ATN: It's a position they take.

Anderson: Right. It's my job to be outraged by a naked man. And it's the woman over there whose job it is to be outraged by a naked woman.

ATN: Do you think there's a New British Invasion really going on right now? Can it be compared to what happened with the original "British Invasion" in the '60s? And do you think that that's what's going to happen?

Anderson: No I don't think so. It's all very well for a bunch of people in the media to get excited about it, but a British invasion is when British bands start selling a lot of records in the States, and at the moment British bands aren't selling any records.

ATN: It seems to me that some of the bands haven't been getting the kind of shot that they should get over here.

Anderson: We've certainly felt like that. It's always been quite strange for us 'cause the records have kind of leapt out everywhere else, all over Europe and Japan. The records just sell more and more each time. But we've found that American radio is pretty hard going. And radio and MTV are pretty much what make you over here.

ATN: You're over here, you're touring. Are you feeling like there's any kind of change yet in the reception?

Anderson: Absolutely. It's probably different for us because we've got pretty much a hardcore cult following over here. So we've never had a problem in the US. It's always been very comfortable for us. We've always had a very good time here. Whether or not that translates into anything kind of mainstream, we'll have to see. There's definitely a different musical climate in England and a different musical climate in America. I don't think the bands have ever been less connected. And I think that's a real shame. I think all the great music in the world has been universal music. I'm not really interested in flying the flag for Britain. I don't give a shit, really. I'd like to make records that turn the world on. That everyone wanted. I think the whole thing is a bit of a red herring.

ATN: What are you saying?

Anderson: The whole idea of British Invasions and American renaissances. It does away with the concept of people just making good records.

ATN: There are some really great English bands right now. Suede, Oasis, Bush, Elastica...

Anderson: I think definitely the British music scene has fucking woken up a little bit and realized that you can't just sit around and make cool records for your mates. But I think there's a long ways to go. And things are still pretty divided between Britain and the US. There's no way you could hear a record and say, "I'm not sure which country that comes from." That's quite a shame, I think.

ATN: One problem is that people in America aren't really getting exposed to the new British rock & roll.

Anderson: That's the frustrating thing. I don't mind being hated. There's loads of places we go where people have heard us and they despise us. Yeah, it's really frustrating to know that people just haven't heard of you. And the real divisions in American radio. For a while I spent 24 hours a day listening to alternative radio. I think it's horrifying [the way bands are pigeonholed]. I think it's completely un-American. And I think it's a real problem for a lot of British bands, 'cause a lot of British bands fall between the genres. I mean I don't think of us as an alternative band and we'd sound pretty exotic on alternative radio. But then if you try to get us on Top 40 radio, they say we're too alternative. The problem is if you don't immediately fit into something quite comfortable. American radio has become more and more compartmentalized, which is a shame because it's a totally un-American attitude. One of the things that Americans have always been respected for is the breadth of what they're into. America has been the place where people like Black Sabbath and they like Portishead. I think it's quite sad that it's actually being carved up, kind of like demographic radio.

ATN: Dog Man Star seems more introspective, with a lot more ballads and slower material than the first album.

Anderson: A lot of changes between this album and the first one are just to do with having the time and the money to make the record that we always wanted to make. The first record is filled up with live tracks and things we've been playing for a couple of years. And when you're starting out you write big storming rockers that actually grab people's attention. You're desperate to be heard. Whereas this one we knew people were actually going to listen to it. It's a bit more subtle. We wanted to do something that you could really just lose yourself in, that you could dive into. And we wanted to actually make an album rather than a collection of singles. We sat and wrote it as an album. You know, we wrote the songs in one batch and all of the songs are like little cousins of each other. And it's supposed to be a whole album that you can actually live in and from the minute it turns on you just get swept away by it. There are a lot of changes of mood in it and a lot of changes of pace. Like one long song with an introduction, verses and choruses and even an outro.

Anderson: But I don't think it's more introspective. I think it's less introspective.

ATN: Really?

Anderson: Yeah, I think it takes on the world a bit more. I think the record takes the world on, whereas the first one was probably what was happening in our heads. This one lives in the real world.

ATN: Give me an example of that.

Anderson: Something like "We Are the Pigs" or "The Asphalt World." They're not about just what's going on in my head. They're about the people around me and the world about me and the city around me and the country around me.

ATN: Did you go somewhere to write the album?

Anderson: I did. I was living in a place called Highgate. It's a very strange place. It's a beautiful little bit of London. It's like the 14th century or something. It's got like a village green and people have rabbit hutches in their gardens and it's between two of the fucking roughest bits of London. I basically just shut myself in a bare white room for about three months and I didn't do anything but just sit and write. It's quite an inspiring place because it's very quiet and very calm but you're seconds away from real degradation and squalor. I find it quite inspiring. I need a bit of calm to write. I don't need calm in any other part of my life. But to write, I like to just sit back and let it wash over me.

ATN: Talk a bit about the lyrics on this album, and the songs.

Anderson: I think a lot of it is very blank. A lot blanker than the first one. For the first one, I used to sit down and actually slave over them and change words and did like 50 drafts. But a song like "The Asphalt World" is really simply written and it's written about kind of what I did during the day. I wanted to write something that was quite simple, that was just about me and the people around me. Things like that and "The 2 of Us" are almost like reflections on the day before. Whereas something like "Daddy's Speeding," that pretty much came to me in a dream. I had a dream that I was sent back in time to save James Dean from the car crash. We ended up getting loaded together and I didn't bother. I could have saved him.

"Still Life" came from living in that kind of place, being surrounded by housewives and incredibly bored people. It's one of the strange things that people think our lifestyle is always quite frenetic but it's actually pretty much like a housewife's a lot of the time. You know, 23 hours a day it's pure boredom. And I was trying to write a song that was about me and about them. I pottered down to the shops in the middle of the day and would see these incredibly bored people actually become almost completely disconnected from life.

Kind of like fading alcoholic housewives. And "We Are The Pigs" is probably about the division between those people and fucking two minutes down the road, people living in Archways and the way there's no connection between the two.

ATN: I want to get your opinion on some of the other English bands. What do you think of Oasis?

Anderson: I think they're all right. Yeah. I don't know their music very well but I think they're quite exciting, which is good for a English band. I think they sound pretty natural.

ATN: You've heard "Live Forever"?

Anderson: Yeah, I think it's all right. A lot of the bands that people always ask me about I'm not particularly interested in.

ATN: What do you listen to?

Anderson: I like Beatles and the Stones. I like a lot of modern stuff, dance music, soul, rap. I like people who can actually sing. That turns me on. I like Prince. I like a lot of rappers because they've got kind of a hypnotic quality to them. There's too many people who are kind of singing essay writers. I'm quite turned on by people who have the power in their voice, whether I agree with what they say or not. Perhaps Jim Morrison or Nick Cave, who have a bit of authority, who have a bit of power to them. It doesn't matter what they say, it's the way they say it that's quite important to me.

ATN: Any particular rappers.

Anderson: Oh, Snoop Doggy Dogg.

ATN: Yeah, he's great.

Anderson: The thing is I don't agree with anything he says but you have to listen to him. I like Kris Kross as well. And people like Coolio. And who does that "Regulate"?

ATN: Warren G.

