i have ideas if you want them editors

fir-trees-unite  asked:

Hey mom let's say I'm a writer and let's say I wanted to hire a freelance editor and let's say I wanted to be Mr. Fuck Your Rate I'mma Pay You Way More Because You Deserve It --- what do you consider a fair/ideal rate for editing work?

It really depends on what kind of editing work you are engaging them for. Is it a proof and grammar only? Or do you want copy edit and feedback? Or do you want to engage them for a process of all of the above?

Some editors will list their fees per how many words they edit, and some houses will even pay their editors per word, but I have found this system to be utterly, utterly shitty for everyone involved who is not at the top taking a huge cut. 

I’ve spent maybe a month working on something which was 100k words, and the author had to pay a premium rate in the thousands, but I did minimal work to it like fixing a few errors here and there.

I’ve also spent a month working on something that was less than 10k words, but only got paid the going rate for 10k, regardless of the fact that it needed so much work I couldn’t take on any other projects during that time.

This is why I now list myself as per hour, not per word, and request people send me their file/manuscript in full first so I can read through it and determine how much work it will need, rather than offering a blind estimate per word count. In my FAQ I have it listed as a $50 reading fee once the manuscript goes over 10k words ($100 if it’s a 100k+ manuscript), but I’ve been so desperate lately I’ve actually lowered it to $25.

The rates I am currently charging are $25 per hour for anything under 10k, and $50 for anything over that. That’s my rate for copy edit, and it’s half what my rate for copy edit was in house. 

If you’re only wanting proof reading for minor fixes, I’m only taking $25 per hour (provided it wasn’t a total nightmare on the read through), though I have gone lower if it’s been something really short and I know it’s not even going to take me the full hour to work on. Basically I try to make it as fair an exchange for both of us as possible. I know most of the people trying to engage me for work are broke, I know most of them are college students or in a similar situation to mine, but I am also trying to not drastically undersell my work either because I also need to eat.

So if you take the idea at the moment that a living wage, and I mean a basic “you’re able to make ends meet without killing yourself working 60 hours a week” wage, is $15 an hour, you’re probably looking at paying someone a minimum of $20+ per hour for the time as an editor at a base rate. That is, if you want to pay them fairly, and even then I have some editor friends on here who are likely hissing between their teeth at me for low balling it.

But like I said, there’s a lot of work out there being sold for significantly less than that, and it’s killing us, it really is. I had an email this week from a freelance site from a client wanting me to rewrite his entire 100k manuscript for $150 and he thought that was “more than fair”. When I told him it wasn’t and I would not take on something of that size for anything less than $500 at a minimum, he went off on one about how there are other editors out there just desperate for work. And that’s the problem. 

Also, just throwing this out there, if an editor hits you with a quote and you think “wow, I can’t afford that, guess I’ll not bother…” ask them about payment plans. If this is a project we will likely be working with you on for several months—and if it’s long we likely will be—some of us are more than happy to accept monthly installments. We’d rather have secure reliable work and take our time helping you to create the best damn thing that you can, than have no work at all. 

And we want to work, we want to help people make awesome things, we want to see you get published and become successful because then that means you’ll write more which means we’ll get more work and do you see where this happy little cycle of productivity is going? I hope so. I really do, because the way current freelancing and editing work is set up, it’s helping no one. 

Anyway, I hope that is helpful and answered some questions. If not, sorry, I’m tired and heading to bed. I hope when I read this in the morning it’s not just an incoherent ramble but who knows, maybe I made some sense.

Top 10 Comics of 2016 (Objective Facts)

Welcome to the top 10 comics of the year, these are comics released in print in single issues. There is several comics I wanted to read that I had not got the chance to read in single issues so they won’t be included on this list. These are 10 damn fine comics I read this year and I hope if you haven’t read them you give it a look.

Squirrel Girl:  A sadly declining star for me, last year Squirrel Girl was no doubt at the top of my lists but this year I feel a bit less engaged with it. This is actually pretty common around all of Marvel with Civil War 2, relaunches, universe changing event after universe changing event it makes it hard to feel attached. Still Squirrel Girl is full of laughs with some stand out stories that came out this year like dealing with Doctor Doom from the past after being sent further into the past. We also had the stand out choose your own adventure issue where subtly Koi Boi is revealed to be a trans man and that is super awesome!

