#it seems like most of the words we have to describe ourselves are english

[jokeroutsubs]

ENG translation: "When I'm on stage, I know that I have to be here and only here"

An interview with Bojan Cvjetićanin in Slovenian newspaper Delo, originally published 31.10.2021.

Original article is available here for Delo subscribers. Original article written by Beti Burger for Delo; photos by Blaž Samec; English translation by a member of Joker Out Subs, native proof reading by IG GBoleyn123.

If you repost quotes from the interview, please link back to this post! And if you repost the photos, do not crop out the photographer credit.

Bojan Cvjetićanin, frontman of Joker Out, says that the success happening to them is not the result of something that happened overnight.

When he's standing on stage, he doesn't know what's actually going on. Even though after the concert, he realises that he was on it, and remembers certain moments, he's actually in a zen-like state: his head is somewhere else, and his brain does what it wants to do. Young, reflective musician Bojan Cvjetićanin believes that he was born to write music and lyrics and sing them on stage. "What I enjoy the most at a concert is when we play a new song from start to finish with the band for the first time and we're 'vibing'."

And if some of the lines above did not have context yet when we talked the day before the first concert, and sort of 'hung in the air', in packed Cvetličarna it was crystal clear what he had wanted to say. They were 'vibing' not only when they played well-known hits - Omamljeno telo, Umazane misli, Vem da greš - but also to new songs from the album, when they felt the strong energy and heard the audience was singing the new songs with them... She'll find herself there, where no one knows her, where the road always carries the smell of fresh rain (...) where pearls are in seashells, not on necklaces (Barve oceana).

Bojan truly, as he said, seems a little distant on stage, as if he's in his own world, but also in contact with the audience at the same time. He is both confident and childishly playful at once, with a wide smile on his face, with the charisma of an experienced frontman. His friend and member of the band, bassist Martin Jurkovič, with whom they started their musical journey as young teenagers already, described him well in an interview as someone who "draws all the attention to himself and the band during a concert". When the band members look at each other during a gig, they recognise each other's exact thoughts, and a kind of perversion of pleasure happens. We witnessed this exact thing at the album presentation.

"On stage, I feel sexy, I feel free and accepted. I'm on autopilot and I'm never thinking about what my next move will be, it's when I'm 'free as a bird' because I am surrounded by friends who know me very well, so I don't have to be ashamed of anything. It's also a good feeling when you know that there is a crowd of people in the hall who came to our concert because they like something that we give them. This mutual accumulation of love and energy is very strong." Are there places where he doesn't feel accepted, I query his words. "I think that we all sometimes find ourselves in a situation when we feel like we don't belong there and we ask ourselves what we're even doing there. When I'm on stage, however, I know that I have to be here and only here."

Bojan Cvjetićanin Born in 1999. Frontman of currently the most in-demand young Slovenian band Joker Out which, with their shagadelic rock'n'roll, a genre they actually invented themselves, sold out Cvetličarna twice last week with their just-released album Umazane misli. Even off-stage, he's the 'joker' in a group, optimistic and talkative and an occasionally childishly playful young man. His lyrics (and music) are mature, sensitive and empathetic. The Ljubljana resident, otherwise a sociology student, has been making music for almost half of his life. Last but not least, a listener can quickly recognise that he actually grew up exactly where he feels the best: on stage.

Tired and sleep deprived, just a few days before the concert in Cvetličarna, which had been postponed (more than once) due to Covid-19 and which seemed like it would never happen, he had a nightmare. He dreamed "that there was one song that we just could not start and we tried again and again". He really had a lot of stage fright before the first concert this year. At the end of April and beginning of May, it still looked like there wouldn't be concerts in the summer, and then everything started to open up. They've never had as many concerts as this summer. "Those concerts hit us like a train, because we were neither mentally nor physically prepared for this many performances. We'd got used to rehearsing all day long and being completely self-sufficient. It was pretty hard before the first sold-out concert in Čin čin in Ljubljana, because the audience's expectations, as well as our own, were high. We performed with a new drummer for the first time, so the tension was even greater. When we stepped on stage, however, an enormous wave of energy that reflected from the audience washed over us, you could feel and see that people had been locked up at home, that they needed to relax, needed concerts."

"In these times, when the internet and media constantly bombard us with so much information, that defines us pretty strongly. So it seems like any kind of thinking for yourself, about anything, is already a dirty thought."

The epidemic was also a time when changes happened in the group, as during the creative process, they realised that not all members of the band have the same creative drive, so in the end, they switched their drummer. Since then, they have significantly changed the way they work. They have created, even if not completely intentionally, a spirit of band co-production, they've become more dependant on each other. They've realised that music demands that they help each other. It's also important that, when they start to grow wings from all the congratulations and praises, they pull each other back to solid ground. In interviews and articles, he is described as "the most recognisable voice of the new generation of Slovenian rock" or as "a rising star" and he feels honoured by those compliments, but in truth, those titles don't really tell him a lot. Hearing that from the people who listen to their music is what means the most to him. He says that it's not the sea of congratulations that caresses your ego, but rather certain moments and situations when you actually feel strong and in your own skin. "In the moment when the light shines on you on the stage, the feelings are indescribable, you feel like a god. That's the 'awesome' thing, not when someone tells you that you're a god." He adds that he thinks he's still the same Bojan he was years ago, when all those congratulations and titles didn't exist yet.

"The bassist Martin and I have been making music for almost half of our lives and I think that with time, we've managed to work through everything that happens during the evolution of a band. Our current success didn't come overnight, it is the result of a long period of work." The pivotal year for Joker Out was 2017, when it first started looking like this band could truly become 'something'. "From the start, you want it to be something more, but it's usually just a distant wish, like Cvetličarna used to be." Back then, however, after the single Omamljeno telo, all the positive response gave them the feeling that everything was being taken to a higher level. And there were several of those levels, they have jumped over many of them. "If I look at the situation objectively, it seems crazy to me that we sold out Cvetka (Cvetličarna, a.n.) twice with three singles." As he says, however, nothing that they do in the band is left up to chance. "Very early on, we put our heads together and had an in-depth discussion, first of all about our relationships with one another, and then about our duties, and we promised each other that we would never be afraid to tell each other what we wanted. When we determined our wishes, we turned them into goals, which we are now achieving." In his words, something that definitely contributes to their success is that they're surrounded by people who love what they do. "Now we work as a team, and if a team works well, it can't miss." In the future they want to release another album, and they're also drawn beyond the borders of Slovenia, to the Balkans.

As a band, they want to give people the things that drive them as artists - currently the prevailing theme in their lyrics is love, but also self-reflection and musings. These are very general, many songs talk about how young people sometimes feel constricted or lost and are looking for their place in the world. "We're currently not interested in politics and we don't plan to define ourselves politically one way or another, although our songs do feature some messages about society. We think that our job is to spread love and that people can, based also on our lyrics, come up with their own political opinion, without our imposition," he says.

And when I challenged him to use one of their songs to describe his current feeling before the concert (adrenaline, fear, uncertainty, expectations), he said that "there's a butterfly in my head that's just swimming through a weird universe. It feels like people around me are buzzing and not actually talking." Metulji ('Butterflies') is actually his favourite song. He wrote it at the same time as Omamljeno telo and it already meant a lot to him back then. He wanted to hear a recording of it, but today he says that he's happy that they recorded it later, because back then it wouldn't have been anything like it is today. "Now, the song is exactly as we imagined it back then, but didn't know how to embody it."

As the singer, Bojan Cvjetićanin is also the most recognisable and exposed member of the band. On the Slovenian scene, his role models are (were), among others, Tomi Meglič from Siddharta and Gregor Skočir, the singer of the band Big Foot Mama - "today I can already call them friends, they feel respect for us, as we do for them and for both bands. They come to our concerts, we hang out in private. Even though some people say that you shouldn't meet your idols, because then everything falls apart, now that I know Tomi and know who the person who made all that music is, I like listening to it even more." Among foreign frontmen, his favourite is Liam Gallagher, who became famous with the band Oasis. He was actually his inspiration for keeping his hands crossed behind his back while singing on stage. "I had a period of that 'Liam pose'... I didn't know what to do with my hands on stage, and when I put them behind my back once, it seemed like a good trick. Today, I grab the guitar more and more on stage, so I don't have an issue with what to do with my hands anymore. (smile)." What, then, are the key characteristics of a good frontman? "He has to be honest, genuine. There are many types of lead singers, Mick Jagger, for example, gives himself away completely, goes crazy and dances, while some others stand still constantly, but they both completely enchant you." He doesn't think about this too much, he simply exists on stage.

While some musicians, actors, or other performers are completely different, introverted, in their private lives and in the backstage, Bojan is generally very talkative and smiley. "Even as a little kid, as others have told me, I talked all the time, I wanted to socialise, with older people too, so it seems like I really never had issues with making connections. Now it's actually the same, there are just more people in front of the stage." At Poljane High School, which, as he has stressed many times, shaped him a lot as a person, he performed in a theatre group, so he already experienced the stage in the role of an actor, later he was on TV in the role of a host. These days, he still often says, half-laughing, that - if music won't be what he earns a living with - he'd like to be a sociology professor at Poljane. "But I heard they just got a new one, so I don't know how realistic the chances are."

But for now, he doesn't have to do anything other than make music. Bojan Cvjetićanin is also the author of the lyrics of most of the songs, in which, as he said, he's a kind of medium who conveys others' pain. While he did say not long ago that as a songwriter, he sometimes lacks unhappy emotions and that he doesn't know the pain of a broken heart, it's different now. "I got my dose of inspiration for quite some time..." He says that when making songs, it's almost always the music that comes first, and then the lyrics. "Most often, I take the guitar, lately I also sit at the piano, and I try to find the chords that sound interesting to me in that moment, and then I also sing along. Usually, associations form in my head and it feels like it suddenly becomes clear to me what the lyrics will be, sometimes I "accidentally" sing some lines that end up staying in the song and define what I will talk about." The lyrics are mostly, as mentioned, about love and self-reflection, but there are also a few slightly different ones among them. Aleppo, the duet with Omar Naber, who has been by his side from the beginning and helped him record demos, was created differently. The song, which talks about the city Aleppo in Syria, which is ravaged by war, was created when, in a TV report about what was happening there, he saw a young girl that inspired him. Then, he immediately started writing.

As someone who is sensitive to feeling other people's pain, does he ever fear that he could lose this empathy in the rather apathetic world we live in? "Just last year, there was a moment when I thought that I was completely alienated from myself, and I felt like I was never going to fall in love again. For a while, nothing excited me, I thought I had gone numb, but then something suddenly changed, I just waited for that natural 'click'." When songs become evergreen, hits that everyone sings and that connect generations, is it also important how much empathy the lyricists have?

"Absolutely. You have to have enough empathy to be honest with yourself. If you're honest, some people will connect very strongly with your lyrics. Nowadays, so many songs in the musical world are written just to be written. Not because they carry a real story within. And you can really feel that. It's that easy."

If you repost quotes from the interview, please link back to this post! And if you repost the photos, do not crop out the photographer credit.

#bojan cvjeticanin #bojan cvjetićanin #joker out

[selfaware-bungou-stray-dogs]

The reader is a famous streamer and model, but when he is not modeling or live he leaves his face/eyes covered with his hair and wears a mask, which I want to know how the BSD cast would react seeing Luiz's face for the first time (bonus they see Luiz's live streaming but didn't know it was Luiz)

Here. Hope, you like it.

When you are a famous streamer/model

Self-Aware! BSD Characters x Male! Model! Streamer! Reader

Description: BSD cast browse Internet by themselves from time to time. Thats how they learned about famous streamer/model. They wanted to met them, when they get to Their Guiding Light's world. They hope, that their Guiding Light will agree to come with them.

Warning: OOC, English is my second language.

🐾 The Cast were intrigued by your world.

🐾 While it wasn't that different from theirs, your world was more technologically advanced.

🐾 And, they must admit, in your world there were more sources of entertainment.

🐾 All this films, shows, television and so much more.

🐾 One of the most interesting entertainment for BSD Cast were streamers.

🐾 While they have internet in their world, but video bloggers wasn't a thing here.

🐾 So, from time to time, The Cast was watching live streams.

🐾 That's how they knew about *Luiz*, a famous streamer and model. He was entertaining, jokes a lot and were pretty nice guy.

"Does anyone know new swear words? The old ones can't describe the current situation."(1)

"I'm not implying anything, but, it seems, brain work is not for me..."(1)

"We can start a fire. The game will be fun"(1)

"Snake, stay here and don't move, they can't see the boxes. These are post office employees."(1)

"What is this abomination? Looks like the first soup I have cooked."(1)

🐾 When The Cast learned, that *Luiz* hold fan meetings from time to time, they wanted to attend it. They hope, tht Their Guiding Light won't be against it.

__________

Their Guiding Light was interesting. The man, for some reason, was wearing a face mask and his hair always covered his eyes.

His voice sounded muffled, but, they were sure, that is sounds familiar.

It also seems, that Hirako and he shares some sort of secret.

___________

"[Y/N], do you know, when *Luiz* will hold next fan meeting?" asked Junchirou, looking at you.

All of you were currently having a picnic at the park. You were sitting in the quiet part of the park, far from other humans.

The rest listened to your conversation. They have been in your world for a week and a half already, and, they finally were comfortable to start exploring the real world.

One of the things, they want to attend, is a fan meeting with *Luiz*.

You looked at Junchirou and asked.

"*Luiz*'s fan meeting? Why do you want to know about it?" They can't see it, but you raised an eyebrow.

"Well, you see, back in our world, we learned about *Luiz*. He is a very fun guy, and, besides, there wasn't such things as bloggers in our world. We want to experience the fan meeting by ourselves" explained Junchirou. You rub your chin.

"Well... I don't know if you are ready to attend public places"

Pushkin sent a glare towards you.

"Come on, [Y/N], we are adults, not kids. We will be fine."

You rolled your eyes (once again, others didn't see it).

"Said the adult, who got drunk, broke a tank with lobsters in the supermarket, and throw them in the fountain, while shouting 'Be free! Be free!'"

Pushkin face became red, he looked away. Meanwhile, you continue talking.

"So, the fun meeting should be held in a place like this" you waved your hand in the air. "Well, guess, you have got a jackpot"

Hirako looked at you, knowingly. Meanwhile, you removed your mask and pushed your hair back.

"Hello, everyone. *Luiz* is here."

They saw you without the mask for the first time. But they have already seen your face multiple times. On your livestreams and photos from photoshoots.

__________

🐾 Shocked. They are shocked. Their favorite streamer and Their Guiding Light are the same person.

🐾 Then the questions came.

🐾 Yes, you like your job. Always wearing masks because of nosy neighbors and fans. Yes, when Fitzgerald will finish 'moving' money from one world to another and buy a house, you won't wear the mask all the time. No, right now you don't need help on your streams.

🐾 Yes, later, they could help.

🐾 The rest of the picnic were full of questions and laughter.

🐾 When it was time to go home, you, once again, hide your face.

🐾 *Luiz* will wait until next stream. [Y/N] is living his life right now.

______

(1) Slightly changed quotes from YouTuber Marmok.

#self-awareau #self-awarebsd #bungou stray dogs au #bsd #bungou stray dogs #bsd anime #bsd x male reader #bungou Stray Dogs x male reader #male reader

[shsenhaji]

Les Misérables - 1.1.4 - Les oeuvres semblables aux paroles

So, I didn't post anything yesterday, partly because I was too busy, and because I didn't have much to say about 1.1.3 - except that it was surprisingly short and that I totally didn't remember Victor Hugo directly comparing Myriel to Jesus Christ in actions and manner.

However, for today's chapter I do have Thoughts.

First thought: The French chapter title seems more meaningful and packs more of a punch than the English version.

Second thought: There were a few parts I didn't remember, including the trial of the man who made counterfeit money. Myriel's position of asking who judges the judge was pretty cool, and once again it's nice to see how his ideals ties into Jean Valjean and predisposes Myriel to act the way he does.

As my friend said in reply to my thoughts, "It's a really powerful setup for everything that comes later, for sure."

Third thought: For whatever reason, the narrator's tangent on the guillotine and the scaffold was a bit abrupt. The change from the past tense, describing Myriel, to a present-tense meditation on the guillotine took me by surprise, even though I like the book's conceit of a narrator describing past events while also expounding on things in the present sense, and that's one of the parts I enjoyed most last year. Perhaps it's the audiobook version that made a difference, or the French, but either way, I was taken a bit aback at that part. I guess I'll see how I feel as I continue to read. I do respect that Myriel (and the narrator/our friend Victor Hugo) is against the death penalty.

Fourth thought: the ending was both abrupt, a bit like the transitions between the scenes of Myriel's "oeuvres," but also sweet and quite touching.

Fifth thought: While I understanding what he's saying, I don't love this passage: "

« L’homme a sur lui la chair, qui est tout à la fois son fardeau et sa tentation. Il la traîne et lui cède.

« Il doit la surveiller, la contenir, la réprimer, et ne lui obéir qu’à la dernière extrémité. Dans cette obéissance-là, il peut encore y avoir de la faute ; mais la faute, ainsi faite, est vénielle. C’est une chute, mais une chute sur les genoux, qui peut s’achever en prière."

This sense of the flesh being burden and temptation, and always having to repress it... Especially the wording in original French sounded too preachy in a negative way; as in, our selves and desires are inherently wrong, and we have to watch ourselves all the time? In some ways, we do; we have to decide what our actions will be, regardless of initial impulses.

I do love how Myriel considers himself to be an ex-sinner, however. It says a lot about his past (which we don't know a lot about) and about his beliefs and actions.

Sixth thought: I really appreciated how Myriel in a way does realize that the actions of the poor and the "misérables" are not always their fault, though he specifically blames the fathers and husbands and the masters and the rich and the wise. However, the little aside at the end of that section, where the narrator tells us that Myriel's views are strange and sketchy, but that he probably got it from the Gospel, was both depressing and hilarious.

Final thought: "Le fantôme de la justice sociale l’obsédait." ("The phantom of social justice tormented him.") That line, when Myriel is grappling with his newfound crisis of faith regarding the practice of execution by the state - that hit me hard. In a way, it almost summed up a lot of the book's themes in really poetic way. The ghost of social justice. What so many characters grapple with or are forced to face, the ghost of old wrongs always coming back to haunt the present, the ever-present and oppressive forces so eloquently laid out in the preface...

#mine #les mis #les mis letters #lm #lm 1.1.4

[somefanchick]

-Deuce’s Winter Break-

(This story is from Deuce's perspective during the events of book four. I only know information from the English server story and events so sorry if anything is terribly out of character. This fic is platonic and is cannon for my female Yuu-sona, but I do just call them Yuu in the story. Yuu uses she/her pronouns. Hope you enjoy! Ps. There is a little bit of cussing. Found the pictures in a post by @ naruryun, they are not mine.)

“We should trade Magicam IDs now that you've got a smartphone,” Ace pulled out his phone and began typing out Yuu’s account in the search bar, “Y'know, in case something comes up.”

I smiled as I pulled up the app on my own phone, “Oh, good idea. I'll share mine, too.”

Yuu’s ID was a play on the fact that the headmaster called her “Beast Master” after we got back from the dwarf’s mine. I could always tell she was secretly proud of that title. 

Ace finished adding her, “Feel free to hit me up if you get bored over winter break.”

She smirked, which was her form of a smile, “Thanks, I'll do that.”

“Man, you take everything I say so seriously Yuu,” Ace chuckled, “I was joking.”

I glared, “Then it was a lame one,” I then turned to smile at Yuu as I added her, “Anyway, feel free to reach out if you need anything at all,” I quickly tucked my phone in my pocket and grabbed my bag, “My mom's probably waiting on me, so I'd better go,” I began walking towards the Dark Mirror, “Happy holidays guys.”