Anderson: I like a really smooth sound, I like people who can really sing, you know? That's almost disappeared. A lot of modern singing, a lot of rock singing and soul singing, it's all technique, all showing off. It's wailing and howling and hitting the high notes. I like people who can whisper in your ear instead of shouting at you.

ATN: Initially there was a lot of talk about Suede in terms of sort of reviving the glam thing and the Bowie thing? What did you think about that?

Anderson: I never, never understood it. I have no idea what was going on. I've always hated glam rock. I thought it was appalling. I'm not really interested in fake music and it was very fake music. I was a bit horrified by it all.

ATN: Did the Bowie references make sense?

Anderson: Oh yeah. I'm a massive fan. It frustrates me when people go over the top about it, but I think he's great.

ATN: What music influenced you when you were young?

Anderson: I suppose the punk stuff. If we're talking about what turned me on to music, what made me pick up a guitar. It was kind of like Crass and people like that. I like Sex Pistols and stuff, but I come a bit late to it.

"Anyone who is shocked by two women kissing in 1995 is a fucking half-wit," says Anderson.

ATN: And who else?

Anderson: A lot of tough punk. Real annoying your parents music, mixed with that, stuff my sister listened to: Beatles and Stones and Bob Dylan and Pink Floyd. And then after that, I suppose when I was old enough to buy records, it was the music of the day: The Jam and the Specials and Japan and people like that, just stuff you heard on the radio, basically. My musical education is not a list of cool, cult artists I spent years trudging around record shops to find. It's stuff you hear on the radio when you're having a tea on a Sunday night. That's where my love of music comes from, big pop music.

ATN: When things first broke for Suede, how old were you?

Anderson: About 23.

ATN: How did you handle it?

Anderson: It was easy, it wasn't that much of a problem. It really isn't. You can imagine what it's like being incredibly famous. [laughs] You can! It's like any other life, but you get recognized more often. You just have to wash your hair a bit more often, you can't buy as much pornography.

ATN: Look at the Kurt Cobain situation.

Anderson: That's a very different thing. He was a lot more famous than I was, and to his credit, one of the things that really saddens me about that is he spent a lot of time saying he was deeply unhappy with success. And everyone thought it was an image. That's one of the things that's sad about fakes in music. They actually ruin it for anyone who is telling the truth. Because if it wasn't for the fact that here's generations of people who have thought it's cool to be tortured, perhaps people would have taken him a bit more seriously when he said he hated himself and that he hated what he was doing. I look at like Sinead O'Connor now. I read something she said and I feel horrified for her, really sorry for her, because she's saying that she can't handle it and she's having a terrible time. And everyone thinks it's a joke, everyone thinks it's her image. And that really saddens me and that's why I've always tried to be blatantly honest in interviews.

ATN: Why did you call this album Dog Man Star?

Anderson: Its just three of my favorite words, really. It's just something that a lot of the songs are about. Almost like the three stages of man, the three things you can be. I feel very dog-like at the moment.

ATN: Sort of like the animal state to whatever state we are in at the moment to a spiritually enlightened state?

Anderson: Perhaps not a spiritually enlightened state, but I've always been attracted to people who actually think of themselves as stars, people who actually treat life like a film or a book. I don't mean in the sense of people who are actually in the public eye. There's a lot of people who have sold 60 million records who you see 50 times a day who don't have the faintest star quality to them, and then there's a lot of people working gas stations, they just have that aura around them? They just make things happen out of everyday life.

ATN: In the first song on the album, you make reference to Winterland, you make reference to introducing the band, which I took you to be talking about the Band, you know, Robbie Robertson's The Band.

Anderson: [Laughs] No.

ATN: That's where they played when they played their first performance.

Anderson: I was thinking the Sex Pistols' final gig.

ATN: But that's pretty wild. I was at that show at Winterland, actually.

Anderson: You're kidding.

ATN: It was probably the greatest show that I ever saw.

Anderson: I was watching it just recently. I've got bits of it on video. It's something I've seen about a million times. That bit at the end. [Starts to deliver lyrics in a monotonal Johnny Rotten voice] "This is no fun/ No fun/ At all."

ATN: People were throwing money and all kinds of stuff onto the stage. Rotten was just picking the stuff up. And the audience was just the most bizarre audience. It was a mixture of people that were totally into the band and people who had come to see the freak show.

Anderson: Yeah totally. I've always been fascinated by them and by that gig and just the way they managed to compress everything into a year. Or in the case of that show, anything you could ever ask for a gig in three-quarters of an hour. I just love the idea of a final moment. Of a band just being in the present.

ATN: The thing was, though, when you were there, the music sounded so great and so powerful. Some people tended to say, oh, the Sex Pistols couldn't play that good...

Anderson: Oh they fucking rule! We were listening to the album last night on the bus. If you listen to it now, it just sounds like the greatest rock album in the world.

ATN: Never Mind the Bollocks . . .

Anderson: Yeah. It's so completely almost like year zero it's ridiculous. It's like listening to Chuck Berry.

ATN: Exactly.

Anderson: Or the Rolling Stones. It's just a fucking absolutely great melodic rock album. All the things that people say about them are absolutely untrue. There's only one criteria for musicianship, as far as I'm concerned, and that's whether you can get across what you're saying with your instrument and with your voice. I'm not interested in any kind of technique or anything like that. To me, a great musician is someone that you understand what they feel when they pick up a guitar and there's people who can do that with three chords and there's people who can play entire symphonies and have never moved a human soul.

ATN: All these guitar players who can play scales up the wazzoo, but so what?

Anderson: The real problem is, you've got someone like Sex Pistols, they come along and people mistake it. People think that the way they played was what was important, people actually think that if they can replicate the sound as raw or amateurish as that, that they'll somehow be as great as them. And it has nothing to do with that, it has nothing to do with the level of musicianship. It has to do with the fact that they actually send an electric shock through you. And there's people who do that with incredibly complicated music and there's people who do that with incredibly simple music.

ATN: How old were you when you were exposed to "God Save the Queen" and "Anarchy . . . ?"

Anderson: That's the strange thing. I was just really too young. It was '76 when that happened, which is 20 years ago now. I was about 9 or 10, so I wasn't a punk. I couldn't get to any punk gigs or anything. So we just got these ripples in the suburbs, this incredibly frustrating feeling 'cause you knew you were getting everything like second or third hand and you knew you were missing out. Luckily they were one of the few bands where the records were so fucking powerful that it didn't make any difference, you could actually plug into it. Half of my life I've kind of lived the pop dream, wanting to be in a band, and it comes from that, it comes from being cut off from it and just having these little bits of vinyl which were my only connection to it. It's not like nowadays where any kind of fucking two-bit thing makes it, you see it everywhere. It was in the news. I can remember for a few weeks where that was the news. You know what I mean, the Sex Pistols.

ATN: Was it the Sex Pistols or what was it that actually made you make the decision, OK, I want to do this?

Anderson: It's one of those things that's always seemed completely natural to me. It's almost the other way around. I can remember the first time I met someone who didn't want to be in a band. And I can remember thinking it was the most bizarre thing. I thought they were making it up. I just assumed that everyone wanted to be in a band and a lot of people settled for something else.

