#if anything tbh i think the narrator is our agency/will

[tai-janai]

i hate to be that guy but i cannot get behind the idea of the Hero being LQ's "agency" or "will"

[bookofmirth]

i know a lot of people dislike nesta. but honestly as a fandom who are (most likely) majority women we should come together to discuss WHY ON EARTH nesta was made out to be the big bad villain in the pregnancy situation

it’s actually just unacceptable and sjm needs to talk about what possessed her to have rhys and cassian laugh about punishing nesta with that death hike and blame her for everything while rhys is … never held accountable for anything

i know rhys is her favourite bla bla bla but reading that hike scene made me so disgusting. are we just going to allow sjm to put NO BLAME on rhysands horrid behaviour and blame everything on nesta?

idk i need more people to be talking about why a woman was once again blamed for a man’s own actions. do i think nesta told her the right way? ABSOLUTELY NOT. and obviously she needed to be held accountable for that

but the way she was just humiliated, degraded and punished on that hike while rhys laughed with cassian over it was honestly vile and misogynistic

nesta told her in an awful way. she lashed out in a moment of anger. but she is not the villain in that situation and sjm trying to push that narrative for even a second is so disturbing when she has rhys come out squeaky clean. no one blames him for anything. no one reprimands or calls him out.

everyone head canons that feyre yelled at him or whatever but they were absolutely fine the next time we see them. he probably just gave her another sob story and she forgave him

i dont hate rhys at all really. he’s one of my favs. i think his treatment of nesta in acosf doesn’t make him a villain

but sjm making nesta at fault in that situation is just horrendous and we need to talk about sjms internalised misogyny as a fandom more and why acosf is praised as some sort of feminist book when the blatant misogyny is always so clear every time nesta is made as if she is some sort of horrible evil person that kills children in her free time while the inner circle are always so righteous and amazing and kind

idk sjm needs some objectivity in her writing and she immediately needs to get rid of that horrid bias towards rhys

I've been putting this off until I reread acosf, but it's been months so... fuck it.

I think there is a difference between how the characters interpret one another's actions, and how the reader does. We have the benefit of relative objectivity, especially when the narration is third person. Of course Rhys is going to be angry because Nesta made him look like the asshole (now I'm imagining him posting this whole scenario on AITA), but his anger is misplaced, and we the readers don't have to agree with his anger. We don't have to agree with anything that the characters are feeling, nor do their feelings necessarily mean that sjm condones them. I think it's a good idea to separate our feelings from the characters' feelings, as well as from the author's feelings. Those aren't the same, and one doesn't have to influence the other.

And tbh... I don't fault people for being mad at Nesta telling Feyre the way she did. She came in swinging with the intent to wound. It wasn't about fearing for her safety, or being concerned for her autonomy and agency. Nesta was pissed off and wanted to make someone else hurt. Even if the end result was that Feyre had knowledge about what was going on with her own body, Nesta did it with shady as fuck intentions. So yeah, that's an issue, like you said, but it's an issue that stems from her habit of lashing out, so it was On Brand for Nesta to have done something like that.

HOWEVER. Rhys is clearly at fault for getting this ball rolling in the first place. He's 100% a dick for hiding that information, he's 100% a dick for making everyone else hide that information for him, forcing them to choose between their High Lord and Lady, their High Lord and sister/bestie. (I still want to pay closer attention to who knew, in acosf, when I reread.) He's a dick for prioritizing his own fear above Feyre's ability to make informed medical decisions.

The IC also fucked up for keeping that information from her for Rhys's sake. No one came out of that situation looking like a saint, but I don't think that sjm intended for them to? Otherwise it wouldn't have been a conflict, it wouldn't have come at the climax of the story, and it wouldn't have worked as a way for Feyre and Nesta to reconcile, which is why I think it was done, personally. I don't think the main reason was to make Nesta into the asshole, or Rhys, that was just incidental as sjm was making her merry way along the plotline of "I need Feyre and Nesta to reconcile but idk how".

(I do think they could have reconciled without all this bullshit tho. It would have been so easy for Feyre to have KNOWN and decided to not shift and still end up almost dying. Or it would have been so easy for them to think the whole time that the pregnancy was fine and then have the birth be traumatic, and have Nesta enter and save them. We didn't have to go... there, making every character do shit that is so out of line with how they've treated each other before.)