I could hear Ace behind me, “Yeah, I'll do the same. See you next year!” I could hear him running to catch up with me, but I was already whispering the name of my street and stepping into the murky abyss.

It was hard to see my mom among the other kids meeting their families. Children cheering as their older siblings came home from their schools, parents hugging their grown babies and fussing over their bags of laundry, and the students basking in the attention that coming home brings. 

I looked through the crowd and found my mom. My grandmother always said I was the spitting image of her. She had straight, navy blue hair cut into a bob, blonde streaks weaving into a larger mass of hair.  Her eyes looked gray in the afternoon sun, but I knew they were really cyan. 

She caught my eye and lit up, “Deuce!”

I ran over to save her the trouble, “Hey Mom.”

“Let me get a look at you,” Mom gently grabbed my face and moved me around, “I can barely believe that’s my son.”

I pulled back and put my hand behind my neck, “I guess I’ve changed a bit since I left.”

She smiled, “You have no idea how proud I am of you.”

I flushed under her gaze, “Let’s head on home.”

She giggled, “As long as you tell me all about school.”

I gathered my bag under my arm, “Fine.”

Home was the same as it had been when I left. A small apartment with blankets piled on every chair and letters piled on the kitchen counter. I set my bag in my room and then moved to the kitchen, where Mom had begun fixing dinner.

“I’m making folded egg sandwiches,” Mom had her back turned to me, “Is that alright?”

“Yeah,” I sat down at the dining table, “So what do you want to know?”

“Everything,” Mom moved to the stove, “I haven’t heard anything from your teachers.”

“Well I’m doing okay in class, but that might just be because Trey, Riddle, and Yuu help me out.”

“Who are they?”

“Well, Trey and Riddle are in Heartslabyul with me. Trey’s the vice-housewarden and he’s like the dorm mother hen. He’s done most of the tutoring, but Riddle helps him sometimes. Riddle’s the housewarden and he’s ridiculously strict.”

“Oh really?” Mom started grating cheese, “And who’s this Yuu person?”

“Yuu is one of my-” I tried to think of the right word. Our group never calls ourselves ‘friends’, but that seems to be the only word to describe how we are. Yuu calls us “Dumbass Beasts”, but I don’t want to tell my Mom that.

“She’s one of my best friends.”

I could hear Mom’s eyebrow raise, “‘She’? Isn’t Night Raven an All Boys school?”

“That surprised me too, but Yuu’s an exception to a lot of rules,” My phone vibrated with a message, I spoke as I went to pull it up, “She doesn’t have magic, she’s only half a student, and she isn’t even from this world.”

Mom grabbed the bread from the breadbox, “I’m going to need you to explain all of that.”

“I wish I could.”

The message was from Yuu; Cater has been tagging me in his old photos for the past two hours. How did he even know I got a Magicam account? I couldn’t help but laugh. 

Mom scooped the folded eggs onto the bread, “At least explain the ‘half a student’ comment.”

“Well,” I sat my phone back on the table, “Since Yuu doesn’t have magic she and this monster named Grim share a single enrollment. But Yuu’s in charge of him since she’s the Ramshackle dorm prefect.”

“Ah,” Mom set the plate down in front of me, “Is that all your friends?”

“Nah, I’m friends with Ace too,” I got up to get something to drink, “He’s one of my roommates.”

“Ace Trappola?” Mom began making her own egg sandwich, “I think his father works at your grandfather’s company.”

I poured a glass of orange juice and made my way back to the table, “The four of us have done a lot in one semester.”

“Like what?”

“Well Ace and I challenged Riddle for his title.”

“What?”

“Yeah,” I took a sip of my juice, “Ace got in trouble for eating Riddle’s tart and then it became a huge deal. Riddle ended up overbloting.”

I swear Mom’s eyes bulged out of her head, “Overblot!?”

“Yeah. Yuu led all of us into battle to keep the other student’s safe and to keep Riddle from destroying himself. But that was only the first overblot.”

“The first?”

“Yeah don’t worry about it,” I took a large bite of my sandwich, “Yuu always has it under control. Even if she’s just directing us. It’s amazing.”

Mom sat down next to me, “Do you have a picture of your friends?”

I picked up my phone, “Not unless you count pictures Cater took while we weren’t expecting it. And then posted on Magicam with a dozen hashtags.”

“Maybe you could ask Yuu and Grim for a picture? I’d love to see them.”

“Sure,” I opened up Yuu’s message, “It’s not like they have much else to do at school.”

“At school? Did they not go somewhere for winter break?”

“They didn’t have anywhere to go.”

Mom set down her food, “Invite them to come here in spring. I’d be happy to host them.”

I chuckled, “Alright,” I texted Yuu; Hey my mom wants to see a pic of you and Grim. Mind sending one?

It took a moment for Yuu to respond; Yeah sure. Just let me get the weasel.

I set my phone down, “She’s gonna send a picture of her and Grim.” 

“How sweet,” Mom took the moment to begin eating. 

Our conversation dissolved into specific stories and the basics of our lives apart. It was weird how I felt so at home, while only feeling like a guest in the apartment. My Mom gushed and worried in waves as I talked about the Spelldrive tournament and the final exams. It was sweet to see her so happy about my actions. About who I was. I had given her a son to be proud of.

I spent the next day with my mom, meeting with other family and shopping for the holidays. But that night my phone lit up with a message from Yuu; Trapped in Scarabia, I’ll explain later. 

I was up all night, waiting for my phone to buzz again, but the only notification I got was Ace messaging me to ask if I had heard anything else from Yuu.

Eight AM came around and I chugged two cups of coffee before heading out on a walk to keep my mind off of Yuu’s vague and semi-terrifying message. 

“Hey Deuce!” I froze in my tracks, turning to see my old ‘pal’ Hatter, his lackey Coney trailing behind. 

Hatter was the leader of the delinquents I hung out with in middle school. He called me his equal until I went straight. His appearance hadn’t changed; hair bleached a platinum blonde, green eyes that constantly had a crazed look as they dashed from victim to victim, a trailing black jacket with copper buttons, and of course his iconic evergreen tophat with the price tag sticking out the brim. 

Coney matched the jacket, but he had his own brand of insane to portray. His hair was bleached to a honey blonde and his brown rabbit ears stuck out of his head with copper piercings along every furry edge. His black eyes always seemed to be watching Hatter, as if he was waiting for the signal to attack. 

“How have you been, man?” Hatter wrapped his arm around my shoulder as if we had only been apart for a week or so, “Coney here was just saying how much he missed seeing you on that blastcycle of yours. Right Coney?”

Coney nodded like his life depended on it, “Yes! Yes!”

“Look guys,” I made an effort to move out of their reach, “I’m not-”

“Aw,” Coney stopped nodding, “Are you not fun anymore?”

“What?”

“Sounds like you hit the bullseye Coney,” Hatter began messing with his brim, a signal to change their approach, “I guess you were serious about that ‘going straight’ thing.”

“I am,” I felt my phone vibrate in my pocket, “And I have to go.”

“Go?” Hatter came closer, backing me into an alleyway, “But we just reunited!”

“I’m not like you guys anymore,” my hand gripped my phone in my pocket, praying that it would buzz again, “I have friends who need me right now.”

Coney’s hand drifted towards a bright blue dumpster, “You think you're better than us?”

“No way mate,” Hatter smirked and whipped his own magic pen out, “Tea Party!” My arms went flying up, my phone and other valuables making a mad dash for Hatter’s and Coney’s open hands. Hatter caught my phone and looked at the message, “This ‘Ace’ fella is.”

My heart sank, the message wasn’t from Yuu.

Coney looked over, “Oh what’s this? You and this ‘Ace’ are talking about a girl?”

“What did he say?”

Hatter smirked, “Oh? So this ‘going straight’ thing is for the eye of some lovely lady. I’m hurt.”

“No,” I marched forward and grabbed my wallet from Coney’s hand, “I’m becoming a better person for myself. I want to be an honor’s student and I’m doing a damn good job. Yuu is just a friend.”

“Sure,” Hatter rolled his eyes, “I’ll believe that,” he changed his voice to mock mine, “‘Look at me, giving up my freedom for some stupid dream of being an honor’s student.’ No way. You’re not built for that Deuce.”

My phone buzzed in his hand.

“I used to respect you Spade,” He put my phone in the ribbon of his tophat, taunting me, “Now look at you. You’re a fucking chump.”

My phone buzzed again. Something inside of me snapped like a dry twig. I could feel my body heat from the inside out, old mussels returning to their place. I didn’t reach for my pen. I just punched the bastard.

Hatter went flying back into the wall, clearly expecting to have to taunt me longer before I took action. Coney didn’t hesitate to pounce on me, knocking me to the ground under him. He fired off punch after punch, leaving the taste of blood on my lips. I kicked him off and into Hatter, aiming to get my phone back. I had to see if it was Yuu. 

It all turned into a blurr. A barrage of fists coming from all directions. All I focused on was Hatter’s stupid tophat.

I got the phone back and backed away. No one followed me.

All of the messages were from Ace.

Yuu hasn’t explained. What does her text even mean?

Should we go back and check on her?

I’m going. I don’t know what’s happening but it sounds like trouble. Meet me at the bus stop in town in two hours if you’re joining me.

I cleaned off in a park restroom before running home to pack a duffel bag. Mom was immediately understanding and packed me a few sandwiches for Ace and me. She smiled and reminded me that Yuu was welcome to come back with me, as well as telling me to text her when I was coming back. I nodded and gave her a hug before running out the door.

The two hours were up and I met with Ace at the bus stop.

Ace was pacing, waiting for the noon bus, “Who just messages that they’ve been kidnaped and then doesn’t respond for twelve hours!? Yuu’s going to be the death of us.”

“Calm down,” I hid my own anxieties, “This is Yuu we’re talking about. If anyone can handle being ‘trapped’, it’s her. Plus, Grim should be with her.”

“You say that like that’s a good thing.”

“Fair enough,” I kept going, “But despite the fact that it’s Grim, he can still fire off spells. Plus he’s pretty good with fire magic. Maybe we’ll arrive to see Scarabia in blue flames.”

“Again, you say that like that’s a good thing.”

“It’s the best thing I can think of.”

The PA system cracked to life, “Bus to Night Raven terminal is now boarding on platform three.”

“Come on,” I grabbed my bags and began walking, “Our friend needs us.”

#twst #twst x reader #twisted wonderland #twisted wonderland Ace #twisted wonderland deuce #twisted wonderland disney #twisted wonderland Yuu #twisted wonderland drabble #twisted wonderland reader #oneshot #deuce spade #twst mc #twst deuce #disney twst

[charlidos]

I keep writing Viggorli fanfiction in my head, sometimes with a little help from Viggo's poetry. I think Viggo uses his art and poetry to express himself, but of course no one but him can know what he was thinking when writing it. But I can imagine. And I wish to imagine he wrote some of them thinking of Orlando. I'm sure my imaginations and theories are only new to me.

As with the O+H painting, the poems which are dated from the time frame of filming LotR (1999-2002) can reasonably be considered to be quite influenced by everything Viggo experienced while in New Zealand. He spent 18 months+ there, after all. For this reason, I read his poem Communion imagining he was also under the heavy influence of love for his elf boy. And to me, it reads like a very romantic but also very wistful poem. So this story would be labeled "friends to lovers, angst".

In my view, at least two sort of objective facts, support my not-very objective theory that Orlando is the unamed object of desire, namely Viggo's choice of words:

"Bloom of compassion" - the most obvious (too obvious even? - or hiding in plain sight?) - it's a common enough word, sure, but in this context, during this period of Viggo's life, is it really a coincidence? It seems to stand out like a neon sign: BLOOM. It's difficult to unsee.

"Anglican doorway" - "Anglican" mostly refers to "Church of England" or the Anglican communion as a whole. But it can also be another way of saying that something is English. And so it can be read as "English doorway", if you wish. Regardless, it certainly leads your thoughts towards England. Furthermore, Orlando was brought up in the Church of England (and born in Canterbury, the place of origin for the church, no less), while Viggo has no known connection to any religion really. It's perhaps not as obvious as bloom, but it's still quite a significant choice of word. Again, in this context, at this time, when we know Viggo spent so much of his time with Orlando.

Here's my interpretation of Viggo's Communion:

we've left shore somehow become the friends of early theory close enough to speak desire and pain of absence of mistakes we'd make given the chance.

The two are described as friends, who have become closer, intimate in words and thoughts. Sharing secrets, fears, feelings. Bordering on something more.

each smile returned makes harder avoiding dreams that see us lying in the early evening curtain shadows, skin safe against skin. bloom of compassion respect for moments eyes lock turns forever into one more veil that falls away

He seems to be having thoughts of them becoming lovers, the veil of "just friends" falling away. But it seems to be still just a dream, a hope. It's such a beautiful image: the two of them, together, intimate, safe. And that "bloom of compassion", maybe V just wanted to get the word in...

this after seeing you last night, first time smelling you with permission: shoulders to wonder openly at as carefully kissed as those arms waited impossibly on. they've held me now and your breath down my back sent away the night air that had me shaking in the unlit anglican doorway.

But seems they've already been intimate, maybe just a first kiss, a lingering touch, holding each other. The "smelling you with permission" implies he's smelled O without permission before. Sneaking a little sniff when in close contact. Inhaling the sweet scent of a beloved friend. If we accept "anglican" as a reference to O, then what is this unlit doorway? Is it just an image of being allowed inside O's private space? And why is it unlit? As in Orlando being from that church, but not believing in its god? Or an opening into this other person which is difficult to find, maybe not fully opened to him.

are we ruined for finding our faces fit and want to know more about morning? is friendship cancelled if we can't call each other anymore in amnesia, invite ourselves to last glances under suspicious clocks telling us when we've had enough?

A worry that sex will ruin their friendship, implying it's not clear what their relationship should be, even after crossing that line. I love that phrase "finding our faces fit", it's both funny and beautiful; finding that when they kiss, they felt a sense of belonging. And that they probably don't want to stop. I'm not sure if he also worries about other people seeing, finding out, being in the public eye. And he worries that they won't be able to talk like they did before, as friends.

your steady hands cradling my grateful skull: were you taking in my face to save an image you've rarely allowed yourself after leaving that cold alcove? am i a photograph you gaze at in moments of weakness?

Again, he seems to feel this relationship only exists in private, in bed. Maybe implying that O regards it as a weakness, these feelings. This part could also be read as if it's him looking back, when the relationship is over, or changed, distanced, wondering if O thinks of him.

you ordered me off my knees into your arms. wasn't to beg that i knelt; only to see you once from below.

The image of V on his knees could both be a sexual thing, but it could also be about worship; that he wants to be on his knees to adore O. But it's also a part of the poem's religious theme; you usually kneal while taking the communion. You kneal to pray.

tried to say something that filled my mouth and longed to rest in your ear. don't dare write it down for fear it'll become words, just words.

The relationship seems fragile, filled with fear of loss. Like he can't say everything he wants to, afraid it'll lead to it ending. There's so much desire and longing, but also so much despair of the relationship being so brittle, that it can fall apart at any time.

Once I read it this way, like with that painting, I can't see anything else. Maybe it's just coincidences, maybe it's just something from inside Viggo's brain (and not connected to reality), maybe it can be read in many other ways. But since my brain is warped, I can only read it like this.

#viggo mortensen #orlando bloom #viggorli #poetry

[porridgefeast]

ITSAY/IPYTM thoughts

In three parts because that's how I wrote it.

Oh-aew in a shirt which seems like the most meta English t-shirt text ever in Thai BL(ish) world (and there have been many others) but also seems like something Oh-aew would somehow own.

Part 1

I wasn’t assuming I’d have a ton to say about I Told Sunset About You. I wasn’t even planning on starting it at the particular moment I did, I just had it in mind I’d do so soonish. But wow, this drama hit me like a ton of bricks.

I tend to enjoy it when there’s a small gesture or moment onscreen that brings me back to uncertain romantic moments of young adulthood. Oddly enough, it’s often how someone leans (not kabedon-ish looming fwiw)—make of that what you will. (There’s this one moment in Between Us that hit me with something I can only describe as the world’s hardest pang.) But yikes, having so many... I guess first love feelings come up so hard and fast is really unusual and compelling, but almost too powerful for a sensitive creature such as myself. It’s certainly beautiful in an important way I think art is meant to be beautiful. But it’s less uncomplicatedly enjoyable than some things.

I don’t always have to identify with one character over another, even if one character is positioned as the protagonist of a story. I don’t always identify with anybody, though certain stories will pull me in in that way. But man, ITSAY gives me vertigo. Teh’s paradoxical mixture of obvious feeling and self-conscious reserve might normally make it so I’d be seeing things firmly from his perspective, but instead I whip back and forth between Teh and Oh in a borderline-painful way. I guess I just want so badly for them not to hurt each other.

Billkin’s left eyebrow jiggles like even Teh’s face is fidgeting nervously. At the point I’m currently at in the series, it feels like this kid is going to explode leaving only a fine mist. PP Krit is so still as Oh that it’s at least momentarily tempting to perceive him as solid, confident. But his steadiness is one of watching and waiting SO intently.

I feel like I could write an essay about the blinking alone, much less the overall category of looking. I don’t especially want to write it, but it’s there.

About midway through episode 2 I found myself kind of relieved to confirm there are only five episodes. I wanted to hurry through those most acute push & pull moments. But here I am at the beginning of episode 4 and it feels like it’s been a dang eternity.

Part 2

Back again after ending ITSAY and getting 4 1/2 episodes into IPYTM. I’m not writing about this show because I decided to do so, but because I don’t seem to have a choice. Not that I wouldn’t choose to do so, it’s just moot.

I think I’ve finally put into possibly inadequate words a thing Billkin does a lot as Teh. Sometimes his face just kind of goes... offline. He’s telegraphing despair while his face settles into a stiff mask. I find it a lot more true to life than what many actors do in similar scenes, but also very relatable in a way that’s painful! Again, in an art way. In a way that puts into practice the fact that we don’t only watch and read stories to pass time but because they help us understand ourselves. But part of me is annoyed, like a kid who’s been told to get in the car only to find they’re being taken someplace totally unforeseen and unappealing.

I find myself not wanting to explain what PP Krit is doing as much, but not because what he’s doing is less carefully crafted, certainly not because it’s less affecting. I said earlier that I was bouncing back and forth between identifying with each of them but not long after that first note of mine I stopped being able to identify with Teh very much. It might be a stretch to relate the events of this show too much to an experience of my own, but I was probably the Oh-aew in my first serious relationship, which was a very long one that was completely tied up with my entire college experience and a long first stage of adulthood.

I don’t judge Teh too harshly, but he just seems SO young. Like, younger than I may ever have been. Part of what makes this show good at what it does is that I don’t quite know what’s going on with him a lot of the time. There’s certainly a part of me that wants someone to explain what goes on in his head, but the ambiguity works for this show’s narrative style.

Maybe this will become more apparent, but am I supposed to have a strong conviction as to what Jai’s deal has been? Because that guy seems determined to give some of the most intense mixed signals I’ve ever witnessed. I feel like the director was going okay in this shot you’re in love with Teh. Okay now in this scene you feel like Teh’s kinda gross.

Honestly Teh is super gross! Billkin is a cute kid and Teh has many endearing qualities but he is a MESS. About half the time (well, half the time we see him onscreen, who knows what he does during time-jumps) the kid is barfing feelings like No-face from Spirited Away after he’s eaten nearly everybody who works at the spirit bathhouse.