I guess that punk was really important just because the first time you pick up a guitar, you're not going to be able to play "Brown Sugar," but you are going to be able to play stuff like "Bodies" and "Submission." I used to be in a punk band called The Pigs. We played these kind of like bastardized Sex Pistols and Fall songs about the countryside. I mean they actually connected you to music.

One of the big problems of coming from the kind of place I come from is there's no history, there's no music, you can't imagine yourself as a pop star. You couldn't say, "I want to be in a band." There weren't any bands. There wasn't a local scene or anything. The nearest big town is Brighton and that's never produced anything. One of the things about the Smiths I loved when I was growing up was just the kind of obvious ordinariness of them and the fact that they were making beautiful, important music and they were just obviously kind of like the square kid in the back of the class.

ATN: Haywards Heath is where you grew up, right?

Anderson: Yes.

ATN: But that's 40 miles from London. That doesn't seem that far to me, but it sounds like it felt like it was a million miles away from anything cool.

Anderson: Oh yeah, completely. It's near enough, I used to go up to London when I was 15, 16, but kind of as a complete tourist. I used to wander around the streets with my mouth open. I didn't get to do anything. I just went to wander around and soak it all in. I think that's quite important to be cut off from it, because you keep your romantic view of it intact.

ATN: You romanticize it.

Anderson: People actually from London, they're a bunch of fucking, cynical old farts, they really are. They've all seen it all before, they've all been backstage. They've already seen the downside of it and we never really had that. We still kind of actually believed in the band. And I think a lot of big city people just don't. They don't believe in the power of music.

ATN: About how old were you when you had The Pigs?

Anderson: The Pigs. I guess I must have been about 15.

ATN: Was that your first band?

Anderson: I've had hundreds. Bedroom bands. I was in a band called Suave and the Elegant. They did kind of Beatles covers. None of us could play. Just farting around. And then, when I met Mat [Osman], it was the same thing, we couldn't play. We had a drum machine in the bedroom and we'd do these dreadful fucking songs.

ATN: How come you parted ways with guitarist/songwriter Bernard Butler?

Anderson: He just didn't really enjoy being in the band anymore. There was just no point having anyone in the band who doesn't think it's the greatest thing on earth, you know what I mean?

ATN: So basically he got bored with it or frustrated with it?

Anderson: I think he wanted to do everything himself. He's very musical and he just wanted to sit and play guitar and write songs. And if you want to be in a big band, you actually have to work at it. You have to be singer and musician and businessman and politician and interviewee and all these things at the same time.

ATN: Do you worry at all that not having his musical input is going to affect things like coming up with material?

Anderson: Not in the slightest. We're working a lot faster that we ever have done.

ATN: And you like the material as much?

Anderson: Yeah, certainly. I'm really excited about it. The thing is, I'm writing stuff on my own and I'm writing stuff with [new guitarist] Richard Oakes and I'm writing stuff with the band. Richard is vomiting stuff out.

ATN: What makes you mad?

Anderson: I guess absolute waste. Just the realms of crappy fucking records. Piles of dogshit. You could get rid of 95% of the records that were ever released and no one would be any the worse off. I'd like to see MTV close down for an hour and go, I'm sorry there's nothing good to put on. Or a music magazine saying, we're not coming next week because nothing happened.

ATN: It seems like there's always been this classic tension between the creative sidesomeone trying to make great rock & rolland the record company's side, where it's a business trying to make money. And it's like they don't care whether it's the Sex Pistols or whether it's Journey.

Anderson: At the same time, it's very easy to just be purely musical and just sit at home all day and make beautiful records that no one hears. I can't get away from the fact that if we make a record now, because of record companies, 90% of the world's population can get a hold of it in a week and that's a fucking fantastic thing. That's technology being used in an incredible way. You can't knock it. If you're going to make a record to communicate to people, then you should make sure people fucking hear it. I think that's really important. I don't want to just sit home and say, we just write music for ourselves and if anyone else likes it, it's a bonus.

ATN: One of the reasons that there's so many crappy records is because the record companies don't know. They're trying to find something...

Anderson: They're doing a job. I'm very aware of that. Every single person you meet in the entire fucking rock-and-roll industry is doing their job and they're looking out for number one. It is a fucking industry and you've just to be completely aware of that. That's why you have to be quite a tight unit as a band because it's the four of you against the rest of the world. However much there's people around us who have our best interests at heart, at the end of the day we're the band and we know what's best. We have pretty much absolute control over Suede. We have more control than pretty much any band out there today.

ATN: Do you make the business decisions?

Anderson: Yeah. Everything follows from the records. Basically, when it comes to selling, we leave the record company to it. That's what they're there for. They're the salesmen. But we're one of the few bands where no one hears our record until we've finished it. And then we come out with a finished record, finished artwork. And we hand it over, we say these are going to be the singles, and we let them to the bits that I have no fucking interest in. Like marketing it.

ATN: When you handed a record over to them, have they ever come back to you and said, "Oh, we think you should do this or we think you should get that song remixed?"

Anderson: [laughs] They wouldn't fucking dare. I mean we listen to them. Every now and then the American record company will say, "I think this would make a great single in America." And we have listened to them in the past. But pretty much anything we actually care about, we do ourselves. No, no one's ever suggested that to us. No one's ever suggested remixing or anything like that. I think they know that it would be a terrible, terrible mistake.

ATN: You've toured America now, this is the third time?

Anderson: Yeah.

ATN: What do you think about this place, given that you've been here enough times that you have some sense of it?

Anderson: I love the place. I do love the place. There's a real openness to it that you don't get in lot in other countries.

ATN: What are some of the specific things that you like?

Anderson: I've had some of the best nights of my life kind of lost in strange American cities. Just being swept along. People are completely receptive to, I don't know, letting loose. Getting loaded and getting loose. Just because there's a kind of dumbness to the place. There is! Which I really like. Let's just see what happens, that kind of thing. England can be a very claustrophobic place, especially if you're vaguely well-known and I don't get that in America at all. I find the opportunities for getting yourself in trouble are vast here.

ATN: Can you be more specific?

Anderson: Not without perjuring myself at a later date. [laughs] I like the people here. I like the fact that people will actually try anything. And I like the way it's very fast moving. It really suits a band on tour. In Britain and Europe it takes kind of six months to get to know people so there's no point in meeting people. Whereas in America you meet people and they're like, "Hi, I'm Cindy, I was abused as a child and I'm a Gemini." And you're off, you know what I mean?

ATN: What's your goal for Suede?

Anderson: Just to make a string of absolutely great records. That was my goal for Suede when I was 12 years old. Doesn't change. One of the only things that doesn't change. To make just an absolute realm of fantastic records that people love.

ATN: Do you have aspirations of having the biggest band in the world?

Anderson: No. I want to be the best band in the world.

ATN: How did you come up with the name?

Anderson: It's just a beautiful, sensual word. It sounds really nice and looks really good. It's a sensual thing rather than intellectual. I've probably gone on many times about how Suede is the animal skin around a human body. But that all came later, when I was getting fucking [laughs] pretentious in interviews. It was just a sensuous, sensual word.

ATN: How did you feel about having to be the London Suede?

Anderson: It stank. I think it's shit.

ATN: What do you think of some of the American bands that have made it in recent years ranging from Pearl Jam to more recently, the Offspring and Green Day?

