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johannestevans · 3 months

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Addressing Common Arguments Against “Consuming Harmful Content”

Challenging purity culture in online spaces and their fears of “problematic media”.

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Photo by Ethan Will via Pexels.

Constant and continuous arguments endure on social media about the dreaded and frightening spectre of problematic media — from television shows that supposedly “glorify” unhealthy relationships or “sexualise” and “excuse” abusive relationships; to erotica, adult books, and 18+ fanfiction that supposedly teach teenagers bad life lessons and impact their ethics; to anime and manga that surely must be the cause of child abuse the world over.

I wrote an in-depth essay about the intellectual flaws in these reactionary assumptions, delving into their roots in lacking media literacy and rising anti-sex attitudes here:

The above essay discusses at length many of the fears and anxieties that lead to this reactionary thinking, but does not challenge or explore the echo chambers that can arise in online spaces, particularly in aggressive environments such as Twitter/X, and for young or isolated individuals who are particularly vulnerable to peer pressure and fears of ostracisation if they admit to the “wrong” opinions.

Many of these arguments are used by “anti-shippers” within fandom and online spaces, the term commonly shortened as “antis” — if you’re unfamiliar with the term, these are people who define themselves as opposing one or more specific ships, fandoms, tropes, or kinks, often due to what they perceive to be their “problematic” or inherently “harmful” elements when engaged with or portrayed in various forms of media and art. Because of the virulent and highly aggressive nature of these online communities, these people — many of them young or isolated, often marginalised and disenfranchised from in-person, supportive environments — can become radicalised, and can experience great fear and anxiety at the premise of others holding different opinions or perspectives from the ones these online communities have impressed upon them should be held immutably by all.

In this piece I’m going to be addressing common arguments and assumptions seen on social media one by one — it is not really intended to convert the above, often radicalised individuals, but to provide support and guidance in understanding why their perspectives can be flawed, and how to engage with and deconstruct those arguments.

It is also intended to provide support and structure to begin to engage with and potentially challenge or affirm your own beliefs and ideas about fiction, art, and other forms of media, and the extent of the impact it can have on you or others — this piece is me addressing these arguments with my own perspective, but I would encourage people to disagree with and critique my rebuttals!

The goal here is always more critical thought, analysis, and understanding, and that doesn’t come from automatically following another person’s line of thought or argument just because it’s well-poised or you particularly respect or like them — no matter who that person or people may be.

“Depicting [a theme] in media is the same as glorifying it!”

Let’s first engage with what people might be discussing when they panic about “harmful content” and “problematic” ships or pieces of fiction.

They might worry about people reading or watching works that discuss or depict anything from violence, incest, sexual assault, age gaps, BDSM, kinky sex, child sexual abuse, trauma recovery, rape, rape recovery, drug use, bestiality, to abusive relationships or anything else, will encourage people to think positively about those acts, those traumas, and those experiences.

You might look at the list of things I just wrote there and go, “Um, there are big differences between some of those things and the others!”

And yet the same consideration still applies.

Just because a theme or idea is present in a work, or is depicted in it implicitly or explicitly, doesn’t mean it’s being “glorified” and portrayed as overwhelmingly positive — and even if a theme or aspect is being glorified, this does not mean we shall simply unthinkingly absorb that perspective.

Reading a story that contains something doesn’t mean I’ll automatically think that thing is good or bad, regardless of how it’s portrayed in fiction — the media and art we engage with doesn’t wholly change and adjust our own ethics and morals as soon as we’ve interacted with it.

We might play a videogame and disagree with the way some themes are presented, have criticisms of them, whilst enjoying and appreciating others; we might read a piece of erotica and find some parts about it very hot, but find others disturbing and a little uncomfortable; we might watch a TV show and just think it’s in very poor taste, despite theoretically being up for the premise.

Engaging with media does not turn off and on switches in our brains that make us completely “pro” or completely “anti” one premise or other.

People are more complicated than that.

We have complex and layered feelings about every argument and perspective there is, every experience there is, because human beings are social animals, and we experience very few things through an uncomplicated, binary lens.

For me personally, I often seek out works that cover the same traumas and harms I’ve experienced — why? Because seeking out those themes helps me process and better understand what has happened to me, and how I’ve felt about it, how I’ve responded.

“I don’t have a problem with people writing about certain harmful topics to show them as bad, but some people sexualise or fetishise them!”

I’m sure you’re right.

Some people might write about rape to work out a complex trauma recovery narrative — others might write about rape in a work as kink. An author might well write with both goals in mind in the same work.

A traumatic event doesn’t become less traumatic because it sexually aroused us or brought us physical pleasure — in fact, those feelings can add to the impact of a trauma and the inner conflict we experience in the aftermath.

Some people undercut victims of sexual abuse by saying they “enjoyed” it, pointing out that they orgasmed or showed signs of arousal as signs they “secretly” wanted it, and these feelings can contribute heavily to shame and fear as a victim.

Sexual arousal is a bodily response. It is not consent, and it’s not an excuse for assault or abuse. Moreover, some people might feel arousal or pleasure but not be fit to consent — for example, if someone is underage, or if someone is drugged or insensible with drink.

These people cannot give knowledgeable consent, but abusers might still say after an assault that they “enjoyed” it.

This is purity culture at work — anti-sex attitudes use people’s “enjoyment” of something to undercut their autonomy and right to consent, by implying they “deserve” that abuse — abuse is abuse whether it’s sexualised or not.

But the thing is, the obverse applies.

Just as someone’s mixed feelings or sensations of pleasure during a sexual assault does not mean they consented to the assault, or because someone’s feelings of happiness and love for their abuser does not mean they deserved the abusive treatment they experienced from them, a person writing sexually or erotically about a topic, or engaging with art and narratives about that topic, does not mean they actually want that thing to happen in real life, to real people, or to themselves.

Fiction is not real life.

We watch a horror film, and it doesn’t mean we want serial killers or demons to run amok, killing teenagers or possessing their victims — similarly, just because we engage with porn or erotica that sexualises certain topics doesn’t mean we’re pro- or in favour of those topics for real people.

Rape fantasies are incredibly common, despite being highly stigmatised, and just because someone fantasises about this sort of control fantasy does not mean they actually want to abuse someone or be abused.

“It’s harmful to depict abusive or immoral characters as sexy or desirable.”

If you have never experienced abuse, manipulation, or otherwise poor treatment from someone you thought was attractive, charming, or admirable, if you’ve never been groomed by someone with whom you were enamoured, I’m very glad.

I’m happy for you, honestly.

But many of us have.

People want to believe that all abusers are evil, are ugly, are obvious from a distance, are blatant from the out. People want to believe they can “tell” someone is abusive just from a glance, and write them off — and that anyone who would or might spend time with that person is therefore “asking for it”, or “letting themselves” be abused.

In actual fact, many abusers aren’t.

Many abusers are beautiful and charming — some of them draw you in, slowly bring you closer and closer until it’s very difficult to untangle yourself from your need and craving for their approval. They ruin lives, ruin psyches, and they cause unspeakable damage to their victims.

And yes, victims often feel conflicted in the aftermath of their abuse.

Many of us hero worship or greatly respect our abusers, love them very deeply, crave their good opinion, because we are carefully groomed and manipulated, over time, into relying on their praise and their attention. For victims isolated from other sources of care and support, and especially for young children and teenagers, it can be very difficult to recognise what is happening and has happened to us.

Even after we know and understand exactly what has happened to us, and also internalised that it was wrong, we can still feel conflicted.

We are not retroactively deserving of our abuse because we crave our abusers’ good opinion, or their love, still. This instinct does not excuse or justify the abuse we’ve experienced. Victims of abuse are still victims of abuse even if we go back to our abusers, even if we “accept” or attempt to justify our abuse to others, if we try to excuse it, if we don’t ask for help.

Abuse is never the victim’s fault, no matter how imperfect we are as victims.

“Writing queer characters as abusive is bad representation!”

If we exclusively write queer characters who are perfect and unimpeachable, we’re not letting ourselves write queer characters who are fully human, with all the flaws and complexities humanity comes with.

Queer people are not less deserving of this complex representation than cishet people are — and in any case, the purpose of art and media is not exclusively to provide good representation, or to show good moral examples for others.

We create to express ourselves, to reflect the world, to critique it, laugh at it, commiserate over it, to feel our feelings, to connect and communicate with others through shared stories.

If we only let ourselves do things that might be seen as “good rep”, we rob ourselves of the ability to express ourselves as completely as we might wish to.

“If you write abusive queer characters, you’re just contributing to homophobia and bigotry in art and media!”

Queer people writing queer stories with queer villains is not the same as cishet people including queer people or queer-coded characters just to be villains. The power dynamic is completely different.

Queer writers’ writing of queer villainy is often inspired by their own experiences, including of bigotry, and the harm they might do reflects harm by society, the ways harms might be felt more keenly by their victims.

Writing queer villains as villainous because their queerness makes them (or is used as a shorthand for them being) predatory, cruel, or callous, is homophobic and is often shitty, whether people intend that or not.

But just having queer villains, having queer characters do bad or abusive things, or just have flaws?

That’s as much a part of queer humanity as having queer heroes and having queer characters do good and helpful things.

Why would you read about rape when you could read consensual non-consent?

[Consensual non-consent being a kink wherein partners agree to roleplay a non-consensual situation.]

Rape in fiction is a form of consensual non-consent.

The fictional characters, who are not real and do not have real feelings, are not consenting, but the reader choosing to read is.

In the same way that two people playing a CNC roleplay game in the bedroom might be a safe and fun way of experiencing or re-experiencing the fear and trauma of assault with an escape clause (a safeword), a reader can do the same — they can stop reading.

If a television show, film, or videogame becomes upsetting, again, one can stop watching, stop playing. It is a person’s own responsibility to set safe boundaries for themselves and protect their own mental health.

“Why would someone write about trauma and abuse when they could write fluff?”

Why would someone watch a horror movie when they could watch a romcom? Why would someone eat cheese when chocolate is an option?

People do not have to choose one or the other — many people like both horror films and romcoms, cheese and chocolate, and reading about both horrible shit and positive things.

“You mentioned that people might engage with media about dark topics to work through their feelings from their own abuse. How do I know if someone’s actually been abused?”

Why do you think it’s your right to ask that?

Why are you prioritising your personal comfort and curiosity over that person’s privacy? If your instinct is to try to license who is and isn’t allowed to engage with a piece of art or media, why?

You are never entitled to the details of someone else’s abuse. Your validation is not important enough to potentially trade for someone’s private traumas and experiences.