I strongly suspect these characters and performances would bring up different things for people other than myself. This show is taking my personal buttons and stomping on them; presumably for others it stomps on slightly different or even opposite buttons, and for others it might trigger very little whatsoever of their own personal baggage.

Well, back to it I suppose.

Part 3

I feel less urgency now that I’ve reached the end point of the two series. Which is good for me but it means I have less to say at this point.

I’m very curious as to how a rewatch of these two series would feel to me. At first I thought a rewatch might be great—often that way I can relax and appreciate things more, since I’m not distracted by suspense as much. But I could just as easily wind up dreading certain moments. So many public scenes, yall. So much shame being experienced!

I would like to take a short moment to appreciate Hoon. His mom-pleasing powers may have complicated things for Teh, but it was such a relief to me that he was a sweetheart and a good brother.

I’m glad there’s a happy ending but I’m relieved Oh-aew got several chances to be resentful. (Not that I would have been unhappy with some less-than-happy endings. Too happy an ending would have been odd tonally anyway for this show.) I’m pretty sure I laughed out loud when Oh-aew was like but this time if you have a problem can you tell me and we can talk about it?

I was so glad Tarn got a little cameo at the end. It felt like giving her her due. Recognizing how that moment made me feel makes me realize how much I appreciate Tarn having interiority and agency as a character.

In other news, maybe I’m now one step closer to being able to see Na Naphat onscreen without immediately thinking of him as Tawan from Kinnporsche. And usually saying “f*cking Tawan!” in my head. It hasn’t happened yet, but I hope to get there. I’m sorry Na Naphat, I guess that performance was almost too good.

#i told sunset about you #itsay #i promised you the moon #ipytm

[talkshitgetcrit]

above us only sky / Aemond Targaryen x Allyria Dayne (OFC)

Part 1 Part 2

A/N: Hi there - this is the first fanfic I’m posting anywhere online since a break that lasted roughly three years. English isn’t my first language. Also, in this chapter Aemond and the OFC don’t even meet yet. Idk, I have a good feeling about this. Maybe you would still like to give it a read?

Summary: A historian stumbles over a lost record of the ‘Dance of Dragons’, aka the Targaryen civil war. He excitedly tells his boss about it. We get to see the first part of those records, set in 128 AC, a few months prior to Viserys’s death and the events of episode 8 of HotD. Aemond attends a family meeting.

Warnings: Slight fat phobia at one point, mention of NSFW themes, canon-typical violence later on.

Words: 2,8k

I have a lot more to say, but I promised myself I will keep it short. So I will leave you to it, and keep my comments till the end.

To the honored Archmaester of the Citadel,

And my good friend and fellow scholar –

Dear Perestan,

Often have we discussed the history of house Targaryen, and the three colorful and turbulent centuries spent under their reign.

You know me to be a true scholar, determined to pass on the most accurate version of events, and therefore always cautious not to rely too much on any biased source, be it an overly piteous septon, a certain court fool who could have done with a bit more piety in his life, or an old and withered bearer of the maesters’ chain, much like ourselves. I am a scholar, and I do my best to only tell of what is true – I must plead with you to keep this in mind while you study the transcripts of my most recent source, for otherwise it must sound all too much like hogwash and old women’s tales.

But from all I know, this is the most truthful retelling regarding the fates of Aemond Targaryen and one of the women – no, I cannot say it otherwise; the woman in his life. It holds little bearing for the overall history of Westeros, but it shall be answering some questions we have long asked ourselves. Inconsequential as it may be, since stumbling across this little booklet in the dusty depths of the Starfall library, I find myself returning to my research with renewed vigor every morning.

I ask you, dear friend; if even we, as life-long students of the Dance, could be so blind, what other tales and truths may rest in other libraries strewn across the continent?Mayhaps another maester in another time will unearth those. For now, the both of us have to be content with some new knowledge regarding the tale of Aemond One Eye and Allyria, the Sunken Star of Dayne.

Your good friend,

Yandel

From The Diary of Allyria Dayne:

Today I saw my first dragon. We had finished our morning meal and were about to depart, when we all heard it – a strange noise in the distance, at first like the cry of a rooster, a piercing, solitary note, before it developed into a full roar.

I have never heard anything like it – no wounded boar or stag, not even a cornered mountain lion can scream like that.

It died down again after some moments, and we all were silent.

Servants and guards alike stopped in their steps for a breath of time, just like the horses and birds and beasts of the forest.

It was a bit like we were all children, each waiting to be coddled and told this was nothing to worry about.

Though of course, no words like those were said.

The animals seemed to shake off their stupor a moment earlier than us – horses neighing and thrashing around, and suddenly the sky was dark with swarms of birds, each sounding their own alarm as they made their exit.

I was looking up at that storm of wings and fathers, so I was among those who actually saw the dragon.

Our tross is composed of many riders, wheelhouses and even city guards at this point, and yet wherever they stood today, they all were touched by the shadow of the giant beast's wings.

For just a moment I saw it in its entirety; a dark outline against the bright morning sky, terrible and mighty. I wish I could describe it more closely, but the next moment it was already gone, like a bad dream in the morning sun, so neither I nor anyone else got a good look at it.

But the chaos in the camp remained – and weirdly enough everybody immediately got to work to set things straight again, without even losing a word about the dragon.

Chests had spilled their precious cargo over the rotting leaves, along with fallen crates full of provisions. One of Lady Fowler’s court dresses is stained with mead now, and it smells like it, too. One of my nephews cut his hand on some broken pottery while he fell, and there was plenty of crying, snot and blood and dirt all mixing on little reddened face.

He was the one who asked it, too:

“What was that, mother?”

And just like that, the spell of silence over the whole company seemed suddenly broken.

CIty guards were cursing the dragon, and so we learned its name – her name.

Vhagar.

“My old nan used to tell tales of Balerion, the black dread, but I can’t think he could have been much worse than that bronze beast”, I heard one of them say, and another told one of our guards:

“They used to fly out only over Blackwater Bay, where they would disturb no one but the fishes. Out to Dragonstone and back, and it only took one ring of the bell, or maybe two,”

His eyes were shining when he said it, as if what he really wished to say was:

‘They terrorize us small folk, us ground-dwellers, but I would not find it all that bad, if only I was one of them.’

I asked him ‘why do they come here now?’, and for a moment he looked at me all gruff under the rim of his helmet and over his beard.

“Fought with each other, m’lady. Or so they say. So one half stay on Dragonstone now, and the other here, and avoid each other like the plague, that they do.”

He snorted and spit out while I was still trying to make sense of this.

“The dragons?”, one of our guardsmen asked him, and he looked confused.

“The dragons were the one who fought?”

The city guard laughed. “Aye, you could say so. Dragons they do call ‘em… Nah, lad, I’m talking about the Targaryens. Rhaenyra and her black lot on the ‘Stone, and in King’s Landing we have our Greens.”

He probably could tell he was not making much sense to us and fell silent. Lady Fowler called for me then, and I bid them goodbye, and as I left I only heard some more talk of princes and dragons and that we were lucky to have none of that down in Dorne.

I’m not much of a believer, but in terms of bad omens it does not get much worse than that, I suppose.

Vaghar, the scourge of Starfall, they call her at home, – though I assume a beast like that , nearly 200 years old, gets called ‘scourge of’ in a hundred and one places.

And this very same dragon is the first I see of King’s Landing. This morning, we were 5 days from the city, and this evening as I write this it’s five days, still.

An axis on the Fawnton’s wheelhouse broke, and by the time it was fixed it was nearly turning dark.

I must admit, at least to me there is something good to it, too; Soren wants to ride ahead with some men, maybe to hunt, maybe to stock up on provisions, and Lady Fowler has allowed me to come with.

I think I’m a bit of a disappointment to her – not another daughter to adorn her happy, pretty family, but a thorn in her side.

She disagreed when I found the courage to ask her about it last week.

“You come after your mother, Allyria. Maybe not in looks, but your spirit is all the same. And that is just fine with me. I must confess, more than once I have almost called you by her name, too.”

I don’t remember my mother as well as I wish I could, but tonight I miss her terribly. I miss home, and grandfather, and my little brother. But above all, both those living and dead, I miss Raydan.

And that is what drives me forward. I still believe that the only way to get justice for my big brother’s death leads through King’s Landing.

Aemond

“You stink of dragon shit”, prince Aegon greeted his younger brother, before grabbing a maid that had tried to sneak past him unnoticed.

“What are you waiting for, girl? Get my brother a cup as well.” Then he let go and she hastened away, lips pressed shut and eyes blank.

Aemond stepped aside to let her through, looking after her as he pulled off his gloves.

“Watered down”, he reminded her, and the servant girl turned again, eyes widening a bit as she stared at his eyepatch and the scar, before she hastily curtsied and fled the room.

“You know I don’t”- “You don’t drink wine during the day, yes”, Aegon interrupted. “But I also know you usually crack during these nice family gatherings, and then you can even be fun to be around”.

He grinned, and Aemond found himself grinning back. He and Aegon had not much in common – but they were family. The blood of the dragon. The True Blood, as their mother had hammered in, time and time again, from the moment she deemed them old enough.

For Aemond, that time had come a bit earlier. On dragon wings, and with a blade and searing pain.

There was that phantom itch under his eyepatch again, and he balled his hand shut to keep himself from scratching at it.

He had told them, back then, that he deemed it a fair trade – an eye for the biggest dragon alive.

Nowadays he thought it more than fair – what was an eye lost, for the insight he had gained?

Otherwise he might have grown up as spoilt and unfocused as Aegon.

The doors opened again and their mother Alicent entered, along with their sister Helaena and their grandfather Otto Hightower, followed by Sir Criston of the Kingsguard.

“You may leave”, his mother told the other two guards who had been waiting in the shadows like pale silver ghosts.

They left, and a moment before the doors closed, the servant girl entered, carrying the cup of wine for Aemond, keeping her gaze on his shoes and fleeing from the room the second he had taken it from her.

He was not much of a gambler, but he was willing to bet his eye – or maybe one of his brother’s eyes – she had waited for the queen to arrive.

In his mother’s presence Aegon would not dare to touch them, the servant girls all knew that.

They all sat down at the table, and Aemond did his best to follow along as his mother and grandfather recollected the events at court this week; Which ones of their highborn sheeps, always flocking to the throne had died, had given birth, would soon marry. Who came and went, and what had happened elsewhere in the realm.

Aemond paid little mind to it – there was only one family in this realm he cared about, only one that really mattered.

The rest of them were just sheep, no matter if they called themselves nameless peasant, son of a long line of nameless peasants, or Lannisters or Tully or Baratheon.

His family had dragons, and dragons ate sheep, whether they walked on four feet or two.

Alicent maybe was a Targaryen in name, but in name only. She would never understand, for she had never seen King’s Landing and all of Westeros shrink beneath as you rose up into the sky, until even the mightiest stronghold looked like you could squash it with your thumb.

And so she chose to bore him and his siblings with the fates of their people.

“Then there is the arrival of Lord and Lady Fowler later this week. They bring some other Dornish nobles with them – a son of the Yronwoods, and a lady of the Daynes” – “Sweetstar Dayne?”, Aegon interrupted.

Alicent frowned, looking down at the raven message in her hands again.

“Sweetstar?”, Haelena asked. “Do they call her that because she is nice?”

Aegon grinned. “No, because she’s fat.”

Aemond choked on his wine.

“Aegon!” Alicent's voice cracked sharp as a dragon whip.

Helaena flinched at the loud noise, as she usually did.

Otto cleared his throat.

“It’s not Lysa Dayne, and not one of her daughters, either. Just a girl from a minor family branch they want to marry off. Ellyn, Alana, something like that.”

“Why?” Aegon asked.

Aemond began to wonder if he was dragging this out on purpose, to taunt their mother or simply to steal everybody’s time.

Maybe his brother had nothing to do but drink and whore himself into an early grave, but Aemond himself had other plans – for this afternoon, and life in general.

“Family died of Spring Fever. Or was it Dornish Cold? I’m not sure, though Lysa and Aspin Dayne sent a letter to inform us – something her surviving relatives always neglect, even though the Crown has an interest and a right to know what is going on in any keep in the realm, even if it’s just an inconsequential sheep shack with a wooden palisade and a handful men to it’s banner.”

Aemond had closed his eye and had barely listened, but that seemed like a good time to interrupt his grandfather.

“Shall we discuss something that actually matters instead? Is it true Rhaenyra is pregnant? Again?”

Otto and Alicent shared a glance.

“We have not had a raven carrying such news yet”, Alicent then stiffly replied.

“Strange. It is all the keep seems to talk about these days.”

Aemond leaned forwards in his chair. “Should the crown wish I could ride to Dragonstone, find out if there is any truth to these rumors.”

“The crown wants you and Vhagar to stay here. To serve. By your brother’s side.”

“And father’s”, Haelena added. No one paid her any mind, except Aegon who rolled his eyes about his sister-wife.

Aemond was not ready to back down.

He would follow his mother’s and grandfather’s wishes, but it could not hurt to remind them once in a while he could do more than fight on the training grounds, and Vaghar could do more than shit and feed and sleep.

“We might actually be of better use elsewhere. I don’t know if you noticed, mother, but neither I nor Vhagar particularly care for council meetings or dances.”

Aegon snickered.

“Imagine, though. Take mother’s seat in the council, and have Vhagar look on through the window, and maybe then all those little lordlings would learn to hold their tongues.”

Alicent looked at Aemond, as if she had not even heard her other son’s words. Then, suddenly she reached out and grabbed his hand.

“Your time will come, and once it does, you might wish for slow times like these to return. Use this time to prepare. Do not squander it-“ Finally, she took her eyes off him, Hightower-brown eyes meeting two Targaryen-lilac ones instead.

Aegon lowered his head in faux-acceptance, though Aemond was sure his brother had probably not been listening and certainly did not care.

Mother turned back to him again, and Aemond evenly met her gaze.

“And you, Aemond… do not squander it by forgetting to live. There is a whole world outside the dragons pit and training grounds, and in time you shall find something you enjoy in it.”

Aemond felt his lips stretch into a sour, ironic smile.

Dear mother. How could she understand that the rest of the world only saw a missing eye and the rider of Vaghar, death-bringer and city-burner, where she saw her darling son?

The eyepatch meant the high-born ladies did not scream or faint when they saw him, but none of them could stand to even look at him for long.

That did not mean he didn’t know what the world had to offer – if you had the coin to pay for it, and as a son of the crown, his pockets were deep. Music and booze and women, pretty girls in the houses along the streets of silk, who would try not to wince when they looked at him, who always preferred if he took them from behind.

“Go to dragonstone. If you must.”

For a moment, he was speechless as he looked first at her, then at his grandfather and brother, before he slowly rose off his seat.

“But know that I ask you not to. You have mended yourself into this family’s sword and shield over the years. But even the sharpest blade can fail when used in the wrong way.”

So she would let him go, and grandfather too, judging from the lack of protest. He considered it for a few moments, before he slowly sat down again. His mother had said it, and in his heart of hearts he knew it to be true: Now was not the time. Not yet.

Aemond sat down again.

“No, mother. I shall stay and listen.”

Alicent returned to her notes about taxes and Tyrells and the king’s name-day tournament, and Aemond did his best to listen, though soon he found himself wondering if that afternoon, he should try to fight not one, but two men of the Kingsguard during practice.

End of Part one

A/N: Hm. Would honestly be kind of surprised if anybody makes it till here. Well, just in case you did: Thank you so much for reading, I hope you enjoyed it! While you read it, it probably became clear WHY this thing needed some sort of prologue - I spent way too much time on the ‘a song of ice and fire’ wiki and set myself the goal to write a story that is mostly canon-compliant. The great thing about Westeros is that it is huge. There are hundreds of noble families where for entire centuries we don’t know what they were up to. The terrible thing about Westeros is that it is awfully detailed, and you first have to fine a corner where your story can bloom. Is it entirely canon-compliant? Definitely not. You would probably have to be a hardcore fan to point out most of the discrepancies.

The other reason I formatted the story like this is, that this story lives somewhere on the middle ground between the TV show and the book, and the comments from the historians were some of my favorite parts about the book.

Last but not least: Please hit me up if you like Aemond, or just HotD in general, and you want to talk about it! Let me know if you like my writing, or if there is something you would like me to write about Aemond (or some of the other characters on the show, this is very much not a one way street!). I’m honestly just excited about being able to return to Westeros again, and I’m excited to share my excitement with other people - and because I am very excited, I will overuse the tagging system a bit, to get this baby *slaps roof of this fic* out there. Is this considered very rude? Idk. Let me know?

#prince aemond #aemond targaryen #HotD #hotd fic #aemond x oc #aemond fic #aemond x reader #aemond imagine #house of the dragon #aemond one shot #hotd one shot

[sakuranplays]

Asian Representation in Cyberpunk 2077

For a long while, I have this idea floating about writing what Cyberpunk 2077 did about Asian representation. This long overdue but similarly complex topic that was an unintended follow up to my previous post about my argument against Orientalism in Cyberpunk 2077. In that post, I tried to write as concisely as I can but I realized that I did not articulate further using the game itself which leads to some persistent confusion and casual assumptions about the game.

As a disclaimer, I am not defending orientalism or even war crimes while discussing about Cyberpunk 2077. I am not endorsing only negative portrayals of Asian people nor defending the problematic western stereotypes of Asians in the media history. We could have a civilized discussion over this entire matter because lucky for all of you, I am fluent enough in English that I could use my own voice for this. Every words that I wrote in this series; about the topics I explored, about myself, my lived experiences, my history, my opinions and my criticism are all solely my own. I think I am uniquely qualified to talk about many aspects of this topic but I like to think I am not immune to criticism and neither was the Cyberpunk 2077 game itself. What I generally hope was my writings would help, inform, educate and hopefully clarify some of the contentious takes directed towards me, CD Projekt RED, R. Talsorian Games and the video game; Cyberpunk 2077. There was simply no perfect Asian representation that could encompass all of the wealth of diversity. We couldn't perfectly portray everything either in academia, in media, in writing, non-fiction or even fictional works either by Asians or non-Asians. Asia is the largest continent on earth. Asian people are richly diverse, complex and sometimes described to many people across various ethnicities and nationalities. All we could in representation works was to attempt, to explore, to criticize and to create more and better works as an honor to ourselves and to our people. We all have our own stories to share and our interpretations. There was so many things that I could write about Asians in Cyberpunk franchise but I intend to fully explore again that was more than just the controversial Arasaka family or the Tyger Claws. I want to talk about the Asian aesthetics of Night City and many Asian characters in the game and including Cyberpunk Edgerunners' Lucyna Kushinada and Cyberpunk 2077 : No Coincidence's Aya and because of the impending release of Phantom Liberty, I am looking forward to explore Song So-mi @ Songbird. (Especially with the OST release, I know that CDPR used traditional Korean performance Pansori as Songbird's musical leitmotif and I'm so excited to explore that once I played the expansion) But for starters;

Not all Asians are East Asians

I wished I didn't have to write that down but I realized it was something that a lot of online discourses in English seemed to center itself either by non-Asians or East Asian diaspora in Western countries. It was most apparent within these published articles : Orientalism, Cyberpunk 2077, and Yellow Peril in Science Fiction and How Cyberpunk 2077 Resurrects the 1980s’ “Japan Panic” which were very hyperfixated on Arasaka and the Tyger Claws. Another element that I noticed from these articles and by their writers, they both neglect the fact that not every diasporic Asian portrayed in Cyberpunk 20777 are East Asians. Not every Asians are Japanese or Chinese or Korean.

I am not East Asian.

I am Southeast Asian.

