i still have the editor open

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)

Does anybody know how to stop tumblr from opening a blog in the sidebar and not at its full address?

Weird thing: it only does this for certain blogs, not all blogs. But I REALLY need to view this blog at its full address otherwise I can’t edit its layout (if I try via blog settings I have the same problem -it’ll direct me to the editor, but the example page won’t load because it is STILL trying to open it as a sidebar view)

It’s driving my absolutely bananas and I wish to commit murder. 


9/16/2016 (New York)—Pantheon (Knopf/Penguin Random House) announces plans to publish the English edition of internationally acclaimed gay erotica artist and icon Gengoroh Tagame’s first general audience comic book series, My Brother’s Husband, in a two-volume omnibus edition.

 My Brother’s Husband is the hit Japanese manga series, awarded by the country’s own Media Arts Council for Excellence in Manga, celebrating an unapologetic approach to queer social themes and issues. In a heteronormative mainstream comics culture that has never seen an explicitly gay main character in a popular series, My Brother’s Husband has been a watershed publishing event: not only is this the first openly out gay artist to be commended by a government council, Tagame’s bestselling work has now been featured on the front cover of the popular young adult magazine in which it serializes…twice.
The series “My Brother’s Husband” debuted in Gekkan Action Zasshi (Monthly Action Magazine) in November of 2014 in Japan to monumental critical acclaim and commercial success. Currently approaching its 16th installment, the monthly series has been one of publisher Futabasha’s bestselling series. The first collected book of the series (Chapters 1-7) is in at least its fifth printing and has since launch, been translated into Korean and French. Unlike the original or current foreign editions, the English edition will be formatted as a two volume omnibus.
My Brother’s Husband is a family drama that begins with the auspicious arrival of Mike, a Canadian who has come to pay respects to the family of his recently deceased Japanese husband Ryoji, whose only remaining immediate family member is Yaichi—an identical twin brother. As Mike gets accustomed to Japanese morays and the surprising idiosyncrasies of living with Yaichi and his daughter Kana, the sleepy Japanese suburb also learns the true meaning of family.
“I think ‘My Brother’s Husband’ will be one of the most important works of manga to be published in the last ten years—it opens the door on what it means to be LGBT in Japan today, the considerable challenges that community still faces, and how it relates to the strides of acceptance that have been made in the West.  Gengoroh Tagame has achieved something extraordinary here, in his beautifully-drawn story of not only a very modern family, but an international one too.” —Designer/Editor Chip Kidd

Gengoroh TAGAME
Born in 1964. Upon graduating Tama Art University, he took jobs as an Art Director, debuting as a gay erotic artist in 1986 with manga, illustratraions and prose fiction for a variety of magazines. He has been a full-time gay erotic artist since 1994. As a gay mangaka he has published over a dozen graphic novels and been translated into French, Spanish, German, Italian, and finally in English, with the 2013 publication of The Passion of Gengoroh Tagame, edited by Anne Ishii, Graham Kolbeins and Chip Kidd. His artwork has been exhibited in solo exhibitions around the world, including Paris, Berlin, Los Angeles and New York. Tagame’s work can be found in comic bookstores and online at massive-goods.com where he is also represented by Anne Ishii.
MASSIVE GOODS designs, produces and curates queer and feminist comics and art created by artists in Japan.
My Brother’s Husband: Volume 1 (of 2) will be released Summer 2017, produced in conjunction with MASSIVE GOODS.
Translator: Anne Ishii
Designer: Chip Kidd
Production: John Kuramoto
Originally published in Japanese by: Futabasha, 2014-2015

The Gokudera’s birthday wallpaper post from last month is still getting notes, so I thought I’d post this one too! If you don’t know, Akira Amano’s editors recently opened a twitter account where she’s been posting doodles to promote the next season of eldlive, but KHR characters have been showing up too! Happy birthday to everyone’s favorite asshole Varia boss, Xanxus! The full size for various devices is available from the link in the tweet. Tsuna and Reborn’s birthdays are also within the next week (the 13th and 14th I believe), so I’ll wait until both of those come out to post them. 

~Our flame will never go out~

thegeekrebellion  asked:

Neverwhere is my second favorite novel you've written (next to American Gods). I have the anniversary edition of American Gods with the author's preferred text. How different will the Neverwhere edition be from that which was originally released? (I still recite "Door opened" from time to time--great imagery and potent word choice--knocked me for a loop the first time I read it.)

