@georgianadarcies Bernie pleads, and so do I! But truly love your work and cannot wait to see what comes next
RECKLESS ABANDON - CH. 12 IS UP
summary:
Eli is the first goodbye.
They sit side by side on the concrete stoop outside his building. His shoulders are sloped with defeat, and he’s fingering a cigarette but he hasn’t lit up yet.
“You trust these people?”
“No,” Rory says, arms wrapped around her knees. “I mean, I want to seeing as they’re technically my family or whatever, but it’s not like I know them all that well.”
“So why go?”
“Where else am I gonna stay?”
Eli turns. “Are you kidding me?” he asks, all fierce and fire—he gets that from Constance and they all know it, but they’d never stoop so low as to say it out loud. “You’ve gotta be high if you think Abuela and I wouldn’t move heaven and fucking Earth for your twiggy ass.”
Rory isn’t sure whether to laugh or cry. Settles for some in-between, quickly swiping tears away before they can fall. God, this is so hard. She thought Eli would be the easiest for some reason, maybe because he’s normally so sweet about everything, but instead it feels like a piece of her is being chipped away. What if she never sees him again? Or Constance, or even Ezzie, who was never quite around but still made sure to buy Rory’s favorite snacks whenever she went shopping, and lent her clothes to wear, and ruffled her hair in passing?
“I don’t wanna be an inconvenience,” she whispers, hiding in the burrow of her arms for a beat to collect herself.
Eli ducks down. “Never,” he says firmly. “Fucking never. I—Jesus. Eres parte de mi alma, understand?”
chapter 7 of reckless abandon is up!!!
summary:
Jess stares at her for a few seconds too long, eyes lingering before he slowly leans down. When he presses his lips against the bandage, her breathing turns shallow. It’s too much, it’s always too much. Rory’s dizzy on it and he can tell, but it’s almost like he relishes in it. He’s all innocent when he asks, “You okay?”
“I—um. I need air. I’m gonna—” she scrambles up and leaves him there, simply because she needs the distance to clear her own head, chest heaving, arms wrapped around her own ribs because she doesn’t have anyone else to hold her.
RECKLESS ABANDON- CH. 5 IS UP!!!
summary:
“So everything’s good?”
“Everything’s good,” Rory confirms, hushed, and they’re so close. She can see the lighter flecks in his eyes, and that tiny smattering of almost-invisible freckles on his nose.
“I’m gonna spin you now,” Jess says.
She nods and lets him, and it’s like riding the dip of a rollercoaster or being in an elevator when it drops. Her stomach bottoms out, and then she’s pulled right back in, only this time there’s somehow even less space than before. Can he feel her heartbeat hammering against his own chest?
She winds her arm back around his shoulders. Slowly lets her fingers inch toward the nape of his neck. One stroke and he shivers, and it’s the kind of vulnerability she craves from him. He is prismatic and she wants to know and memorize every side of him, every facet, wants to see him laughing so hard he can’t breathe, wants to see him dreadfully happy and loved madly. And that’s when it occurs to her that she wants to be the one to give him those things, wants to be the one to crack the jokes and light him up and love him raw.
Oh. Duh.
His forehead falls against her own, and his nose brushes hers the same way it had when he’d kissed her the first time, and her breath hitches. “Jess,” she whispers, and she’s not even sure what the hell she’s gonna say next, but then the music fades out and she blurts, “Song’s over.”
If you love Pacey&Joey (Dawson’s Creek) and you want reblog or like,this is the link of my reblog couples :)
thank you!
favorite ships: pacey witter & joey potter
"so, i guess the point to this long run-on sentence that’s been the last ten years of our lives, is just that the simple act of being in love with you is enough for me.”