“If you write or create about certain topics as a survivor, you’re just perpetuating abuse and you are as bad as your abuser!”

Creating works of art or fiction about people who are not real experiencing fictional harm that is also not real, is not in any way equivalent to real people doing real harm to others.

If your support of abuse survivors hinges on how palatable their reaction to their abuse is, and you believe that some abuse survivors “deserve” their abuse for depicting their abuse in art and fiction, you’re not actually supporting survivors.

If you believe that all abuse survivors do or should act the same way, or respond the same way, to their abuses, you are mistaken.

If you are effectively angry at someone for not looking enough like a victim, for being “impure”, and therefore the same as their abuser, that is a form of victim blaming.

Do you hold artists who create media about non-sexual trauma or violence to a different standard than those who write about sexual trauma or violence?

Why? What is the difference to you?

If someone writing about sexual abuse in media is equivalent to real life abuse, is a fictional murder?

“People shouldn’t write or engage with media about traumatic things, they should just go to therapy!”

Therapy is not a moral machine where bad people with bad thoughts go in and good people with good thoughts go in.

Good therapy and counselling provides us with the tools to manage our own mental health, our own emotional and psychological needs, heal from our traumas, and so forth.

Many therapists will actually recommend safe re-exposure to frightening or upsetting topics, and also encourage self-expression on the subject of one’s most impactful experiences, which might include creating art and media to explore and discuss their feelings.

With that said, therapy is as flawed as any other tools for emotional catharsis and healing — therapy and mental healthcare can be very expensive or inaccessible because of one’s working schedule; some therapists and mental health professionals are abusive or bigoted; some people may not be in the right place for MH care or therapy at this time, et cetera.

Therapy isn’t a catch-all for anything you disapprove of in someone else, and it’s also not a punishment to force someone to repent for their sins.

“It’s okay to write a story to cope, but you shouldn’t publish it in case it upsets others!”

So long as the work has appropriate content warnings and/or is published or screened in an appropriate space, it is not inherently harmful. In fact, reading narratives and engaging with those narratives can be valuable for us.

Engaging with media that bears similarity to our own lives, reflects our own experiences, written by other people who we know understand the complicated emotions of survivors — whilst still condemning the actions of abusers or not — can be extremely validating and offer a lot of assurance.

This is especially useful in regards to media that shows victims having a codependent relationship with or still loving their abusers, or where their abusers are shown as sympathetic, whilst the narrative still shows the toxicity and pain caused by the relationship.

Moreover, there can be a sense of reclamation and security in exploring stories about similar harm as we’ve experienced whilst knowing we are now in a place of safety and are free from those past experiences, or that other survivors have escaped and we can too.

“If children read this work or watch this show or play this game, they might think that the things depicted in it are okay!”

Is the work rated G or PG?

Is it shown on a children’s TV channel, or appear in a section that is marked for children? Is it put on a children’s website, where the primary audience is children?

In short, is the work aimed at kids?

If no, then it’s not for kids.

Particularly if a work is marked for adult audiences only, if it’s labelled erotica, if it’s marked M or E or NC-17, if it says it’s for adults or asks people to check a box agreeing that they’re an adult, then the work in question is most definitely not for children.

Everything in the world doesn’t have to be child-safe just because children exist.

It is the responsibility of parents and guardians to appropriately supervise their children’s online use, and to teach children and teenagers internet safety, some of which includes setting appropriate boundaries for themselves and not seeking out content that might distress them, or to know what to do if they stumble across content that does distress them — namely, to speak with a trusted adult about their feelings and what they can do to manage them and look after themselves, and be looked after.

It’s not the responsibility of random other adults in the world not to make horror movies or watch porn or play adult videogames or anything else, just because a child could potentially learn of their existence.

“But someone else engaging with that work might think the things depicted in it are okay!”

You’re right, they might do.

They might also engage with the work and think things depicted in it are bad. Fiction does not exclusively exist for our moral education.

“It makes me feel uncomfortable or unsafe that people are writing about [a topic] with a tone or in a manner that seems wrong to me!”

Yes, many of us feel uncomfortable with some topics being depicted in fiction, and might find them viscerally disgusting or triggering, consider them to be in poor taste, badly considered, or similar.

This is normal and okay.

It’s perfectly natural to have limits on what one can handle in fiction, or to find your ethical considerations don’t match up with the things other people make.

But it’s our job, as responsible adults who look after our own mental health and consider our own boundaries, to avoid that content.

You cannot control what other people think about, feel about certain topics, or how they portray them in fiction. You cannot control other people.

You can only control your environment, your boundaries, and the works you choose to engage with.

You can limit your time on social media, mute tags or keywords, block particular users or sites, or simply look away or leave the room / close the tab.

“What about rampant problematic works on Ao3!?”

Works on Ao3 are not a real issue.

They are not representation. Fanworks and original works on Ao3 are not the mainstream. They are being read exclusively by members of various internet subcultures who read fanfiction in those specific fandoms, after reading the tags.

This doesn’t mean we can’t or shouldn’t discuss certain tropes and norms in various fandoms — we might address our own biases around race, sexuality, religion, disability, and other characteristics, and how these biases and bigotries can come across in people’s approaches to fandom, the characters and ships they concentrate on, their headcanons, et cetera.

The same can be said of people’s original creations.

Ao3 has a robust tagging system, and allows people to mute and block tags they might be upset or triggered by — and in the event one clicks on an explicit work, a window will come up asking people to consent explicitly to moving through to read the work.

It is people’s own responsibility to set their own limits as to what they can handle in reading fiction — and not to obsess over what other people might or might not be reading, which we cannot control, and is also none of our business.

“What about loli and shotacon? Isn’t that the same as child pornography?”

“Child pornography” is generally not in use as a term — many people who have been victimised find that terms like “child porn” and CP grate, because “pornography” is work made with willing, adult participants.

Videos and images produced of children are instead referred to either as CSAM — child sexual abuse materials — or CSEM — child sexual exploitation materials. CSEM is evil because it involves the unspeakable and agonising victimisation of a real life child or children, being abused and manipulated by adults around them, and worse than that initial victimisation, the recording their abuse is another victimisation in itself.

With every share of a piece of this material, that child or children are victimised another time, made vulnerable to more people, and the creation of this material can create more market desire, meaning that other abusers will encourage further abuse and recording of these children’s victimisation, or for the recording abusers to seek out other children to abuse.

Victims of this sort of exploitation live in terror of the pictures or videos of their worst moments being shared to those they know, of being found by their loved ones, shared to workplaces, disseminated in any community they try to live in and be happy with — it is difficult enough to recover from one’s own abuse without the spectre of it constantly hanging over one’s head.

People’s cartoons or art of fictional children is not equivalent to CSEM, because there are no real children depicted in it.

It’s understandable to find these works disgusting or upsetting, triggering, unsettling — but to say that underage art or fiction is the same as or counts as CSEM is patently untrue. As a victim of CSA, it is galling to be told that choices my abuser made to harm and exploit me are equivalent to an abuser choosing to draw or read a comic about a victim that doesn’t actually exist.

Some final questions to ask yourself:

None of the above rebuttals are intended to imply people shouldn’t critique or criticise different media or their depictions.

As well as the initial essay I linked, I actually wrote a big guide on how to approach close reading of text, and I’m working on another about analysing television and film.

In my opinion, it’s really important to be aware of different tropes and themes that you feel are harmful in fiction and art — racist tropes, sexist ones, homophobic ones, and all the rest.

It’s worth considering how works are harmful, and what you actually want to be done about it.

I personally have criticisms of various tropes in media — I have particular dislike, for example, for the ways in which teacher/student relationships in TV shows and films are portrayed as “forbidden love”, with issue of their positions of power being depicted as one of bureaucracy or technical rules rather than a real power imbalance — I don’t care for the “sexy schoolgirl” trope, and the “barely legal” porn genre unsettles me.

All of the above three tropes often coincide with people’s thinking of teenage girls, especially those in school uniforms, as sex objects, and portraying school uniforms themselves as sexual or deserving of this sort of sexual attention.

Not all depictions are the same — some works subvert the sexy schoolgirl trope by having those schoolgirls be secret monsters than punish abusers, and some works exist that critique teacher/student dynamics.

It’s also important to note audience and outreach — a work that’s put on mainstream television channels or put in movie theatres by huge studios have a very different range of impact than an indie published novella, or one person’s fanfic on Ao3.

Note where you’re holding individual or small studio creators — especially those who are in some way marginalised and are already facing adversity in their work — to higher account than large studios, or fixating on imagined harm their work could potentially cause.

Is a work harmful, or is it just uncomfortable? Is it harmful, or is it just personally triggering to you?

Can the work you’re concerned about do as much harm as you’re envisaging? Is it actually reaching the individuals you are worried might be vulnerable to harm as a result of it? Does the work intend to do that harm or hold those harmful views, and are the authors or creators working to address or apologise for that harm?

Is the work discussing, critiquing, or exploring the emotional impact of the dark themes within it? Does it have warnings or disclaimers before the work begins?

If you’re worried about a work “normalising” or “glorifying” a troubling subject — does the work actually do that? What is your evidence for this, having engaged with the text? Is that thing discussed in the text, argued, explored in-depth, or merely mentioned? Do characters show inner conflict and interpersonal conflict over it? Is it actually portrayed as good or normal? Is your concern the characters’ perspectives within the text, or the authors or creators’ opinions?

Does the work carry ideas that are bigoted or feel like it includes apologism for some shitty ideas or ideology? Is the work a piece of propaganda, or function as propaganda? Do you feel the work is being advertised or pushed to an inappropriate audience for its subject matter?

If you do consider the work to be either likely to be personally distressing or upsetting to you, or potentially harmful because of its troubling or bigoted or just shitty ideas, how do you want to respond?

If it’s the former, you should set your own boundaries — you should use your mute and block functions, you should avoid the work, you should seek out things that will comfort you, and perhaps discuss the distressing topics with someone you trust, whether that’s a friend or partner, a loved one, or a counsellor or therapist.

If it’s the latter, you should absolutely deconstruct the piece in question and analyse the ways in which it’s shitty or harmful, or read essays by those who’ve done that work. You can maybe warn your friends about it, or if it’s a work of political concern — if the harm is being done because the work provides financial support to a hate group or a bigoted public persona, for example, you might perform a boycott, or involve yourself in acts of protest in response to the work or its creators.

If it’s important enough to you and your beliefs that you feel urged to do those things, perhaps you should — if all you feel urged to do is to harass or shout at people online, though, it might be better for your own mental health to take a step back and do something more positive for yourself.