Neverwhere was originally published in the UK in ‘97, and that was sort of a first draft. The version that was published in the US in ‘98 was longer, better, but all of the jokes were gone, along with a few bits that the US editor didn’t feel the US could cope with. The UK 2005 version, the 2010ish Audio Book I recorded, and the upcoming US version were what I felt to be complete versions.

dear friends,
it seems as though the tumblr theme!pocalypse is not set to pass without a few aftershocks.  some people are noticing that their themes are not as they left them…  it seems as though tumblr is resetting some themes back to their ‘default’ option in the basic editor.  ( as far as i know, this hasn’t happened to any of my published themes ( though it could well have, idk ), but it has to some others, and not just from the same theme maker, it’s a bit of a random hit-rate! O_o )


  1. check your theme. if everything looks fine - you’ve escaped the aftershock.
  2. if anything looks weird, go into the BASIC EDITOR and check your customisation settings.  
  3. you may have to reset any colour options, or if you have any toggle switches or selections for things like post size then ‘re-switch’ or ‘re-toggle’ them to your chosen options.  *THIS IS IMPORTANT FOR OPTIONAL POST SIZES, or your posts may disappear or just look really weird :\
  4. you may also have to re-upload any images you have used for headers or sidebars, etc.
  5. also check your other basic settings, on the tumblr setting page, e.g. is your ask box still open, your submit, etc.
  6. as far as i can tell, this has not messed with anyone’s actual code, just a reset of the options, so it’s just a case of re-doing a couple of things in the basic editor… and that’s it!
To help you in these anxiety inducing SF times...

So I know we are down to the last two episodes of TWD, and many of us (myself included) are anxiously waiting to see Beth appear again. Now I am an active member of Team Delusional, and I want to see Beth alive with every fiber of my being - but even I have moments of crazy anxiety where I doubt every post and theory I have ever seen. It’s only human, and it’s happening a lot more frequently now that we’re almost at the end of our line. So I went back to the one post that calms me down every time I start to worry, and I want to talk about it a little bit more so that all of you can read this and maybe it’ll calm your nerves too! My original post was made a few weeks ago, and you can find it here if you have yet to see it. And then I added to it here. 

Now the reason this is the one post that calms me down is not because it’s my post and I’m some crazy narcissist (although I do check myself out in mirrors sometimes because I’m only human, ok?). This post calms me down because it’s cold, hard evidence of Beth that you can literally see with your own two eyes. We can all theorize all we want (and many of you have come up with truly brilliant, intelligent, and spectacular theories) but the simple truth is that we all want to see actual evidence that is tangible to the senses, because that’s what makes us feel like we have real proof in support of our theories. Now, in said post I talked about Beth in the opening credits - highlighted in these images below:

Beth shows up for literally a 5 frame/.5 second moment in the very VERY beginning of the opening credits. Before the words “AMC presents” even show up. Obviously after posting this, there was a lot of speculation about who the other person was (Noah? another ward? there are plenty of theories and any of them could be right.) But one thing I don’t doubt at all is that the running figure is Beth in her yellow shirt. 

So here are the new things I want to say about this post. I checked, and this tiny flash of Beth running past the screen is in every episode of Season 5 so far. Starting from the premier all the way to the one we just saw this past Sunday. This interests me, because in 5A, it could have just been a clue as to where Beth actually was, since we didn’t find out what the hell had happened to her until “Slabtown.” (Although she was in scrubs for almost all of 5A and then when she did change into the shirt before ‘dying,’she also wore the cardigan so this is Beth as we have not previously seen her). But this segment continues into 5B, after “Coda”. After she is presumed dead. Then, I thought about the fact that after 509(? i think) they took both Emily and Chad’s names out of the credits. So they do, in fact, edit the credits based on the events happening in the show. But this segment is still there, episode after episode, no matter what. When they took out Em’s name they could have just as easily taken this .5 second segment out too and we would have barely noticed (since we barely noticed it to begin with). But they didn’t. And now that both Beth and Noah are gone, I’m very curious to see if this segment is still in there come next episode. Because if both Beth and Noah really are dead, what is the point of keeping this segment in, especially since we know now that the editors actually do bother to fiddle with the opening titles depending on the circumstances of the episode. If it’s still there, I’m going to dance around my living room like a nutcase, I promise you that. And I think it’ll still be there. 

There is also the fact that they have never before in the opening credits of this show, had a segment like this. I went back and checked. Every other season opens with the music and a shot of something with “AMC presents” over it. There are no hard-to-catch .5 second flashes of anything like this. Nothing. Nada. Zip. When there are quick flashes it’s of burned candlesticks or dead walkers or things that are there to really just set the mood.  So this is important, to say the least. This is something that was left for us to catch, and catch it we did. 