Anyway, my point is that I think enough readers have interpreted Rhys as indeed being the asshole that we can question whether Nesta was intended to be "the bad guy" in that situation. I wish to fucking hell that we could see Feyre being mad at Rhys, I wish that we could see Mor/Cassian/Azriel tearing him a new asshole for putting them all in that shitty position. But that's the nice thing about being readers, we don't have to take things at face value, and we can also say "hm, I think the author intended X, but i'm gonna interpret Y." (As long as there is actual evidence for it, let's not get crazy.)

If anything, I think that acosf did Feyre dirty, which is really disappointing considering everything she's done for all the people around her.

[powerbottomblake]

The seasons in RWBY, literary archetypes and predictions for the next volumes

As we all know, RWBY is a show that is built around taking in established narrative and character archetypes, layering them, tweaking them and/or ultimately subverting them. One of its core narrative and symbolic elements are the seasons, so it seems only fitting that they’d take inspiration from and implement established overarching seasonal archetypes (in terms of tone and narration) to the plot.

One of the major works in terms of archetypal literary criticism that deals with the seasons has to be Frye’s. Frye proposed that the totality of literary works constitute a “self-contained literary universe”. Since we’re watching a show whose whole premise is having every single myth, legend and fairytale coexist in a single universe, with characters sometimes alluding to multiple myths at once, I’d hope this sounds uncannily familiar.

Frye divided all literary framework into four categories: comedy, romance, tragedy and satire. What sets Frye apart from the other critics is that he linked each category with a season. He posited that literary works were how humanity assimilated the outside world and nature at large, which is how those four types of plot structures correspond to the four seasons in the cycle of the natural world.

What does that mean for RWBY?

If, as I suspect, each narrative arc corresponding to one of the four continents in Remnant - with each continent symbolizing a season - aligns with the genre and plot structure defined by Frye, then we can make more or less accurate predictions as to the direction and themes of the two remaining arcs (as well as some of the plot points).

So, first we’ll see how the first two arcs, Vale and Mistral, hold up to the Frye scheme. 

As I said earlier, Frye aligned each genre with a season:   

-Spring is comedy, with themes of (re)birth and resurrection of the hero. The subordinate characters attached to this genre are the mother and the father.

-Summer is romance, because both are representative of culminations in the human journey, summer being the conclusion of the seasonal calendar, and romance ending with achievement and triumph, usually in the form of a union or marriage. The subordinate characters here are the companion and the bride.

-Fall is tragedy, with themes of demise, dying god, violent death, sacrifice and isolation of the hero. The subordinate characters are the traitor and the siren.

-Winter is irony/satire, with themes of darkness, dissolution, the return of chaos, and the defeat of the heroic figure. The subordinate characters are the giant and the witch.

Going off this, and knowing that each kingdom in Remnant is representative of a season, we can divide the RWBY narrative into 4 respective arcs, each assigned an archetypical narrative structure:

- Vale is Fall, meaning the Vale arc is a tragedy. Now, I know that your knee-jerk response to this would be disbelief especially with the tone set by V1-2, but here’s the thing: team RWBY aren’t the protagonists of the tragedy. Ozpin and Pyrrha are. We’re basically seeing the tragedy unfold from its supporting cast’s POV.

Once you go back through V1-3 and reread the plot through Ozpin’s and Pyrrha’s POVs, linking up the scenes having them as a focal point together (especially Ozpin’s), the tone changes drastically and it aligns perfectly with the beats of a classical tragedy. As early as V2 you get to see Ozpin growing steadily more isolated (isolation of the hero) as he loses the support of Ironwood and the Council, we see him get irreversibly dragged (and dragging our main cast and Pyrrha with him) into an inevitable confrontation, because of his complacency and passivity (fatal flaw) that ends with Pyrrha’s sacrifice, Penny’s violent death and his demise.

Pyrrha being literally based on a tragic hero, her story fills every single beat of a tragedy, V1 establishing her innocence, inexperience and righteousness, V2 being her high point but also pointing out her “fake” invincibility (thus her fatal flaw), V3 having her grow isolated and then sacrifice herself while staying true to herself and what she stood for (completion of ideal).

One thing to clue you in about Ozpin being one of the Vale arc’s tragic heroes is one of the first things Cinder tells him: “Such arrogance.” Ozpin thus dies for said arrogance, which is basically the moment when a tragic hero is punished for their hubris.