Wic/Div: This comic is the serious, it is not tonely the same as the others but I adore it.  We have gods walking among us on earth, mystery, betrayal, queerness, action, great designs, and a great book. If you want a story that is crafted masterfully and can invoke a wide range of emotions then The Wicked + The Divine is for you.

Space Battle Lunchtime: When Oni Press announced their new lineup this was the title that stuck out to me the most. Turns out my gut feeling was right as this book transports the reader to this new world of aliens that is fascinating to watch unfold. One creator managed with help from editors and what not to do the art, colors and storytelling for this epic cooking show in space. This is one of the most fun energetic books I have ever read. The only problem with this series is it goes by so fast but with only one issue left getting them all together is a great idea. If you want to watch a funny space cooking show and a cute lady on lady romance then come here.

Backstagers: This wasn’t a title I was expecting to even buy. I mean all boy lumberjanes sounds cute but I generally, as you’ll find on this list, don’t read stories about dudes. However, this book is fantastic, fun, queer, and all the great things that Lumberjanes is. I think Backstagers does an amazing job of dispelling the toxic masculinity present in much of male lead media. The creative world backstage is fantastic, it has such a great visual style and everyone who works on this project has everything in them in it.

Jem and the Holograms: The truly outrageous gift that just keeps giving. I love the story, Sophie is like my favorite artist and even with her leaving we have had some solid people taking over and there’s a lot of fun to be had with this series. I do worry about future placement but I am very excited for Misfits and this year is all about this year. With stand out scenes like Blaze coming out, the misfits and holograms working together, the cuties of a 3rd rival band, and more all in play this year I am at the front hoping they will let me on stage.

Princeless: Princeless is a modern classic, a series that every volume is great for all ages. This year I read a lot of Princeless, my little sister adored reading volume 1 for the first time.  More then that I adored reading all the volumes and the short stories of Princeless. This is one that works for the whole family and manages to really go over a ton of great stuff. We have our hero learning new perspectives, saving people, exploring the world, she is a fantastic protagonist.

Kim and Kim: Kim and Kim the queer bffs that do that bounty hunting thing. They have amazing chemistry and are the kinds of loser badasses I love. They screw up a lot, they can be kind of an asshole but their hearts are in the right place. We follow them in one journey this year and it’s a fun journey to follow. Also like it has a trans writer and latnix gals on the art team so that is pretty badass too. This stories only problem is an ending that feels a bit rushed.

Jonesy: This was the biggest surprise for me comics wise in 2016. I saw it and was automatically charmed by the art. I decided it was worth risking wasting 4 bucks on. So i did and haven’t looked back since. The funny world, the endearing characters, the general feeling that this comic is different without trying hard to be. Jonesy is queer,  she’s latnix, she’s funny, she’s a bit of a loser but in a way that makes you feel okay to be a loser too. Jonesy is a story that makes me happy whenever I read it, it’s always at the top of my stack, it’s a book that I can count on. The fact it isn’t number 1 but might be in my top 10 series of all time just says how great comics have been this year.

Raven the Pirate Princess: Raven the Pirate Princess is that book that no one really talks about but should be a staple of everyone’s pull. It’s so fun, funny, illustrated so well and it feels like a massive breath of fresh air. Amazing comedy, a bunch of queer ladies, women of all sizes, skin colors, and we even have some varying ability. It’s great to see so much diversity threaded into this epic scaling tale of a women trying to get what was stolen from her by her brothers. 

Angela Queen of Hel: Angela Queen of Hel is one of my favorite stories of all time. It joins the hallowed ranks of other classics in my mind and despite a few issues moves far past them. The series being canned on issue 7 means so much potential was thrown away and we lost. This story is the most compelling romance I have ever read and it’s such a badass story too. Conquering hell to get your lesbian love back is super cool and then the follow up story is an awesome cap to show their relationship past the climax. No matter what Marvel does to the pair we will always have this story to look back on and cheer for.

yellowpaladiins  asked:

how do you edit/create mmd models for rvb???? i rlly wanna make my ocs one day but i have no idea how to do it..

Well, I have the model rips from the game, and then I use PMX editor to rig them, and/or change around their armor to the different sets. Then I just color the textures in SAI (they all start out as greyscale so it makes coloring easy) 

If you want, you can just use my MMD models available for download, and edit the textures, or trade out armor! All of the models that are not designated ‘Headcanon’ are the same size (except the feminine models, they’re a little different with the arms and legs) so you should easily be able to make your OCs! 