Sometimes, a piece of work or media will be shitty, and shitty people will love it, and that will kinda suck — God knows I’ll see work that’s really transphobic or homophobic or antisemitic, and it’ll upset me that people I otherwise love and respect seem to be enjoying it so much.

I can talk to my friends and my family about it, and I’ll do that — and I can mute and block the topic, and critique it in the right circles, or write essays if I’m really inspired to, responding to the work and what I feel its impact is…

But if my instinct becomes to just snipe at people for enjoying it when they really don’t know what the problem is, or have a go at them when they’re doing so unthinkingly, that’s not really helpful to them or to myself. It’s not addressing the harm I feel is being done, and nor is it really constructive.

I’m an adult, after all — as I’ve said a few times already, it’s our own responsibility to set our own boundaries and consider what we’re doing to safeguard ourselves, and if in setting those boundaries and personal safeguarding limits, whether they’re in line with our own ethics and morality.

We cannot control other people and their feelings, or the works they create, but we can take care of ourselves, including breaking ourselves out of obsessive moral spirals or anxieties about other people’s thoughts — and personally, I think that’s actually a very revolutionary thing to do given that we exist in a world that constantly tries to encourage (and monetise) that sort of aimless outrage.

#musings #proship #antiship #purity culture #purity wank

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feedthefandomfest · 4 months

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Comment Bingo for Beginners

Very simple rules: connect 5 squares in a line by completing the task in each square

Very simple goals: encourage newbie or nervous commenters; encourage fandom writers to KEEP WRITING

STEPS:

Download Bingo Card HERE (png) or HERE (jpg) or HERE (pdf)

Complete the tasks on the card, marking off each as you go, until you've completed 5 in a line (vertical, horizontal, or diagonal; NO double-dipping; kudos ♥️ is a free space)

POST your winning card (or list your filled squares) and tag @feedthefandomfest! Glory in your victory.

REWARD:

✨ victory badge ✨

Tag me when you earn a bingo (or double, triple, quadruple... FULL CARD bingo) and I'll reblog a shiny badge with your name on it to commemorate the win.

FAQ:

Can I comment on tumblr or only on AO3?

Either one is great! Some squares are more designed with AO3 in mind, but most can be adjusted to suit tumblr as well, so I say go for it. Tumblr fics deserve love, too.

Can one comment count toward multiple squares if the fic fits more than one category?

Since the goal is for as many fics to receive comments as possible, try to comment on a different fic for each square.

Is there a time limit?

Nope! Take your time or set your own deadline, whatever works for you. This blog is still in its early experimental stage, so feedback welcome. Play around and let me know what you like and what might be added/changed—including ideas for squares on future cards!

Do I have to record progress on the actual card?

Nope! If it’s easier to keep track in a different way, that’s fine. This is all very honor system, so if you say you earned a Bingo, we’ll call it a win 🎉

Some people have been tracking not just completed tasks, but the fics they read along the way, so that when they post a bingo, they can also promote the fics/authors in a little rec list. Not required, but definitely cool to see!

Can I adjust the task in a particular square to suit my comfort level?

Of course! If you deliver something in the spirit of the task, then it’s all good. Use your best judgement in constructing a comment that will make the author smile, and you can consider it a job well done.

In general, so long as each square has produced at least one comment, you’re golden and I salute you 🫡

Happy commenting!!

#comment bingo #commenting for beginners #feed the fandom fest #some old tasks from original card #and lots of new #comments don't need to be long and detailed #even short messages are much appreciated #i'm always open to suggestions on tasks so send em if you got em #happy commenting 💛

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vasquez-rocks · 22 days

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i know most ppl haven’t seen it yet but wanted to write something abt how annoyed some of the critical discourse abt I Saw the TV Glow is making me. MAJOR SPOILERS below the break, be warned!!

so idk i’ve seen so many reviews of the film positing that it’s about the dangers of obsessive fandom and overidentification with fictional characters, esp vis a vis real life self-actualization/coming out. (like, essentially every review has some of this in it, from what i’ve seen.) and, like: i don’t think that’s wrong, but i also think it’s massively underselling what schoenbrun is doing here. the metaphor of the show’s bleed-over is so smart because works in both directions at once.

like, in one direction: when maddy asks owen to come into the show by burying himself alive, you can read it as her asking him to abandon his real-life responsibilities, and the material facts of his real life body, in favor of a fantasy life where everything is already fixed. she’s inviting him to skip over the hard, messy work of transitioning and to sink even deeper into the analgesic obsessions he uses to numb his dysphoria. in this interpretation, it’s, like, the equivalent of overprioritizing “transition goals” instead of actually medically/legally/socially transitioning if that’s what you want, living forever in the ideal instead of taking difficult steps to change the material. (also, uh, if you don’t think she’s literally correct about the nature of reality, she is in fact asking him to kill himself. there’s that.)

BUT! it also works the other way. when maddy tells owen that the show is real, that their lives are just the buried dreams of dying girls in another life, she terrifies him by confronting him with something he’s always known about himself: he was supposed to be a girl. what she proposes is radical, dangerous, seemingly unhinged, and based on a childish fixation: all the things scared closeted trans people worry transition is, basically. on a more figurative level, too, the feeling she’s telling owen is real – that his real life is just a dream within a dream, that his home is not his home, that he belongs somewhere else, that he is supposed to be SOMEONE else – is something so, so, so many closeted trans people have felt before, myself so much included. when he sobs in the shower, yelling “this isn’t my home!” at his dad, i felt a sense of identification stronger than i’ve almost ever gotten from art before. when maddy finally calls him isabel, it’s the gentlest thing i can imagine.

in this read – which i do love, while thinking the other one is simultaneously true – it’s less “come sink deeper into delusion with me instead of dealing with your own life” and more “it’s going to be terrifying, but that childish dream of being a girl you once held wasn’t childish, and it can be real if you’re courageous enough.” he says he runs away from the football field because he thinks maddy’s not mentally well; it takes very little analysis of subtext to figure out he’s running away because he’s afraid of how much he wants what she’s offering. and, of course, the idea of the visible world being an illusion laid atop the world in which one is one’s truest self is a classic trope of trans cinema going all the way back to the matrix. (also: while i’m pretty death-of-the-author-pilled in most media analysis, it kinda seems like schoenbrun themself has interpreted the film in this way, as they’ve spoken at length in interviews about how, to them, transition felt like asking to be buried alive.)

all of which is to say: i think the film IS commenting on fandom, obsession, overidentification, and the ease with which queer people can sink into art as a way to dissociate from real life. but i think it makes the film so much more cynical and so much less tender to treat it as the ONLY read of the film’s relationship with the pink opaque. art, especially the sort of slow, metaphor-laden art schoenbrun makes, is best when it is complex and productively contradictory. the pink opaque is a problem, and an escape, and a fantasy, and it’s real, and one day isabel is going to wake up.

#i saw the tv glow

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mayakern · 1 month

Text

hiiii it's me! devin! ur favorite!

maya is still banned from doing big business things on social media while she takes time to rest and detoxify from the poison that is running social media full time for ten years. everybody clap! yay!

i'm here to share some info on our button-up shirt and dress preorders!

as many of you already know, i lost my anti-preorder campaign due to the high minimum per design. there's been some confusion and uncertainty. carsyn's doing her best but preorders are overwhelming and i have some time today

SO TO ANSWER YOUR QUESTIONS:

how close are you to hitting the minimum goal for the button-up shirts and dresses?

not close lol. as of 4/26 we're at about 8% funded. i refuse to panic until after may 3rd

why the funeral design?

the funeral design won our design poll

initially we were going to run preorders for two designs: funeral as well as astronauts. when we got news that the minimum would be 400 garments per design (we're able to spread that across the button-up shirts and dresses) we decided to cut back to one design. we're really not big enough to expect 800 orders on an $80-90 item

why not another design?

another design did not win the design poll

what would have been chosen other than funeral or astronaut?

deadly florals, hiss from a rose, microorganisms, and hands were all the top placers in the design poll after funeral

can you do solid color?

yes

why didn't you do solid color?

you can buy a solid color button-up shirt or dress from anywhere. the plan has always been to introduce these garments in solid color after their initial introduction

...so can you do solid color?

we will consider doing solid color preorders if these preorders bomb

how much would solid color cost?

probably the same. it's not much cheaper. it's faster to make tho

how much would the ecovero viscose cost instead of cotton?

maybe like $10 cheaper

it's really soft tbh but it's a different weave from the viscose for the skirts. it's my number one fabric for the button-ups but alas the cotton fandom won for now

what happens if preorders bomb?

we cancel and refund all preorders.

maybe we'll try again with a different design or with fewer features after we have some time to decompress from the nightmare that is running preorders (can you tell i hate preorders). if they bomb bad enough we may completely nix patterned button-up shirts and dresses. we don't know yet!

does that affect the picnic top?

the picnic top is completely separate. since it's made out of a different fabric it has its own minimum, so it will not be affected by button-up shirt and dress preorders

and like, to be totally honest, it's way cheaper to produce. we can eat some of the cost and just make them. they're small enough to store easily and they're at a lower price point so we can expect to sell them after we receive them, like the wrap tops

btw, we have other ready-to-ship things already in production. we've been working on a whole secret project. surprise!

why did you launch preorders for the button-up shirt/dress at the same time as the picnic top?

the picnic top sample came in with the button-up dress sample and it needed very little alteration. also maya liked it. also we may be developing an entire line inspired by the picnic top so keep an eye out for that next spring

why is the new button-up shirt more expensive than the old button-up shirt?

it's more expensive to make

why is it more expensive to make?

this is a different factory from the one we used before. it's more expensive because they pay their staff a higher wage and likely have other costs

this is a different fabric from the one we used before. it's a stretch cotton with a GOTS certification

this is imported from a different country from the one we used before. turkey has much higher import fees to the US

what is a GOTS certification?

the short version is the fabric itself is more environmentally friendly and produced with more fair labor practices than standard cotton

you can read the long version here here

can you do fulfillment from somewhere other than the US?

we're working on it. it probably won't lower prices tho, since fulfillment centers also cost money

anyway...

none of this is to shame someone for not preordering. groceries are expensive and things are tight, plus it kinda sucks to spend on a tight budget and not get what you ordered for a few months

(can you tell i hate preorders)

i think there's a lot of surprise since we've never done preorders on a single design before, and that's fair! we debated on doing a kickstarter but a) i hate doing kickstarters b) kickstarter takes a percentage of sales and our profit margin on these is already lower than we'd like it to be

i'm tired and i can't remember anything else i wanted to say. i may answer any additional questions from my own tumblr (@punchyemblem and now i'm gonna get a notification that i'm gonna be jumpscared by) but carsyn will be handling most questions

also don't worry, when you say nice things we still show maya. also she's fine, she's just in her (forced and highly necessary and possibly permanent) limited social media era

#devin time #store stuff

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marthawrites · 8 months

Note

"don't shut me out. please"

I hope it is not too late for me to join the celebration ☺️ Congratulations! 💕👏🏼

Thank you sooososo much! You are such a gem and I appreciate all of your fandom love more than you know! I did my best to include a (one shot appropriate) slow burn, angst, and a happy ending. I hope you enjoy this ride MWAH!