Anderson: I don't get it. I wish I did. I wish I could at least have understood it but didn't like it. But I just don't get it at all. I'm completely amused by it.

ATN: Are there any American bands that you do like?

Anderson: I like that Sheryl Crow record a lot. I like Perry Farrell, I think he's pretty cool. I like R.E.M.

ATN: You do?

Anderson: Yeah, I do like R.E.M. a lot.

ATN: What do you think of Monster?

Anderson: I think they got away with fucking murder.

ATN: Oh really?

Anderson: I understand it, though. I really understand it. It would be really easy to make another record like the last one and it's quite brave to make a record that you know is going to sell less. I don't think it's a particularly great album at all. I'd love to have been in the business long enough where people actually give you the benefit of the doubt whereas we're in the situation where people always assume the worst. We're always fighting for people to like our records. Whereas I think there are a few fucking statesmen in the world, like Paul fucking Weller in Britain, just because he's been around so long, if he makes a quarter of the way decent record, it's kind of like the second coming. Back to R.E.M., I just like the way they can be that big and that simple. I can't think of another band who've got that big and have actually used it to get simpler and more direct instead of turning into something enormous.

ATN: Speaking of the second coming, do you have anything to say about the Stone Roses' return after so many years of fucking 'round or whatever they were doing?

Anderson: Musically, it's great. They're probably some of the best musicians in Britain and they can actually fucking play. But one of the reasons I really liked the first album is I thought they actually had some songs. And I don't think they have on this one. But that's my personal taste. I like songs. And I don't think this is a very songy album.

ATN: How do drugs affect what you do?

Anderson: Apart from making me get up late for interviews, not very much. It's just something I do. It's not kind of a building brick in Suede, it's something I do personally.

ATN: Do you find it creatively stimulating?

Anderson: Very, very rarely. Not normally. When I wrote this album, I wasn't even drinking. I just locked myself in a white room for 14 hours a day. Pepped myself up with ginseng. Very occasionally I feel inspired by drugs, but not very often. And when we play live, it's funny, when we play live, none of us even have a beer before we go on. We played before 70,000 last year at a festival and we were the only people straight there.

ATN: So is it more a way of getting outside of yourself?

Anderson: I do it for exactly the same reasons that everyone else does. It's a good laugh. It makes me feel in different ways but that's no different from the reasons why millions of people who take drugs. I'd like to say it's some kind of creative elixir but to be honest, most drugs are incredibly uncreative. Cocaine is the least creative drug I can think of. Dope is fucking pointless. It's not a musical thing at all.

ATN: What's your drug of choice?

Anderson: What's the drug of choice? [laughs] I'll take anything, man. I don't really like slow drugs. I don't like drugs that slow you down. I don't like downers. I don't like anything that makes you fucking buzz off to a dream world. I like things that heighten....

ATN: In other words you don't like heroin.

Anderson: No, not particularly. I'm not really interested in dream drugs. I like things that light up your life, pep you up. Ginseng is my drug of choice. And Guinness. [laughs] Any drug that begins with "g," basically.

ATN: At certain points, do you sit back and say, this is amazing that I've been able to achieve what we have achieved?

Anderson: Regularly. Regularly I look in the mirror and say, I'm the luckiest man alive. Yeah, it hasn't lost its wonder for me at all. You can get worn away sometimes, but there's always the moment when you listen back to a track or the moment you play a great gig where you feel like Superman, actually feel like 500 feet tall.

ATN: In terms of the state of rock & roll right now, what's going on from your point of view?

Anderson: I think it's quite inspiring. I think it's quite inspiring in Britain and I think Americans seem quite inspired about the whole thing. I think Britain's producing some halfway decent records for once and I think people are actually astounded that Britain has risen and is beginning to get off its fucking ass. I think the American scene has totally been shook up by cheap bands and the fact that record companies are running around like headless chickens because money doesn't equal success anymore. I think that's great.

What I don't like at the moment is the kind of cult, alternative elements of it, the way everyone is playing to these tiny little demographic audiences and there's no kind of connection across any kind of cultures or even across a fucking big lake like the Atlantic.

ATN: When Elvis Presley died, Lester Banks wrote about Elvis and he said that Elvis was the last rock star that connected everybody.

Anderson: The really big problem is every band in the entire world is living in the shadows of the Beatles and there ain't going to be no more Beatles unfortunately because everyone knows too much and everyone has more access. So people can have music that completely fits them, and you end up with these bizarre musical sub-cultures that are just aimed at one percent of the population. And you never can have another Beatles and I find that incredibly sad. Because that is the blueprint, I think, for every band, for every decent band, to try and make records that turn the whole world on, records that anyone can connect with.

ATN: You really believe in the positive effect that a great rock-and-roll record can have on people.

Anderson: Certainly. Even if it's the most stupid record and it does nothing more for you than brighten up your day for four minutes when it comes on the car radio, it's still more powerful than the other art forms.

ATN: At its best, what do you think it can do?

Anderson: At its absolute best, I think it can totally empower people and totally make people feel like they're wearing a suit of armor and strengthen people and make people feel above the shit of the world. Even at its worst, it can be fucking great. I think a dumb-assed pop song, the dumbest of the dumb-assed pop song is probably more important than any fucking painting done since the war or any sculpture or anything like that.

ATN: Why do you feel that way?

Anderson: It affects people in a way that those things don't. It affects people in a totally natural, physical, emotional way. Not in an intellectual way. It's democratic. It's the only fucking democratic art form left. You can get it anywhere. One of the great things about music is it does belong to everyone and that great songs just come to live in the air. That's why I like the radio so much. That was my first introduction to music. Every now and then I turn it on and think, what a fantastic thing it is. Just that you can have these things all the time. You don't have to go to a fucking gallery, you don't have to pay anything. There just isn't any equivalent for any other art form and it's fucking cheap, music. It must be said. You can get yourself an original Suede for what, about $15?

ATN: Now, it seems like, in terms of a CD, it lasts for quite a long time.

Anderson: Oh, that's a typical fucking American attitude. They always want to know how long it lasts. It is. It's the only place I've ever been in the world where they come first and ask you at a gig, how long are you going to play? Who gives you a shit, you know what I mean?

ATN: I know what you mean. Like a shitty band could play for 3 hours, who cares and like 10 minutes of greatness....

Anderson: I saw The Jesus and Mary Chain when they played for 20 minutes and they were fucking incredible!

ATN: The first time they came to America they played at a little club called the I-Beam in San Francisco and it was amazing.

Anderson: I can just imagine in America someone going, "That was incredible, why don't you play longer?" People always want a fucking encore.