I would make them for you, but I’m currently really busy with Overwatch models and commissions. ;;w;;

If you need any more information, I have a whole blog for it! Check out @mmdxrvb‘s tabs for downloads, and links to tutorials!

Hey everyone!

I’m here again to crowdsource information from my followers. I have this internship lined up to work as a editor and possibly even a content writer in an anime/manga column on this pretty respectable pop arts website. I have an interview on Monday where I’ll be discussing what I would write for this site (since they want me more as an editor but i applied for two different positions). I’m realizing now that I have less ideas than I thought I did about possible articles I would write for them.

So here is my questions to you guys: What issues/problems/topics/ideas regarding anime/manga do you wish you could read? What do you wish you could see more of? What do you think isn’t being talked about?

It would mean so much to me if you guys could throw a couple ideas at me. 

I’m here to be your voice.

If you send me a serious idea, I’ll promote you to 17.6k followers!

Thanks for all your help! Please share this with your friends!

thisisemobuddy  asked:

Yo, question, im self publishing a short story but how the actual f do i go up to editors and be like, hey so heres my finished manuscript can u check my spelling and stuff without making me wanna chuck it in the river and never write again??? Im extremely anxious about it but i dont want to just have friends proofread my manuscript. 😢😢😢

Depends on what you want to hire them for, is it copy of proofing or both?
(Copy being they are checking for consistency and plot holes and may recommend restructures or suggested edits to improve the text, proofing being “yep your spelling and grammar are correct, here you go!”) 

Usually when people want to hire me they want both, they just don’t know how to word it. Which is why I will always ask them “what do you want from this editing experience”. Do you want me to pick apart the story to make sure it all fits back together again, or do you just want me to make sure it’s well punctuated and spelled correctly? Sometimes they’ll start out with “oh just grammar and spelling is fine, I think I’ve got everything pretty down, but y’know if you have any suggestions” which is when I have to very gently tell them they actually want a copy edit, and this will be a lengthier process than me going through it on a speed run basis. So also allowing yourself ample time to have it edited before a deadline, is a good idea. I can’t tell you how many times I’ve agreed to a project, asked them when they want it by and the email I get back says “well the deadline for open submissions ends tomorrow so if you could just” and I have to tell them no, this is not a thing that will be happening.

You may also want to ask your editor to do a read through first (offer to pay, even if they don’t want payment for it, it’s still the polite thing to do) to see if they have any suggestions as to what you can fix before they start combing through it with a fine tooth comb. This will also give you a vague idea of how they work as an editor and their approach to criticism. 

Some editors only ever leave the negative feedback, short little sentences at the side like “This doesn’t work, fix it.” which to my mind, is one of the least helpful comments you can leave at the side of something. But I’ve also worked with editors who do that and shrug when you tell them that and say “it’s not my place to spoon feed them, if they can’t figure it out they shouldn’t be writing” which I mean, that’s one way to get your coffee spiked I suppose.

Personally I like to let the author know I am enjoying their work. It helps boost their morale a little bit, and means when you do need to tell them “hey this doesn’t really work”, it can soften the blow because I know, I know it’s so easy to look at something and hear “this is shit, why did you even write this”, when what I am actually trying to tell you is “you’ve written something really good here but this part lets it down, why not try rewriting this or consider cutting it entirely”. I have actively squeed in the comments section of manuscripts when I have figured something out or when the characterization is on point, and part of this is because I am expressive, but another part is because I just love words, I love seeing the clever ways people fit them together and I really don’t see the point in not telling someone they did a good job. 

So, how do you approach an editor? Send them an email.

“Hi, my name is XYZ and I was hoping to engage your services for a final draft of my manuscript which I hope to self publish/submit to a magazine/competition/open submissions call/pitch to an agent*. It’s a sci-fi/fantasy/literary/romance/contemporary piece and I’m primarily looking for copy/proofing workand was wondering about your rates. I have an open timeline/approaching deadline so a rough estimate of how long you think it would take would also be welcome. If you’d like to review the manuscript first I would be amenable to paying a reading fee for your time.
Thank you, I hope to hear from you and look forward to working with you,
Best, XYZ.”

Or as some people do on here “ @ joy I need help lmao how much money do I need to throw at you to fix this???” which has also worked :P

(*these are important distinctions to make, it helps us to tweak your work)

anonymous asked:

I'm trying to write something with modern hitmen/assassins. Anything really important I might have looked over while researching?