Summer's End, Autumn's Beginning

Modern Aemond Targaryen x fem reader

Word Count: 6.3k+

About: A chance encounter with Aemond leads to a whirlwind of emotions. Over the next few months you both fail, in yourselves and in the relationship, and learn from the mistakes.

Includes: Chance encounter, age difference (references to Aemond x Alys) mentions of cheating, allusions to cheating, angst, second chance romance, and smut featuring vaginal fingering, possessive sex, and unprotected protected vaginal sex

Note: Hello lovely reader! This is the longest piece I've wrote in quite awhile - whew! I also feel like it's one of the more ambitious one-shot fics I've worked on/completed. Reader is non-descript. As always, please, enjoy!

read part 2 Between the Covers here

There were two things tied for number one on your five-year goal list.

First, be out of your city apartment (preferably as a home owner and not a renter)

Second, have a dog.

They went hand in hand. One couldn’t happen without the other. So, it was a hard tie and you weren’t willing to budge on either. Until then, to take the edge off your self-proclaimed animal loneliness, you volunteered at a local shelter two nights a week. Mondays and Wednesdays.

While your day job wasn’t a doctor, lawyer, or professional athlete – ones that your family pushed you to have while growing up – it still paid decently and had the potential for career advancement. And! You were able to live on your own. Not having a roommate was worth the dry job description. Besides, your boss was fair and most of your co-workers were friendly; a win win, really.

Tonight, Monday, you finished your shift, went home to change, then headed out to the shelter. Even though it was all volunteer hours you valued punctuality and did your best to get there around the same time each night.

“Hey! You made it!” Arryk called out to you when you stepped inside the building. Chaos sparked all around. He did a great job running and maintaining the schedule, and with the help of volunteers alongside regular staff, it was, more often than not, smooth sailing. Tonight, however, it appeared quite the opposite.

“Hey! Yeah, a few minutes later than usual, sorry!” You said as you walked over to him.

He waved a hand brushing off your apology. “No worries. We had a few people call in today. So, since being short staffed we’re definitely running behind. I know you normally help bathe the dogs with Baela tonight, but can I ask you to do something else instead?” He winced slightly with his question, unsure of your answer. He knew how much you loved Baela and cleaning the dogs!

You squinted at him suspiciously. “Why are you looking at me like that?” You asked, crossing your arms. “You know I won’t administer shots. If I could get over my fear of needles I’d be a veterinarian and not an office worker like I am!” You scrunched your brows before one, all on its own accord, arched up dubiously.

“Ha!” He laughed. “No no no, I know. We have six dogs that need walking tonight. And I don’t think Targaryen can handle all of ‘em.”

“Helaena? She’s back?” You asked, eyes bright with surprise.

“She’s still away for that college trip. It’s her younger brother, Aemond. Have you met him before?”

You’d heard Helaena talk about him, of course, but you’d never met him. Shaking your head, you peered around the shelter looking for anyone else with the Targaryen tell-tale silver-blonde hair. No one caught your eye. “I haven’t. But, I don’t mind.”

“You are a lifesaver!” He praised. “He’s down the west hall getting them ready. Depending on how long you're here afterward, there might be another couple who could use a second walk. Terriers. You know how they are.”

“Happy to help, Arryk!” He was a good guy. You’d always liked him.

“Aemond’s tall, towheaded as the rest of his family, and has an eyepatch. You can’t miss him.” And with that Cargyll switched tasks and got right back to work.

Turning and walking down the west hall, you were happy to say, chaos began to fizzle out. This hall had the larger dogs; no wonder Aemond wouldn’t be able to walk all six at once. Even with the slow turn of summer to autumn sunset wouldn’t be for another three hours. Assuming all went well you’d be able to walk the second batch of dogs, too.

Down the aisle were five opened doors with each respective dog ready for their walk. Their leashes were hooked onto the door so they couldn’t run amuck. You patted and scratched them, earning yourself more wagging tails, a few happy barks, and some excited licks. Looking to the end of the hall you saw someone who you assumed was your evening walking partner. He was kneeling, talking soothingly to a great big senior hound, while clasping the final buckle of their harness. “Hello, uh-, Aemond?” You called out feeling slightly self-conscious.

Still kneeling, he turned his head to look up at you. Any softness in his single eye quickly hardened to match the rest of his sharp features. “Hey,” he said, caught off guard by your presence; someone he’d never seen calling him out by name. “Is there something I can help you with?” Slowly, in a single fluid motion, he stood up and the aged dog kept his eyes on him the whole time, panting happily.

Whoa. He was tall. And, at first sight, incredibly good looking: dressed in casual black clothes, long silver hair tied into a braid, with a scar along the left side of his face that you had to tell yourself not to stare at. His mouth was a unique shape, too, and you weren’t sure if he was merely waiting for a response or if he was smirking the tiniest pout at you. “Hi,” you said again with a nervous laugh. You told him your name. “Arryk sent me. Said you could use some help with the walk tonight?” ‘Play it cool, dummy. He’s really handsome, so what? He could be a huge asshole. Play. It. Cool,’ your inner voice said.

Did he have a mechanical eye beneath his patch? The way he looked at you, then, made you feel like he read your thoughts. “Ah. I could certainly use the help,” he said smoothly with a small curve of lip, turning his attention to the three dogs at the front of the hallway. “Wanna take those three?” He asked, looping the big dog’s leash around his wrist. “I mean, you can have any of them as long as I get this guy. He’s my favorite.”

Your pulse raced a little too fast. Clearing your throat, you smiled in an attempt to ease the butterflies in your belly. “I don’t mind. Why is he your favorite?” You turned and began to unclasp leashes from their doors; happy tips and taps of claws growing louder at the pups’ excitement.

“Reminds me of my girl at home,” Aemond replied, adoration clear in his voice. “Big and old, a little stinky, a little slobbery. The best kind, really.”

“Aw, that’s very sweet. I don’t have any pets. I get my fix here,” you laughed. Holding all three dogs in one hand, you pulled the door open with the other. Except, it didn’t open. On instinct, you tried again hoping Aemond didn’t notice.

He strode up next to you with the rest of the dogs in tow, smirking at you for real this time, as he said, “it’s a push door.”

You knew it was a push door. Fuck. He gave you a knowing glance over his shoulder as he walked out, waiting for you to follow along.

II.

You didn’t see Aemond on Wednesday and you couldn’t deny your disappointment when you left for the night. Come to find out you two had been volunteering at the same place for months – only on different days. He tended to be there Tuesdays and Thursdays.

Monday had been a chance encounter. One you couldn’t shake out of your head.

Before leaving tonight, however, you took a selfie with Aemond’s favorite old hound. You’d exchanged numbers but hadn’t an excuse to strike up a conversation. Yet. Now, with the selfie as an excuse, you opened a fresh text thread and sent him the photo along with:

Someone missed you tonight!

While buckling up in your car and getting ready to reverse out of your parking spot, your phone dinged with an incoming message:

Very cute. Will you be there on Monday? Maybe Cargyll will assign up walking duties again.

Your belly flipped. Truthfully, you weren’t expecting him to message back – especially so quickly. Before you could stop yourself you sent back:

Yup! See you then?

And he sent:

I’ll find another excuse to be there.

Feeling a little bold, you replied:

Excited to see you again! You have these adorable dimples when you smile. Maybe I’ll see those, too?

When nothing came through for a few minutes, you feared you might have gone too far. It was just a little innocent flirting, right? Nothing bad? And then:

Maybe so. See you Monday.

Smiling, you didn’t send anything back. It’d be your luck to say something dumb and rub him the wrong way.

During your first walk, as soon as the ice broke, you both clicked really well. Hopefully – just maybe – things would flow like that again. The connection you felt, something akin to a liveware, couldn’t have been one-sided. He had to feel a spark of it, too; even if just a little.

You drove home, made dinner while facetiming one of your friends from uni, and when she asked about the spark in your eye you told her about your friend Helaena’s younger brother.

III.

“I seriously cannot believe you’ve never seen The Lord of the Rings. The Hobbit trilogy was a little silly, but watchable. But you haven’t even seen that?” Aemond asked clearly aghast at your lack of understanding his reference.

Tonight, you both got walking duty again and neither of you complained. And, this time, he regarded you with a softer look in his eye than his original sharp glance. He was dressed in dark casuals again and you hated (loved?) how good he made them look. His hair was in a bun and his eyepatch stayed firmly in place. You wanted to ask him about it but weren’t sure if you should try it yet. Instead, you rolled your eyes and laughed. “You’re making it sound better and better the more you talk about it.”

“That’s because it’s the best.” The dogs pulled both of you along and you had to walk brisker than normal to keep up with them and Aemond’s longer legs. He seemed unaffected by it.

“So, you recommend I watch it?” You asked playfully.

“No,” he started, very serious. “I recommend you read it first and then watch the movies.”

If you had more breath in your lungs you’d have giggled – not laughed, but giggled. Something about the way he said it, and the totally serious look on his face, tickled you. “Will you watch them with me?”

The question appeared to catch Aemond off guard. He looked at you, lingering over your pinkened cheeks and smirking lips, before finally making it back to your eyes. Just when he opened his mouth to say something in reply, a completely unrelated thing stole his attention. Sometime during your bantering you’d made it back to the shelter, and a tall dark-haired woman called out, “there’s my sweet Aemond. I’ve been trying to get a hold of you and you haven’t been answering your phone.”

If you thought Aemond attractive, this woman made him look like any regular ol' Joe. She was elegant, warmed by a late summer tan, and had raven dark hair cascading down her back; truly a vision of enchantment. When she sauntered to him and pressed her body to his, you felt like a voyeur watching the embrace.

“Alys,” Aemond breathed quietly. “What do you want?”

“You know what I want,” she answered as she trailed manicured fingers across the front of his chest.

She had a timeless look to her, the kind that concealed her age. She could have been anywhere from twenty-five to fifty, you thought. You really hadn’t a clue. All you knew, now, is that you should finish your task alone.