And I can’t stop thinking about him or wanting to be near him or wanting to kiss him all the time. - Joey Potter (3x20)
Wanting to kiss you? No. It’s sort of always there. - Pacey Witter (6x15)
my paceyjoey favorites [2/6] → moment season three, episode twenty - “the longest day”
my paceyjoey favorites [1/6] → kiss season six, episode seventeen - “sex and violence”
I’M FUCKING WHEEZING how am i supposed to live my life after reading this post knowing these people are out there somewhere
so I got into grad school today with my shitty 2.8 gpa and the moral of the story is reblog those good luck posts for the love of god
okay so i just got my dream job??? a week after applying to it?? and now i’m thinking….maybe this is the good luck post
thetatteredveil
…..not even six hours later i got an offer of a well paying full time long-term job with free room and board in queens in nyc, allowing me independence and a way to escape an abusive situation and an unhealthy environment
likes charge reblogs cast, folks, this is the good luck post
This sounds like... really important? What the FUCK Disney??
They are just straight up not paying loyalties! "Disney’s argument is that they have purchased the rights but not the obligations of the contract."
This is seriously dangerous to creators
Read the letter from Alan Dean Foster:
Dear Mickey,
We have a lot in common, you and I. We share a birthday: November 18. My dad’s nickname was Mickey. There’s more.
When you purchased Lucasfilm you acquired the rights to some books I wrote. STAR WARS, the novelization of the very first film. SPLINTER OF THE MIND’S EYE, the first sequel novel. You owe me royalties on these books. You stopped paying them.
When you purchased 20th Century Fox, you eventually acquired the rights to other books I had written. The novelizations of ALIEN, ALIENS, and ALIEN 3. You’ve never paid royalties on any of these, or even issued royalty statements for them.
All these books are all still very much in print. They still earn money. For you. When one company buys another, they acquire its liabilities as well as its assets. You’re certainly reaping the benefits of the assets. I’d very much like my miniscule (though it’s not small to me) share.
You want me to sign an NDA (Non-disclosure agreement) before even talking. I’ve signed a lot of NDAs in my 50-year career. Never once did anyone ever ask me to sign one prior to negotiations. For the obvious reason that once you sign, you can no longer talk about the matter at hand. Every one of my representatives in this matter, with many, many decades of experience in such business, echo my bewilderment.
You continue to ignore requests from my agents. You continue to ignore queries from SFWA, the Science Fiction and Fantasy Writers of America. You continue to ignore my legal representatives. I know this is what gargantuan corporations often do. Ignore requests and inquiries hoping the petitioner will simply go away. Or possibly die. But I’m still here, and I am still entitled to what you owe me. Including not to be ignored, just because I’m only one lone writer. How many other writers and artists out there are you similarly ignoring?
My wife has serious medical issues and in 2016 I was diagnosed with an advanced form of cancer. We could use the money. Not charity: just what I’m owed. I’ve always loved Disney. The films, the parks, growing up with the Disneyland TV show. I don’t think Unca Walt would approve of how you are currently treating me. Maybe someone in the right position just hasn’t received the word, though after all these months of ignored requests and queries, that’s hard to countenance. Or as a guy named Bob Iger said….
“The way you do anything is the way you do everything.”
I’m not feeling it.
Alan Dean Foster
SIGNAL.
BOOST.
Because you know if Disney gets away with not paying creators, everyone else will want to see if they can get away with it.
First of all, yes to all of this.
But something I think should be highlighted is the difference between the Disney franchise model, and a lot of previous franchise models, and why the Disney model sucks.
If you, say, write an original novel, and it gets published in a traditional publishing house, they will give you a check up front and also pay you royalties, that is, a percentage of the profits the book makes. (If you’re asking “why don’t you get ALL the profit, if you’re the sole author?” the answer is that the editors, typesetters, printers, cover artist, advertisers, and bookstores need to get paid, too; they aren’t producing and selling your book out of the goodness of their heart.) If the book is a flop, you’ll get nothing but the up-front check; if it’s a smash hit that sells a lot really quickly and then gets forgotten about, you’ll get a lot of money in the first year and not much thereafter; if it becomes a classic or perennial favorite you will have a small but steady stream of revenue trickling in for years.