- Mistral is Spring, meaning the Mistral arc is a comedy. Don‘t think about the tone, think about the themes. And sure enough, Mistral was all about the resurrection of our heroes, both literally (Ozpin reincarnating) and figuratively (each member of Team RWBY dealing with the aftermath of V3, growing individually and culminating in them getting back together stronger and a lot more anchored in their respective roles, Yang’s resurrection is as unsubtle a callback to the phoenix’s as it gets tbh). The subordinate characters of a comedy are the mother and the father, and this arc’s primary supporting cast and driving narrative force was without a doubt the parental figures: Taiyang, Raven, Jaques, Ghira and Qrow. This arc was about our heroes going from under their guidance to challenging it, thus getting more agency and control over their own destinies. In this aspect, Mistral is both a rebirth and birth for Team RWBY: their rebirth as individuals after the loss they experienced at the end of V3, and their birth as their own people, as full-fledged heroes, going from the supporting cast of the tragedy of Vale to the main cast of this arc.

Now that we have established that there is enough of a basis to assume the RWBY arcs do in fact build up on the Frye scheme, what does it tell us about Atlas and Vacuo?

-Atlas is winter, so Atlas is irony and satire. We can expect this arc to articulate itself heavily on social commentary; I fully expect the faunus cause and the rising military dictatorship to be the focal points of said commentary. The subordinate characters of satire are the giant and the witch. The witch refers to Salem of course, our resident Wicked Witch of the West, but I also doubt team W.T.C.H’s name is coincidental, so it refers to them as a whole as well. I think by the time the Atlas arc is in full swing, all of team W.T.C.H will be there. There is another witch we’ve lost track of for a while now that this could be applied to, and it’s Glynda (though I fail to see a narrative purpose to her appearance as of now, but I feel the need to point it out just in case). 

As for the giant, CRWBY has proved time and again how they’re prone to using the same theme/archetype both literally and figuratively, and this time will be no exception. Figuratively, both Jacques Schnee and James Ironwood could be called giants, Jacques as an industrial tycoon, Ironwood as an increasingly dictatorial military leader. Moreover, Ironwood’s name quite literally refers to a place in Norse Mythology where giants were born. As for Jacques, his myth basis Jack Frost is thought to be based on Norse mythology giants. But Jacques could have links to another myth:“Jack the Giant Killer”. Quite ominous, isn't it? You see, one of the typical examples of irony in archetypal story-telling is actually the tale of Goliath vs David, where the giant is prodded by a cool and observant but almost invisible enemy into a blind, stampeding fury and then pushed to its own demise. Which, incidentally, follows the exact same beats as the “Jack and the Beanstalk” fairy tale, where Jacques Jack, a poor man climbs the social ladder through a loveless marriage a beanstalk to a land high in the sky (Atlas), steals into an enormous castle (the Atlesian academy slash military enrollment grounds), robs special treasures you’d never find anywhere else (the relic) and causes the death of the giant who owns it. What I’m saying is, I expect Jacques Schnee to go full turncloack and align with Salem and W.T.C.H, help them steal the relic and propel Ironwood’s (self-)destruction, in return for them giving the SDC ground to prosper and it being fully sanctioned by the new regime (as in, everything Ironwood is not doing rn), if not putting Jacques himself at the helm of Atlas. Jacques is a ruthless businessman first and foremost afterall. Give him good enough a deal, and he’ll sell all of Atlas over as long as he profits off the trade-off. And well, as far as irony goes, will there be anything more tragically ironic than Ironwood driving himself in a frenzy, growing increasingly more paranoid under both real and imagined threats, needled by the infiltrated team W.T.C.H and Jacques, until he triggers the fall of that which he so desperately was trying to protect all along. I think Ironwood dies here, and Jacques being on team villains means a 3-way Schneebowl is coming, Weiss vs Winter (who’s 100% team Ironwood) vs Jacques, and I think the outcome will be devastating for everyone involved but especially Weiss.

As for the literal part of the giant allusions, well. It has been a while since we’ve last seen these goliaths, and it seems too good an opportunity to pass up for CRWBY:

Or they could hit us with giant mecha structures à la Star Wars, a project G.I.A.N.T that Watts is all too ready to hack into and turn against the Atlesian military. I’d keep my eyes open for any giant allusions in Atlas’ arsenal, chances are they’ll be playing an active role plot-wise.