Aemond’s throat bobbed as he swallowed. Posture tense. “I told you I was busy tonight–”

Before you could stop yourself you cut him off with an awkward wave. “See you later, Aemond.” And, with that, you walked inside before you overheard anything else they might be saying to each other. Turning to glance over your shoulder one last time, you were met with a look of deliberate triumph from Alys; she had the greenest eye you’d ever seen.

It was haunting.

Driving home, you felt stupid. Aemond was just a guy you just met. It was silly to think someone like him would be single and even sillier to think your innocent flirtations would be working on him. You had half a mind to delete his number. Or, at the very least to delete the short message thread of your texts.

Instead of making dinner like you normally did, you called in delivery and facetimed with your friend as you waited. She immediately knew something was off and you were quick to tell her everything that happened.

Twenty minutes passed and you were starting to feel better. It’s not like you two hooked up or even kissed. It was just a chance meeting with playful banter. Nothing to get shook up about. “Food’s here. Thanks for listening to me. I’ll talk to you later. Love you!” You said as you got up to answer the door.

When all else failed, your favorite food could always make you feel better.

Turning the tv on and sitting down amongst your couch pillows and blankets, you were getting ready to dig in when your phone rang.

Aemond.

Your insides did a weird flip and hunger disappeared entirely from your mind and belly. Should you answer? Let it go to voicemail? Turn the stupid thing off and completely ignore him? Right before the final ring, you decided. “Hello?”

“Hey,” he said, immediately sounding relieved. “I’m sorry about that. I wasn’t yet ready to call it a night with you.”

“It’s no biggie,” you replied. Lying. “I didn’t want to interrupt anything–,” you paused, searching for something else to say to soften the edge of your voice, “–the dogs were getting tired anyway.” God. It sounded stupid even to your own ears.

Aemond sighed through the phone. You wondered if he slid his hand down his face or through his hair. It sounded like he did. “No. Alys is… it’s complicated. She’s my ex and–”

“ –you don’t have to explain anything to me,” you said, cutting him off. “Really. It’s fine.” Despite it being a phone call, you tried to smile as if it would blunt the dismissal of your tone.

“I mean it,” he said. “I really wasn’t ready to say bye yet. What do you say you skip your regular Wednesday night plans and grab a milkshake or something with me?”

Your insides flipped again but for an entirely different reason this time. You knew it: the sparks definitely weren’t one sided. The firm set of Aemond’s jaw and the rigidness of his shoulders flashed once more in your mind’s eye. Since your break up with your long-term boyfriend you’d been on a few dates, but none of them lead to anything worthwhile. With how you and Aemond clicked, however? This date might lead to something more than a hook-up (or, attempt at a hook-up. Some men truly had no game). “Are you sure…?” You asked after a moment. “You and Alys looked pretty comfortable–,”

“ –I’m sure,” it was his turn to cut you off.

“Alright then. Let’s do it.”

IV.

It'd been two months since your first milkshake date with Aemond – the first of many dates. It was a guilty pleasure of yours and apparently one of his, too!

Your first kiss, first time meeting his elder dog, Vhagar, and first time meeting his family were all memories you cherished.

The more you learned about Aemond’s relationship with Alys, the more you understood it "complicated". Including Targaryen drama, Targaryen business, and a list of other things you had a hard time following. It didn’t matter anymore, though, Aemond reassured you. Things were done between them and he only wanted you; proving it to you with fingers and mouth until you begged for a break.

A lesson you learned from your last relationship – one Aemond learned from his, too – was to be careful with love. As much as you genuinely enjoyed him and his company, a barrier stood between you that neither dared yet to cross.

Love.

Each day you fell for him a little more; you were scared to admit it. The scar of heartbreak healed slowly. Could you truly trust Aemond with that part of yourself? With the very essence of your heart? It’d been two months and you still weren’t entirely sure.

If he felt the same he’d say something, right?

Autumn blanketed the lands with brisk air, rainy days, and rolling fog. As days grew short and nights long, you and Aemond spent more time at your apartment or his quarter at the Targaryen estate. Your apartment was the clear favorite. Living alone had its perks: never having to worry about nosy family or friends who showed up unannounced.

And thank God you didn’t live with anyone else.

"Mmh… fuck, baby, I've been thinking about this all day. I can't get enough of you. Let me make my girl feel good," he said against your mouth as one of his hands moved up the inside of your thigh. "Are you wet already? I bet you are," he chuckled, fingertips tracing your slit. "Mmm… I knew it. Your clit is sooo needy, isn't it?"

Shit. Those hushed words, the glint in his eye, his rasped tone… you happily indulged him in whatever way he wanted. And him, you. Fingers, mouth, cock, he quickly learned what tricks made you melt.

As much as he loved having you ride him, or bending you over, his absolute favorite was fucking you into the mattress. You sprawled out beneath him, hair messy and fanned out around your head, legs wrapped tight around his waist, fingernails on his body… he could never get enough of your blushed face beneath him, trembling and arching as he pushed you to peak after peak.

Your sheets had never been cleaned so often in your entire life.

It was particularly rainy today and you were both finished with everything on your to-do list. Aemond sat on the floor in front of you as you lounged in your overstuffed chair. You told him you'd read the Lord of the Rings as long as he read it to you. He didn't even pretend to be annoyed by your bargain. He read to you from his own collection, claiming he liked the worn feeling of the pages better than a new book's pages.

Like any proper reader Aemond started with The Hobbit. You enjoyed it more than you thought you would. More so than the story, however, you enjoyed him reading aloud to you – he had the loveliest voice. You were about half way through The Fellowship of the Ring and the story continued to get better.

But, all afternoon, Aemond's phone never stopped going off. It seemed like every few minutes it would ping with some kind of notification. "Who's blowing you up?" You asked, annoyance creeping into your tone.

Stopping mid sentence, he looked. "Alys," he sighed as he scrolled through the various messages.

You tried to not look over his shoulder to the texts. You really did. But there was something about Aemond's shift in posture, and the air around him, that made you suspicious. "What's going on?" You asked in your best nonchalant manner.

"She's asking if I have some of her clothes at my place still," he answered and you swore you saw pink spread atop his cheeks.

That caught you off guard. "Why would she have clothes–"

And whatever else you were going to say was abruptly cut off.

There, in a new string of messages, was the single text line, "I miss you, baby boy," followed by at least three photographs of Alys in lingerie and various stages of undress.

"What the fuck Aemond!?" You asked, anger and hurt instantly warming your blood. "What the hell were those? Are you fucking joking?"

"I have no idea why she sent–"

" –is that why she left clothes at your place? Couldn't let her go for real? Jesus Christ I can't believe you." Anger flushed your face and bittered your words.

"Listen, please. Hear me out, bab–"

" –oh fuck off, Aemond, you don't get to 'babe' me around anymore. In fact, just leave."

He looked as hurt as you. And shocked. A hundred emotions played across his chiseled features. "No, really. Let me explain," he pleaded with eye and tone.

You weren't having it. You were cheated on before and he knew it. It made your own hurt cleave even deeper. You really fucking liked him. Maybe even loved him. And this whole time he had you and Alys? "I'm seriously about to get really fucking angry. Leave. Now."

He stood and left. Silent fury screamed around him like a whirlwind. He didn't even give you one final look over his shoulder.

He shut your door with a deliberate click.

You curled up in your blanket alone as fat ugly tears streamed down your face. You couldn't be bothered to grab a tissue for your snotty nose.

Aemond's leather jacket was still draped over the back of your couch and his book still lay on the floor. Your crying somehow turned uglier at the realization.

Eventually you dozed off. With Aemond, you always had your phone on silent so you didn't hear all his missed calls and texts.

The following month went by in a blur; you drowned yourself in work. You also stopped volunteering because you didn't want to give Aemond the opportunity to meet you there. By some feat of strength you ignored all his attempts at talking – and by proxy, apologizing.

The only thing you said to him was a single text:

I need time. Please understand

Part of you wondered how it affected him. His calls and texts became sparse until they eventually stopped.

Helaena asked where you'd been and you felt horrible lying to her. So, you didn't. After telling her the story she sighed and asked if you'd want to grab tea. You agreed. Meeting her at a local cafe allowed you to air out your feelings; laughs and tears alike. She was kind, and sweet, and supportive without being passive. She loved her brother but knew he had many of his own issues. You'd been friends for over a year and this was the first true heart to heart you shared.

Upon returning home you picked up the Fellowship and tried to read from where Aemond left off. But, it wasn’t the same without him and it only made you cry. Again.

VI.

The following morning, despite your car's newer model, it barely wanted to start for your drive to work. By a stroke of luck you made it there fine. And, made it back home that evening, too. But that was the end of your luck. It needed to be picked up and taken to a shop until a mechanic could see it.

Carless, you had to rely on Uber or public transportation. Yuck.

A few days of stress passed and now you were done for the week. Thank God for weekends. Unfortunately your groceries were extremely low and you would need to make a trip in the morning. You sighed and used it as an excuse to order pizza.

After waking up and a breakfast of (the last, and past its sell-by date) packet oatmeal you got around to make the walk to the nearest grocery store. Knowing you'd be walking home, too, the list was small. Carrying bags up two flights of stairs was hard enough, much less carrying them home a mile!

On the way back it started sprinkling. Great. Just great. You started walking faster with hopes of making quicker time than your leisurely stroll to the store. Then, seemingly out of nowhere, you heard your name called. Was that…? Stopping in your tracks you looked across your shoulder to the side of the road and saw none other than Aemond. You knew his car and voice anywhere. You didn't have to see yourself to know a dozen emotions played across your face.

"Hey," he said gently, his own features a mirror of yours.

"Hi," you said.

"Why are you walking in the rain with groceries?"

Slumping your unintentionally scrunched up shoulders, you sighed. "Stupid car died on me and it's been with the mechanic for almost a week."

He smiled softly. So soft. The outside of his seeing eye crinkled and emotion rushed to your chest. Your gut. "You're way too good to be walking alone. Let me drive you home at least?"

You didn't resist. How could you? "Alright. Sure. Just dropping me off though, okay?" Guilt panged your chest. Did he feel it too? Could he read it on your face he knew so well?

"Alright," he answered, expression falling just slight. You might as well have stomped on his foot with how it affected you.

I miss you. I love you. I'm sorry. Can we try it again? Can I hold your hand? God I love your hair in a ponytail. You smell good. Did you see the trailer for that new horror movie? I miss you. I love you. I'm sorry. It all turned around your head like a fucking rotisserie chicken. It shouldn't be so hard to say any of those things to him. But it was.

You didn't say anything on the short ride home. Neither did he. His right hand flexed a few times and you wondered if he was having a hard time, too.