My V was a Malay woman like me. Someone who was flawed, imperfect and maybe portrayed many sides that was very unbecoming to the image of a Malay Muslim woman. I created this Tumblr blog mainly to share my own CorpoV. She was my own OC that I was simply obsessed with. Cyberpunk 2077 remained to be the only game that truly allowed me to craft a genuine Southeast Asian woman protagonist with her personal history that was almost relevant to me on personal level.

However, V could be anyone of any races or ethnicity. She could also be Japanese, Korean or Chinese because the game have localization with those languages. In the game, V can love sushi, drink tea, burn incense and work for a fictional Imperial Japanese company. After all, Cyberpunk 2077 is a roleplaying game . But did you know who else was also a Southeast Asian in Cyberpunk 2077?

Aha... think I don't notice the casual disrespect towards our glorious living legendary Pinoy rockerboy ever? My next post will be all about Kerry Eurodyne.

We will discuss Kerry in the TTRPG, what he become in Cyberpunk 2077, his complicated history, his character analysis, his traditional Batok tattoos, his relationships to Johnny Silverhand, their band Samurai and other Filipino representation within Cyberpunk 2077 game. However, I have to admit that my own exposure to my dear neighbouring Philippines was genuinely abysmal. I live in West Malaysia and unlike my Sabahan and Sarawakian friends, I am not exposed enough to the Phillipines. Personally, I won't claim I am an expertabout Filipino people, culture and heritage (and if you are from Phillipines, feel free to DM me, please) but I hope to do justice about our beloved rockerboy in the way he truly deserved. Didn't just make music on that boat. Busted my ass servin' drinks, waitin' tables. Free time, I-I composed till my fingers bled. - Kerry Eurodyne "Boat Song"

#Cyberpunk 2077 #Cyberpunk 2077 Essay #Asian Representation #Video Games #Corpo V #Kerry Eurodyne #R. Talsorian Games #Cyberpunk #CD Projekt RED

[lionsdenbooks]

on algernon blackwood and his influence on cosmic horror

Algernon Blackwood was an English writer who became known for his works of "weird fiction" around the turn of the 20th century. Although he can't hold a candle to the likes of Poe etc. in posthumous fame, he was extremely influential in the development of the horror genre and especially cosmic horror, and in fact, Lovecraft and his literary circle have explicitly cited him as an inspiration.

Actually, Blackwood serves as a sort of who's who of deviant religion (deviant, a word which here means "it's Northern Europe, dumbass; anything that isn't explicitly and devoutly Christian") in the early 20th century. He was raised in a household of what S.T. Joshi has described as "oppressive religiosity," and the rest of his life was colored by a reaction against that. He was greatly influenced by Buddhist texts; he ran with the Society for Psychical Research; he formally joined the Hermetic Order of the Golden Dawn in 1900 (and, judging by the name, sacrificed some children there too); and of course he joined the Theosophical Society—though I don't believe he had the opportunity to meet Miss Blavatsky herself before her passing in 1891. He always seemed to be searching for some deeper, more significant spiritual understanding. This reflects in his work, which constantly plays with spiritual ideas like reincarnation, other planes, and spiritual truths (sometimes even that Man Was Not Meant to Know).

J.R.R. Tolkien once mentioned that he got the name "Crack of Doom" from one of Blackwood's unnamed stories. If so (it may also be that it comes from Macbeth), it would be fitting, because both share the same deep contrition over industrialization and reverence of Nature. It is impossible to read a Blackwood story without noticing his awe of the power and mystery of the natural world, and in his two most prominent tales, The Willows and The Wendigo—which both feature protagonists supernaturally besieged in the wilderness—it sits front and center. Listen to this excerpt from Wendigo:

Deep silence fell about the little camp, planted there so audaciously in the jaws of the wilderness. The lake gleamed like a sheet of black glass beneath the stars. The cold air pricked. In the draughts of night that poured their silent tide from the depths of the forest, with messages from distant ridges and from lakes just beginning to freeze, there lay already the faint, bleak odours of coming winter.

Not only is Blackwood investing Nature with fearsome power ("the jaws of the wilderness"), he gives it a certain sentience with "messages." Consider the way the Danube is described in Willows:

From its tiny bubbling entry into the world among the pinewood gardens of Donaueschingen [a German town in the Black Forest], until this moment when it began to play the great river-game of losing itself among the deserted swamps, unobserved, unrestrained, it had seemed to us like following the growth of some living creature. Sleepy at first, but later developing violent desires as it became conscious of its deep soul, it rolled, like some huge fluid being, through all the countries we had passed, holding our little craft on its mighty shoulders, playing roughly with us sometimes, yet always friendly and well-meaning, till at length we had come inevitably to regard it as a Great Personage.

Blackwood uses this technique constantly. In that except, his characters explicitly personify the river; it is said to have "violent desires," "conscious[ness]," and a "deep soul." Nature is ancient, it is powerful, it has a sort of intelligence, and it is what lurks behind the oh-so-thin veil of civilization in which we cloak ourselves.* The man consistently hits it out of the park with his Nature-settings, making his stories set there feel more weighty and immersive, and luckily, he seems to play to his strengths.

Another common theme of Blackwood's is disturbed mental states, especially brought on by the powers of Nature or of one of his spiritual bugaboos. In the fantastic Insanity of Mr. Jones, the eponymous Jones believes himself to be exacting vengeance on behalf of his previous reincarnation; The Man Who Found Out features someone briefly driven mad by Ancient Truths Man Was Not Meant to Know; and if you had told me Hozier's lyrics "Oh but she loves / like sleep to the freezing" were part of an adaptation of the tale The Glamour of the Snow, I would probably believe you. Listen to how everyman Hibbert is described in this latter one:

Now this battle for his soul must have issue. And he knew that the spell of Nature was greater for him than all other spells in the world combined—greater than love, revelry, or pleasure, greater even than study. He had always been afraid to let himself go. His pagan soul dreaded her terrific powers of witchery even while he worshipped.

In this quote, not just a part of Nature is personified; as a concept, it is characterized as a sort of powerful temptress, tugging at the primal heartstrings of Man. Though both he and the witless Arthur Vezin of Ancient Sorceries end up escaping from their respective Nature-witches, it is clear that for Blackwood, the concept of Nature is bound up in paganism, esoteric spiritual truth, and vast, intelligent danger that can drive a man mad. In this way, I consider him one of the stronger weird fiction writers of the twentieth century; grounding his horrors in Nature plays on all of our preconceived feelings about it to deliver more impact than spinning them out of whole cloth. What's scarier than a strange man in the willows? The willows that have eaten him, of course.

Not to say old Algae doesn't have his share of issues. The spiritualist movements with which he was involved, especially the Theosophical society, were famously racist; the Theosophists in particular put Aryans at the top of their esoteric racial classification scheme. As far as his work is concerned, the fact that he, a white man, is best-known for a story called Wendigo in which the only Native character has zero lines and is offhandedly described as "a member of a dying race" is a critique that makes itself, but it is also a critique of the culture around him for granting him this appropriative success. And even as far as his actual technique is concerned, there is a certain predictability to it that can be exhausting to read. In the middle of Ancient Sorceries, when the fiftieth member of the French village was coyly described as "catlike," I finally lost it and scrawled in the margins, "MAYBE THEY'RE SECRETLY CATS ALGAE IS THAT WHAT YOU WANT?? WILL YOU STOP HINTING IF I SAY IT??"

Still, though. After reading a modest selection of his short fiction, and grappling with his shortcomings, I remain disappointed that it is Lovecraft whom history has decided to remember as the king of the Weird Tale. (Need I remind you what he named his cat? The bar is in hell.) Blackwood has at least as much claim to the throne, if not more, and in my opinion, he is simply a better writer. I find his word choice to be more evocative and his settings more vivid—and if I'm being honest, I'm just plain tired of Lovecraft at this point. If you like how he writes, but you want to branch out, I salute you, and Blackwood is a great place to start.

* Sometimes I wonder to what extent this tense, adversarial relationship with Nature is the product of empire. We make monsters of what our society marginalizes and exploits, so in a way, it is only natural that for a beneficiary of the largest colonial project the world has ever known, the Earth itself is out for revenge.

#eldritch horror #cosmic horror #horror #books #reading #literature #lovecraft #blackwood #algernon blackwood

[fenmere]

About using labels

These are personal feelings and not a philosophical statement. That needs to be noted clearly.

We seem to differ from most vocal people like us on the internet. Whether it's Tumblr, Twitter, or Facebook, there are all sorts of memes shared about either not really knowing what one's gender or orientation is and that being OK, or using the word "queer" (which we are and love, btw) specifically as a term of obfuscation, to avoid divulging just what you are. And these memes are good and needed, but we don't relate to that mindset at all, when it comes to gender and orientation.

When it comes to our genders and orientations, we know exactly what we are, and we have found it necessary and helpful to be precise, specific, and insistent about it in our daily life. Our dysphoria and euphoria hinge on it, for one, but also, politically, we need people to recognize the categories we belong to actually exist. And if nobody else is going to force the issue, we'll do it. It's a hill we're willing to die on. All of us. For some reason. It's not entirely logical.

Conversely, when it comes to our plurality and the words we use to describe our plural experiences, we really fucking hate almost all outworld terms for it.

We call ourselves "endogenic" because it's true enough and it pisses the right people off. But it doesn't really feel right or even relevant.

And every time we see a new term coined for somebody's plural experience, it feels extremely superfluous to us and certainly alien.

And it's not to say that those terms are bad. They're just as needed by others as "aporagender" is to us.

It's just that there's some sort of difference there for us, between gender/orientation and plurality.

In fact, for us, the various terms for neurotypes and neurodivergent experiences outside of plurality are wonderful and useful. So, it's really only the plurality aspects of life that feel personally and culturally unique to us and indescribable with English.

Those of us who are fronting right now speculate that it is because, for some reason, we perceive gender, orientation, and nuerodiversity to be of the body. But our plurality, even though it technically classifies as a neurotype, is truly of the selves for us.

#plurals #labels #queer identity

[phoenixgrimm]

As humans we use words, identifiers to describe ourselves, to try and capture who we are. Even the word human is an identifier.

Sometimes I think of all the labels, if you will, that I use to describe myself: American, Azorean, Panromantic, Asexual, Agender, Writer. Those aren’t even all of them. I’ve considered sitting down and listing every label I can think of that will encompass my job, my mental health, my hobbies, my passions. I almost shudder to consider how long that list would be.

Most of the time my thoughts about labels revolve around my identity as a queer person. Naturally, pondering of this subject occurs more to me during Pride Month. As I read and watch queer individuals talk about how they asset or refuse to their identities. Some people protest labels, saying they are just another box that a binary world is trying to force us into. To a degree, I agree. As a nonbinary person it sometimes seems like the entire world is engineered to erase me, but that’s a topic for another day.

I don’t think labels are the problem, the presumption that there’s only one definition is. Think about all the words in the English language, think about the ones that have differing definitions but yet possess an identical label: mine, hatch, season, leave. We accept these words and their multiple meanings in everyday conversation, why would we not do the same for the labels we attach to integral aspects of our being?

I was a preteen when I first became aware that there were people that weren’t cis or straight. I was intrigued, having felt like my anatomy and the corresponding gender assignment weren’t correct. It was still several more years before I ever stumbled across the word “agender”. Being a voracious reader, I consumed as much information as I could about what it means to be agender and how do you know? (The last one is a little tricky). The more I read the more I saw myself.

I didn’t fit in the traditional gender binary, in actuality gender didn’t make sense to me. That label emboldened me. It was like I had been living in black and white and that one, single realisation thrust my world into colour. That one singular word did all of that.

Funny isn’t it?

As a writer and a reader you know words have this power, to change lives, spawn kingdoms and revolutions, alter the course of history or rewrite it. Still it amazes me how much power a collection of letters has in who we are.

#lgbtq #lgbt rights #lgbtqia #nonbinary #gender nonconforming #queer #queer stuff #pride month #lgbt pride #agender

[tobeapanda]

Love

The Greeks had the right idea when describing 7 different forms of what English calls "Love". I feel that most 'conflicts of emotion' and 'don't know what I feel' is because we've come to confuse ourselves with different forms of love, and see every single form of intimacy as romantic love.

It isn't that way is it? Not everything feels right under the label of 'romanticism'. The label immediately makes it feel weird and we start feeling awkward when talking to them. And then we have words like 'infatuation', 'crush' to confuse us even more. I'm gonna make an effort to describe how I see these 7 forms of love that the Greeks laid out, and hopefully, this will clear things out in my head of how I feel about certain things/people.

Also, love isn't just between two people. It could be involving material objects, entities, activities and whatnot! Again, I feel it's because we are used to using the word 'Love' and immediately imagine red roses, that we refuse to see that we also regularly use it for things other than romance. Anyways, without further ado:

Eros - Let's start with the obvious. The 'Red' form of love. The passion, the romance, the lust, the attraction. When I think of this side to love, only one thing comes to my mind - red. Not the harsh red showing anger, not the jarring kind proclaiming people to stop, but the soft kind, encouraging people to get together. The fleeting one, which is only the laaastt bit of the rainbow, but just as essential to it. The passionate yet mellow one, which gives people a feeling of confidence.

Philia - You know that feeling when you're walking in the cool breeze with someone important in your life (not necessarily your lover)? And you both are sharing secrets or experiences or just having a deep discussion about life? You know that warm feeling inside you when you look back to such an incident and find that you have actually grown closer to that person, strengthened your friendship, reinforced your bonds? Well, that's it. To put it simply, Philia stands for 'I-feel-ya'.

Storge - If Philia is a rope that is reinforced through small incidents and strengthens over time, Storge is an iron chain which almost forcibly holds people together, never weakening, never needing reinforcement. It doesn't break unless there are extreme forces acting on it (and even then, not unless few cracks here and there have already provided a fault line for the metal to tear apart, oops got a bit too technical). You love these people no matter what. No matter how far you are, no matter how much time has passed, no matter how many fights you've had. Sometimes to the point of lunacy.

Agape - This is a bit difficult to explain since it's very difficult to relate to. It's a completely selfless love for all. Including nature, including people, God etc. I think it is a part of what English calls 'kindness' and 'empathy'. One which expects nothing. I see it as the colour white, reflecting everything, encompassing everything, always existing in the background.

Ludus - The English words 'infatuation' and 'crush' come under this umbrella. It's usually the start of relationships which progress towards Philia or Eros. Sort of like a tease, a flirtatious love which could explode into something new. Kind of like an egg, mysterious, yet makes it very curious to see what will emerge.

Pragma - When people mean commitment, they mean this. In the past when arranged marriages were the only type of marriages, people just assumed that the married couple would eventually love each other. And couples usually did. This was because of Pragma. Getting to know people over a long time builds a certain level of intimacy strengthened by that commitment to be together. This was what kept people happy together. You could even say it was a starting of a beautiful Storge.

Philautia - What most people on Tumblr seem to crave.

[inessencedevided]

I FEEL THIS IN EVERY SINGLE ONE OF MY VEINS

Ily eva lemme hug you!!! 🥰 It's great to know I'm not alone in this ❤🧡💛💚💙💜🤎🖤

I used to be so anxious about not knowing my labels. It kind of made me feel like i was somehow faking not being straight especially as a teenager 😬 these days I'm much more relaxed and it feels great

Like, I'm definitely wlw but also *whispers* am i 100% the "w" in that equation? Not sure Definitely on the ace spectrum too but where? No idea. Also sometimes i have male fictional crushes is there even a name for that? Ah ykw? Fuck it I'm queer ¯\_(ツ)_/¯ 

That's why the queer label is so great. Humans are much too complex to fit into need little boxes or even if they do somehow fit, we change!

I just want to live my life yk? And I don't want to spent it trying to squeeze myself into boxes

#this is very personal #if you feel you fit exactly into one label or the other #this is NOT an attack on you!! #i also have some labels #(see quote: I'm sonewhere on the ace spectrum) #but at a certain point #After years of questioning myself #queer as a label is so incredibly liberating #this answer turned into more of a rant than i intended eva #sorry 😅 #i just wanted to tell you I'm hugging you and that's it but then it escalated #but on that topic: so you also feel like this is slmehow easier in english than in german? #it seems like most of the words we have to describe ourselves are english #i always say I'm queer even in germany #and that's fine with most people 30 and younger but i had to explain it to my mum and her husband first #anyway ly and i hope your weekend was nice 😅🥰 #personal #sophie rambles #ask #xiaodaozhang #nice people #queer stuff

[eiirisworkshop]

The Fanfic Author's Guide to Metatext

(As Used on Ao3) by Eiiri

Also available as a PDF here. This thing is 13,000 words.  The PDF is recommended.

Intro: What is Metatext?

Metatext is everything we fanfic authors post along with our story that is not the story itself: title, tags, summary, author's notes, even the rating.

It is how we communicate to potential readers what they're signing themselves up for if they choose to read our story, how we let them make informed decisions regarding which fics they want to read, how we get their interest and, frequently, how they find our story in the first place. A lot of metatext acts as a consent mechanism for readers, it's the informed part of informed consent.

Since most of us who write fanfic also read it, we understand how important this is! But, for the most part, no one ever teaches us how to use metatext; we have to pick it up by osmosis. That makes it hard to learn how to use it well, we all suck at it when we first start out, and some of us may go years without learning particular conventions that seem obvious to others in our community. This creates frustration for everybody.

Enter this guide!

This is meant to be a sort of handbook for fic writers, particularly those of us who post on Archive of Our Own, laying out and explaining the established metatext conventions already in use in our community so we (and our readers!) are all on the same page. It will also provide some best-practices tips.

The point is to give all of us the tools to communicate with our audience as clearly and effectively as possible, so the people who want to read a story like ours can find it and recognize it as what they're looking for, those who don't want to read a story like ours can easily tell it's not their cup of tea and avoid it, nobody gets hurt, and everybody has fun—including us!

Now that we know what we're talking about, let's get on with the guide! The following content sections appear in the order one is expected to provide each kind of metatext when posting a fic on Ao3, but first….

Warning!

This is a guide for all authors on Ao3. As such, it mentions subject matter and kinds of fic that you personally might hate or find disgusting, but which are allowed under the Archive's terms of use. There are no graphic descriptions or harsh language in the guide itself, but it does acknowledge the existence of fic you may find distasteful and explains how to approach metatext for such fics.

Some sexual terminology is used in an academic context.

A note from the author:

This guide reflects the conventions of the English-language fanfiction community circa 2021. Conventions may differ in other language communities, and although many of our conventions have been in place for decades (praise be to our Star Trek loving foremothers) fanfiction now exists primarily in the realm of internet fandom where things tend to change rather quickly, so some conventions in this guide may die out while other new conventions, not covered in this guide, arise.

This is not official or in any way produced by the Archive of Our Own (Ao3), and though some actual site rules are mentioned, it is not a rulebook. Primarily, it is a descriptivist take on how the userbase uses metatext to communicate amongst ourselves, provided in the interest of making that communication easier and more transparent for everyone, especially newer users.

Contents

How To Use This Guide Ratings Archive Warnings Fandom Tags Category Relationship Tags Character Tags Additional Tags Titles Summaries Author's Notes Series and Chapters Parting Thoughts

How To Use This Guide

Well, read it.  Or have it read to you.

This isn't a glossary, it's a handbook, and it's structured more like an academic paper or report, but there's lots and lots of examples in it!

Many of these examples are titles of real media and the names of characters from published media, or tags quoted directly from Ao3 complete with punctuation and formatting.

Some examples are more generic and use the names Alex, Max, Sam, Chris, Jamie, and Tori for demonstration purposes. In other generic examples, part of an example tag or phrase may be sectioned off with square brackets to show where in that tag or phrase you would put the appropriate information to complete it.  This will look something like “Top [Character A]” where you would fill in a character's name.