Which brings us now to the themes. As stated above, the main themes of satire are darkness, dissolution, the return of chaos, and the defeat of the heroic figure. We can surmise that Atlas will be the lowest point in RWBY. Frye goes as far as link winter to “Götterdämmerung myths” aka the fucking Ragnarok. Wiktionary has a second definition for Götterdämmerung which is a “cataclysmic downfall or momentous, apocalyptic event, especially of a regime or an institution”, so yeah we’re going to see the Atlas regime full on collapse as chaos takes over in there. Team RWBY will experience its must crushing defeat. My guess would be that, after Mistral establishing Ruby’s powers and having them bring a note of hope to the narrative and the upcoming battle against Salem, Atlas will be about the limits of those powers. I think Ruby is about to face the reason Summer died and lose to it, aka the Fenrir of this Ragnarok but this is a whole other theory I might delve into in a separate post since this post is already running too long and Atlas and its connection to Norse Mythology deserves to be delved into in detail. But yeah Atlas will be on SOME shit, my dudes.

-Vacuo is summer, so Vacuo is a romance. The subordinate characters here are the companion and the bride, so basically the lovers are at the center of the narrative here. As far as RWBY goes, 3 pairs of lovers have thematic and narrative importance: Salem and Oz, Jaune and Pyrrha and Yang and Blake.

So now that the Adam subplot was carried to an end in Mistral, and after the narrative centers more around Blake, gives the Faunus cause more depth and prepares her for her future role as a leader in Atlas, what does that leave Bumbleby with narratively in Vacuo, especially Yang? The one remaining hanging thread by then will be Yang/Raven, which prompts me to believe the bees will be confronted to their foil as a relationship, a.k.a Taiyang/Raven, making the latter the fourth lovers pair to mark this arc. Taiyang and Raven coming back into the narrative at this point means we’re gonna get insight about another lover of Taiyang’s, Summer. I think Vacuo is where we’ll get all the answers wrt to Team STRQ, and after witnessing for ourselves how she died in the Atlas arc, we’ll get flashbacks of how she lived in the Vacuo one, which will be the thing to propel Ruby again after losing heart in the wake of the absolute apocalypse I expect Atlas to be. I also think CRWBY would get a kick out of having Summer be a major narrative force of the summer arc in the story.

I personally am a believer of the Spring Maiden!Yang theory and I think there’s enough set-up for it, mainly:

The fact that out of all the students at Beacon, the only contenders for the Vytal Festival by the end were Pyrrha and Yang (who only got disqualified because of the Mercury ordeal)

The way Yang is always set up as the strongest out of team RWBY

Raven was established as a foil to Blake but V5 establishes her as a foil to Yang, which culminates in their confrontation at the vault

The part of her confrontation with Raven where she establishes that not only is she stronger than Raven, but readier to face Salem and thus more fit to have the Maiden powers, which is why she’s the one that retrieves the relic from the vault. Raven might be the one to open the vault but she never gets inside. CRWBY could have had the confrontation happen after Raven retrieved the relic from within but they didn’t and I think it’s significant how Yang is the one allowed inside the vault and to handle the relic first, as if it’s always been her rightful place. 

Which means I fully expect Raven to die at this point of the narrative. There’s a part of their confrontation where Yang tells Raven about the version of her Tai told her about and the one she’s always held out for, and she asks her if she killed her, too. It’s the thing that strikes Raven deeply and completely shatters her composure as she finally runs out of excuses and has to face herself and what she’d become. I think it’d be symbolically powerful to have Raven align with and die for the just cause, thus resurrecting that version of her.

For the remaining two pairs of lovers, Salem/Oz getting a conclusion in the last act of this story comes as no surprise, as for Arkos...tbh I don’t really see anything there (yet).

As for the themes, summer is for triumph, the messianic hero defeats the enemy who is associated with winter, darkness and moribund life (if there ever was a way to perfectly describe Salem this is it). Summer ends with an achievement, usually a marriage.

Now, out of the four pairs of lovers precited, I wonder who the ones getting constant and consistent development still and all throughout the story, are both alive by the end and have been shown to get growing awareness of their deepening feelings could be?

I wonder...