"Can you get it all upstairs?" He asked as he pulled into an empty spot and parked, looking across to you with horribly concealed emotion.

"Yes, but…," you trailed off momentarily, trying to read his face. "I still have your book and jacket. Wanna come up and grab them?" You asked hopefully.

He killed the engine faster than you could blink. "Yes! So that's where they've been. You could have mentioned it sooner," he said slightly accusingly, grinning at you with a spark of playfulness.

Leading the way upstairs to your apartment, you unlocked the door and disappeared inside. After placing your items down and grabbing Aemond's, you turned to look at him standing in the doorway. He leaned against it. Waiting. Quiet. He glanced around with a wistfulness that made your throat tight. You watched him watching you and your home until the air became awkward – was it half a second, a few seconds, longer? You weren't sure.

Slowly you walked over to him. Your gaze flickered up at him as you handed his things back. "Were you ever going to tell me the truth?" You asked. "Did you think I really wouldn't find out? Why did you stick around if I wasn't good enough?"

He blinked. Taken back. "You never even gave me the chance to explain." His jaw feathered before it tightened. His eye hardened.

You grabbed the door, fixing to close it on him. Now that you started talking – unloading pent up questions which kept you tossing and turning at night – you couldn't decide if you wanted to slam it on his face or yell. "I told you how I was cheated on! And you did it anyway! I trusted you, Aemond." Your voice thinned, sounding shrill even to your own ears.

One of his hands braced on the door so you couldn't close it on him. "So this is your revenge then, huh? Punishing both of us? Why don't you trust me?" Hurt and fury simmered in the lovely hue of his eye. A storm. No, a hurricane. "Alys and I have been done for months. Months. Even before you and I met. I'm sorry for what she did but I can’t control what she does. She was playing her wicked games trying to sabotage us– you and me. Don't shut me out. Please."

He pleaded, every pore and line of his face begging for forgiveness. As each word came off his tongue they clicked into place in your head. He meant it. He was telling the truth. Before you could stop yourself your fists balled into the front of his shirt, pulling him down so your mouth crashed up to his. "You mean it?" You asked through the kiss.

Instantly he leaned down into you, and instantly he held onto your waist pulling you deeper against him. His other hand cradled the side of your face daring to curve along the shape of your skull. "I mean it. Yes I fucking mean it," he answered against the kiss; breath stealing yours away until it left you in a little moan.

You pulled him inside and shut the door, locking it. You moaned as he nipped and bit at your neck. Your heart thumped wildly. He sucked at the sensitive skin, again and again, pulling away just before leaving a mark. "God, Aem,” you whimpered. Goosebumps covered your body. The only thing on your mind was him.

"Fuck, I missed you. I missed you so much." His hands were somehow all over you all at once. His mouth trailed, and dragged, and kissed over any exposed portion of your skin. He happily pulled off layers of your clothing to expose more and more of your soft, warm, saccharine flesh; intoxicating him. After weeks of your separation the last thing he wanted to do was to push too far too fast. “Can I take this off?” He asked before taking your shirt off.

“Yes,” you replied breathily. “Fuck it. Take all of it off. I missed you too. So much,” you said as you helped pull his clothes off, too. He pushed you against a wall. You kissed. Heavier, and hotter, and hungrier. You pushed him against a wall.

He gasped as he smirked. “I love when you act all tough when we both know I can have you squirming under me in minutes,” he growled, pupil swelling. The dimples at the very corners of his mouth betrayed his amusement, however, as he once again pushed you against the wall. You were both only in your underwear, now, and his lean body on yours had you aching. “My tough girl… how quickly do you think it’ll last when my fingers are in you?”

“Why don’t we find out?” You asked defiantly, knowing damn well it wouldn’t last long at all. By now you were both down the hallway and your bedroom was only a couple feet away. You needed him. Now. And judging by how fucking hard he was he needed you too.

The next moment went by in a blur and before you could catch yourself you were sprawled out on your back atop your bed. Aemond made quick work of moving you both inside, and made quicker work of pulling your panties down. He groaned as your thighs immediately spilled open for him. He dragged two fingers up your slit and circled your clit with your arousal. “Shit–,” he hissed. “Never make me wait so long to have this pussy again. Do you understand me? Never,” he said as he worked your already swollen clit. He played with it just how he knew you liked it and your cunt’s tiny wet sounds sent his cock throbbing. “Answer me.”

Tension built in the low muscles of your belly. Your legs began to tighten already – one of the tell-tale signs of your approaching climax. How the hell could he push you there so quickly? “N-never! Ahh-h never again!” You replied, voice light, and sweet, and tantalizing as any sin Aemond ever knew. “Please, Aemond, I want to cum…!”

He shoved those same two fingers into you. “Good girl,” he said as he curled those fingers. “This pussy is mine. All fucking mine. Give it to me,” he said huskily as he worked them in and out of you. It was sloppy and wet. Borderline obscene. Each time he slammed his hand against you he was mindful to press the heel of his palm against your clit and your mound, knowing how the extra pressure sent your pretty toes curling.

You cried out his name as your eyes clenched shut. The tension in your belly snapped and a wave of glorious bliss washed over you. Sweat sheened between your breasts and along your lip. You arched, quivered, shuddering in the aftermath of his intensity.

Aemond’s mouth crashed to yours and you threaded your fingers through the roots of his hair. It was still in a ponytail and you had no mind to take it out, you just had to pull him deeper into the kiss. He tasted the salt of your sweat and groaned. “Relax your pussy, baby, you’re clenching me really hard. It feels amazing but I don’t wanna hurt you pulling out,” he said tenderly, nuzzling his nose into the crook of your neck.

“Sorry,” you giggled. “Just feels too good.” You tried to steady your breath and relax as he laid beside you, continuing to kiss your neck and shoulders. When your spongy walls finally eased around him you were sad to feel him withdraw. Stress melted away from your subconscious and you wanted to thank him for the pleasure. You wondered if your eyes said it while he looked at you.

Leaning up, he discarded the final piece of his clothing and sighed in relief as his cock sprang free. He got between your thighs and looked down at you hungerily. “Look at you all doe eyed already. See? I knew you couldn’t stay tough for long,” he said, smug, as he lined up with your drenched cunt. He held one of your legs up against him, and you pressed the other against his side.

When you left for the store this morning you had no idea your afternoon would go in this direction.

He pushed into you. Inch by inch he sunk into you and soon he was as deep as he could be. A moan escaped both of you, and a throatier one left him when his free hand tugged at your bra. It was one that clipped in the front. He popped it open and rocked into you as soon as your tits spilled free. "You're so sexy like this."

With your body already sensitive from your first orgasm, and now with Aemond building a rhythm between your thighs, you weren't going to last long. "You feel so good," you purred, eyelids heavy. "Fuck I missed you."

Another sound left his chest and when you wrapped your legs around his slim waist you swore you felt goosebumps pebble all along his skin. Or, maybe those were your goosebumps on your legs. Whatever the case, Aemond leaned forward and kissed you again. "I missed you too," he rumbled. "Gonna let me fill this pretty pussy with my cum again?"

You two made good use of your birth control and you weren't about to deny him – or yourself – the pleasure of being thoroughly fucked and stuffed. "Y-yeah," you stammered, smiling.

Aemond mumbled something incoherent into your neck, and if your brain wasn't foggy from his perfect fucking cock you might have caught what he said.

He leaned up and supported himself on his forearms, pressing his forehead to yours. "You're my girl. You're my fucking girl. You're my fucking girl," he repeated again and again until the pace of his thrusts grew sloppy. Somehow the sloppiness of it, the neediness and urgency of his voice, sent emotion swelling in all of you.

Heat collected and grew out from your spine, webbing throughout your entire body. You clung to him desperately. You rolled your hips up into him and shamelessly grinded your clit against his pelvis as he drove in and out of you. It was all too much. You crumbled beneath him and let orgasm take control of you. The depths of your body squeezed and convulsed around him, holding him tight and soaking the fullness of his length with your slick. He never stopped or paused his thrusts.

His own peak followed. Once he was as deep as he could be he released everything he had into you. He stayed there, both of you panting through little moans, until he no longer twitched between your stretched walls. Slowly, he pulled out, and slowly, his seed dribbled out of you. Grinning, he rolled onto his back and scooped you against him.

"Let's stay here like this all day," you mumbled happily, fingertips trailing up and down his abdomen and chest.

"You'll get no argument from me," he said.

Quiet minutes passed and the sound of his heart nearly put you into a trance. "I'm sorry for how I acted," you finally admitted.

All the while he'd been petting and trailing his fingers through your hair. He didn't stop as he answered, "and I'm sorry for not trying harder." He kissed your forehead and held you tighter.

"Let's try it again. For real this time. With the titles and commitment and everything."

"Are you asking or telling me to be your boyfriend?"

You smirked. "I'm suggesting."

Returning your smirk, he pulled you atop him so you could straddle him. "You're all mine," he said with a dark eye. "My perfect girl."

Leaning down, you kissed and nipped his bottom lip. "Are you already hard again, Aemond Targaryen?"

A chuckle rumbled somewhere in his chest as his touch dented into your hips to hold you at just the right angle. With a roll of his hips he pushed himself up inside you again. "Whose cock is this?"

You gasped, eyes darkening with another round of lust. "Mine."

"That's right. Yours. Not anyone else's. It's fucking yours."

You rode him until your tits were covered in fresh hickies and you were filled with another load of him.

Yours. His. The second chance you both needed.

Thank you so much for reading! If you enjoyed, please consider a follow, and/or reblog, and/or letting me know as it all makes me vvvery happy! ♥

To be added or removed from the taglist, hit me up!