Finally I just want to point out that no character has been grieved over as much as Beth other than Lori. After Lori died, Rick went crazy and he stayed that way for a long time - but this was the death of his wife with whom he had two children, it makes sense that he would take a lot of time to be upset. Every other character who has died has had moments afterwards (sometimes an entire episode) where the group mourned, yes, but none as long and as obvious as what Daryl is going through with Beth. Daryl is still in mourning over her. And he’s still trying to be a better man because of her. And we as the audience are still reminded of the effect she had on him in every episode. Every episode since “Coda” has something that we can point out and gif (and oh we have). And I think that’s important. As many of you have said, they are keeping Beth fresh on the brain. Even Maggie seems to be moving on a little bit. 

To be fair, Sasha is still very clearly upset over Tyreese and Bob, and I’m glad TPTB didn’t cheapen those deaths by making her get over it quickly (ALTHOUGH WTF, DID THEY HAVE TO DIE? THE ANSWER IS NO. BUT IM CLEARLY NOT BITTER ANYMORE shhhh *ImissyousomuchTyreese*). But, she hasn’t had as much screen time with her grief as Daryl has had over his - again I find this very telling. All of Daryl’s screen time thus far has been showcasing his anger, his resentment, his hopelessness, his depression. I could write a thesis paper about all of the emotions Daryl has gone through in 5B at this point, I have a fucking MD in Dixonology and honestly so do the rest of you because it’s that obvious. 

Anyway all sarcasm (and bitterness) aside, we are being reminded of Beth. And that image of Beth is still in the opening credits. And I think Beth is alive. So take a deep breath and try to calm your nerves. And if you need to, come and freak out with me because I am happy to be of service in any way :) I hope this helped a little. 


I find it funny that Sekaiichi Hatsukoi and Junjou Romantica helped me decide on what i want to do in the future and not to be afraid to pursue it . Cause my parents had an expectation for me to study in the medical field   but i didn’t really desired that i just obeyed  but, I have a love for literature i love writting and reading and kinda wished to find a job on where i could do something like that  when i watched SIH/JR it opened my eyes on how onodera loved literature and decided to be an editor to help create something that people will love or hiroki he’s a professor even though its a lot of work he still enjoy’s it i can go on and on how they worked hard to do what they love . So i decided i’ll do what i love and work in a publishing company i just want to work with literature and help create books work with author or be one my self we’ll see  then later on see them on the shelves and think to my self i helped to create that so thank you SIH/JR this is another reason why I love you . Don’t ever be afraid to peruse you’re dreams just because of others 

For brutal reforming lady Pope feels.

So I bought myself my first graphics tablet yesterday, and this is what happened (I’m still stuck in a forest somewhere knee deep in bitchy elves in Origins, but a few spoilers have found their sticky gross way through). Not really finished, but feeling chuffed with myself so here you go. I’ll worry about finding a style and whatnot when I learn how to draw properly.

Out of the Blue - FINAL chapter: Seaworthy

Work summary:

When Dipper Pines decided that hunting on his own was a good idea he quickly discovered that not every human was vulnerable to his song. He also found that pirate ships are full of lunatics and being stuck with the (way too good looking) Captain Bill Cipher would probably drive him to insanity.

Pairing: Bill Cipher/Dipper Pines

Chapter Summary: Everything comes to a close


And that’s it. That’s the end of Out of the Blue.

I can’t believe this fic got as popular as it did and I am incrediby thankful for every single reader and the nice comments I got.This fanfic is what ultimately made me want to pursue a carreer in writing. Without all of you awesome fans though it could not have gone as good as it did! I also want to especially thank my lovely editors, Ara and Meg. Without them this fic would have been littered with way more mistakes as it is now and they helped me improve on my english wording!

Now there are still a lot of open questions and things that have not been explained in this fanfic. I have planned a sequel but I can’t really confirm yet when I will get to write/upload it. I have the prologue and chapter 1 but due to some personal things I have started to slip out of the billdip fandom a little bit. Plus I want to concentrate on Nanowrimo next month, where I will be writing my firs OC story. This will probably not be uploaded here though. I will try to continue writing Into troubled waters but I just wanted to give you a headsup that it could be a while before I upload it. I will of course continue the containment AU though! :)

Thank you all so much for your support and I hope you’ll stay for future projects <3333

AO3 Links

[Chapter 1]  [Chapter 19] 

I think the way they showed Stiles having such a clear, huge reaction to seeing Lydia hurt in both 5A and 5B is really important. Especially the reaction in 5A, how they used the audio to clearly show the way that his world kind of fell out from underneath him when he saw her. There was a very clear choice made there to show how profoundly impacted by seeing her like that he was, in a way that he has never been when seeing his friends hurt (the only possible comparison is his reaction outside of the vault with Scott).