This guide presumes that you know the basics of how to use Ao3, at least from the perspective of reading fic. If you don't, much of this guide may be difficult to understand and will be much less helpful to you, though not entirely useless.

Ratings

Most fanfic hosting sites provide ratings systems that work a lot like the ratings on movies and videogames.

Ao3's system has four ratings:

General

Teen

Mature

Explicit

These seem like they should be pretty self-explanatory, and the site's own official info pop-up (accessible by clicking the question mark next to the section prompt) gives brief, straightforward descriptions for each of them.

Even so, many writers have found ourselves staring at that dropdown list, thinking about what we've written, and wondering what's the right freaking rating for this?  How do I know if it's appropriate for “general audiences” or if it needs to be teen and up? What's the difference between Mature and Explicit?

The best way to figure it out is often to think about your fic in comparison to mainstream media.

General is your average Disney or Dreamworks movie, Cartoon Network or Nickelodeon shows, video games like Mario, Kirby, and Pokemon.

There may be romance, but no sexual content or discussion. Scary things might happen and people might get hurt, but violence is non-graphic and usually mild. Adults may be shown drinking alcohol or smoking tobacco, and some degree of intoxication may be shown (usually played for laughs and not focused on), but hard drug use is generally not shown or discussed.  There is little to no foul language written out and what language there may be is mild, though harsher swears may be implied by narration. There are no explicit F-bombs or slurs.

Teen is more like a Marvel movie, most network television shows (things like The Office, Supernatural, or Grey's Anatomy), video games like Final Fantasy, Five Nights at Freddie's, and The Sims.

There might be some sex and sexual discussion, but nothing explicit is shown—things usually fade to black or are leftimplied. More intense danger, more severe injuries described in greater detail, and a higher level of violence may be present.  Substance use may be discussed and intoxication shown, but main characters are unlikely to be shown doing hard drugs. Some swearing and other harsh language may be present, possibly including an F-bomb or two.  In longer works, that might mean an F-bomb every few chapters.

Mature is, in American terms, an R-rated movie* like Deadpool, Fifty Shades of Grey, The Exorcist, and Schindler's List; certain shows from premium cable networks or streaming services like Game of Thrones, Shameless, Breaking Bad, and Black Sails; videogames like Bioshock, Assassin's Creed, Grand Theft Auto, and The Witcher.

Sex may be shown and it might be fairly explicit, but it's not as detailed or graphic or as much the focus of the work as it would be if it were porn. Violence, danger, and bodily harm may be significant and fairly graphic. Most drug use is fair game. Swearing and harsh language may be extensive.

Explicit is, well, extremely explicit. This is full on porn, the hardcore horror movies, and snuff films.

Sex is highly detailed and graphic. Violence and injury is highly detailed and graphic. Drug use and its effects may be highly detailed and graphic. Swearing and harsh language may be extreme, including extensive use of violent slurs.

Please note that both Mature and Explicit fics are intended for adult audiences only, but that does not mean a teenaged writer isn't going to produce fics that should be rated M or E.  Ratings should reflect the content of the fic, not the age of the author.

Strictly speaking, you don't have to choose any of these ratings; Ao3 has a “Not Rated” option, but for purposes of search results and some other functions, Not Rated fics are treated by the site as Explicit, just in case, which means they end up hidden from a significant portion of potential readers. It really is in your best interest as a writer who presumably wants people to see their stories, to select a rating. It helps readers judge if yours is the kind of story they want right now, too.

Rating a fic is a subjective decision, there is some grey area in between each level. If you're not quite sure where your fic falls, best practice is to go with the more restrictive rating.

*(Equivalent to an Australian M15+ or R18+, Canadian 14A, 18A or 18+, UK 15 or 18, German FSK 16 or FSK 18.)

Warnings

Ao3 uses a set of standard site-wide Archive Warnings to indicate that a work contains subject matter that falls into one or more of a few categories that some readers are likely to want to avoid.  Even when posting elsewhere, it's courteous to include warnings of this sort.

These warnings are:

Graphic Depictions Of Violence

Major Character Death

Rape/Non-Con

Underage

Just like with the ratings, the site provides an info-pop up that explains what each warning is for. They're really exactly what it says on the tin: detailed descriptions of violence, injury, and gore; the death of a character central to canon or tothe story being told; non-consensual sex i.e. rape; and depictions of underage sex, which the site defines as under the age of 18 for humans—Ao3 doesn't care if your local age of consent or majority is lower than that.

In addition to the four standard warnings above, the warnings section has two other choices:

No Archive Warnings Apply

Choose Not To Use Archive Warnings

These do not mean the same thing and cannot be used interchangeably. “No Archive Warnings Apply” means that absolutely nothing in your fic falls into any of the four standard warning categories. “Choose Not To Use Archive Warnings” means that you the author are opting out of the warning system; your fic could potentially contain things that fall into any and all of the four standard warning categories.

There's nothing wrong with selecting Choose Not To Use Archive Warnings! It may mean that some readers will avoid your fic because they're not sure it's safe for them, and you might need to use more courtesy tags than you otherwise would (we'll talk about courtesy tags later), but that's okay! Opting out of the warning system can be a way to avoid spoilers,* and is also good for when you're just not sure if what you've written deserves one of the Archive warnings. In that case, the best practice is to select either the warning it might deserve or Choose Not To Use Archive Warnings, then provide additional information in other tags, the summary, or an initial author's note.

Unless you're opting out of using the warning system, select all the warnings that apply to your fic, if any of them do. So if a sixteen year old main character has consensual sex then gets killed in an accident that you've written out in excruciating detail, that fic gets three out of the four standard warnings: Underage, Major Character Death, and Graphic Depictions Of Violence.

*(Fandom etiquette generally favors thorough tagging and warning over avoiding spoilers. It doesn't ruin the experience of a story to have a general sense of what's going to happen. If it did, we wouldn't all keep reading so many “there was only one bed” fics.)

Fandom Tags

What fandom or fandoms is your fic for?  You definitely know what you wrote it for, but that doesn't mean it's obvious what to tag it as.

Sometimes, it is obvious! You watched a movie that isn't based on anything, isn't part of a series, and doesn't have any spinoffs, tie-ins or anything else based on it. You wrote a fic set entirely within the world of this movie. You put this movie as the fandom for your fic. Or maybe you read a book and wrote a fic for it, and there is a movie based on the book, but the movie is really different and you definitely didn't use anything that's only in the movie. You put the book as the fandom for your fic.

All too often, though, it's not that clear.

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book?  In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags.  If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

In a situation where one piece of media has a spinoff, maybe several spinoffs, and you wrote a fic that includes things from more than one of them, you might want use the central work's “& related fandoms” tag. For example, the “Doctor Who & Related Fandoms” tag gets used for fics that include things from a combination of any era of Doctor Who, Torchwood, and The Sarah Jane Adventures.

And don't worry, from the reader-side of the site the broadest fandom tags are prioritized. The results page for an “all media types” or “& related fandoms” search includes works tagged with the more specific sub-tags for that fandom, the browse-by-fandom pages show the broadest tag for each fandom included, and putting a fandom into the search bar presumes the broadest tag for that fandom.  A search for “Star Wars - All Media Types” will pull up work that only has a subtag for that fandom, like “The Mandalorian (TV).” You don't have to put every specific fandom subtag for people to find your fic.

If you wrote a fic for something that's an adaptation of an older work—especially an older work that's been adapted a lot, like Sherlock Holmes or The Three Musketeers—it can be hard to know how you should tag it. The best choice is to put the adaptation as the fandom, for instance “Sherlock (TV),” then, if you're also using aspects of the older source work that aren't in the adaptation, also put a broad fandom tag such as “Sherlock Holmes & Related Fandoms.” Do not tag it as being fic for the source work—in our Sherlock example that would be tagging it “Sherlock Holmes - Arthur Conan Doyle”—unless you are crossing over the source work and the adaptation. Otherwise, the specific fandom subtag for the source work ends up clogged with fic for the adaptation, which really is a different thing.

By the same token, fic for the source work shouldn't be tagged as being for the adaptation, or the adaptation's subtag will get clogged.

The same principle applies to fandoms that have been rebooted. Don't tag fic for the reboot as being for the original, or fic for the original as being for the reboot. Don't tag a fic as being for both unless the reboot and original are actually interacting. Use an “& related fandoms” tag for the original if your fic for the reboot includes some aspects of the original that weren't carried over but you haven't quite written a crossover between the two. Good examples of these situations can be seen with “Star Trek: Alternate Original Series (Movies)” vs. “Star Trek: The Original Series,” and “She-Ra and the Princesses of Power (2018)” vs. “She-Ra: Princess Of Power (1985).”

Usually, this kind of mistagging as a related fandom happens when someone writes a fic for something that is or has a reboot, spinoff, or adaptation, but they're only familiar with one of the related pieces of media, and they mistakenly presume the fandoms are the same or interchangeable because they just don't know the difference.  It's an honest mistake and it doesn't make you a bad or fake fan to not know, but it can be frustrating for readers who want fic for one thing and find the fandom tag full of fic for something else.

In order to avoid those kinds of issues, best practice is to assume fandoms are not interchangeable no matter how closely related they are, and to default to using a tag pair of the most-specific-possible sub-fandom tag + the broadest possible fandom tag when posting a fic you're not entirely sure about, for instance “Star Trek” and “Star Trek: Enterprise.”

The Marvel megafandom has its own particular tagging hell going on. Really digging into and trying to make sense of that entire situation would require its own guide, but we can go through some general tips.

There is a general “Marvel” fandom tag and tags for both “The Avengers - Ambiguous Fandom” and “The Avengers (Marvel) - All Media Types.” Most of us who write Marvel fic are working with a cherry picked combination of canons from the MCU, various comics runs, both timelines of X-Men movies, and possibly several decades worth of cartoons. That's what these tags are for.

If your cherry picked Marvel fic is more X-Men than Avengers, go for the “X-Men - All Media Types” tag.

If you are primarily working with MCU canon, use the MCU specific tags rather than “all media types” and add specific tags for individual comics runs—like Earth 616 or the Fraction Hawkeye comics—if you know you're lifting particular details from the comics.  If you're just filling in gaps in MCU canon with things that are nebulously “from the comics” don't worry about tagging for that, it's accepted standard practice in the fandom at this point, use a broader tag along with your MCU-specific tag if you want to.

Same general idea for primarily movie-verse X-Men fics. Use the movie-specific tags.

If your fic mostly draws from the comics, use the comics tags. If you're focusing on an individual run, show, or movie series rather than an ensemble or large swath of the megafranchise, tag for that and leave off the broader fandom tags.

Try your best to minimize the number of fandom tags on your Marvel work. Ideally, you can get it down to two or three. Even paring it down as much as you can you might still end up with about five.  If you're in the double digits, take another look to see if all the fandom tags you've included are really necessary, or if some of them are redundant or only there to represent characters who are in the fic but that the fic doesn't focus on. Many readers tend to search Marvel fics by character or pairing tags, it's more important that you're thorough there. For the fandom tags it's more important that you're clear.

If you write real person fiction, you need to tag it as an RPF fandom. Fic about actors who are in a show together does not belong on the fandom tag for that show. There are separate RPF fandom tags for most shows and film franchises. Much like the adaptation/source and reboot/original situations discussed earlier, a fic should really only be tagged with both a franchise's RPF tag and its main tag if something happens like the actors—or director or writer!—falling into the fictional world or meeting their characters.

Of course, not all RPF is about actors. Most sports have RPF tags, there are RPF tags for politics from around the world and for various historical settings, the fandom tags for bands are generally presumed to be RPF tags, and there is a general Real Person Fiction tag.

In order to simplify things for readers, it's best practice to use the general Real Person Fiction tag in addition to your fandom-specific tag. You may even want to put “RPF” as a courtesy tag in the Additional Tags section, too. This is because Ao3 isn't currently set up to recognize RPF as the special flavor of fic that it is in the same way that the site recognizes crossovers as special, so it can be very difficult to either seek out or avoid RPF since it's scattered across hundreds of different fandom tags.

On the subject of crossovers—they can make fandom tagging even more daunting. Even for a crossover with lots of fandoms involved, though, you just have to follow the same guidelines as to tag a single-fandom work for each fandom in the crossover. The tricky part is figuring out if what you wrote is really a crossover, or just an AU informed by another fandom—we'll talk about that later.

There are some cases where it's really hard to figure out what fandom something belongs to, like if you wrote a fanfic of someone else's fanfic, theirs is an AU and yours is about their OC, not any of the characters from canon. What do you do?! Well, you do not tag it as being a fanfic for the same thing theirs was. Put the title of their fic (or name of their series) as the fandom for your fic, attributed to their Ao3 handle just like any other fandom is attributed to its author. Explain the situation in either the summary or the initial author's note. Also, ask the author's permission before posting something like this.

What if you wrote a story about your totally original D&D character? The fandom is still D&D, you want the “Dungeons & Dragons (Roleplaying Game)” tag.

What if there's not a fandom tag on the Archive yet for what you wrote? Not a problem! You can type in a new one if you're the first person to post something for a particular fandom. Do make sure, though, that the fandom isn't just listed by a different name than you expect. Many works that aren't originally in English—including anime—are listed by their original language title or a direct translation first, and sometimes a franchise or series's official name might not be what you personally call it, for instance many people think of Phillip Pullman's His Dark Materials series as The Golden Compass series, so it's best to double check.

What if you wrote an entirely new original story that's not based on anything?  Excellent job, that takes a lot of work, but that probably doesn't belong on Ao3!  The Archive is primarily meant as a repository for fannish content, but in a few particular circumstances things we'd consider Original Work may be appropriate content for the Archive as well. Double check the Archive's Terms of Service FAQ and gauge if what you wrote falls under the scope of what is allowed. If what you wrote really doesn't fit here, post it somewhere else or try to get it published if you feel like giving it a shot.

Category

What Ao3 means by category is “does this fic focus on sex or romance, and if so what combination of genders are involved in that sex or romance?”

The category options are:

F/F

F/M

Gen

M/M

Multi

Other

The F/F, F/M, and M/M categories are for stories focused on pairings of two women, a woman and a man, and two men, respectively.  These refer to sexual and/or romantic pairings.

The Other category is for stories focused on (sexual and/or romantic) pairings where one or both partners are not strictly male or female, such as nonbinary individuals, people from cultures with gender systems that don't match to the Western man-woman system, and nonhuman characters for whom biological sex works differently or is nonexistent, including aliens, robots, and inanimate objects or abstract concepts. There are some problems with treating nonbinary humans, eldritch tentacle monsters, sexless androids, and wayward container ships as all the same category, but it's the system we currently have to work with. Use Additional Tags to clarify the situation.

Multi is for stories in which several (sexual and/or romantic) relationships are focused on or which focus on relationships with multiple partners, including cases of polyamory, serial monogamy, strings of hookups with different people, and orgies.  A fic will also show as “Multi” if you, the author, have selected more than one category for the fic, even if none of those are the Multi category. Realistically, the Archive needs separate “Multiple Categories” and “Poly” options, but for now we have to work with this system in which the two are combined.  Use Additional Tags to clarify the situation.

Gen is for stories that do not contain or are not focused on sex or romance. Romance may be present in a gen fic but it's going to be in the background.  While rare, there is such a thing as a sexually explicit gen fic—solo masturbation which does not feature fantasizing about another character is explicit gen fic; a doctor character seeing a series of patients with sex-related medical needs following an orgy may qualify if the orgy is not shown and the doctor is being strictly professional—but such fic needs to be rated, otherwise tagged, and explained carefully in the summary and/or author's note.

Much like the warnings section, category is a “select all that apply” situation. Use your best judgement. For a fic about a polyamorous relationship among a group of women, it's entirely appropriate to tag it as both F/F and Multi.  A poly fic with a combination of men and women in the relationship could be shown as both M/M and F/M, Multi, or all three. A fic that focuses equally on one brother and his husband and the other brother and his wife should be tagged both M/M and F/M, and could be tagged as Multi but you might decided not to just to be clear that there's no polyamory going on. If you wrote a fic about two characters who are both men in canon, but you wrote one of them as nonbinary, you could tag it M/M, Other, or both depending on what you feel is representative and respectful.

When dealing with trans characters, whether they're trans in canon or you're writing them as such, the category selection should match the character's gender.  If there's a character who is a cis woman in canon, but who you're writing as a trans man, you categorize the fic based on his being a man. If there's a character who is a cis man in canon, but whom you're writing as a trans man, he is still a man and the fic should be categorized accordingly. When dealing with nonbinary characters the fic should really be classed as Other though, by convention, fics about characters who are not nonbinary in canon may be classed based on the character's canon gender as well or instead. When dealing with gender swapped characters—i.e. a canonically cis male superhero who you're writing as a cis woman—class the fic using the gender you wrote her with, not the gender he is in canon.

Most of the time, gen fics should not be categorized jointly with anything else because a fic should only be categorized based on the ships it focuses on, and a gen fic should not be focusing on a ship in the first place.*

*(One of the few circumstances in which it might make sense to class a fic as both gen and something else is when writing about Queerplatonic Relationships, but that is a judgement call and depends on the fic.)

Relationship Tags

The thing about relationship tagging that people most frequently misunderstand or just don't know is the difference between “Character A/Character B” and “Character A & Character B.”

Use a “/” for romantic or sexual relationships, such as spouses, people who are dating, hookups, and friends with benefits. Use “&” for platonic or familial relationships, such as friends, siblings, parents with their kids, coworkers, and deeply connected mortal enemies who are not tragically in love.

This is where we get the phrase “slash fic.” Originally, that meant any fic focused on a romantic paring, but since so much of the romantic fic being produced was about pairs of men, “slash fic” came to mean same-sex pairings, especially male same-sex pairings. Back in earlier days of fandom, pre-Ao3 and even pre-internet, there was a convention that when writing out a different-sex pairing, you did so in man/woman order, while same-sex pairings were done top/bottom. Some authors, especially those who have been in the fic community a long time, may still do this, but the convention has not been in consistent, active use for many years, so you don't have to worry about putting the names in the “correct” order. Part of why that died out is we, as a community, have gotten less strict and more nuanced in our understandings of sex and relationships, we're writing non-penetrative sex more than we used to, and we're writing multi-partner relationships and sex more than we used to, so strictly delineating “tops” and “bottoms” has gotten less important and less useful.

The convention currently in use on Ao3 is that the names go in alphabetical order for both “/” and “&” relationships. In most cases, the Archive uses the character's full name instead of a nickname or just a given name, like James "Bucky" Barnes instead of just Bucky or James. We'll talk more about conventions for how to input character names in the Characters section. The Archive will give you suggestions as you type—if one of them fits what you mean but is slightly different from how you were typing it, for instance it's in a different order, please use the tag suggested! Consistency in tags across users helps the site work more smoothly for everybody.

This is really not the place for ship nicknames like Puckleberry, Wolfstar, or Ineffable Wives. Use the characters' names.

Now that you know how to format the relationship tag to say what you mean, you have to figure out what relationships in your fic to tag for.

The answer is you tag the relationships that are important to the story you're telling, the ones you spend time and attention following, building up, and maybe even breaking down. Tagging for a ship is not a promise of a happy ending for that pair; you don't have to limit yourself to tagging only the end-game ships if you're telling a story that's more complicated than “they get together and live happily ever after.” That said, you should generally list the main ship—the one you focus on the most—first on the list, and that will usually be the end-game ship. You should also use Additional Tags, the summary, and author's notes to make it clear to readers if your fic does not end happily for a ship you've tagged. Otherwise readers will assume that a fic tagged as being about a ship will end well for that ship, because that's what usually happens, and they'll end up disappointed and hurt, possibly feeling tricked or lied to, when your fic doesn't end well for that ship

You don't have to, and honestly shouldn't, tag for every single relationship that shows up in your fic at all. A character's brief side fling mentioned in passing, or a relationship between two background characters should not be listed under the Relationship tag section. You can list them in the format “minor Character A/Character C” or “Character C/Character D – mentions of” in the Additional Tags section if you want to, or just tag “Minor or Background Relationship(s)” under either the Relationship tag section or in the Additional Tags section.