Okay, if I’m being honest, there is no possible way I can answer this question. My psychic powers have failed me. I don’t know what research you’ve done nor how exhaustive it was. As a result, I don’t have any idea what you might have missed.

I can point you at our relevant tags for assassins and writing them. But, I can’t tell you what your research covered or failed to cover. There’s simply, no way for me to know that.

As with any kind of research, the first thing you’re going to want to do is start by identifying the core literature from the field. You can do this by simply looking at the Wikipedia references, and then following up with those. (The actual Wikipedia articles are usually worthless for research, but what the editors cited can be a valuable starting place.) Once you’ve started reading those sources, see what multiple sources reference. If someone’s worth talking about, then they’re probably worth reading. If no one’s referencing what you’re starting with, then it may be a sign that the source isn’t really that important. If it is cited, it will either be important information for the subject, or controversial. The tone of their citations should tell you which.

While you’re doing that, keep track of who the respective authors are. Those biographies slapped on the dust jacket are a good place to start. You don’t need to know everything about them, but if you’re looking at someone who spent decades in law enforcement or the intelligence community, they’re probably more reliable and useful than a random fan of 47 who mostly posts on Gamefaqs or a housewife from New Jersey publishing under a pseudonym.

Obviously, this will be easier if you’re in an academic environment, and have access to scholarly articles, though even without that, the basic framework is solid. Though, you might have to hit an actual library to find some of the material you need.

If you didn’t do any of that, then the answer will be, “a lot.”


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On pitching.

One of my favorite things about editing is finding new voices. It was my focus for my entire year at Thought Catalog — though it wasn’t necessarily my job description at the time, it was something I naturally fell into — and it’s something I’m really looking forward to doing at my new job at Teen Vogue. I like hearing what other people have to say. I like considering angles and takes that I wouldn’t necessarily think of or argue — that’s why I’m assigning the piece out to you, the writer, instead of taking it on myself. But in finding new voices comes what is easily the worst part of the entire writing process: The pitch.

And it’s something that nobody really teaches you how to do.

This is, in part, because English courses at colleges can vary widely in their usefulness — like, seriously, that poetry workshop I took junior year where we talked about the color of clouds for half a semester?!?! — and also because no two editors like to be pitched the same. It takes time and effort to nail down an all-purpose formula that is the least offensive to the greatest amount of editors, but in my experience on both the writing and editing sides, there are a few things that help.

Please note that these preferences do not reflect my employers in any way, and are just the habits of a very, very type-A neurotic.

1. Take a stance. It doesn’t have to be the hottest take this side of the sun or even the most novel spin on the same tired subject everyone is writing about, but it does have to be a stance. Have an opinion. Pick an angle. Find a catchy way to worm your way in. And don’t be afraid to back it up, no matter how absurd it may seem. 

2. Flesh it out. A headline is all well and good, but signing up for that could be a recipe for disaster. You could go literally anywhere with a headline, and I might need to kill a piece if I take that risk. Send me a paragraph instead explaining what it is you want to talk about and why. Hook me in. Make me want to know more. This can be 100 words, it can be the first half of your piece. As long as you explain your stance fully enough to convince me to see the rest of it, we’re good.

3. Please don’t ask me what kind of pitches I’m “looking for.” The short answer: I don’t know. The long answer: I don’t know, but I’ll know when you tell me what it is! Really. It’s often as simple as a gut feeling. I will know what I’m looking for when you tell me what it is I’ve been looking for all along.

Full disclaimer: I’m guilty of this, too. I used to do this all the time, and would reach out to editors blindly, introducing myself and asking if they’d give me a little insight. They are too busy to give you insight. Take a look around at their website, and things they’ve published lately. Draft up a few pitches off of what you’ve seen around. Even if they’re all wildly off base, I can at least give you a reason why. I can’t give you a reason why off of nothing. Trust me — I’ll appreciate a wild stab in the dark more than an open-ended inquiry any day. 

(And while I really, really appreciate people who reach out to introduce themselves out of the blue, there is about a 0.5% chance I will remember your name and area of expertise when it comes to assigning a piece on a deadline. I just can’t separate one email out of the rest. Bylines and clips are important, and they give you a bit of pull, but ideas are important, too. Mostly, I’m interested in those.)