Masterlist

Main taglist: @watercolorskyy @melsunshine @girlwith-thepearlearring @arcielee @barbiedragon @dreamsofoldvalyria @chompchompluke @fan-goddess

Aemond taglist: @darylandbethfanforever9 @bellaisasleep @aemondsblog @khaleesihel @sirenofavalon @sahvlren @doublesparrows @aemonds-fire @nikstrange @abbyandizzysmum @lost-and-founds @castellomargot @okfashionista @avidreader73 @snh96 @boofy1998 @evermorre

#house of the dragon #aemond targaryen #aemond x reader #modern aemond #aemond smut #aemond fic #aemond imagine #request

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mysterycitrus · 4 months

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So I’m a Jason Todd fan and I read your fic last night (and enjoyed it) but I was wondering about your interpretation of his place in Gotham. In a lot of fandom stuff he’s usually put as a very menacing person that other characters go to for help, but your version felt super different. I liked it a lot because it felt more… realistic to how people would probably react to him. I don’t know. Have a good day!

firstly im glad u enjoyed!! hehehe

wrt to my interpretation of jason — a significant influence for when i was writing wolf-king is that i can’t suspend my disbelief when people write jason as like…. this super terrifying person that other bat characters rely on to do the dirty work. its a personal thing tbc. it seems reductive to me, and also relatively divorced from reality. ur telling me that if someone needs intel they’ll go to jason over babs or helena or selina??? hmmmm me thinks not.

that in turn really shaped his relationship and interactions with dick in particular, because imo there is no world where jason would be considered a bigger threat than dick is. no way and no how. id rank jason on the same threat level as like…. a david cain or slade wilson, (though a significantly less rapey one). he’s not as well connected as ra’s, and he’s not a turbo level threat like shiva. he’s dangerous because of who he is to bruce, and what he does to achieve his goals. in particular, this passage —

jason, although he operates on a different plane of reality, is not an idiot. he would not be obtuse to the fact that dick has the upper hand in any situation because of who dick is and who he knows. that, in turn, affects how jason perceives dick and his actions. he spends a lot of time hypothesising about dicks motives, only to find out later he’d technically already been played! that’s what makes him interesting as a character to me — through his own actions, he’s isolated himself from a network, and cut himself off at the knees. by causing harm, he has reduced his ability to cause it. he is, fundamentally, only hurting himself.

#glad u liked! wehehehehe #dick grayson #nightwing #dc comics #the ask and the answer #persephone tag

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foone · 1 month

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weird thought: I think if I was a teenager now (or anytime in the last decade or so) I think I would have written (and read!) a lot more fanfic than I did in reality, where I was a teenager in the 90s.

See, I've never been hugely into fanfic. Never had anything against it exactly, but it just wasn't something I was into. But I think that has to do with an interesting combination of how my brain works and what time I was first really getting into being a fan.

I've got a "librarian" brain (I'm literally typing this from within a library, WHERE I WORK). It wants to know things like "what are all the works in this series/by this creator?" and "are they all accessible?" and "what info is available about how it was made?"

I'm the kind of person who will watch a show then go look it up on wikipedia to see how many seasons it has, who made it, if they're still making it, check tvtropes for any more info, etc. Or I hear a song I like by a band I've never heard of, so I go listen to their entire discography while researching them. I just focus on things I'm into that way, you know? I don't half-ass my interest. (this is probably related to my autism, of course)

So what does this have to do with fanfic? like, do I go read some fanfics as part of this process? No, and I think the reason for it is when I specifically first got into fandom, as a teen.

See, this sort of fandom-librarian was harder to do in 1997, you know? You couldn't just pull up the wikipedia for that new show and see how many episodes it had. You also couldn't just listen to the whole discography of that band! Forget Spotify or Google Music, even Napster didn't exist yet.

So my interest in fandom focused a lot more on very basic questions: How many episodes/albums/books/whatever are there? Where can I see/hear them all? Like, I remember getting excited because I found some fan magazine that had a list of all the Star Trek: The Next Generation episodes. Just a list! Not even descriptions or anything. I finally could take that list and see how many I'd seen, so I'd know when I saw them all in late-night reruns.

So I'm focusing on these very basic parts of being a fandom-librarian and I stumble across some fanfic. I'm like "oh, is this a transcript of an episode I haven't seen yet?" and I realize it's not, it's a story written by a fan, and I get a knee-jerk reaction of "that's not helpful to my quest to know and find all the episodes". It's like I am on a quest for the holy grail and I found a fake cup. It's not helpful to me, and at worst it's a distraction from my goal.

And the thing is, I think the fact I had that reaction is entirely due to the time and situation in which I first encountered fanfic. It was in that environment of "I can't even find a list of the episodes, let alone a way to watch them all!" and that anxiety that colored my response to finding fanfic.

I think if I instead was first introduced to fanfic NOW, where those fandom-librarian drives aren't so difficult to fulfill, I'd be way more positive about fanfic. If I could get a list of episodes with a quick google search, and watch them easily on netflix/prime/whatever, I'd be less "THIS DOESN'T HELP! I AM STRUGGLING WITH THE BASICS HERE!" and more "yay, more content for the fandom I'm obsessed with!"

Like I said, I'm not anti-fanfic, I never have been, I just never got into it. From the beginning I had this reaction that was "this is not useful" and I never developed any real interest in it. Which is a shame, honestly. Fanfic is great. It just never became one of my interests, and while I've written it and read it from time to time, I imagine I'd be way more into it if I didn't have the weird reaction to it due to the worries of the time in which I first encountered it.

I don't know how many other people have brains that work anything like mine, but if they exist, I'm glad they're now growing up in a world where they won't have these problems. They can get into fanfic without this weird baggage caused by a lack of information.

#fanfic meta

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scorpiothesaint · 19 days

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WRITEBLR INTRO xx

hey, all! i’m n.k. :-)

i'm not new to tumblr (have had a few diff accounts since 2011/2012), but i'm new to interacting with writeblr proper.

ABOUT ME

late 20s

black & queer & disabled

lifelong writer/musician/creative (in both professional and hobbyist capacities)

finally finishing my degree in creative writing & english!

ARTISTIC/THEMATIC INTERESTS

literary fiction, horror, camp, kitsch, diversity, introspection, family/friend bonds (especially nontraditional ones), romance, art rock, nostalgia, technology, diy ethos

GOALS

connect with the tumblr writing community at large! for a while i was unable to get excited about my non-work, non-fanfic related writing projects. over the past year or so, my passion’s been renewed, and i just wanna chatter with like-minded folks about my longform WIPs, my short stories, etc – and geek over other people’s work here too <3

WIPS

Dagmar

there’s always something going down in dagmar, an insular coastal community straddling the delaware bay. pragmatic tech geek zeke omezie-fumudoh, 18, prefers to keep her head in her books and projects – deaths and disappearances were common in her parents’ home country, too, after all. when her best friend dodie dies, however, zeke has no choice but to start trying to connect the dots & face the potential supernatural forces at play.

[this is finna be dark fantasy/horror, romance, mystery, and queer as hell! i got a lot of worldbuilding to do, but a few months ago the twist popped into my head 1st and i’ve been working backwards. i'm sooo excited abt figuring out the narrative path(s) i gotta take]

Dave & The Family Davenport

20-year-old twin musicians dorian & daria davenport are a little s club 7, a little sly stone, & a whole lotta spitfire. as the very first act signed to holliday records, 30-something producer & label founder dave levine considers it his duty to take the family davenport under his wing. they become his pet project – and eventually something more to him.

[i’m taking this one in a literary/drama direction! thinking found family and music industry commentary vibes. idea came from revisiting big time rush and thinking ‘what would happen if you mix btr + the carpenters + prince + mtv’s making the band??’ (for the record, dave is 100% NOT meant to be a p. d*ddy analogue re: making the band, i'm mainly thinking of the aesthetics of the young artists of color featured on the show)]

Several fun essays about my personal fandom/shipping history (one is about all the diff sites i've used over 17+ years of reading/writing fanfic, another is an old-school livejournal-style ship manifesto that i plan to make into a video! etc etc)

SHORT FICTION

blank [literary/drama, 300 wds]

fortune teller [literary/drama, 300 wds]

hothouse [horror, 500 wds]

a certain standard of care [horror-comedy/surreal/gross-out, 1k wds]

good bones (or, an exercise in letting go) [literary/dramedy, 1.3k wds]

[writing tag: scorpio the scribe]

hmu if you think we'd get along <3 i need more ppl to follow!

[ETA: i prefer to follow/be mutuals w/ ppl 18+ only, ty!]

#writeblr #writeblr intro #writing community #i was gonna add a banner but i'm too lazy to edit one rn lol #writing #ocs #original fiction #writers on tumblr #wips

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makethosenarratorsfight · 11 months

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UNRELIABLE NARRATORS; SIDE C

*NOTE; propaganda is out of order due to poll length!

Eugenides Propaganda:

the entire plot hinges on a detail he lets the reader (and every other character) assume is true. I don't want to spoil it because it's a really fun reveal but he is lying from the first second he appears on the page and you can't trust him to tell the full truth about ANYTHING related to himself and his goals. he mostly does it to keep his advantage and not have other characters be suspicious of him but it's just so fun when you realise he's been lying the whole time

Harrowhark Propaganda:

She gave herself a lobotomy and gives completely incorrect flashbacks to the previous book. Things that straight up did not happen. Gaslight gatekeep girlboss.

She’s schizophrenic (confirmed by the author) and also lives in a world with necromancy and ghostly revenants. She’s not just an unreliable narrator for readers, she’s an unreliable narrator of her own internal experience. She knows this and has to work with people around her to compensate for it. Descent into spoilerville below. Seriously Do Not Read if you want to read these books. There’s also the little matter about how she is *not actually the narrator* of a huge chunk of the story that we are initially led to believe is being told from her perspective.

(Spoilers) Holy shit she is THE most unreliable narrator. This gremlin gave herself a lobotomy so that she could forget about Gideon Nav, the most important person in her life (for magic soul-preserving reasons) so half of the second book in the series is spent gaslighting the reader about a book they just read. She comes up with an entire alternate version of the events of the first book in the series to carefully exclude any mentions of Gideon, and any time someone says ‘Gideon’ in front of her she LITERALLY has a stroke and/or an intercranial hemorrhage as her brain overwrites the word with someone else’s name. God occasionally intentionally triggers her memory revision to get out of difficult conversations. She also hallucinates ALL the time (unrelated to the lobotomy). She shows up at her frenemy’s room in the middle of the night (think little kid stumbling to their parents’ room and saying “I frew up”) to ask her to come check underneath her bed for the corpse that’s been wandering the space station. When frenemy checks underneath the bed, frenemy claims not to see anything, and Harrow is such an unbelievably unreliable narrator that it’s an open question in the fandom as to whether frenemy genuinely didn’t see the corpse or if frenemy was just yanking Harrow’s chain. Harrow is also haunted by a literal ghost that fucks up her already fucked up alternate history. Girlie will pick up a piece of paper and read from it the most violent and haunting piece of prose ever composed, when in reality all that’s written on the paper is the elementary school Superman S*. I am NOT joking that is a real goddamn scene. Harrow was created to win this poll. TLDR; she has brain damage and memory loss, she hallucinates, and is also haunted. * https://twitter.com/vestenet/status/1301012651145859072

Girl is so unreliable, she unreliably tells me events I was there for!!! She's retelling the previous book and I'm like "girlie, this is absolutely not how it happened". Also, she gave herself a DIY lobotomy, it has to impact your memory center I guess

She literally had a lobotomy, how can she be reliable

More Propaganda under cut!