#brett anderson #suede #this is long AF but genuinely interesting!#the london suede #atn #addicted to noise

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cregames645 · 3 years

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lovelylogans · 4 years

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Can I ask for more Rory salt? Right after finishing the show I didn't realize why everyone was so upset about her but now that I've rewatched I kind of understand. I'd like to hear more about your opinions on her! (Mostly bc I have 2 braincells so stuff like that flies over my head lol)

okay, granted, a Fair amount of my salt comes from the perspective of a journalism student, ie who they’re trying to portray, and also like. someone at a similar Point in their life, so. here we go. rory Salt.

like i will say she isn’t like, bonafide the Worst Character of all time, but like...... okay. like. this tracks back to one of my original and largest gripes with gilmore girls, and also a large reason of why i like the earlier seasons better than the later ones.

this post explains it very well; the early seasons (and first episodes) of gilmore girls seem to promise healing, moving forward, bettering familial relationships. the actuality of gilmore girls is the repetition of mistakes and things continuing in cycles, and often getting worse.

so, like. rory. rory’s character is established as this sweet, innocent, naive kid, with a fairly decent work ethic and big dreams to aspire to journalism and a certain level of fame (like christine amanpour, i think was the journalist she mentioned in the first day at chilton ep?) she’s smart, quiet, beginning to establish a relationship with her parents, but still a bit uncomfortable within the realm of chilton/privilege—i think this is best exemplified within the debutante episode, in which she’s uncomfortable with the premise, but goes through with it for the sake of making emily happy. same with the golfing episode with richard—she has zero interest in golf, but she gets to spend a day with her grandfather, and she wants to establish that relationship with him.

but then there’s that thing kicking in, in which gilmore girls is essentially a cyclical tragedy; rory gradually becomes more confident in herself and her abilities (becoming valedictorian, going up against paris for the speech on cspan) and in her relationship with boys; she goes after jess, and, once he leaves, lets him go and eventually is like “you shouldn’t have left me. but i’m saying goodbye to you, on my terms.” i think that s3 is where her character is strongest; she’s still sweet and shy, but she has a bit of an edge. she’s caring toward her friends, she, sure, makes the occasional mistake, but she eventually rallies from them. that’s when i like rory’s character best.

rory starts her decline in season four. this dates back to the whole cyclical thing; she’s the one who goes to her grandparents for money, echoing the original premise of the show, and a cycle starts anew. she goes to another new, prestigious school (yale) where she’s pushed to new limits.

but rory makes mistakes. she stands up for herself, yes, namely taylor when he pushes for her to be ice cream queen, but she also has a certain level of... entitlement, i suppose. like. let’s take “die, jerk.”

(i’m gonna go briefly into a journalistic tangent here, which is especially heaped by the fact i’ve been writing a lot of reviews lately. also, it applies.)

so, first of all, she takes her mom to her job. her mom. literally think about every other job in the world and, barring a “family day” at the office, please name a situation in which that’s acceptable. right? there’s basically no other situation in which that’s a thing you do when you’re being professional. (this is a repeated gripe, by the way; she often brings lorelai along. this could have been achieved with some phone calls where she hangs up and then does her job. but i digress. this goes into a whole rant on how women in journalism are portrayed in tv shows and other media, but seriously, i digress.)

then there’s the review itself. it’s mean.

“she has the grace of a drunken dock worker.” compared her to a hippo. “the roll around the bra strap,” the line about regretting how evolution had led man to stand on two feet because it led to this night. the ballerina comes to yell at her, which is wrong, but holy god, that never even should have been published. sure, it’s partially the fault of doyle, who as an editor should have stepped in, said, “rewrite the holy hell out of this,” and given her a talking-to on how reviewing should be about the performance and not body-shaming her, because yes you can give things a bad review but not to that level, but rory is the one who wrote it. and she only begins to seem apologetic when people start to react to it other than doyle; the ballerina, her mom, emily and richard. this happens a few times throughout—rory (and lorelai) never seem to realize how mean they can get until people start reacting to what they’re doing and saying.

she’s willing to write those things, read them, have other people read them, and put them out into the public, and doesn’t even consider the potential ramifications that it could have had on not only the dancer, but the ballet performance (which gets shut down, in part due to rory’s review) the costumer, the crew, everyone involved. yes, bad reviews exist, and yes, they can be brutal, but they’re almost never so personally vindictive and mean. she says she’s writing her opinion. look at how harsh that opinion is.

that’s part of why my opinion of rory takes a decline; being mean. another part of it is a certain level of entitlement.

because the revival is on my brain lately, let’s talk revival stuff. making it as a freelance journalist is hard. it’s hard work. it isn’t for a lot of people. especially in new york city, where the industry is so competitive that finding a job in journalism is a whole Thing. rory has a piece in the new yorker (not bad!) and is writing a piece for gq (also not bad, not bad at all!) about people waiting in line for a certain event.

now. let’s take, like, season four/season five rory, who compiled like three separate PILES of research for a story that wasn’t even hers, worked hard enough at chilton, a highly academically competitive school, to get valedictorian. rory is portrayed as a hard worker. she does what’s necessary for the job and to improve.

revival? whoosh, out the window!

she falls asleep during an interview for the gq job. she continually jets off to london to go see logan. she’s completely unprepared for a job interview, having absolutely zero ideas for any stories, despite the fact that freelance journalists are almost always working multiple stories and coming up with new ideas so they can, y’know, get paid. chilton offers her a job as a teacher if she gets her masters, but she turns it down, which, on one hand, sure, follow your dreams, on the other, if you’re continually complaining that you’ll take a job, ANY job, and get a very good job handed to you on a silver platter with the potential for more growth post that job with the addition of your masters and DON’T TAKE IT?!?!?!

plus, in the job interview, when she doesn’t get it, UNDERSTANDABLY, she calls the interviewer angrily saying that the interviewer practically promised her the job, despite the fact that it was a PRELIMINARY JOB INTERVIEW and there are OTHER CANDIDATES who DEFINITELY AT LEAST HAD STORY IDEAS. no matter how impressive your resume is, you have to at least show that you’re trying, because the whole thing in journalism (esp for those breaking into a business) is that EVERYONE has an extensive resume. that’s part of why it’s so competitive.

and still complains that she’s broke, in addition to the trust fund that we know she received at 25, plus whatever money richard left her in his will. if she was broke, she’d be living entirely above her means—those continual trips to london, living in a sizeable one-bedroom apartment in NEW YORK CITY, going out to eat very often.

and then just??? i could ramble more (the whole sleeping with a MARRIED DEAN thing, her partnership with logan, i could go back in and ramble about how the body-shaming is continual despite the fact that they frequently eat fattening foods and make fun of sports and are only so thin bc, well, tv magic, but also because they have Miraculous metabolisms, the way that they treat their friends, to some extent, but. yeah. here is some Rory Salt.)

#magicquill42 #ask #annalise talks gilmore girls

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ofcastora · 4 years

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“@lavolumnia asked: 🔆 + wildcard AU (aka lina granted me executive decision making so i’m writing a devil wears prada au) mentioned: @ofaguilar, @evcravens

Castora Aguilar is a little bit scared of Vivianne Sloane. She has no right to be. She’d never even heard of this women – who, apparently is the editor in chief of one of the most important fashion magazines in the business – a month ago. And now, not only is her ability to pay her rent on time, but her entire writing career is in the hands of a woman who flings designer purses at her.

A million girls would kill for this job. As if Castora didn’t know – as if she hadn’t heard the spiel from half her friends, from Vivianne’s first assistant, from Craven, the magazine’s creative direction who was so obviously in love with Vivianne, as if she didn’t hear it from everyone at that stupid, posh office. A million girls would kill for this job.

“I’m not one of them. She told me tales of your incompetence do not interest me when I couldn’t get Tomas fucking Sabello on the phone because he was at his wedding,” Castora tells Ramona. “And, I mean, you should see what these girls wear. I barely have anything to wear to work.”