4. Remember that I might not always be able to provide feedback. I try to. I really like providing feedback, partially because that’s how I always grew as a writer. When people would ask me questions and back me into a hole where I had to explain my way out and really stand by my ideas, that’s when I’d create the most fully-formed argument. And I’d like to think I’m good at providing feedback! The main way I measure whether I’m a good editor is if I help you become a stronger writer — the best writer you can be in that piece and in that moment. I’d like to think I’m not bad at it, but IDK, I’ll let other people I’ve edited chime in on that verdict.

… All of that said, sometimes I might not be able to explain why I made changes to a piece, or why pitches aren’t the right fit, whether because it’s a long day and I’m busy, or because it’s just not part of the greater scope of what we’re trying to achieve. Please understand that I might not always be able to give you my insight, so sometimes just taking another stab at another pitch later in the week or month is for the best. It never hurts to ask why, but pressing the issue isn’t a cute look. 

5. Ask yourself if the angle you’re taking is the strongest one. I’m putting this next to last because seriously, go back to step 1 and ask yourself this again. If you’re working on an evergreen story, does it have a timely peg? If it’s a more time-sensitive piece, would you read this a month or even a year from now? See if you can expand it. The longer a piece can live on, the more I like it.

6. Make friends. This is by far the most useful thing I’ve ever learned how to do, and I chalk it up to my hometown’s motto of it being all about who you know. (I mean, you have to have talent, too, but knowing people helps.) Follow people on Twitter. Engage with them. Engage with the stories they post. Show an interest not only in them, but in the site you want to write for. Make yourself memorable, and then pitch them. It was sort of sneaky, but I would often build up a rapport with editors before pitching them, but it worked in my favor because then they already knew who I was, and they had a better idea of my humor, my stances, and what I was capable of. 

(It also lead to a lot of people emailing me out of the blue asking if I’d share my contacts so they themselves could pitch them, and like, just please don’t do this. Your writer friends worked hard to make their connections. Make your own. They’ll be stronger for it. And you’ll look like a less awful, opportunistic leech if you don’t email only when your writer friend has a super awesome byline. Really. That’s suspect every time.) 

TL;DR, I don’t bite, and I want to hear from you. Please say hi, even if it’s just on Instagram. Even if I don’t work with you now, we might work together in the future. Who knows — maybe one day I’ll be pitching stories to you.

“Don’t rewrite someone’s work how YOU would have written it. That isn’t editing. Editing is bringing out the best of the story in line with the author’s voice, tone and goal.” - Amanda Pillar 

I have seen too many non-professional people who fancy themselves to be editors (and a couple of pro editors) fail at this very thing. Not to mention editors confusing ‘editing advice’ with ‘emotionally abusing a writer.’ If your editor - after you get back rewrites and notes - makes you feel like you want to write less, sweat bullets over the idea of writing, stress out about writing ‘right’ or feel like the process of creating is becoming only more and more painful over time, ditch them, and ditch them fast. Not everyone gets notes they like (that is the point of editing, after all), but you always have the right to reject anything that doesn’t click, and you should always walk away from a collaboration with an editor feeling stronger, not weaker.

I’m very fortunate that I got to interact with professional, lauded editors of great projects at university, and then later on in life as I pursued varied professional projects. All in all, I’ve probably met about 20-30 editors over the years, and I’ve learned much, including what a good editor won’t do to you or your work. I’ve had the privilege to work with professional editors on different published works (from poetry, to short stories, and now onto novels - some award winning and nominated) and I know how this process is supposed to go. I’ve seen too many authors and authors-who-don’t-know-better get crushed by people who believe they know best for a story and really don’t. 

Remember - You always have the right to ask for a new editor at a publishing house if your visions don’t mesh (and they won’t always). You always have the right to pull your work from an editor if they are destroying your work (it does happen, and I’ve recently seen one publisher in particular begin to fall apart because of this). A relationship with an editor should be collaborative. The editor needs to be consummately respectful of the author’s concept of style, execution. Ultimately an editor is there to assist a writer in the writer’s own work, not sneak their own voice and style into someone else’s work. The latter is not making a work stronger, but making it into something twisted. The true collaboration is when two people come together to make the original story shine in the way the author always intended it to, and the editor knows exactly what to bring to make that happen. 