;)

P.S: not saying the bees get married married but yeah I expect them not to get their kiss till Vacuo. I think too much will be happening in Atlas (V7-9) for them to actually get together so they’ll be in this...limbo of not-really-lovers but definitely-more-than-friends and we’ll see them getting increasingly closer (they’ll prolly also blueball us big time with grade A pining) but again I did not expect Adam to die as quick as Mistral so who knows

[bentchcreates]

Promdi Heart by #romanceclass Goddesses (heehee)

This came in a wonderful time as I had been having bad bouts of homesickness and what better way to travel the Philippines on a budget than to read stories set in them!

While I consider all six authors to be #romanceclass superstars, two of them I’ve had the chance to read only for the first time in this anthology collection. Because the stories are short (I want them all to be longerrrr!), I’ll be reviewing the stories on their own first, and then the whole collection after. Here we go!

1.       Only the Beginning – C.P. Santi

I love the use of Visayan words in the narration and dialogue. (probably because this this the only Filipino dialect I can understand aside from the national language! XD)

As with other CPSanti books, the inclusion of architectural details/jargon is wonderfully done, it doesn’t take away from the romance.

Alon is my spirit animal! Especially that part where he tells Andi, “Dai, don’t you think it’s a sign?”

Scooter-riding MC + Dimpled LI = <3

Text/Chat parts (plus THAT joke! XD). I was a bit wary when a chapter started doing this because it’s too “youth-speak” for me (not that I’m that old!), and past experiences with this type of story-telling tended to get too corny and cringe-y for me. This, however, was okay for me, especially when Martin started the knock-knock joke (to which, I imagined Andi rolling her eyes as she replied) and ended with Andi’s own joke! It made both of them more endearing to me.

This quote: “Happiness is a choice. Happiness is something that doesn’t just happen. It’s something that you grab on to with both hands.” I forget this sometimes, and this is probably why I need to read romance often, so I’m reminded that I have a choice.

2.       Letters to a Boy – Ines Bautista-Yao

90’s old-school snail mail got me so bad! It inspired me to send mail to friends I still knew addresses of.

This story perfectly reflected how relationships could work despite the constraints of space and time. And I’m talking about both Tin-tin and Annette’s friendship and Tin-tin and Nicolas’ romance. ;)

Horseback riding is <3!

Parents! I will forever love characters that take care of their parents!

Biggest turn-on for me is this story’s depiction of MC’s affection’s unrequited beginnings but when the tide turns, Tin-tin doesn’t foolishly fall head-on to the man he’d been pining for. She makes him work for it, and work for it he does!

Tin-tin and Nicolas’ years-long slow-burn love story set the solid foundation for the HEA towards the end!

P.S. the mention of Carrie, the white girl, inadvertently reminded me of that totally unrelated other girl who burned her entire school gym and killed hundreds of people when she was bathed in pig’s blood. Ehe.

3.       Drummer Boy – Chris Mariano

Tall, muscly musicians are my weakness. Argh

The brother’s bestfriend trope is not that unfamiliar to me, but this took me on a wild ride especially at that part where the big brother actually landed a deserving punch to his best friend somewhere along the way.

I love that Reina is a woman of agency, not just in what she wants her guy to be/to do, but in all aspects of her life, as well. She acknowledges how uncomfortable her relationship with Ben might be for her Kuya, but she doesn’t let that get in the way of what her heart is telling her.

I live for the grand gesture in this one!

Chris’ descriptions of all the festivities cemented Ati-Atihan on my list of “Things to Experience Before I turn 40”!

4.       One Certain Day – Jay E. Tria

Very relatable and nostalgic for me because our family’s big on All Saints’/All Souls’ Day celebrations. It never turned as romantic as this, though. Sayang. Heehee.

I also relate to finding old classmates recently and noting how everyone looks different, yet not-so-different, at the same time.

I love that bit about naming children ‘as if with a purpose’

‘Kiligs’ everytime Son comes back to Hagonoy, especially that part where he hands Alice an unfinished song! Eeeeee!

I also love that Alice took charge of her destiny at some point. No more waiting for the guy who’s taking forever to make a move, my god.

There is heartbreak somewhere in here, but it’s done in a mature and realistic way, and it doesn’t ruin anything for me. It makes it even more special, tbh.

5.       Once Upon A Bully – Georgette S. Gonzales

Homecoming stories are near and dear my heart, especially since I’ve been away from home for too long!

Hunky-dunky LI! <3

The Vigan experience here is special because the characters reminisce the Vigan they grew up in and the Vigan now. It perfectly captured one’s love for home that many of us take for granted.