There are two main reasons to not tag all those minor relationships. The first is to streamline your tags, which makes them clearer and more readable, and therefore more useful. The second reason is because certain ships are far more common as minor or background relationships than as the focus of a work, so tagging all your non-focus focus ships leads to the tags for these less popular ships getting clogged with stories they appear in, but that are not about them. That is, of course, very frustrating for readers who really want to read stories that focus on these ships.

If your fic contains a major relationship between a canon character and an OC, reader-insert, or self-insert, tag it as such. The archive already has /Original Character, /Reader, /You, and /Me tags for most characters in most fandoms. If such a relationship tag isn't already in use, type it in yourself. There are OC/OC tags, too, some of which specify gender, some of which do not.  All the relationship tags that include OCs stack the gender-specific versions of the tags under the nongendered ones. Use these tags as appropriate.

For group relationships, both polycules and multi-person friendships, you “/” or “&” all the names involved in alphabetical order, so Alex/Max/Sam are dating while Chris & Jamie & Tori are best friends. For a poly situation where not everyone is dating each other you should tag it something like “Alex/Max, Alex/Sam” because Alex is dating both Max and Sam, but Max and Sam are not romantically or sexually involved with each other. Use your judgement as to whether you still want to include the Alex/Max/Sam trio tag, and whether you should also use a “Sam & Max” friendship tag.

Generally, romantic “/” type relationships are emphasized over “&” type relationships in fic. It is more important that you tag your “/”s thoroughly and accurately than that you tag your “&”s at all. This is because readers are far more likely to either be looking for or be squicked by particular “/” relationships than they are “&” relationships. You can tag the same pair of characters as both / and & if both their romance and their friendship is important to the story, but a lot of people see this as redundant. If you're writing incest fic, use the / tag for the pair not the & tag and put a courtesy tag for “incest” in the Additional Tags section; this is how readers who do not want to see incestuous relationships avoid that material.

Queerplatonic Relationships, Ambiguous Relationships, Pre-Slash, and “Slash If You Squint” are all frequently listed with both the “/” and “&” forms of the pairing; use your best judgement as to whether one or the other or both is most appropriate for what you've written and clarify the nature of the relationship in your Additional Tags.

Overall, list your “/” tags first, then your “&” tags.

Character Tags

Tagging your characters is a lot like tagging your relationships. Who is your fic about? That's who you put in your character tags.

You don't have to and really should not tag every single background character who shows up for just a moment in the story, for pretty much the same reasons you shouldn't tag background relationships.  We don't want to clog less commonly focused on characters' tags with stories they don't feature prominently in.

You do need to tag the characters included in your Relationship tags.

A character study type of fic might only have one character you need to tag for. Romantic one shots frequently only have two. Longfics and fics with big ensemble casts can easily end up with a dozen characters or more who really do deserve to be tagged for.

Put them in order of importance. This doesn't have to be strict hierarchal ranking, you can just arrange them into groups of “main characters,” “major supporting characters,” and “minor supporting characters.” Nobody less than a minor supporting character should be tagged. Even minor supporting characters show up for more than one line.

If everyone in the fic is genuinely at the same level of importance (which does happen, especially with small cast fics), then order doesn't really matter. You can arrange them by order of appearance or alphabetically by name if you want to be particularly neat about it.

Do tag your OCs! Some people love reading about OCs and want to be able to find them; some people can't stand OCs and want to avoid them at all costs; most people are fine with OCs sometimes, but might have to be in the mood for an OC-centric story or only be comfortable with OCs in certain contexts. Regardless, though, Character tags are here to tell readers who the story is about, and that includes new faces. Original Characters are characters and if they're important to the story, they deserve to be tagged for just like canon characters do.

There are tags for “Original Character(s),” “Original Male Character(s),” and “Original Female Character(s).” Use these tags!  If you have OCs you're going to be using frequently in different stories, type up a character tag in the form “[OC's Name] – Original Character” and use that in addition to the generic OC tags.

Also tag “Reader,” “You,” or “Me” as a character if you've written a reader- or self-insert.

You can use the “Minor Characters” tag to wrap up everybody, both OC and canon, who doesn't warrant their own character tag. Remember, though, that this tag is also used to refer to minor canon characters who may not have their own official names.

Just like when tagging for relationships, the convention when tagging for characters is to use their full name. The suggestions the Archive gives you as you type will help you use the established way of referring to a given character.

Characters who go by more than one name usually have their two most used names listed together as one tag with the two names separated by a vertical bar like “Andy | Andromache of Scythia.” This also gets used sometimes for characters who have different names in an adaptation than in the source text, or a different name in the English-language localization of a work than in the original language. For character names from both real-world and fictional languages and cultures that put family or surname before the given name—like the real Japanese name Takeuchi Naoko or the made up Bajoran name Kira Nerys—that order is used when tagging, even if you wrote your fic putting the given name first.

Some characters' tags include the fandom they're from in parentheses after their name like “Connor (Detroit: Become Human).” This is mostly characters with ordinary given names like Connor and no canon surname, characters who have the same full name as a character in another fandom, such as Billy Flynn the lawyer from the musical Chicago and Billy Flynn the serial killer played by Tim Curry in Criminal Minds, and characters based on mythological, religious, or historical figures or named for common concepts such as Lucifer, Loki, Amethyst, Death, and Zero that make appearances in multiple fandoms.

Additional Tags

Additional Tags is one of the most complicated, and often the longest, section of metatext we find ourselves providing when we post fic. It's also the one that gives our readers the greatest volume of information.

That, of course, is what makes it so hard for us to do well.

It can help to break down Additional Tags into three main functions of tag: courtesy tags, descriptive tags, and personal tags.

Courtesy tags serve as extensions of the rating and warning systems. They can help clarify the rating, provide more information about the Archive Warnings you've used or chosen not to use, and give additional warnings to tell readers there are things in this fic that may be distasteful, upsetting, or triggering but that the Archive doesn't have a standard warning for.

Descriptive tags give the reader information about who's in this fic, what kind of things happen, what tropes are in play, and what the vibe is, as well as practical information about things like format and tense.

Personal tags tell the readers things about us, the author, our process, our relationship to our fic, and our thoughts at the time of posting.

It doesn't really matter what order you put these tags in, but it is best practice to try to clump them: courtesy tags all together so it's harder for a reader to miss an important one, ship-related info tags together, character-related info tags together, etc.

There are tons and tons of established tags on Ao3, and while it's totally fine, fun, and often necessary to make up your own tags, it's also important to use established tags that fit your fic.  For one thing, using established tags makes life easier for the tag wranglers behind the scenes. Using a new tag you just made up that means the same thing as an established tag makes more work for the tag wranglers. We like the tag wranglers, they're all volunteers, and they're largely responsible for the search and sorting features being functional. Be kind to the tag wranglers.

For basically the same reasons, using established tags makes it easier for readers to find your fic. If a reader either searches by a tag or uses filters on another search to “Include” that tag, and you didn't use that tag, your fic will not show up for them even if what you wrote is exactly what they're looking for.  Established tags can be searched by exactly the same way as you search by fandom or pairing, your off the cuff tags cannot.

Let's talk about some well-known established tags and common tag types, divvied up by main function.

Courtesy

A lot of courtesy tags are specific warnings like “Dubious Consent,” “Incest,” “Drug Use,” “Extremely Underage,” “Toxic Relationship,” and “Abuse.” Many of these have even more specific versions such as “Recreational Drug Use” and “Nonconsensual Drug Use,” or “Mildly Dubious Consent” and “Extremely Dubious Consent.”

Giving details about what, if any, drugs are used or mentioned, specifying what kinds of violence or bodily harm are discussed or depicted, details about age differences or power-imbalanced relationships between characters who date or have sex, discussion or depictions of suicide, severe or terminal illness, or mental health struggles is useful. It helps give readers a clear sense of what they'll encounter in your fic and decide if they're up for it.

One the most useful courtesy warning tags is “Dead Dove: Do Not Eat” which basically means “there are things in this fic which are really screwed up and may be disturbing, read at your own risk, steer clear if you're not sure.” This tag—like all courtesy warnings, really—is a show of good faith, by using it you are being a responsible, and thoughtful member of the fanfic community by giving readers the power and necessary information to make their own informed decisions about what they are and are not comfortable reading.

Saying to “Heed the tags” is quite self-explanatory and, if used, should be the last or second to last tag so it's easy to spot.  Remember, though, that “Heed the tags” isn't useful if your tags aren't thorough and clear.

“Additional Warnings In Author's Note” is one of only things that should ever go after “Heed the tags.”  If you use this, your additional warnings need to go in the author's note at the very beginning of the fic, not the one at the end of the first chapter.  If your additional warnings write up is going to be very long because it's highly detailed, then it can go at the bottom of the chapter with a note at the beginning indicating that the warnings are at the bottom. Some authors give an abbreviated or vague set of warnings in the initial note, then longer, highly detailed, spoilery warnings in the end note. It's best to make it as simple and straightforward as possible for readers to access warnings.

Tagging with “Dead Dove: Do Not Eat,” “Heed the tags,” or “Additional Warnings In Author's Note” is not a substitute for thorough and appropriate courtesy tagging. These are extra reminders to readers to look closely at the other warnings you've given.

While most courtesy tags are warnings, some are assurances like “No Lesbians Die” or “It's Not As Bad As It Sounds.”  A fic tagged for rape or dub-con may get a tag assuring that the consent issues are not between the characters in the main ship; or a fic with a premise that sounds likely to involve lack of consent but actually doesn't may get a tag that it's “NOT rape/non-con.” A tag like “Animal Death” may be immediately followed by a freeform tag assuring that the animal that dies is not the protagonist's beloved horse.

Descriptive

There are a few general kinds of descriptive tags including character-related, ship-related, temporal, relation-to-canon, trope-related, smut details, and technical specifications.

Many character- and ship-related tags simply expand on the Character and Relationship tags we've already talked about.  This is usually the place to specify details about OCs and inserts, such as how a reader-insert is gendered.

When it comes to character-related tags, one of the most common types in use on Ao3 and in fandom at large is the bang-path. This is things like werewolf!Alex, trans!Max, top!Sam, kid!Jamie, and captain!Tori. Basically, a bang-path is a way of specifying a version of a character. We've been using this format for decades; it comes from the very first email systems used by universities in the earliest days of internet before the World Wide Web existed. It's especially useful for quickly and concisely explaining the roles of characters in an AU. Nowadays this is also one of the primary conventions for indicating who's top and who's bottom in a ship if that's information you feel the need to establish.  The other current convention for indicating top/bottom is as non-bang-path character-related tags in the form “Top [Character A], Bottom [Character B].”

Other common sorts of character tags are things like “[Character A] Needs a Hug,” “Emotionally Constipated [Character B],” and “[Character C] is a Good Dad.”

Some character-related tags don't refer to a particular character by name, but tell readers something about what kinds of characters are in the fic. Usually, this indicates the minority status of characters and may indicate whether or not that minority status is canon, as in “Nonbinary Character,” “Canon Muslim Character,” “Deaf Character,” and “Canon Disabled Character.”

Down here in the tags is the place to put ship nicknames!  This is also where to say things like “They're idiots your honor” or indicate that they're “Idiots in Love,” maybe both since “Idiots in Love” is an established searchable tag but “They're idiots your honor” isn't yet. If your fandom has catchphrases related to your ship, put that here if you want to.

If relevant, specify some things about the nature of relationships in your fic such as “Ambiguous Relationship,” “Queerplatonic Relationships,” “Polyamory,” “Friends With Benefits,” “Teacher-Student Relationship,” and so on. Not all fics need tags like these. Use your best judgement whether your current fic does.

Temporal tags indicate when your fic takes place. That can be things like “Pre-Canon” and “Post-Canon,” “Pre-War,” “Post-Captain America: The Winter Soldier,” “1996-1997 NHL season,” “Future Fic,” and so on.  These tags may be in reference to temporal landmarks in canon, in the real world, or both depending on what's appropriate.

Some temporal tags do double duty by also being tags about the fic's relationship to canon. The Pre- and Post-Canon tags are like that.

Other relation-to-canon type tags are “Canon Compliant” for fics that fit completely inside the framework of canon without changing or contradicting anything, “Alternate Universe - Canon Divergence” for fics that are compliant up to a certain point in canon, then veer off (maybe because you started writing the fic when the show was on season two but now it's at season four and you're not incorporating everything from the newer seasons, maybe a character died and you refuse to acknowledge that, maybe you just want to explore what might have happened if a particular scene had gone differently), and the various other Alternate Universe tags for everything from coffee shop AUs and updates to modern settings, to realities where everyone is a dragon or no one has their canon superpowers.

The established format for these tags is “Alternate Universe – [type],” but a few have irregular names as well, such as “Wingfic” for AUs in which characters who don't ordinarily have wings are written as having wings.

If you have written an AU, please tag clearly what it is! Make things easy on both the readers who are in the mood to read twenty royalty AUs in a row, the readers who are in the middle of finals week and the thought of their favorite characters suffering through exams in a college AU would destroy the last shred of their sanity but would enjoy watching those characters teach high school, and the readers who really just want to stick to the world of canon right now.

Admittedly, it can get a little confusing what AU tag or tags you need to describe what you've written since most of us have never had a fandom elder sit us down and explain what the AU tags mean. One common mix up is tagging things “Alternate Universe - Modern Setting” when what's meant is “Alternate Universe - Canon Divergence.”  The misunderstanding here is usually reading “Alternate Universe - Modern Setting” and thinking it means an alternate version of the canon universe that is set at the same time as the canon universe, but is different in some way. That's not how the tag is meant to be used, though.

The Modern Setting AU tag is specifically for fic set now (at approximately the same time period it was written), for media that's canonically set somewhere that is very much not the present of the real world. This can mean things set in the past (like Jane Austen), the future (like Star Trek), or a fantasy world entirely different from our own (like Lord of the Rings or Avatar: the Last Airbender). Fic for a canon that's set more or less “now” doesn't need the Modern Setting AU tag, even if the world of canon is different from our own. If you're removing those differences by putting fantasy or superhero characters in a world without magic or supersoldier serum, you might want the “Alternate Universe - No Powers” tag instead.

Some of the most fun descriptive tags are trope tags. This includes things like “Mutual Pining,” “Bed Sharing” for when your OTP gets to their hotel room to find There Was Only One Bed, “Fake Dating,” “Angst,” Fluff,” “Hurt/Comfort” and all its variants.  Readers love tropes at least as much as we love writing them and want to be able to find their favorites. Everyone also has tropes they don't like and would rather avoid. Tagging them allows your fic to be filtered in and out by what major tropes you've used.

Explicit fics, and sometimes fics with less restrictive ratings, that contain sex usually have tags indicating details about the nature of the sexual encounter(s) portrayed and what sex acts are depicted. These are descriptive tags, but they also do double duty as courtesy tags. This is very much a situation in which tags are a consent mechanism; by thoroughly and clearly tagging your smut you are giving readers the chance to knowingly opt in or out of the experience you've written.

Most of the time, it's pretty easy to do basic tagging for sex acts—you know whether what you wrote shows Vaginal Sex, Anal Sex, or Non-penetrative Sex.  You probably know the names for different kinds of Oral Sex you may have included. You might not know what to call Frottage or Intercrural Sex, though, even if you understand the concept and included the act in your fic. Sometimes there are tags with rectangle-square type relationships (all Blow Jobs are Oral Sex, but not all Oral Sex is a Blow Job) and you're not sure if you should tag for both—you probably should. Sometimes there are tags for overlapping, closely related, or very similar acts or kinks and you're not sure which to tag—that one's more of judgement call; do your best to use the tags that most closely describe what you wrote.

Tag for the kinks at play, if any, so readers can find what they're into and avoid what they're not. Tag for what genitalia characters have if it's nonobvious, including if there's Non-Human Genitalia involved. Tag your A/B/O, your Pon Farr, and your Tentacles, including whether it's Consentacles or Tentacle Rape.

Technical specification tags give information about aspects of the fic other than its narrative content.  Most things on Ao3 are prose fiction so that's assumed to be the default, so anything else needs to be specified in tags. That includes Poetry, Podfics, things in Script Format, and Art. If it is a podfic, you should tag with the approximate length in minutes (or hours). If a fic is Illustrated (it has both words and visual art) tag for that.

Tag if your fic is a crossover or fusion.  The difference, if you're not sure, is that in a crossover, two (or more) entire worlds from different media meet, whereas in a fusion, some aspects of one world, like the cast of characters, are combined with aspects of another, like the setting or magic system.

If the team of paranormal investigators from one show get in contact with the cast of aliens from another show, that's a crossover and you need to have all the media you're drawing from up in the Fandom tags. If you've given the cast of Hamlet physical manifestations of their souls in the form of animal companions like the daemons from His Dark Materials but nothing else from His Dark Materials shows up, that's a fusion, the Fandom tag should be “Hamlet - Shakespeare,” and you need the “Alternate Universe - Daemons” tag. If you've given the members of a boy band elemental magic powers like in Avatar: the Last Airbender, that can be more of a judgement call depending how much from Avatar you've incorporated into your story. If absolutely no characters or specific settings from Avatar show up, it's probably a fusion.  Either way, if the boyband exists in real life, it needs to be tagged as RPF.

Tag if your fic is a Reader-Insert or Self-Insert.

You might want to tag for whether your fic is written with POV First, Second, or Third Person, and if it's Past Tense or Present Tense (or Future Tense, though that's extremely uncommon).  For POV First Person fics that are not self-inserts, or POV Third Person fics that are written in third person limited, you may want to tag which character's POV is being shown. Almost all POV Second Person fics are reader-insert, so if you've written one that isn't, you should tag for who the “you” is.

A fic is “POV Outsider” if the character through whom the story is being conveyed is outside the situation or not familiar with the characters and context a reader would generally know from canon. The waitress who doesn't know the guy who just sat down in her diner is a monster hunter, and the guy stuck in spaceport because some hotshot captain accidentally locked down the entire space station, are both potential narrators for POV Outsider stories.

Other technical specifications can be tags for things like OCtober and Kinktober or fic bingo games.  Tagging something as a Ficlet, One Shot, or Drabble is a technical specification (we're not going to argue right now over what counts as a drabble). Tagging for genre, like Horror or Fantasy, is too.

It's also good to tag accessibility considerations like “Sreenreader Friendly,” but make sure your fic definitely meets the needs of a given kind of accessibility before tagging it.

Personal

Even among personal tags there are established tags!  Things like “I'm Sorry,” “The Author Regrets Nothing,” “The Author Regrets Everything,” and “I Wrote This Instead of Sleeping” are common ones.  Tags about us and our relationship to the fic, such as “My First Work In This Fandom,” “Author is Not Religious,” and “Trans Porn By A Trans Author,” can help readers gauge what to expect from our fic. Of course, you are not at all obligated to disclose any personal information for any reason when posting your fic.

The “I'm Bad At Tagging” tag is common, but probably overused. Tagging is hard; very few of us have a natural feel for it even with lots of practice.  It's not a completely useless tag because it can indicate to readers that you've probably missed some things you should have tagged for, so they should be extra careful; but it can also turn into a crutch, an excuse to not try, and therefore a sign to readers they can't trust your tagging job. Just do your best, and leave off the self depreciation. If you're really concerned about the quality of your tagging, consider putting in an author's note asking readers to let you know if there are any tags you should add.