An editor who insists brutality is key is not a professional. They go against most codes of ethics in many editing organisations in the world. An editor who uses abusive language is not a professional. An editor who tells you ‘this is how real editing is’ when they aren’t a member of an Editing Society and do not have an Editing Degree and don’t have any published books behind them is grandstanding. They are also lying to you about what the editing industry is like. Don’t believe me? Ask an editor affiliated with a Society with multiple published books behind them. An editor who is proud of their ability to be brutal above and beyond respecting the author’s voice, is an editor who enjoys the feeling of being right (whether or not they are) above respecting your creative work and passion.

If you tried to write the equivalent of a rose quartz, and your editor insists you need to be writing the equivalent of a smokey quartz - do yourself a favour, get the fuck out. 


Thanks everyone for supporting ARCHITAGS and giving an architecture blog such an important space in your life. I’m really happy, because ARCHITAGS is a very special place for me. It’s a space where achitecture and design meet unprecedented ideas, pioneering solutions, tradition, nature, fun and a touch of zen. 

I want to give a big thank you to all my fellow architecturebloggers and editors for giving ARCHITAGS a “voice” and spot in the tumblrverse- you know who you are! 

Finally let me share my 100K cake with you all.- my friends gave it to me as a special present. I feel very honored to have them and you guys in my life. 

Enjoy Every Day, Design, Learn, Laugh, Respect Others and Live your Life to the Fullest ! 

A Month Later (Carol 2015)

Therese stood next to the kitchen counter in the dark of night, nudging at photos developing in fluid. She leaned against the marble top, chin resting in hand as she waited for the image to appear in the moonlight. It had been a month since she had moved into Carol’s apartment on Madison Ave, and she’d been enjoying herself, considering the circumstance. While she had agreed to move in, Therese was very much a different woman than when she and Carol had first met. Gone was the naivety, the whimsy of inexperience and saying yes to everything. That was a new point of hers to correct; to not blindly agree to everything that crossed her path.

She knew she was playing it safe, keeping her cards to her heart more than she had been during their prior relations, she wasn’t such an open book anymore, but the photographer was trying, honestly, to work past the barriers she’d set up in the first place. It was hard for her to immediately trust Carol again, and she wasn’t so sure if she entirely did, though she felt that she was getting there.

Carol could tell that Therese was different. Still the woman that she’d fallen in love with of course, but she was jumpy, almost restless. After a month of living there, the sense of it had dulled somewhat; they were working back to what their normal had been, but perhaps a more balanced sense of it.

The sound of bare feet against the hardwood padding their way into the kitchen caught Therese’s attention, and she tensed for a moment. Carol walked to her, wrapping her manicured hands around Therese’s waist and pulling the younger woman up from the hunched position at the counter, Therese’s back to her front in a warm embrace. Carol rested the side of her face against the curve of Therese’s neck, exhaling. Therese could smell the perfume she’d put on that morning, though hours had past, and she would swear to anyone that it smelled just as wonderful as the first time it had, every single time.

“I thought you’d gone to bed,” Therese murmured, her heart beating a pace slower, calm in Carol’s arms.

“I can never sleep right without you,” Carol explained, kissing the spot behind her lover’s ear. “All these late nights are bad for your health, you know.” A beat of silence passed. “Come to bed, love,” she encouraged the idea with another kiss, this time to Therese’s neck.

Therese swayed into her lover, wanting to concede defeat in her exhaustion, humming in thought. She groaned in irritation, knowing that she couldn’t leave the photos in the fluid overnight, “I have to finish these; my editor wants them in his office tomorrow morning.”

Carol, unaffected by the refusal, simply let her left hand wander to the drawer underneath the countertop, slipping out two cigarettes from a pack and sticking one in her mouth. “Well then, if we must be up so late, then we may as well have a midnight treat.” She smiled at Therese knowingly, pressing the second cigarette between her lover’s fingers before rummaging in the drawer again for a lighter. Therese covered Carol’s hand in the drawer, drawing out the lighter herself for the two of them. She lit Carol’s, her hands so close to the woman’s face that she could feel her body heat after the lighter had served it’s purpose.

Carol’s almond shaped eyes looked at her, the glance unwavering, and her cool grey irises enhanced in the moonlight of the window. The older woman inhaled deeply, exhaling away from Therese; she found it rude to blow smoke in the face of others, regardless if they were smoking as well. Taking her lit cigarette, she brought it down to Therese’s own to light hers with the burning ash. The act was strangely intimate to Therese, and she felt a warmth pool in the pit of her stomach, her cheeks turning pink in a quick blush. She raised the cigarette to her lips, anxious to calm herself down. Carol caught her free hand in her own, running her pink, polished thumb, over the back of Therese’s hand, noting the sparse vibrations it was presenting.