---

Vivianne started the run through 15 minutes early and Castora is contemplating jumping off the window. She’s wearing heels that are a half-size too small for her because she borrowed them from Ramona. And still, she’s writing down everything Vivianne says like it’s the damned gospel because she’s too young to get fired.

“Why is no one ready?” Vivianne asks, and Castora can feel the hair on everyone’s neck rise up. The staff scrambles and a woman – Sarah? – runs over and pulls out two identical blue leather belts. One has a round buckle. The other one has a square buckle.

“We could do an Alice in Wonderland thing, but like, edgy, you know? Instead of lace we do leather. Victorian meets punk rocker. Hard meets soft....or we could never do that?” Bland Blonde Woman asks.

“Elle did that in 2013,” Vivianne states, crisply, almost like she’s reading Sarah’s last will and testament to her. “The belts could work. The colors bright and it’ll pop on camera.”

“Which one do you prefer? They look so similar?”

Castora can’t help but snort. She knows it’s a mistake when everyone’s eyes whip to her. “Something funny?” Vivianne asks, and Castora wishes she had jumped off the window.

---

It’s three in the morning, and somehow Castora and Vivianne are the only ones in the office. One assistant always has to stay with Vivianne when she’s working nights; Castora and the first assistant switch shifts. Today, Castora has gotten the short straw.

“Oh. You’re still here.” Vivianne seems surprised.

“It’s my job to be,” she replies. “I told you during the interview that I don’t know anything about fashion, but I’m a hard worker.”

She nods, then goes back inside. A beat. Then, Castora stands. She wobbles, not just because of the heels, but because she’s been chained to her stupid desk for eons.

“Can I ask you something?”

“You already did.”

“Right. Sorry.” Economics of language. Castora can appreciate that. “I was reading up on Runway history, and was wondering if you were thinking of bringing back the Runway on 5th column?”

“Why would I do that?”

“Because a monthly column from the perspective of an average woman could make Runway more accessible and not just something a millennial’s mother buys. It’s young, digital-friendly, and inexpensive to produce.”

Vivianne purses her lips and holds up the layout she’s been editing – a mock Runway on 5th column. “You read Runway now?”

Castora nods. “Yeah. I work here now, don’t I?”

“And what do you think of it?”

“It’s better than Elle. It’s stronger than Marie Claire. I liked the piece you ran about single mothers two months ago.”

“But?”

“I think there’s issues that everyone in magazine publishing is going through right now and you’re trying to fix them, but the people with the money aren’t letting you. I think you’re better than what they’re letting you be.”

“That’s all.”

“What?”

“That’s all.”

“Okay.”

Castora decides that her boss might not be so bad after all when she kills some stupid floral idea for a spring edition with a simple, “Florals for Spring? Groundbreaking.”

Castora decides that she actually likes the woman when expresses disdain over the commerciality and stupidity of Valentine’s Day. She remember she hates the woman when she has to carry three boogie boards across 35 blocks because her son wants to go to the beach.

Castora remembers that she likes Vivianne when she slips a leather jacket over her shoulders that some designer or another gifted her that she decided she didn’t like. “It looks better on you.”

Castora decides that she hates her when she calls her to her penthouse at 2 in the morning on a Saturday, forcing her to leave her friend’s birthday party, to deal with what she thinks is a magazine emergency.

Instead, Vivianne shows her a newspaper article on her iPad. Father of Vivianne Sloane’s Child Speaks Out. “Douchebag,” Castora says, not carrying that it’s not professional.

Vivianne doesn’t bat an eye at her assistant’s profanity. “You haven’t heard the rumors?”

“No. I mean, I’ve googled you, but who fathered your kid isn’t really anyone’s business. Can I do anything else?”

“Your job.”

Castora decides that she could love with woman. That she can do one year in the worst job possible for her.

#&. asks | answers & memes & drabbles & more oh my

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richincolor · 4 years

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Author Interview with Mayra Cuevas

Today we will get to know CNN producer and debut author Mayra Cuevas. Her book SALTY, BITTER, SWEET releases today.

Seventeen-year-old aspiring chef Isabella Fields’ family life has fallen apart after the death of her Cuban abuela and the divorce of her parents. She moves in with her dad and his new wife in France, where Isabella feels like an outsider in her father’s new life, studiously avoiding the awkward, “Why did you cheat on Mom?” conversation.

The upside of Isabella’s world being turned upside down? Her father’s house is located only 30 minutes away from the restaurant of world-famous Chef Pascal Grattard, who runs a prestigious and competitive international kitchen apprenticeship. The prize job at Chef Grattard’s renowned restaurant also represents a transformative opportunity for Isabella, who is desperate to get her life back in order.

But how can Isabella expect to hold it together when she’s at the bottom of her class at the apprenticeship, her new stepmom is pregnant, she misses her abuela dearly, and a mysterious new guy and his albino dog fall into her life?

Crystal: Mayra, thanks so much for taking the time to answer a few questions about your writing life and your debut novel SALTY, BITTER, SWEET. What does writing mean to you and when did you begin to consider yourself a writer?

Mayra: It was in the eighth grade. I was really into Julia de Burgos’ poetry back then and only beginning to understand the healing power of the written word. Julia’s work inspired me to write my own poems, as a way to cope with some difficulties at home. After many tries, I wrote a poem that I thought was pretty good — about how your feelings can be like a storm. My English teacher at the time, Mr. Antonio Colorado, was this super encouraging person. He knew I loved books and always lent me new titles to read and pushed me to work harder on my poetry. I gave him a copy of the poem I had written and he asked me if he could read it in class. I agreed, under the condition that he did not reveal my name. I mean, it was eighth grade, I didn’t want this to be the end of my social life. But when he read it, everyone went quiet and listened. And something magical happened, I felt connected to everyone in the room. In that moment, my words mattered and I felt seen for probably the first time. And what was even more amazing, after he read the poem, there was a discussion and people were talking about my words and how it affected them. I’ll never forget it.

Crystal: How has your career as a journalist prepared you for writing young adult novels? Was it a fairly smooth transition?

Mayra: No! (laughs hysterically) I *thought* it would be a smooth transition! But boy was I wrong. When I started writing fiction back in 2012 I remember thinking, ‘Oh I’ve been a professional journalist for over ten years, how hard can it be to write a novel?’ Well, as it turns out, writing a novel is very hard. And getting published is even harder. But there are two skills that transferred from journalism into publishing: 1) resilience and 2) working with editors.

Years of getting my story pitches rejected prepared me for the soul-crushing rejection I faced in the publishing world. My first manuscript was rejected by 200 agents! And somehow I managed to keep going.

My news background also prepared me to work with editors. I had lots of practice getting my news stories edited, nitpicked and pulled apart — that’s just the nature of the news business. And it’s no different in publishing.

Crystal: I’m guessing you’ve spent quite a bit of time in kitchens. What are some of your most interesting cooking experiences or other memorable moments around food?

Mayra: I’m a total foodie so when it came time to research Salty, Bitter, Sweet I went all out!