You might want to let readers know your fic is “Not Beta Read” or, if you're feeling a little cheekier than that, say “No Beta We Die Like Men” or its many fandom-specific variants like the “No Beta We Die Like Robins” frequently found among Batman fics and “No beta we die like Sunset Curve” among Julie and The Phantoms fic. Don't worry, the Archive recognizes all of these as meaning “Not Beta Read.”

The Archive can be inconsistent about whether it stacks specific variants of Additional Tags under the broadest version of the tag like it does with Fandom tags, so best practice is usually to use both.  You can double check by trying to search by a variant tag (or clicking on someone else's use of the variant); if the results page says the broader or more common form of the tag, those stack.

There's no such thing as the right number of tags. Some people prefer more tags and more detail, while other people prefer fewer more streamlined tags, and different fics have different things that need to be tagged for.  There is, however, such a thing as too many tags.  A tagblock that takes up the entire screen, or more, can be unreadable, at which point they are no longer useful. Focus on the main points and don't try to tag for absolutely everything.  Use the “Additional Warnings In Author's Note” strategy if your courtesy tags are what's getting out of hand.

Tag for as much as you feel is necessary for readers to find your fic and understand what they're getting into if they decide to open it up.

A little bit of redundancy in tags is not a sin.  In fact, slight redundancy is usually preferable to vagueness. Clear communication in tags is a cardinal virtue. Remember that tags serve a purpose, they're primarily a tool for sorting and filtering, and (unlike on some other sites like tumblr) they work, so it's best to keep them informative and try to limit rambling in the tags. Ramble at length in your author's notes instead!

Titles

Picking a title can be one of the most daunting and frustrating parts of posting a fic. Sometimes we just know what to call our fics and it's a beautiful moment. Other times we stare at that little input box for what feels like an eternity.

The good news is there's really no wrong way to select a title. Titles can be long or short, poetic or straight to the point. Song lyrics, idioms, quotes from literature or from the fic itself can be good ways to go.

Single words or phrases with meanings that are representative of the fic can be great. A lot of times these are well known terms or are easy enough to figure out like Midnight or Morning Glow, but if you find yourself using something that not a lot of people know what it means, like Chiaroscuro (an art style that uses heavy shadow and strong contrast between light and dark), Kintsukuroi (the Japanese art of repairing broken pottery with gold), or Clusivity (the grammatical term for differences in who is or isn't included in a group pronoun), you should define the term in either a subtitle, i.e. “Chiaroscuro: A Study In Contrast,” or at the beginning of the summary.

As a courtesy to other writers, especially in small fandoms, you may want to check to make sure there's not already another fic with the same title in the same fandom, but this is not required. In large fandoms, there's no point in even trying. After all, there are only so many puns to be made about the full moon and only so many verses to Hallelujah.

It may be common practice on other platforms to include information such as fandom or ship in the title of a fic, but on Ao3 nothing that is specified by tags belongs in the title unless your title happens to be the same as a tag because, for instance, you've straightforwardly titled your character study of Dean Winchester “Dean Winchester Character Study” and also responsibly tagged it as such.

Summaries

Yes, you really do need to put something down for the summary. It might only need to be a single sentence, but give the readers something to go off of.

The summary is there to serve two purposes: one, to catch the interest of potential readers, give them a taste of what's inside, and make them want to know more; and two, to give you a space to provide information or make comments that don't really fit in the tags but that you want readers to see before they open the fic.

We've already talked some about that second function. When you put an explanation of the title or clarification about tags in the summary, that's the purpose it's serving. You can also put notes to “Heed the tags” or instruct readers that there are additional warnings in the author's note here in the summary, rather than doing so in the tags.

The first function, the actual summarizing, can be very hard for some of us.  It's basically the movie trailer for your fic, butwhat are you even supposed to say?

There are two main strategies as to how to approach this: the blurb, and the excerpt. Blurbs are like the synopses you at least used to see on the backs of published books, or the “Storyline” section on an IMDb page. Writing one is a matter of telling your readers who does what, under what circumstances.

Depending on the fic, one sentence can capture the whole thing: “Sam and Alex have sex on a train.” “Tori tries to rob a bank.” “If anybody had mentioned Max's new house was haunted, Jamie wouldn't have agreed to help with the move.”

Sometimes a blurb can be a question! “What happens when you lock a nuclear engineer in a closet with a sewing kit, a tennis ball, and half a bottle of Sprite?”

Of course, plenty of blurbs are more than one sentence. Their length can vary pretty significantly depending on the type and length of fic you're working with and how much detail you're trying to convey, but it shouldn't get to be more than a few short paragraphs. You're not retelling the entire fic here.

An excerpt is a portion of the fic copied out to serve as the summary. This, too, can vary in length from a line or two to several paragraphs, but shouldn't get too long. It should not be an entire scene unless that scene happens to be uncommonly short. It's important to select a portion of the fic that both indicates the who, what, and under what circumstances of the fic and is representative of the overall tone. Excerpts that are nothing but dialogue with no indication of who's talking are almost never a good choice. Portions that are sexually explicit or extremely violent are never ever a good choice—if it deserves content warnings, it belongs inside the fic, not on the results page.

Counterintuitively, some of the best excerpts won't even look like an excerpt to the reader if they don't contain dialogue. They seem like particularly literary blurbs until the reader reaches that part in the fic and realizes they recognize a section of narration.

Some of us have very strong preferences as to whether we write blurbs or use excerpts for our summaries. Some readers have very strong preferences as to which they find useful. Ultimately, there's no accounting for taste, but there are things we can do to limit the frustration for readers who prefer summaries of the opposite kind than we prefer to write, without increasing our own frustration or work load very much. Part of that is understanding what readers dislike about each type so we know what to mitigate.

Blurbs can seem dry, academic, and overly simplified. They don't automatically give the reader a sense of your writing style the way an excerpt does. They can also seem redundant, like they're just rehashing information already given in the tags, so the reader feels like they're being denied any more information without opening the fic.

Excerpts can seem lazy, like you, the author, don't care enough to bother writing a blurb, or pushy like you're telling the reader “just read the fic; I'm not going to give you the information you need to decide if you want to read or not, I'm shoving it in front of you and you just have to read it.” That effect gets worse if your tags aren't very informative or clear about what the plot is, if the excerpt is obviously just the first few lines or paragraphs of the fic, if the except is particularly long, or, worst of all, if all three are true at once.

A lot of the potential problems with blurbs can be minimized by having fun writing them! Make it punchy, give it some character, treat it like part of the story, not just a book report. A fic for a serialized show or podcast, for instance, could have a blurb written in the style of the show's “previously on” or the podcast's intro.  Make sure the blurb gives the reader something they can't just get from the tags—like the personality of your writing, important context or characterization, or a sense of the shape of the story—but don't try to skimp on the tags to do it!

Really, the only way to minimize the potential problems with excerpts is to be very mindful in selecting them. Make sure the portion you've chosen conveys the who, what, and under what circumstances and isn't too long.  You know the story; what seems clear and obvious from the excerpt to you might not be apparent to someone who doesn't already know what happens, so you might need to ask a friend to double check you.

The absolute best way to provide a summary that works for everybody is to combine both methods. It really isn't that hard to stick a brief excerpt before your blurb, or tack a couple lines of blurb after your excerpt, but it can make a world of difference for how useful and inviting your summary is to a particular reader. The convention for summaries that use both is excerpt first, then blurb.

If you're struggling to figure out a summary, or have been in the habit of not providing one, try not to stress over it. Anything is better than nothing.  As long as you've written something for a summary, you've given the reader a little more to help them make their decision. What really isn't helpful, though, is saying “I'm bad at summaries” in your summary. It's a lot like the “I'm Bad At Tagging” tag in that it's unnecessarily self depreciating, frequently comes across as an excuse not to try, and sometimes really is just an excuse. Unlike the “I'm Bad At Tagging” tag, which has the tiny saving grace of warning readers you've probably missed something, saying you're bad at summaries has no utility at all, and may drive away a reader who thought your summary was quite good, but is uncomfortable with the negative attitude reflected by that statement. Summaries are hard. It's okay if you don't like your summary, but it's important for it to be there, and it's important to be kind to yourself about it. You're trying, that's what matters.

Author's Notes

Author's notes are the one place where we, the writers, directly address and initiate contact with our readers. We may also talk to them in the comments section, but that's different because they initiate that interaction while we reply, and comments are mostly one-on-one while in author's notes we're addressing everyone who ever reads our fic.

The very first note on a fic should contain any information, such as warnings or explanations, that a reader needs to see before they get to the body of the story, as well as anything like thanks to your beta, birthday wishes to a character, or general hellos and announcements you want readers to see before they get to the body of the story. On multi-chapter fics, notes at the beginning of chapters serve the same function for that chapter as the initial note on the fic does for the whole story, so you can do things like warn for Self-Harm on the two chapters out of thirty where it comes up, let everyone know your update schedule will be changing, or wish your readers a merry Christmas, if they celebrate it, on the chapter you posted on December 23rd but is set in mid-March.

Notes at the end of a fic or chapter are for things that don't need to be said or are not useful to a reader until after they've read the preceding content, such as translations for that handful of dialogue that's in Vulcan or Portuguese, or any parting greetings or announcements you want to give, like a thanks for reading or a reminder school is starting back so you won't be able to write as much. End notes are the best place to plug your social media to readers if you're inclined to do so, but remember that cannot include payment platforms like Patreon or Ko-fi.

As previously mentioned, warnings can go in end notes but that really should only be done when the warnings are particularly long, such that the length might cause a problem for readers who are already confident in their comfort level and would just want to scroll past the warning description. In that case, the additional warnings need to go in the note at the end of the first chapter, rather than at the end of the fic, if it's a multi-chapter fic; and you need to include an initial note telling readers that warnings/explanations of tags are at the bottom so they know to follow where the Archive tells them to see the end of the chapter/work for “more notes.”

When posting a new work, where the Preface section gives you the option to add notes “at the beginning” or “at the end” or both, if you check both boxes, it means notes at the beginning and end of the entire fic, not the beginning and end of the first chapter. For single-chapter fics this difference doesn't really matter, but for multi-chapter fics it matters a lot. In order to add notes to the beginning or end of the first chapter of a multi-chapter fic you have to first go through the entire process to post the new fic, then go in to Edit, Edit Chapter, and add the notes there.

Series and Chapters

Dealing with Series and Chapters is actually two different issues, but they're closely related and cause some of us mixups, especially when we're new to the site and its systems, so we're going to cover them together.

Series on Ao3 are for collecting up different stories that you've written that are associated with each other in some way. Chapters are for dividing up one story into parts, usually for pacing and to give yourself and your readers a chance to take breaks and breathe, rather than trying to get through the entire thing in a single marathon sitting (not that we won't still do that voluntarily, but it's nice to have rest points built in if we need them).

If your story would be one book if it was officially published, then it should be posted as a single fic—with multiple chapters if it's long or has more than one distinct part, like separate vignettes that all go together. If you later write a sequel to that fic, post it as a new fic and put them together in a series. It's exactly like chapters in a book and books in a series. Another way to think of this structure is like a TV show: different fics in the series are like different seasons of the show, with individual chapters being like episodes.

If you have several fics that all take place in the same AU but really aren't the same story those should go together as a series.  If you wrote a story about a superhero team re-cast as school teachers, then wrote another story about different characters in the same school, that's this situation.

Series are also the best way to handle things like prompt games, bingos, or Kinktober, or collect up one shots and drabbles especially if your various fills, entries, and drabbles are for more than one fandom. If you put everything for a prompt game or bingo, or all your drabbles, together as one fic with a different chapter for each story, what ends up happening is that fic gets recognized by the Archive as a crossover when it isn't, so it gets excluded from the results pages for everyone who told the filters to Exclude Crossovers even though one of the stories you wrote is exactly what they're looking for; and that fic ends up with tons and tons of wildly varying and self-contradictory tags because it's actually carrying the tags for several entirely different, possibly unrelated stories, which also means it ends up getting excluded from results pages because, for instance, one out of your thirty-one Kinktober entries is about someone's NoTP.

Dividing these kinds of things up into multiple fic in a series makes it so much easier for readers to find what of your work they actually want to read.

If you've previously posted such things as a single fic, don't worry, it's a really common misunderstanding and there is absolutely nothing stopping you from reposting them separately. You may see traffic on them go up if you do!

Parting Thoughts

Metatext is ultimately all about communication, and in this context effective communication is a matter of responsibility and balance.

Ao3 is our archive. It's designed for us, the writers, to have the freedom to write and share whatever stories we want without having to worry that we'll wake up one day and find our writing has been deleted overnight without warning.  That has happened too many times to so many in our community as other fanfic sites have died, been shut down, or caved to threats of legal action. Ao3 is dedicated to defending our legal right to create and share our stories. Part of the deal is that, in exchange for that freedom and protection, we take up the responsibility to communicate to readers what we're writing and who it's appropriate for.

We are each other's readers, and readers who don't write are still part of our community. We have a responsibility as members of this community to be respectful of others in our shared spaces.  Ao3 is a shared space. The best way we have to show each other respect is to give one another the information needed to decide if a given fic is something we want to engage with or not, and then, in turn, to not engage with fic that isn't our cup of tea. As long as our fellow writer has been clear about what their fic is, they've done their part of the job. If we decided to look at the fic despite the information given and didn't like what we found, then that's on us.

Because metatext is how we put that vital information about our fics out in the community, it's important that our metatext is clear and easy to parse. The key to that is balance. Striking the balance between putting enough tags to give a complete picture and not putting too many tags that become an unreadable wall; the balance between the urge to be thorough and tag every character and the need to be restrained so those looking for fics actually about a certain character can find them; the balance between using established tags for clarity and ease and making up our own tags for specificity and fun.

Do your best, act in good faith, remember you're communicating with other people behind those usernames and kudos, and, most importantly, have fun with your writing!

#THE GUIDE #metatext #fandom meta #fandom etiquette #Eiiri made this

[charlie-rulerofhell]

For they know exactly what they do

Today there was a pretty long article published in the German newspaper FAZ, written by Julia Schaaf. Since there were quite a few interesting topics raised in it and Måneskin talked about some new aspects (or in more detail), I translated the whole thing (it might also have helped me to procrastinate).

Full interview in English under the cut.

For they know exactly what they do

June 22, 2021

Four young rock musicians from Rome are today's hottest band. Måneskin are enchanting Europe. Why? We met them for an interview.

Every romance needs its founding myth, an anecdote from the beginning, something you can tell later in more difficult times for self-assurance.

In the case of the band Måneskin, who first had Italy and now half of Europe wrapped around their fingers, and who are now trying to conquer the rest of the world with their rock music, there is the story of the shoe box. Rome, around five years ago: Four teenagers who are meeting every day after school in their rehearsal room to make music together, and sometimes they play their songs on the Via del Corso in the city centre in front of a changing audience. One day they want to record their own stuff. They find a studio that they can actually afford and as they go there they bring a shoe box, with the name of the band written on it, 'moonshine' in Danish, the bassist's mother is Danish. In the box: around seven kilogram of coins. The things you get from playing music on the streets. Everyone searching through Instagram for photos from that time can find four hippies with children's faces, three boys in batik, the girl is wearing a straw hat.

As they have to pay [for the recording], frontman Damiano David, 22, says that there was this guy, Angelo, and his bandmate Victoria De Angelis, 21, is interrupting: “No, Andrea, not Angelo”, and all of them have to laugh because a rigid studio manager with the Italian name 'angel' would be even funnier for a founding myth. David continues his story: “The guy was completely dumbfounded. 'We can't do that.' We went: 'Sure we can, that's worth the same even if it's just 20 cent coins, it's still 300 euros.” Thomas Raggi, 20, the guitarist of the band, is gasping for air as he laughs, while drummer Ethan Torchio, 20, is smiling dreamily. David finishes: “And then we snuck off before he was able to count it.” [the German text says 'verdrücken' here which is just a colloquial way of saying 'we left', but it entails some sort of a dramatic exit, so yeah, let your thoughts get creative how they left exactly :D].

Four young musicians on the verge of global fame are sitting on a white interview sofa in Berlin, completely styled, babbling across each other like overeager teenagers.

Ever since the Roman band first won the music festival Sanremo and then also the Eurovision Song Contest, carried by the enthusiasm of European viewers, you could say Måneskin has become a phenomenon. “Rock 'n' Roll never dies!”, Damiano David yelled fueled by the adrenaline of winning, and the insinuation that circulated on social media of the singer snorting during the counting of votes in front of a live camera – including their strict denial followed by a negative drug test result – might have given an additional boost to their public interest, their exploding album, ticket and merch sales, and their outstanding success on Spotify.

“We think it's a shit prejudice against rock music that there always have to be drugs involved. We fully threw ourselves into our participation with the utmost professionalism. We give everything for the music. So of course we don't want people to think that we can only do that because we take drugs.” – Victoria De Angelis

Prior to Eurovision, Måneskin was more of an insider's tip outside of Italy. Handmade rock music, not creating something entirely new but paying homage to the good old times with classic guitar riffs and cracking drum beats, being a lot of fun but also quite fragile and vulnerable at times and, first and foremost, conveying a captivating energy. Finally, on the stage of Rotterdam, live after so many months of isolation and renunciation, this wave of energy spilled straight over into European living rooms. It seemed easy to (mistakenly) interpret the winning song “Zitti e buoni” (Shut up and behave) as a declaration of frustration of our youth in times of a pandemic. In fact, singer Damiano David is singing about the favourite topic of the band: the unrelenting need to, against all odds, be yourself, despite or perhaps because you are different. The message fits their provocative sex appeal, which the band uses to demonstrate their independence of gender norms at any given time. But the core essence of rock music has always been the promise of unlimited freedom.

Thus at the first moment, the meeting with Måneskin is kind of startling. It's Wednesday, we are in the top floor of the new Sony head quarters in Berlin. The four Italians have just started their two-week long promotion tour through Europe. In the afternoon there will be a live concert in a queer club [the SchwuZ, but that's not mentioned here] in Neukölln, which will be streamed via TikTok. Around one million viewers will watch the show, some of them even from Brazil, so people at Sony are pretty excited [for Måneskin to come here]. But at first, these stunningly gorgeous creatures [yes, that's the exact wording :D] are standing surrounded by an entourage of people – their management, PR team, a stylist, a photographer, people who can hold a smartphone or a cigarette if needed [this paragraph is worded a little weirdly, especially taking into account that basically their whole team / 'entourage' is just friends of them, but it seems like the journalist didn't know that or maybe they just wanted to describe their first impression]. They seem like fictional / artificial characters out of a Hollywood movie. Transparent frill blouses with blazers and flared leather trousers, even the platform boots, everything brand-new, the makeup makes their faces look like a glossy magazine cover even in person. The smokey eyes of De Angelis and Raggi make them look smug and bored. Later, on the pictures it will probably look cool.

So of course your first impression might be: This band is under contract to industry giant Sony ever since their success on an Italian casting show [X Factor] in Winter 2017. The music industry must have its hand in the game when a band is photographed half-naked by Oliviero Toscani and styled by Etro. Also, one does not simply rent a villa with a pool in Rome to produce new music there, isolated from the rest of the world. And who else went to London for two whole months, shortly before the winter lockdown, just for inspiration? After the TikTok concert in Berlin – De Angelis and David are now wearing fishnet shirts that sparkle with every move, their bare nipples covered with an X of black tape – the band is posing with a few influencers. In the world of social media you would call that 'producing content'. But what does that mean for a band who are preaching their hosanna of authenticity? How authentic is Måneskin? And is their pointedly casual approach to sexuality and gender cliches in today's pop-cultural spirit more than a marketing strategy?