“You’re trembling.” She breathed, her voice low, as though her lover were a frightened animal.

Therese took in a shaky breath, eyes closed, recalling the last time she’d been told that. Taking a long drag on her cigarette, she breathed most of it out in a sigh, just as shaky as before, and part of it in a cough. Carol brought her arm around her to support the brunette, leading her away from the counter and towards the couch to sit. The brunette allowed it, fatigued from lack of sleep and trembling with anxiety. Carol pulled Therese to her, gently, allowing her young lover to rest on the angle of her body as support, her breasts making comfortable pillow for Therese’s head.

“What’s wrong, sweetheart?” Carol asked her, voice tender, running her fingers though her lover’s straight, brunette locks in an attempt to soothe.

Therese couldn’t have explained why she said what she was about to say; perhaps this was her underlying issue throughout their entire reconnection as a couple and it was simply rearing it’s head as an issue. She closed her eyes, wrapping her arms tightly around Carols frame, and whimpered,  “Please don’t leave me again.”

Carol’s heart sunk with guilt, feeling firsthand what kind of damage she’d done to this young woman when she ripped herself out of her life. She’d intended it to be clean, like ripping off a Band-Aid; easier done quickly and not dwelled on. Of course, that hadn’t been the case; and the two of them had lost so much in the process. Tossing her cigarette in the ashtray on the coffee table, she wrapped her arms around Therese tight, so tight that she wasn’t entirely sure where her forearms ended and Therese’s body began.

“I will never, ever, leave you, Therese Belivet. I swear it to you. I swear on my life. I swear it on Rindy.” Carol meant it, she really did. She could not imagine a life without Therese, could not fathom the scenario as any possibility of her future. “I love you so much, sweet Therese,” She kissed the top of her lover’s head, then her forehead, moving further down until she kissed her firmly, seriously, on the lips. It felt like fire. “I love you so much that it aches my heart to see you so distraught.”

With one hand still firmly around Therese’s middle, she used her other to wipe away tears with the pads of her thumbs from her brunette’s eyes. “My angel, flung out of space…” Therese snuggled closer to Carol’s chest, craving the sense of security and the feeling of the other woman’s body against her own, the photos forgotten about entirely. She sniffled, swallowing despite the lump in her throat from crying. Carol held her tighter.

Kissing her on the forehead again, Carol began to sing low, just loud enough for Therese to hear, loud enough for the vibrations of her chest to calm her lover’s racing heart.

This is a thing I’ve never known before…” Carol sung slowly and easy, running her fingers through Therese’s hair again, lightly scratching at her scalp with her fingernails, “It’s called easy livin’” Her hand moved lower to massage the brunette’s neck, seeking to remove the tension she found so readily.

“This is a place I’ve never seen before… and I’ve been forgiven,” She would let the last syllable linger on for each line, keeping her pace slow and melodic, calming her distraught lover. “Easy livin’ and I’ve been forgiven, since you’ve taken your place in my heart,” In her head, she could hear the piano Therese played this on for her, during one of their first meeting. She smiled as she sang, nostalgia tickling at her heartstrings.

“Somewhere along the lonely road,” Carol continued, and Therese breathed in deep, soaking up Carol’s scent into her lungs to send her senses into overdrive, listening to Carol’s low, almost husky voice, “I had tried to find ya,”

Carol understood long ago why Therese had chosen this song to play and give to her, and she’d never stopped associating them with it. “Day after day on the windy road I had walked behind ya,” She kissed Therese’s temple.

“Easy livin and I’ve been forgiven, since you’ve taken your place in my heart.” Carol was almost sure that she could hear Therese sing along with her, in a whisper, but she decided not to draw attention to it. Whatever brought her soul mate some peace. “Waiting, watching, wishing my whole life away…” She gave another kiss for her sweetheart, this time on the part of her hair. The blonde pulled an afghan from the top of the couch, laying it over the two of them. “Dreaming, thinking, ready for my happy day, and some easy livin’” Carol smiled, relieved that Therese had stopped visibly shaking, save for the occasional tremor; her tears had nearly stopped as well.