In last night’s episode, they also made a very clear decision to frame it in a way that shows just how important his feelings about her being hurt are. The way they had him find out put it on the same level as his father being hurt. The dramatic decisions they made in having the scene trail off without the actual words being said, and then the next scene opening with Stiles seeing her.

There are very clear decisions being made here by the writers/directors/editors/etc. to show exactly how much Lydia means to him and exactly how profound his reaction to seeing her injured is. I imagine that a large part of that is to lead us into him going to EH to save her, but they can’t just act like it’s not a really important indication of how strong his feelings still are for her.

I thought of something today that I’ve always wondered about with Rory and Jess but never knew for sure. I always wondered if they kept in contact after 6x08. Originally, I thought no because Jess asked her at the open house if she had fixed everything. If they’d even just exchanged emails, that would come up right? Unless it was a general question and they *were* in contact. It’s very rare that when Jess wanted to send Rory the invitation to his open house that he asked Luke for her address again. One, I don’t think he would feel comfortable with that conversation since Rory was living with Logan by then. And two, he seemed very surprised to see her there which yes, could be because he brought April and Rory met her there but I don’t think that’s it. I think they *did* email each other (at least) and she told him she and Lorelai made up. I think she told him she went back to yale and that she made editor (because his “miss yale editor” comment - again, I can’t see Luke randomly passing this info along. No one ever seemed to want to say much about rory to jess and vice versa post break-up) and also that she had a change of address. I don’t think she told him she lived with Logan, he of course didn’t even know they were still together at the open house, but I think they kept each other updated. And now I feel so robbed because we were robbed of so much during their actual relationship (And even some friendship in s2, I would have loved to see them browse books and eat pizza after the picnic okay?) But we lost out on them rebuilding their friendship in s6 and before it got awkward after he kissed her and learned she still was with Logan. We deserved so much better. But at least now her comment about them being friends makes sense. It wasn’t just two episodes, they really were friends again and it makes me sad we didn’t get to see that.

anonymous asked:

What's the total progress on the Anniversary translation? Not trying to pressure you or anything, I'm just really excited to finally be able to understand it, so thank you! :)

OK I’m gonna answer this in the tags with some details you didn’t ask for, since I’m sure many other people are also wondering about this. I’m going to give a complete summary of the project status and do some advertizing while I’m at it.

The problem we had the last couple of years was that we didn’t have any active blog to report our progress and recruit new people. The Anniversary no Kuni no Alice project started way back in 2012, but only a few remain of the people who joined initially. There used to be a thread at baka-tsuki, a wordpress blog and a forum, but ever since the starter of the project pretty much went completely silent there hasn’t been any activity at any of them. Which means no new people could be recruited, even though the old ones left one by one.

However! We do still have some people (9 in total, 2 active and 2 semi-active translators among them), and we are trying to get a partial patch out with what we have. Hopefully it will make more people take notice of the project and join us, enabling us to complete the rest of the routes.

Now, I’m gonna leak our super secret project progress chart. XD

Don’t get excited by just seeing the percentages. Not all scripts are of the same length. Some routes, like Elliot’s or the twins appear to have great progress, but almost all of the translated events are super short basic events of 2-4 lines and the big events containing the actual stories are still not translated. In truth the only routes that have significant progress in terms of total content are:

-Boris (all basic events translated, all stay route love events translated, a few non stay route love events remain)

-Peter (all basic events translated, all stay route love events translated, non stay route love events not done)

-Blood (all stay route basic events translated, a few stay route love events remain, non stay route not done)

As the Boris and Peter stay routes are fully translated and have a hard-working editor working on them, they’ll definitely be included in the patch. I’m still working on the Blood route and don’t have an editor so I can’t promise that it’ll be released at the same time, but I’ll try!! We also had someone pick up Nightmare’s route only recently, so it may not be ready for the patch in time. (We’re thinking of making a Halloween release, but it’s a very tentative goal.)

Currently what we’re looking for are:

-Translators (for all routes except Peter, Boris and Nightmare. I’d appreciate sharing the workload of Blood’s non-stay route with someone too. APPLICATIONS still open!)