Harrowhark is simply the unreliable narrator of all time. Can’t remember shit because of a lifetime of trauma? Check. Maybe lying to yourself and those around you a bit? Most definitely. Being gaslit by the survivors you depend on to orient you to reality? For sure. How about a little bit of canon schizophrenia? She’s got it all. Ghosts? Or something? Spirits that are attached in some way to your body and are not perceivable by others? Sure, sure! But how about spirits that are attached in some way to your body and are gonna use you to hijack others’ bodies and maybe kill God, too? Absolutely. Wee bit of DIY brain surgery? If it would make you an unreliable narrator, friends, then Harrowhark Nonagesimus has been there, been subjected to that!

Okay I don't know that much about this series since I haven't convinced myself to read all of the first book, but this is my blorbo in law so I'd feel bad not spreading propaganda (all of what I'm saying is something I've read, as to prevent myself from straight up submitting misinformation). So all of Harrow's unreliable narration takes place in the second book, Harrow the Ninth. Basically, without her even seemingto acknowledge it, Harrow's brain is very fucked up during this book, to the point where even she's not sure how reliable her narrative is. There's many questions left unclear as a result of her fucked up little brain, like what's real, what's fake, whether we can trust her judgement, whether even she can trust her own judgement, whether her original cavalier is dead or not (Harrow is convinced she is), etc. Let me tell you, I adore unreliable narrators who aren't even that sure if they're reliable. I have yet to eat that trope up here in this circumstance, but this poll might not run again by the time I do, so for now, here's my messed up blorbo in law.

OKAY SO REMEMBER MY GIDEON SUBMISSION? HARROW DOESN’T! SPOILERS AHEAD BECAUSE SHE LOBOTOMIZED HERSELF TO FORGET GIDEON BECAUSE THAT’S A HEALTHY WAY TO GRIEVE AND THEN IN THE ONLY PARTS OF HER BOOK THAT SHE NARRATES (THE REVISED CANAAN HOUSE PARTS) IT’S LITERALLY A ROOM FULL OF GHOSTS HER BRAIN SUMMONED TO DEAL WITH THE FACT THAT SHE CUT HER BRAIN IN HALF TO FORGET GIDEON. she also is a) haunted and b) psychotic, experiencing hallucinations her entire life of both the ghosts haunting her and less supernatural hallucinations- bells tolling, bones rattling, her parents (some of the only dead people NOT haunting her), etc! in the revised history of canaan house that her brainghosts invent, she brings along someone who knows about her psychosis to help reality check her when she tells him go! her caregiver as a child and support when she got older, crux, is a horrible man- but at one point, when someone other than harrow is in harrow’s body and tells him “i am not harrowhark, i am sorry,” his response is simply “aye, you’ve said that before too. who are you then, if not my lady harrowhark?” showing his familiarity with her psychosis and his love for the child he wouldn’t dare see as a daughter. but enough about that lets talk about her unreliable narration! she lies about her feelings of course but she also simply hides the truth from everyone, all the time, compulsively. also literally the entire section of her book that she narrates is a lie she’s telling US about a lie she’s telling HERSELF and no one understands even a little bit of the truth until like the last act of the book. queen.

#eugenides #the queens thief #queens thief #harrowhark #harrowhark nonagesimus #harrow the ninth #unreliable narrator battle #unreliable narrators #polls #side c

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neo-my-geo · 7 months

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Hey gang, it’s your old pal Neo here. If you know me, it’s probably from one of the several very stupid TF2 comics I’ve posted to Tumblr.

However! I am also an English major (unfortunately). One who has read millions of words worth of fanfiction in their life. I have been part of the Sherlock, BNHA, Disco Elysium, and, of course, TF2 fandoms; I’ve been around the block.

The further I’ve progressed into my English education, the more I’ve noticed which mistakes are the most common in fanfiction. Many of them are easily fixable; writers just need to be pointed in the right direction.

“Neo! Does this mean you think people shouldn’t be allowed to post their works online without a background in formal English education?”

Of course not! I can explain why if you’d care to venture below the cut with me!

Yes, I will explain how to use commas.

It’s important to note that this is NOT a post about formal writing. You aren’t writing an essay. Please, for the love of god, do not write fiction like you’re writing an essay.

There are no stakes to writing fanfic. No one is going to get hurt if an author doesn’t know what a dangling participle is. One of my favourite things about fanfiction is that it’s one of the only art forms left that’s done exclusively for fun! You should write what you enjoy, and share what you make with like-minded people.

What I want to do is provide assistance as best I can to writers who want to improve their fundamentals without having to take the same university courses I did. Nobody is going to be getting a formal education to write fanfiction unless they’re ridiculously dedicated, and I’m not expecting that of anyone.

The point I need to stress is that knowing these grammar fundamentals can instantly improve the flow of your writing. Punctuation is a ridiculously important tool for writers, ESPECIALLY in fiction. Commas, semicolons, and full stops (including periods, exclamation points, and question marks) steer the pacing in the reader’s mind; did you notice how your brain stopped for a second after that semicolon? I can show you how to do that.

You may be wondering why I’m going through so much effort to teach all of this to strangers on the internet. The answer is that I enjoy sharing this knowledge with others and helping them grow. By seeing this, my goal is to help you become more proficient at self-editing. Showing this to people who actually want to learn will, hopefully, benefit the community as a whole, and I think that’s very worth it.

Also, while this post is obviously themed around TF2, the points I’m making can be applied to any fiction. Grammar is for everyone, and the church of the semicolon always has room for more initiates.

Also also, as an edit, I should clarify that this is meant to cover the more objective facets of self-editing, which is why I'm mostly covering punctuation. Maybe I'll do another post about using adjectives someday.

With that out of the way, let’s get going!

I’ve teamed up with several English teachers (real ones! One of which may or may not be my mom!) and an editor to gather a list of the most common problems we see in amateur fiction. This post is going to be split into three broad sections: apostrophes, commas/semicolons, and other common problems.

The apostrophe

This section is short, but it holds weight. Other than commas, apostrophes are the most typoed grammatical tool in any fanfiction I’ve edited. This is because, much like the rest of English, the rules surrounding them can be annoying and inconsistent.

Apostrophes have two main uses: possessives and conjunctions.

A possessive is a word that denotes the ownership of one thing over another. The vast majority of the time, this is done using an apostrophe and an S.

There is, however, one glaring exception to this rule, and it’s the bane of my existence.

When denoting possession of an object over something else while using the pronoun ‘it,’ you do NOT add an apostrophe before the S.

A conjunction, on the other hand, is when a writer uses an apostrophe to combine two words. The following are examples of common conjunctions:

What’s (what is)

They’re (they are)

It’s (it is)

Conjunctions are not often used in formal writing. Thankfully, we aren’t dealing in formal writing. Go crazy.

Time for a lightning round of the most commonly mistaken for each other possessives and conjunctions!

Your is possessive. You’re is a conjunction of ‘you’ and ‘are.’ When you can’t decide which one to use, imagine replacing it with ‘you are’ and seeing if it makes sense. If it doesn’t, use your.

Their is possessive. There indicates a location. They’re is a conjunction of ‘they’ and ‘are.’

The comma and the semicolon

You knew it was coming. I knew it was coming. It’s time to talk about commas.

Commas and semicolons are far and away the biggest grammatical hole in the toolset of fanfiction writers everywhere. They’re often treated like the rules surrounding them are complicated and difficult to understand, but the exact opposite is true!

The big issue I’ve heard time and time again is that the rules of commas are often explained through metaphor instead of example; this means that writers everywhere have slightly different ideas of how you’re supposed to use them. The fact of the matter is that, yes, there are correct and incorrect ways to use commas. Knowing when they’re appropriate and when they aren’t is easily the fastest way to bring your writing from looking amateurish to sounding professional and experienced.

In order to know how to use a comma, you must first understand the difference between a dependent and an independent clause.

An independent clause is a section of writing that functions perfectly well as its own sentence. It MUST have both a subject and an action/verb.

A sentence without an independent clause is known as a fragment, and they’re the bane of English teachers with highlighters everywhere.

A dependent clause is a section of writing that does not have both a subject and an action; it does not function as its own sentence.

Now, let’s say you want to combine the two. When joining a dependent clause to an independent clause, the order in which they are placed is crucial to whether you use a comma or not.

When joining a dependent to an independent with the independent clause first, you do not need to use a comma.

When joining a dependent to an independent with the dependent clause first, you MUST use a comma.

Keep in mind that, if one strives for total grammatical perfection, all narrative sentences MUST have an independent clause. This, however, does not apply to dialogue. Human beings do not think about whether what they’re saying is a dependent clause, and neither would the vast majority of fictional characters. Don’t be afraid to break the rules of grammar as long as it’s contained within quotation marks.

Alright, that’s the easy part. Time to learn about joining two independent clauses. It’s semicolon time, baby!

If you join two independent clauses without properly using a comma or a semicolon, it is a run-on sentence. You do not want these in your writing. They’re awkward to read and mess up the flow.

When joining two independent clauses, you can use EITHER a comma or a semicolon. You just need to follow these rules:

If you’re joining two independent clauses with a comma, you MUST use a joining word (and, but, so, etc.) AFTER the comma.

If you’re joining two independent clauses with a semicolon, you do NOT need to use a joining word.

Did you know that a sentence with a comma counts as its own independent clause? This means that you can make a sentence that includes a mix of both without it being a run-on! Just make sure that, no matter what, the semicolon is between two independent clauses.

Still, try not to write more than two clauses in a sentence too often. Sentences with a lot of punctuation are very attention-grabbing, but shouldn’t be overused. Full stops aren’t your enemy and variety is the spice of life.

It’s also important to remember that you should avoid using more than one comma in a clause (with the exception of the rule below). That part loops back to the 'avoiding run-ons' bit.

It’s really that easy!

Commas are also used in informal writing to inject a separate thought or descriptor mid-sentence without breaking the flow by adding a period. This is often used when describing the perspective of a character experiencing something in a story, but not (usually) when using omniscient perspectives.

The final issue I frequently see with commas in fanfiction is in regards to dialogue. Sometimes you end it with them, and sometimes you don’t. What gives?

Well, my friend, the answer is, thankfully, much simpler than the previous section.

When following dialogue with a dialogue tag, use a comma instead of a full stop. If you’re continuing the previous sentence after the tag, use a comma after it as well.

Note that a dialogue tag is a short phrase that identifies the speaker. It isn’t a complete sentence on its own.