Somewhere along the lonely road I had tried to find you”, Carol could definitely tell that Therese was singing with her now, still quiet, but louder, stronger than before. “Day after day on the windy road I had walked behind you,”

Therese looked up at Carol, her eyes red-rimmed from crying, but they were currently dry. She cracked a shy smile as they both sang in tandem “Easy livin’ and I’ve been forgiven, since you’ve taken your place…” Therese shifted closer to Carol’s face, “in,” their mouths were near touching, “my” both of them could feel each other’s breath, “heart.”

Carol, not wanting to force the kiss, let Therese take the lead here. Her lover did not disappoint; she closed the gap between the two of them, kissing Carol passionately and with fervor. Her hands found themselves in blonde hair, gripping loosely, not wanting to be apart from any part of Carol. She wanted to breathe her in, to taste her, to feel hear and hear her. Therese wanted Carol in every part of her senses; she wanted to know nothing but Carol. She pulled back an inch to breathe before diving in again, biting at Carol’s lower lip and making the older woman moan throatily.

So engulfed with Carol in her senses, Therese almost didn’t notice when she breathed out, “I love you,” as it came so naturally to her in the moment. She realized that Carol was exactly what she wanted; nothing else but Carol. Carol froze, immobile. She had professed her love a fair number of times to Therese, and she knew that Therese must love her too, but it had never been professed aloud. Carol stared her grey eyes into Therese’s hazel ones, stuck in shock, then she begun to smile, grinning widely and pulling Therese to her to kiss her hard. Therese realized what she’d said, the weight of holding it in having lifted. She grinned, her chest feeling airy and light; full of Carol Aird. “I love you.” She repeated, kissing Carol’s neck. “I love you, I love you, I love you!” There was weightlessness to her, and she couldn’t repeat the phrase enough. Each time, Carol felt warmth spread through her insides, as though she’d taken a shot of whiskey, or drank an entire pot of tea.

The two whispered their devotion of love back and forth to one another until exhaustion took them, embraced in each other’s arms, asleep with smiling faces.

Art by the wonderful indigonite

Hello, Percy Jackson fandom!

PJO Creators are kicking off their first challenge on the 29th of July, but we were thinking, instead of just keeping it to ourselves, why not make it a fandom project? So, we’d like you guys to help us out with it - and join in yourselves (if you want, obviously).

Pretty much, we have editors, but we think it’d be great if you could send us themes/prompts for graphics that you’d like to see, centred around Percy Jackson and the Olympians/Heroes of Olympus (for example there is a significant lack of Luke Castellan which I find unacceptable). So, why not go ahead and send them in?

PLEASE BE BROAD WITH YOUR SUGGESTIONS, eg, favourite character. Think of them more as themes.

How it’s going to work

  1. Everyone sends in their ideas by July 26th (GMT+0) to our ask or submit box
  2. We (PJO Creators) will vote on which ones we want to use - we will choose five
  3. Melissa (avatarrara) and I will organise the dates by July 29th and post the schedule on the day.
  4. Each challenge runs for two weeks - you will have those weeks to create and then tag your edit with the appropriate tags (will be given on the July 29th post).
  5. Each of them will be reblogged onto our blog under the tag for the challenge.

Just a reminder that this is just for a little fun and so that people can work on their editing skills.

Track the tag #pjoeditchallenge for updates and suggestions!

The Proposal - Chapter 4/?

Summary:  Dan Howell is the executive chief of a very known company which deals with publishing best seller books. He is hated but everyone in the office but everyone is too scared of him to say anything, unless they want to get fired. Phil Lester is his assistant. As much as he hates Dan and the way he treats him, Phil keeps quiet because of his dream of becoming an editor. When Dan learns that he might be facing deportation charges because of his expired visa, he convinces Phil to marry him in order for all charges to be dropped. The plan is to get a divorce after a few years but a weekend spent in Phil’s family house might just change both their plans, and the way they think.

Read it on AO3

A/N: First of all, I’ll start by apologising for the very long wait. It’s been a crazy few months so I desperately needed a break but I love ‘The Proposal’ with all my heart so I promise that at no point did I even consider abandoning it.

To make up for my very long absence I wrote a longer chapter then usual (4,299 words!!) and I think quite a bit happens in this one. It’s actually my favourite so far and I loved writing it so I hope you love reading it just as much! 

Anyways, I’ve left you waiting long enough and I’m pretty sure you’ll kill me if I leave you waiting any more so enjoy Chapter 4 of 'The Proposal’!

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