When Disney hires someone to create something for a franchise they own, they do not pay royalties. They never have, to the best of my knowledge. The contract is a strict one off, work-for-hire. You create something to their specifications, they give you a check, and off you go. If the thing you created is the greatest of its kind ever, you don’t get royalties. Disney can profit for the next century, but you don’t get anything. This is legal, because when you signed the contract you agreed to it--you got all your money up front, not tied to the success or failure of your creation. If your creation is a failure, this is a really good deal, because you’ll make more money. If your creation does medium-well, it’s a toss-up, because you might have made more money with royalties, but you might not; and the accounting and business angle is simpler if you get a lump sum vs. dribs and drabs trickling in for the next couple of years. But if your work is a great success ... then not getting royalties for it means the contract was a really terrible deal for you and a great deal for Disney.
But the thing is, Disney has spent the last several years buying up franchises from other people and corporations. And some of those franchises did pay royalties, at least for some authors. See, especially back in the 70s through the 90s, if you wanted a big-name author to write a novelization or tie-in (and thus have a better chance of that book selling well), offering royalties was how you did it. Because sure, there were a lot of mid-list or bottom-list or newbie authors who would write work-for-hire (i.e. payment up front but no royalties) just because they needed the cash. For a newbie or bottom-list or mid-list author, they might actually make more money doing work-for-hire for a major franchise than they would writing their own original stuff. You churn out a novel to their specifications, you take your check, pay your bills, and then go back to writing the stuff you actually want to write. Which is why so many novelizations and tie-ins are mediocre at best. But a major author (who might do a better job, and who would attract readers who otherwise don’t bother with tie-ins and novelizations) wouldn’t take a contract like that because they’d make more money on their own stuff where they would get royalties.
Alan Dean Foster was one of the leading SF/F authors of the late 20th Century. And he had a positive talent for writing tie-ins and novelizations and making them really good. Which is why he got good contracts with royalties to write those books instead of them being work-for-hire, and also why many of those books are still in print and still selling steadily, today, literally 40 years later, decades after most of the other tie-ins and novelizations of that era are out of print.
So even after snaffling up all these other franchises, there probably aren’t too many authors who wrote books that Disney now owns the rights to who are due royalties. And most of the books Disney now owns where the authors are due royalties ... it probably doesn’t matter much because the books are old enough that they haven’t sold many copies in the last decade or so, so it’s a moot point.
I bet that what happened was that Disney doesn’t have anyone on staff who actually handles figuring out who is owed royalties and how much, because ... they’ve never had to deal with royalties because they do everything work-for-hire. So then Alan Dean Foster, one of the few people who a) wrote novels that Disney now owns the rights to, b) is entitled to royalties on them, and c) those novels actually sell enough on a regular basis to generate royalties, starts asking why he’s not getting his quarterly check. And Disney is like, who does this dude think he is, why should we pay him for books that he wrote forty years ago, he’s already been paid, we own the books now fair and square.
Except that’s not what the contract says. And now they’re trying to wiggle out of it.
I hope they get laughed out of court and have to pay not only the royalties but any legal bills Foster may have.
If you love Pacey&Joey (Dawson’s Creek) and you want reblog or like,this is the link of my reblog couples :)
thank you!
I’ve come to make an announcement: Shadow the Hedgehog’s a bitch-ass motherfucker, he pissed on my fucking wife! That’s right, he took his hedgehog-fuckin’ quilly dick out and he pissed on my fucking wife, and he said his dick was “this big,” and I said “that’s disgusting,” so I’m making a callout post on my Twitter.com: Shadow the Hedgehog, you’ve got a small dick, It’s the size of this walnut except WAY smaller. And guess what? Here’s what my dong looks like! That’s right, baby, tall points, no quills, no pillows — look at that, it looks like two balls and a bong! He fucked my wife, so guess what, I’m gonna fuck the Earth! That’s right, this is what you get: my SUPER LASER PISS!! Except I’m not gonna piss on the Earth, I’m gonna go higher!! I’m pissing ON THE MOON! How do you like that, Obama?! I PISSED ON THE MOON, YOU IDIOT!! You have twenty-three hours before the piss drrrrroplllllllets hit the fucking Earth! Now get outta my fucking sight, before I piss on you too!
Happy one year anniversary to the video that gave us this improvised gem.