I reached out to the amazing Carla Tomasko, the pastry chef at Bacchanalia, one of Atlanta’s top restaurants. She agreed to serve as my guide through the workings of a real high-end kitchen. She also shared her story of working as a woman in a male-dominated environment and as an immigrant from Ecuador. She also recounted how her Latin roots helped shape her craft.

The time I spent in Bacchanalia’s kitchen was amazing! I got to see how the executive chefs prepared the day’s menu, how they selected ingredients and crafted the most exquisite dishes. All the while, I was taking copious notes of every detail I could use to make Isa’s journey as authentic as possible. I think it paid off because it seems to be everyone’s favorite part of the book!

Crystal: What do you love most about your characters Isa and Diego?

Mayra: They are two young people who are going through their own private pain — as we all do. At first, Isa sees him as a threat to the delicate balance of her new life. And in a way she is right to feel threatened, because Diego has arrived to upend everything she thought she wanted. In turn, Isa will help Diego make peace with his own life decisions.

Yes, there are some romantic moments, but it’s mostly about meeting someone who sees you for the first time and loves you in spite of all the broken bits.

Crystal: Though some things in Isa’s life seem to have some relationship to parts of your own life, were there things you needed to research as you wrote your way through this story?

Mayra: There were two main veins of research: the world of haute cuisine and the multiple locations where the book is set — six cities in total.

For the kitchen research, I interviewed and spent time with two amazing female chefs: Carla Tomasko, the pastry chef at Bacchanalia, one of Atlanta’s top restaurants, and Daniella Fitzgerald, who spends her days cooking for rich folks in yachts. She had some hilarious stories!

I also read memoirs like 32 Yolks: From My Mother’s Table to Working the Line by Veronica Chambers and Eric Ripert, and watched documentaries like Pressure Cooker and Three Stars.

For the travel research I watched a million YouTube videos and read as many travel blogs. I also engaged an all-things-France expert to make sure every detail of Isa’s journey through Lyon was authentic.

Crystal: Are any of your favorite foods mentioned in the story? Can you tell us about one or two?

Mayra: Like Isa and her abuela Lala I enjoy bridging my two worlds by making Spanish flan and All-American apple pie — my husband’s favorite.

The flan recipe belongs to my Venezuelan friend Paula. I love that recipe because it’s been handed down through generations and it survived a political revolution.

Crystal: Have there been any big surprises along the road to publication?

Mayra: The most amazing surprise was being invited to join Las Musas, a Latina authors collective. These women are incredibly talented, supportive and generous. The founders did a wonderful job of creating a space where we can uplift each other and our work, share important news, and have each other’s back. I love these women and I’m humbled and proud to be part of this community.

Crystal: Are there any current YA books that you wish had existed when you were younger?

Mayra: All of the books from Las Musas!

Crystal: *Hurries off to visit the webpage for Las Musas* That looks like a wonderful group! Can you tell us anything about your current projects or your writing plans for the future?

Mayra: My short story Resilient will be published as part of the anthology FORESHADOW: The Magic of Reading & Writing YA (Algonquin Young Readers). I’m also co-writing a novel with Atlanta author Marie Marquardt, which can be best described as a feminist unicorn.

Crystal: Thanks again for your willingness to share your time and even your recipe with us! We wish you all the best with your debut.

Born and raised in Puerto Rico, Mayra Cuevas is a professional journalist and fiction writer who prefers love stories with a happy ending. Her debut novel, SALTY, BITTER, SWEET, launched March 3 with HarperCollins/Blink. Her debut fiction short story was selected by best-selling author Becky Albertalli to appear in the Foreshadow serial anthology Issue 04 in April 2019. She is currently a special projects producer and writer for CNN. She keeps her sanity by practicing Buddhist meditation and serving on the Board of Directors of Kadampa Meditation Center Georgia. She lives with her husband, also a CNN journalist, and their cat, in the charming town of Norcross, Georgia. She is also the step-mom to two amazing young men who provide plenty of inspiration for her stories. You can visit her online at mayracuevas.com.

#salty bitter sweet #mayra cuevas #author interview #ya lit

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angrylizardjacket · 5 years

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people change {Vince Neil}

@champagneandspice asked: hey! I adore your writing!!! could u please do a one shot but in the form of an article ? you’d be writing it as if you worked for people magazine or something like that. could u pls write ab the “speculated rumors” ab vince and I dating are true?? u could insert pictures or whatever u like. thank u <3

A/N: 2065 words. I love!! This style!! Of Writing!! also probably not what you were asking for, but i had fun and i hope you do too. i really sort of like this world/reader persona i’ve built?? i even added a few pictures for effect lmao. hope it’s enjoyable. i don’t usually do tags for one-shots but @cosmicsskies and @crazylittlethingcalledobsession asked and im too giddy to refuse.

WHAT THE F*** DO YOU THINK? - Mötley Crüe singer Vince Neil and Joan Jett & The Blackhearts newest guitarist Y/N Y/L/N spotted getting cosy after Crüe’s Atlanta show last Saturday? Does this hint at a collaboration between two bands, or is this more personal than professional? [Read more on Page 10...]

“What the f*** do you think?”

If you’re a woman working in or around the rock and roll music scene in the past half a decade, you’ve probably heard these words, or some variation of them, if you’ve come within a ten foot radius of the glam metal juggernauts Mötley Crüe; Nikki Sixx, Tommy Lee, Mick Mars, and their blonde, boyish singer Vince Neil. They’re crass by reputation, however this is unsurprisingly true to life, though if you were interested in reading an expose regarding the number of gigs they’ve done while high, or how many hotel rooms they’ve set fire to, there’s innumerable gossip rags and magazines covering those particular scandals, including at least two Rolling Stone articles in the past two years, and we’re not here to retell old stories.

When attending their concert in Atlanta last week, which I highly recommend; if given the opportunity, and you enjoy their music, see Mötley Crüe live, they give an almost unparalleled live performance, in my humble opinion as a music journalist of almost a decade, I was fortunately privy to the moment that sparked debate and controversy within the rock music gossip sphere. After the show, while I was made to wait at the stage door, their manager Doc Mcghee was kind enough to invite me to the afterparty. There, at the stage door, restless fans were held at bay, young men in black leather pants, emulating their idols, young women in barely anything at all, there to catch attention and garner the same invitation that I had received, and when the band themselves appear, it’s as if the gates of Hell had opened; the screaming I heard, ladies and gentleman.

First through the doors is Mars, already looking like he needs a shot or a nap, and he dodges more than one bra thrown his way, giving me a longsuffering look as he passes. To be that exhausted by fame is on a level I can’t even begin to comprehend. He’s on the tour bus which will take us to the hotel bar for drinks almost before anyone else is even out of the building.

Next comes what the fans have affectionately dubbed ‘The Terror Twins’, Sixx and Lee, both carrying a beer each, followed by several very pretty women who head to the bus whilst the musicians take the time to say high to their fans, signing various body parts and generally taking the time to interact with the more hardcore of their following who were waiting in the cold night air. They’re enough of a distraction that one might have missed the final band member, Vince Neil, laying uncharacteristically low, and who had actually been preceded by a surprising figure; Y/N Y/L/N, the most recent addition to Joan Jett & The Blackhearts as their rhythm guitarist.

And this, dear readers, is the moment I decide to write the first gossip piece of my life.