Bridgette’s “the more you hate…” trope is on point!

Bagnettttttttttt!!!!!

6.       Back to the Stars – Agay Llanera

Another homecoming story! YASS!

The scene where Wency’s mother mentions “biskwit” tugged several heartstrings for me. I always feel for remembering the places you grew up in, but I feel MOAR for the people you grew up with!

Wency is sweet AF! His full name is funny to me, but the meaning behind it, and his sisters’ names, makes it extra special.

Leah’s changed attitude after being a City Girl for so long is dealt with realistically. It’s not a bad thing for me, it’s normal. But a sort of redemption in the end made me super happt for her. :)

I ship Leah + Wency so harddd! I mean, Leah Gurl, andami mong choices! Haha!

So there, my review for the individual stories. Hehe. For the whole anthology, my only request is for the authors to expand these stories! I’m very invested in all the characters at this point and I don’t want to part with them just yet! Haha!

Congrats, ladies! And thank you for doing this. My love for the Philippines had been reinforced with these stories and I hope other readers would find our wonderful side of the world as romantic as it is. :)

5 of 5 Stars.

Blurb:

Take a quick tour of the Philippines with six hometown love stories. Visit Jimenez, Misamis Occidental where a priest might just set you up with a man whose dimples are to die for. Visit Silay, Negros Occidental and get on a horse alongside hunky, hazel-eyed Negrense royalty. Visit Kalibo, Aklan and find yourself in the arms of a cute drummer boy who just happens to be your kuya's BFF. Visit Hagonoy, Bulacan and spend All Saint's Day next to a distracting boy who promises to write you a song. Visit Vigan, Ilocos Sur and meet the hot man you used to bully when he was a shy, scrawny boy. Visit Pundaquit, Zambales and find love in a bronzed fisherman whose eyes hold depths you'll want to explore.

Buy Links:

Amazon: https://www.amazon.com/Promdi-Heart-Hometown-Love-Stories-ebook/dp/B06XY73Q4T/

Print Book Order Form (PH Only): http://bit.ly/promdiheartbook

About the Authors:

C. P. Santi is a Filipina author based in Tokyo, Japan. She is a wife to an engineer / indie songwriter and a full-time mom to two energetic boys. She loves cooking and baking, and enjoys feeding people, gorging on chocolate, watching J-doramas, belting it out in the karaoke box, and running around the house playing tickle tag. She also loves dreaming up stories about the people she meets.

In another life, she is also an architect and academic.

Ines Bautista-Yao is the former editor-in-chief of Candy and K-Zone magazines and a former high school and college English and Literature teacher. She is also a wife and mom and blogs about the many challenges and joys of motherhood at theeverydayprojectblog.com. She also posts story spirals on her author blog: http://theeverydayprojectblog.com/inesbautistayao-author/ You can find her on Instagram and Twitter: @inesbyao, through email: writeme@inesbyao.com, her website: inesbautistayao.com, or Facebook: www.facebook.com/inesbautistayao

Cover (Story) Girl is Chris Mariano's first published romance work, but her speculative fiction and poetry have appeared in Fully Booked's Philippine Graphic/Fiction Awards Prose Anthology, Philippine Speculative Fiction Volume 7, TAYO Literary Magazine, and Ideomancer. When she's not writing, she supports Eskritoryo Pilipinas, an organization that encourages kids to appreciate Filipino literature and culture. She divides her time between Manila and Aklan.

Jay E. Tria is inspired by daydreams, celebrity crushes, a childhood fascination of Japanese drama and manga, and an incessant itch to travel. She writes contemporary young adult and new adult romance. Sometimes, paranormal fantasy too. Visit her website www.jayetria.com. Email: jayetria@gmail.com Facebook, Twitter, Instagram, Wattpad: jayetria

Georgette S. Gonzales began writing novels as romance author Edith Joaquin of My Special Valentine Tagalog (Filipino) Romance pocketbooks, published by Bookware Publishing Corp. She started writing in English and self-pubbing works in the middle of 2015. Gette works best at night, is also an editor, a public/media relations consultant, loves to cook pasta dishes and to eat caramel cake.

Agay Llanera is a freelance writer for television and video, and a published writer of children's books based in Manila, Philippines. Get in touch with her through the following: http://agayisagirl.blogspot.com https://www.facebook.com/AgayLlanera https://twitter.com/agayskee