We're in the interview, the recording device is running for not even five minutes, when Victoria De Angelis says: “Actually, we just try to be ourselves and do what we really want to do.” And really: The more you listen to those four how they speak about the early days of the band in their slurred Roman dialect, about the shoe box and their own experiences with being different, but most importantly about their shared obsession [with music], the more you realise that [De Angelis] is  very serious. Ethan Torchio, who got his first drum kit at the age of six or seven from his father because he was beating everything he could reach, says: “For me, music is like food. I cannot live without it.” The bassist next to him laughs at his pathos. Singer Damiano David applauds the otherwise more reserved friend for his truthfulness [it says 'klarer Punkt', meaning 'for the point he makes', but it makes it seem like Damiano is agreeing with Ethan here, although it doesn't indicate whether he agrees that yes, music is everything for Ethan or that he understands and feels the same].

De Angelis and guitarist Raggi already knew each other from middle school and they were the ones who tried to form a band at the age of only 13, a band that actually took music seriously.

De Angelis: “It's just difficult at that age to find other people who really put everything into music and who truly commit themselves and are willing to invest a lot of their time.”

Raggi: “We set strict rules and scheduled fixed times for the rehearsals, for every day.”

David: “Fever, stomach ache, there was no excuse. Even if you were feeling sick in the rehearsal room. At least you were in the rehearsal room.”

The way the four of them talk across each other, completing each other's sentences, taking turns in talking and sometimes joking about each other, seems intimate and playful. Singer David remembers how at first bassist [De Angelis] was merciless towards him when it came to her first metal band project, as she told him that he wasn't committed enough [to the music]: “Back then I was still playing Basketball. I was one of the people that Vic absolutely didn't want [in her band].” Drummer Torchio was later discovered through Facebook, even though there had already been a drummer, a close friend, but he was not good enough. It seems as if even back then music was everything for them. Even if it meant that only Raggi managed to graduate.

And why rock, why rock music of all things? Because it's great, the four of them say in unison. David adds: “Actually, it's a genre that allows you to do everything you want to do.”

When they played on the street, they were laughed at by their classmates. But not only there. De Angelis explains that she never wanted to be a typical girl: “I was always deterred by those stupid boxes that people put you in, and that are just restricting and constraining you, because something is only regarded as male or female. I always rejected that. Instead, I just wanted to do the things I enjoyed doing, I went skating and played football.” Torchio says: “Friends who are not friends anymore were already telling me at the age of ten that those“ – he grabs his long, silky black hair – “were wrong. Because I'm a boy and boys are meant to have short hair, long hair is only for girls. I was bullied a lot for that.”

“Compared to the past, people in our age became much more open-minded. It gets better.” – Thomas Raggi

Frontman David on the other hand, for whom eye shadow, jingling earrings and nail polish as well as his bare torso with the tattoos have become trademarks by now, says: “I was actually more of the average boy.” De Angelis convinced him to try out some eyeliner, which he describes as a spiritual awakening: “I liked myself much more [with makeup]. I saw myself more as myself. As if it had been a suppressed desire of mine.” On a trip to Copenhagen with the others, when he realised that it really didn't matter what people were thinking about him, he got his first fake fur [coat? the article doesn't specify that] in a second-hand shop and let his clothing style be guided by his own love to experiment: “I realised that my whole life I was just going at half speed.” When it comes to diversity all four of them are becoming almost missionary.

At the same time, their success is not only opening doors for them. Back home in Rome they are barely able to go out on the street due to all the paparazzi. “[You need a] hoodie and huge sunglasses”, David says, “the mask is quite helpful, too.” And still, none of them is complaining, and Torchio explains why: “Even if those experiences right now may have sides that are not so pleasant, we still know that for us a dream is coming true. We experience something that we always had in our minds, so we are willing to face every consequence that this entails.”

So is the band facing difficult times, is Måneskin going to change with all the success? Again, all of them answer at the same time.

David: “I'm not worried about that.”

Raggi: “No way!”

De Angelis: “On the contrary. Everything that happened to us happened because we are who we are, so we want to continue the exact same way and stay ourselves.”

Just a few hours later, they are at the stage in Neukölln, bouncing around like pinballs, hammering at their instruments, flirting with each other. “We are out of our minds, but different from the others”, David sings their winning hymn against conformism, and: “The people talk, unfortunately they talk.” Here on stage, the four paradise birds [a German word describing someone with a flamboyant personality] with their half-nude-glittering outfits are radiating an incredible energy with the utmost sincerity, and you begin to wish there was a live audience instead of the TikTok cameras, absorbing and spreading this energy. Måneskin. A cry for a life after the pandemic, a cry for freedom and a better world.

“We do what we wished for all our lives.” – Ethan Torchio

#måneskin #maneskin #måneskin interview #my stuff #i'm sorry if someone already translated it but i was working on this for the past 3 hours now so i'm still gonna share it #i know most of it is not very new but there were some quite interesting details in there #and it's just always great to read about those four dorks so i wanted to share it with all of you who wanted to read it but couldn't #enjoy and please ignore any possible mistakes i didn't have the time to proof-check everything

[meichenxi]

Hey! I hope you feel better soon

We haven't had a good long linguistics rant from you in a while!! How about you tell us about your favourite lingustical feature or occurrence in a language? Something like a weird grammatical feature or how a language changed

If this doesn't trigger any rant you have stored feel free to educate on any topic you can spontaneously think of, I'd love to hear it :D

ALRIGHT KARO, let's go!! This is a continuation of the other ask I answered recently, and is the second part in a series about linguistic complexity. I suggest you check that one out first for this to properly make sense! (I don't know how to link but uh. it's the post behind this on my blog)

Summary of previous points: the complexity of a language has nothing to do with the 'complexity' of the people that speak it; complexity is really bloody hard to measure; some linguists in an attempt to be not racist argue that 'all languages are equally complex', but this doesn't really seem to be the case, and also still equates cognitive ability with complexity of language which is just...not how things work; arguing languages have different amounts of complexity has literally nothing to do with the cognitive abilities of those who speak it.

Ok. Chinese.

Normally when we look at complexity we like to look at things like number of verb classes, noun classes, and so on. But Chinese doesn't really do any of this.

So what do Chinese and languages like Chinese do that is so challenging to the equicomplexity hypothesis, the idea that all languages are equally complex? I’ll start by talking about some of the common properties of isolating languages - and these properties are often actually used as examples of why these languages are as complex, just in different ways. Oh Melissa, I hear you ask in wide-eyed admiration/curiousity. What are they? By isolating languages, I mean languages that tend to have monosyllabic words, little to no conjugation, particles instead of verb or noun endings, and so on: so languages like Vietnamese, Chinese, Thai and many others in East and South East Asia.

Here’s a list of funky things in isolating languages that may or may not make a language more complex than linguists don't really know what to do with:

Classifiers

Chengyu and 4-word expressions

Verb reduplication, serialisation and resultative verbs

'Lexical verbosity' = complex compounding and word forming strategies

Pragmatics

Syntax

I'll talk about the first two briefly, but I don't have space for all. For clarity of signposting my argument: many linguists use these as explanations of why languages like Chinese are as complex, but I'm going to demonstrate afterwards why the situation is a bit more complicated than that. You could even say it's...complex.

1) Classifiers

You know about classifiers in Chinese, but what you may be interested to learn is that almost all isolating languages in South East Asia use them, and many in fact borrow from each other. The tonal, isolating languages in South East Asia have historically had a lot of contact through intense trade and migration, and as such share a lot of properties. Some classifiers just have to go with the noun: 一只狗，一条河 etc. First of all, if we're defining complexity as 'the added stuff you have to remember when you learn it' (my professors hate me), it's clear that these are added complexity in exactly the same way gender is. Why is it X, and not Y? Well, you can give vague answers ('it's sort of...ribbony' or 'it's kinda...flat'), but more often than not you choose the classifier based on the vibe. Which is something you just have to remember.

Secondly, many classifiers actually have the added ability to modify the type of noun they're describing. These are familiar too in languages like English: a herd of cattle versus a head of cattle. So we have 一枝花 which is a flower but on a stem ('a stem of flower'), but also 一朵花 which is a flower but without the stem (think like...'a blob of flower'). Similarly with clouds - you could have a 一朵云 'blob of cloud' (like a nice, fluffy cloud in a children's book), but you could also have 一片云 which is like a huge, straight flat cloud like the sea...and so on. These 'measure words' do more than measure: they add additional information that the noun itself does not give.

Already we're beginning to see the outline of the problem. Grammatical complexity is...well, grammatical. We count the stuff which languages require you to express, not the optional stuff - and that's grammar. The difference between better and best is clearly grammatical, as is go and went. But what about between 'a blob of cloud' versus 'a plain of cloud'? Is that grammatical? Well, maybe: you do have to include a measure word when you say there's one of it, and in many Chinese languages that are not Mandarin you have to include them every single time you use a possessive: my pair of shoes, my blob of flower etc. But you don't always have to include one specific classifier - there are multiple options, all of which are grammatical. So should we include classifiers as part of the grammar? Or part of the vocabulary (the 'lexicon')?

Err. Next?

2) Chengyu and 4-character expressions + 4) Lexical verbosity

This might seem a bit weird: these are obviously parts of the vocab! What's weirder, though, is that many isolating languages have chengyu, not just Chinese. And if you don't use them, many native speakers surveys suggest you don't sound native. This links to point number 4, which is lexical verbosity. 'Lexical verbosity' means a language has the ability to express things creativity, in many different manners, all of which may have a slightly different nuance. The kind of thing you love to read and analyse and hate to translate.

But it is important. If we look at the systems that make up the grand total of a language, vocabulary is obviously one of them: a language with 1 million root forms is clearly more 'complex', if all else is exactly the same, than a language with 500,000. Without even getting into the whole debacle about 'what even is a word', a language that has multiple registers (dialect, regional, literary, official etc) that all interact is always going to be more complex than one that doesn't, just because there's more of it. More rules, more words, more stuff.

Similarly, something that is the backbone of modern Chinese 'grammar' and yet you may never have thought of as such is is compound words. We don't tend to traditionally teach this as grammar, and I don't have time to give a masterclass on it now, but let me assure you that compounding - across the world's language - is hugely varied. Some languages let you make anything a compound; some only allow noun+noun compounds (so no 'blackbird', as black is an adjective); some only allow head+head compound (so no 'sabretooth', because a sabretooth is a type of tiger, not tooth); some only allow compounds one way ('ring finger' but not 'finger ring': though English does allow the other way around in some other words), and so on.

You'll have heard time and time again that 'Chinese is an isolating language, and isolating languages like monosyllabic words'. Well. Sort of. You will also have noticed yourself that actually most modern Chinese words are disyllabic: 学习，工作，休息，吃饭 and so on. This is radically different to Classical Chinese, where the majority were genuinely one syllable. But many Chinese speakers still have access to the words in the compounds, and so they can be manipulated on a character-by-character basis: most adults will be able to look at 学习 and understand that 学 and 习 both exist as separate words: 开学，学生，��习，练习 and so on.

I'm going to sort of have to ask you to take my word on it as I don't have time to prove how unique it is, but the ability that Chinese has to turn literally anything into a compound is staggering. It's insane. It's...oh god I'm tearing up slightly it's just a LOT guys ok. It's a lot. There are 20000000 synonyms for anything you could ever want, all with slightly different nuances, because unlike many other languages, Chinese allows compounds where the two bits of the compound mean, largely speaking, very similar things. So yes, you have compounds like 开学 which is the shortened version of 开始学习, or ones with an object like 吃饭 or 睡觉, but you also have compounds like 工作 where both 工 and 作 kind of...mean 'to work'...and 休息 where both 休 and 息 mean 'to rest'...and so on. So you can have 感 and 情 and 爱 and 心 but also 感情 and 情感 and 爱情 and 情爱 and 心情 and 心爱 and 爱心 and so on, and they all mean different things. And don't even get me started on resultative verbs: 学到，学会，学好，学完， and so on...

What is all of this, if not complex? It's not grammatical - except that the process of compound forming, that allows for so many different compounds, is grammatical. We can't make the difference between学会，学好 and 学完 anywhere near as easily in English, and in Chinese you do sort of have to add the end bit. So...do we count this under complexity? And if not, we should probably count it elsewhere? Because it's kind of insane. And learners have to use it, much like the example I gave of English prepositions, and it takes them a bloody long time. But then where?

Ok. I haven't had a chance to talk about everything, but you get the picture: there are things in Chinese that, unlike European languages, do not neatly fit into the 'grammar' versus 'vocabulary' boxes we have built for ourselves, because as a language it just works very differently to the ones we've used as models. (Though some of the problems, in fact, are similar: German is also very adept at compounding.) But as interesting as that difference is, the goal of typology as a sub-discipline of linguistics is to talk about and research the types of linguistic diversity around the world, so we can't stop there by acknowledging our models don't fit. We have to go further. We have to stop, and think: What does this mean for the models that we have built?

This is where we get into theoretically rather boggy ground. We weren't before?? No, like marsh of the dead boggy. Linguists don't know it...they go round, for miles and miles and miles....

Because unfortunately there isn't a clear answer. If we dismiss these things as 'lexical' and therefore irrelevant to the grammar, that is a) ignoring their grammatical function, b) ignoring the fact that the lexicon is also a system that needs to be learnt, and has often very clear rules on word-building that are also 'grammatical', and c) essentially playing a game of theoretical pass-the-parcel. It's your problem, not mine: it's in the lexicon, not the grammar. Blah blah blah. Because whoever's problem it is, we still have to account for this complexity somehow when we want to compare literally any languages that are substantially different at all.

On the other side of things, however, if we argue that 'Chinese is as complex as Abkhaz, because it makes up for a lack of complexity in Y by all this complexity in X' (and therefore all languages = equally complex), this ignores the fact that compounding and irregular verbs belong to two very different systems. The kind of mistake you make when you use the wrong classifier intuitively seems to be on another level of 'wrongness' to the kind where you conjugate a verb in the wrong way. One is 'wrong'. The other is just 'not what we say'. It's the same as the use of prepositions in English: some are obviously wrong (I don't sleep 'at my bed') but some are just weird, and for many there are multiple options ('at the weekend', 'on the weekend'). Is saying 'I am on the town' the same level of wrongness as saying 'I goed to the shops'? Intuitively we might want to say the second is a 'worse' mistake. In which case, what are they exactly? They're both 'grammar', but totally different systems. And where do you draw the line?

Here's the thing about the equicomplexity argument. As established, it stems from a nice ideological background that nevertheless conflates cognition and linguistic complexity. Once you realise that no, the two are completely separate, you're under no theoretical or ideological compulsion to have languages be equally complex at all. Why should they be at all? Some languages just have more stuff in them: some have loads of vowels, and loads of consonants, and some have loads of grammar. Others have less. They all do basically the same job. Why is that a big deal?

Where the argument comes into its biggest problem, though, is that if a language like Chinese is already as complex as a language like Abkhaz...what happens when we meet Classical Chinese?

Classical Chinese. An eldritch behemoth lurking with tendrils of grass-style calligraphy belching perfect prose just behind the horizon.

Let's look at Modern Chinese for a moment. It has some particles: six or so, depending on how you count them. You could include these as being critical to the grammar, and they are.

A common dictionary of Classical Chinese particles lists 694.

To be fair, a lot of these survive as verbs, nouns and so on. Classical Chinese was very verb-schmerb when it came to functional categories, and most nouns can be verbs, and vice versa. It's all just about the vibe. But still. Six hundred and ninety four.

Some of these are optional - they're the nice 'omggg' equivalent of the modern tone particles at the end of a sentence. Some of them are smushed versions of two different particles, like 啦. Some of these, however, really do seem to have very grammatical features. Of these 694, 17 are listed as meaning ‘subsequent to and later than X’, and 8 indicate imposition of a stress upon the word they precede or follow. Some are syntactic: there are, for instance, 8 different particles solely for the purpose of fronting information: 'the man saw he'. That is very much a grammatical role, in every sense of the word.

The copula system ('to be') is also huuuuuuugely complex. I could write a whole other post about this, but I'll just say for now that the copula in Classical Chinese could be specific to degrees of logical preciseness that would make the biggest Lojban-loving computer programmer weep into his Star Trek blanket. As in, the system of positive copulas distinguishes between 6 different polar-positive copulas (A is B), 2 insistent positive (A is B), 19 restricted positive (A is only B), and 15 of common inclusion (A is like B). Some other copulas can make such distinctions as ‘A becomes or acts as B’, ‘A would be B’, ‘may A not be B?’ and so on. Copulas may also be used in a sort of causal way (not 'casual'), creating very specific relationships like ‘A does not merely because of B’ or ‘A is not Y such that B is X’.

WHEW. And all we have in modern Chinese is 是。

I think we can see that this is a little more complex. So saying 'Modern Chinese is as complex as Abkhaz, just in a different way' leaves no space for Classical Chinese to be even more complex...so....where does that leave us?

Uhhhhhh. Errrrrr.

(Don't worry, that's basically where the entire linguistics community is at too.)

The thing is, all these weird and wacky things that Classical Chinese is able to do are all optional. This is where the problem is. Our understanding of complexity, if you hark back to my last post so many moons ago, is that it's the description of what a language requires you to do. We equate that with grammar because in most of the languages we're familiar with, you can't just pick and choose whether to conjugate a verb or use a tense. If you are talking in third person, the verb has to change. It just...does. You can't not do it if you feel like it. There's not such thing as 'poetic license' - except in languages like Classical Chinese, well. There sort of is.

The problem both modern Chinese and Classical Chinese shows us to a different extent is that some languages are capable of highly grammatical things, but with a degree of optionality we would not expect. Classical Chinese can accurately stipulate to the Nth degree what, exactly, the grammatical relationship between two agents are in a way that is undoubtedly and even aggressively logical. But...it doesn't have to. As anybody who has tried anything with Classical Chinese knows, reading things without context is an absolute fucking nightmare. As a language it has the ability to also say something like 臣臣 which in context means 'when a minister acts as a minister'...but literally just means...minister minister. Go figure. It doesn't have to do any of these myriad complex things it's capable of at all.

So...what does this mean? What does all of this mean, for the question of whether all languages are equally complex?

Whilst I agree that the situation with Classical Chinese is fully batshit insane, the fact is most isolating languages are more like Modern Chinese: they don't do all of this stuff. And whilst classifiers and compounds are challenging, they're not quite the same as the strict binary correct/incorrect of many systems. I'm also just not convinced that languages need to be equally complex. However.

HOWEVER. In this essay/rant/lecture (?), I've raised more questions than I've answered. That's deliberate. I both think that a) the type of complexity Chinese shows is not 'enough' to work as a 'trade off' compared to languages like Abkhaz, and b) that this 'grammatical verbosity' and optionality of grammatical structures is something we don't know how to deal with at all. These are two beliefs that can co-exist. Classical Chinese especially is a huge challenge to current understandings of complexity, whichever side of the equicomplexity argument you stand on.

Because where do you place optionality in all of this? Choice? If a certain structure can express something grammatical, but you don't have to include it - is that more complex, or less so? Where do we rank optional features in our understanding of grammar? It's a totally new dimension, and adds a richness to our understanding that we simply wouldn't have got if we hadn't looked at isolating languages. This, right here, is the point of typology: to inform theory, and challenge it.

What do we do with this sort of complexity at all?

I don't know. And I don't think many professional linguists do either.

- meichenxi out

#and that my friends is why I love Classical Chinese so much #askies #meichenxi manages #thank you karo that was very very very interesting!! #it's late now so I'll check over it again tomorrow but I don't imagine I'll be inundated with reblogs lmao #linguistics #lingblr #langblr #classical chinese #chinese #modern chinese