As someone who regularly set fire to the copies of Hollywood Star my then-housemate had been getting delivered to our apartment back when I first began my journalistic career, the idea of writing an article based on speculation about the sexual conduct of celebrities was an idea I rejected out of hand. I’d told myself I had integrity.

But then my proto-punk loving heart betrayed me, as I recalled Y/L/N’s lyrics from my favourite song of her’s, Sucker Punch, ‘speculate / scream my name / my heart, my love, baby it’s a game / they call me heartless, fancy-free / as if anyone’s meant something to a girl like me’. Y/L/N has been credited as the sole writer for the single, under her band at the time, Nuclear Patricide, who had garnered a cult following that has been credited as an idol for Joan Jett herself. After the Nuclear Patricide’s split in early ‘83, it’s been relative radio silence from the writer and lead guitarist until Joan Jett & The Blackhearts announce her as their newest addition, and she’s been with them for almost two years since.

[ID: Stills from Nuclear Patricide’s music video for Sucker Punch, 1980, known for the appearance of then-break out star Jamie Lee-Curtis. Editor’s Note: Y/L/N did not appear in the music video herself.]

So, upon seeing Y/L/N trying to keep a low profile whilst exiting a gig she clearly was not playing at, without any of her own bandmates to keep her company, I must confess I began to wonder, to speculate about the nature of her relationship with Mötley Crüe. She’s adamantly and publicly denounced romantic relationships in her work and in her public appearances up until her split from her original band, so has anything changed in the past few years?

Back at the hotel, I find myself weaving in amongst groupies and fanboys. My dark jeans and leather jacket act as a camouflage in this den of debauchery; I’ve worn professional clothing to this kind of thing before, and it usually doesn’t go over well; if the band sees a reporter there’s a sense of immediate hostility in what’s meant to be a safe space, relatively speaking, however, I’ve found that blending in, and making it clear I’m not on the offensive makes them drop their guard enough that they’ll give an honest interview.

At least until a pretty girl walks past.

Neil and Y/L/N are nowhere to be spotted as I finally take a seat with a table that has neither cocaine nor a woman on it, and once I’ve ordered a drink and looked over my notes, someone actually joins me of their own accord. It’s Tommy Lee, who, to my surprise, recognises me from the last time Crüe had played in town.

He talks about the tour, about how exciting it’s been and how he loves Atlanta, but he’s losing focus very quickly, not surprisingly since his name is being called by other tables every few moments, and there’s a faint dusting of telltale white powder around his nose. He promises ‘see you ‘round’ [sic] and then he’s off again. However, it’s as he leaves that I spot Y/N coming from a room by the back of the bar, and I make my move.

Mars has, as I’ve been told, already retired for the night, Lee is up to his eyes in cocaine, Sixx already has his dick out under his table judging by the look of him, and Neil is surprisingly MIA, so Y/L/N is easy to spot as the odd one out.

Not nearly as f***ed up or strung out as the rest of them, I watch her order a jack and coke, and down the drink mere moments after receiving it, before she turns to me. It takes her barely a second before she correctly identifies me as a reporter. I ask if she remembers meeting me, back in ‘82, she says no, but that she can pick a reporter from a mile away.

People still fawn over her, pretty girls and pretty boys alike, her aloofness drawing them in, and I’d forgotten how overwhelming it was to be this close to her. She kicks a fanboy and a groupie who are messily groping each other out of a booth and we take their seats.

This is meant to be about Mötley Crüe, and I try to tell her as such, but she just gives me a thin smile.

“Then why did you come find me?”

And she gives me that stare, you know, the one from the cover of Nuclear Patricide’s final album, Treason Is A Girl’s Best Friend. It’s that piercing stare of hers that makes you feel like she knows everything you’ve ever done wrong in your life.

I ask about her relationship with Mötley Crüe, and to my relief she looks away.

She’s candid about admitting she’s travelling with them, but not touring, right up until I ask her about her relationship with each member of the band specifically.

“Mick’s fun; he’s very talented and easily riled up. They’re all very talented of course, but Mick’s dynamic, [because] of his age and everything, is interesting within the group [sic] and I enjoy watching it all play out. He’s smacked Tommy a few times.” I’m assured that nine times out of ten he deserved it.

She’s filled with glowing praise for both Sixx and Lee in turn, and even Doc Mcghee, but Neil she is oddly silent about. He’s the first of the band she’d met; he’d seen her play a few times with The Blackhearts and has admitted to enjoying her work in previous interviews when she’s been brought up, as the pair have been spotted together before. Well, she’s been spotted with the band before. Here is where she starts, to my surprise, to get antsy. So the rumours, which I had thought to be incredibly false given her history and general attitude, have more basis than she likes to let on.

And then she gets defensive.

He’s like cocaine; everyone’s doing him, it’s just the industry; no-one’s going to judge her for a fling. She does not appear to take comfort in the sentiment.

“People change.”

I ask her what she means. She refuses to clarify and leaves. Perhaps I pushed too far, but now I feel like a detective, and like I only have one more person I need to talk to. But perhaps I should have eased myself into talking about Y/L/N to Vince himself, but I’ll have to admit, between Y/L/N leaving and finding Neil, I may have done a bit of socialising with Sixx, which I recommend recreationally, and also if you have a high tolerance for most things.

“I don’t think we’re any of your f***ing business.”

Neil does not mess around, and apparently she’d already spoken to him about our earlier meeting. I leave it be, spend the night enjoying the festivities with Sixx and Lee when I can, leaving just before the sun comes up.

Some of you may be thinking this is dissatisfying, that you came into this article wanting me to confirm or dismiss the speculated relationship between Vince Neil and Y/N Y/L/N, but I can’t. Neither of them would speak to me, and I can only leave you with a list of things I saw that night, and you can make up your own mind.

- The room Y/L/N had exited from when I first spotted her is the same room Neil left less than five minutes later as we were talking. I went to investigate later; it’s a supply closet.

- After my encounter with Neil, and I’d stayed clear of them, whenever I would spot either of them, the other was almost always within arm’s reach. Make of that what you will.

- He definitely did a line of coke off her thigh at about three in the morning.

- I asked both Sixx and Lee about it. Lee’s response was ‘loud’ with something akin to a knowing smirk, and Sixx’s was ‘he’s a lucky bastard’ and when I ask him to clarify he just says ‘flexible’ and climbs to the next booth over where they’ve been asking him to do a line; I’m not even sure what to make of it, but personally I think it’s pretty damning.

- Readers, they were all over each other, I apologise for throwing my professionalism out the window for a moment, but if I’m being honest I couldn’t look to a secluded corner of the room without there being a 40% chance of seeing Vince and Y/N. It got worse as the night went on. Believe me.

So, while I don’t believe there is set to be a collaboration between Joan Jett and Mötley Crüe, I do come baring good news for those fans who had been speculating regarding Y/L/N’s relationship with the hair metal band’s lead singer. So are they together? Are they dating? Though neither party will publicly state anything, I’ll leave you with my thoughts, my observations, and the oft spoke words of the man himself;

What the f*** do you think?

#vince neil #vince neil x reader #vince neil imagine #motley crue #the dirt #the dirt imagine #motley crue imagine #nikki sixx #tommy lee #mick mars #the angry lizard writes

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