-Editors (for everything, urgently for Blood’s stay route Received enough requests, no longer accepting new applications! Will recruit again once we have more translators!)

-Proofreaders (for everything, urgently for Blood’s stay route Received enough requests, no longer accepting new applications! Will recruit again once we have more translators!)

In the past one specific person used to be assigned for each route, but imo it put too much pressure on people considering the huge amount of scripts, so everyone is welcome to work on anything as long as they are qualified. For translators that means having good English and basic Japanese knowledge (not simply the ability to google translate, mind you XD), and editors/proofreaders only need a good grasp of English grammar and spelling. Anyone interested in helping out can either contact me on tumblr (fanmails are encouraged since tumblr eats normal asks), or on my gmail address (aurora6290@gmail.com).

The current group members normally communicate through email or on text files in a shared dropbox folder that also houses the scripts. We have a skype group too, which no one uses these days orz. I’m planning to make a project blog on tumblr which imo is much better than the previous places used to host the project, as the reblog function makes it much easier to spread news around. The patch will be posted there and also on the englishotomegames blog.

And that will be all. Wish us luck! (And once we release the patch definitely show your support for quinrose by purchasing either the original Japanese game for Anniversary or the English phone app, bad translations and all)

P.S. A few previews of the patch for the curious minds.

Prologue snippet

Blood laughing

damnverssisters  asked:

So I love your artwork and especially your original work, and I'm wondering how it will be available in the future? Like is it something we'll be able to buy? Keep up the awesomeness :)

Ahh, thank you so much, it means a lot!

It all depends on money and free time, as always. For my original comic, I want to open a good website to host it, and will probably post 1 or 2 pages a week. That’s what my Patreon page is all about. The comic will be free, but patrons will have access to special pages and other little things like this. The money is needed to pay for the website + art supplies, since all of my work is traditional.

As to buy it anywhere, if an editor is interested in it and wants to make a book out of it, nothing would thrill me more. But there’s still a long way to go for that to ever happen :)

It’s always been right there in front of me.

Riley and Lucas Multi fanfiction

Title:  It’s always right there in front of me.
Summary: After a huge fight with Riley, Lucas falls asleep dreaming of a life where Riley is his best friend. However, after meeting Maya maybe Lucas will finally realize what or who was right there in front of him.
Notes: SORRY THIS TOOK ME AGES! Uni/Life got in the way…and I felt really unmotivated until recently!


Can also be found on AO3 and Fanfiction

Riley was still feeling weird when she woke up the next day. She was still hoping that it would be gone but she still couldn’t shake the feeling that things were changing and not for the better. She sits up and checks her phone to see if she had a message from Lucas, knowing he usually messages her first thing in the morning but frowns when she sees nothing. She groans as she flops back on the bed, bringing her pillow up over her eyes and giving a small scream. She is instantly brought back to what had transpired yesterday.

So this is my stop!” Maya says as the train begins to slow, pulling to a gentle stop at the station. Lucas instantly grinning at her, standing up.

“Ours too!”

“Small world!” Maya laughs and Lucas smiles, the two of them walking off with Riley trailing after them. The three of them walk out of the station, Lucas and Maya continuing their conversation. They get to the top of the stairs Maya pointing to the left.

“So I am this way!”

“How about I walk you home?”

Maya bites her lips “No it’s fine, I don’t want to put you out of your way.”

“Nonsense” Lucas shakes his head.

“Luke what about our shakes? First day back at school shakes? Mrs Svorski makes them every year”

“Oh right!” Lucas bites his lip glancing at Maya who also bites her lip “Do you think Maya could come? Then we can walk her home? I mean she is still getting to know the neighborhood?”

Riley tires to hide the shock on her face because Lucas has never invited anyone to join their first day of school shakes. She quickly swallows the dread forming and plasters a fake smile on her face.


However as Maya and Lucas start walking off with Riley watching them, she didn’t feel sure at all.

Once they get to the bakery Riley lasts all of five minutes before the feeling in her stomach returns, she forces on a fake smiles she grabs her bags.

“I actually need to prepare for tomorrow, first yearbook meeting. I uhh…I will talk to you later Lucas.”

Lucas looks up from where he was talking to Maya a frown appearing on his face.

“You sure?”

Riley just nods her head “Mmhmm.”

“Ok I will just text you later ok?”

“Sounds good! Enjoy the rest of your afternoon.” Riley speaks just as she dashes from the bakery, not looking back at the two people.

It occurs to her as she finally gets into bed later that night, that Lucas never ended up texting her.

Keep reading

I Don't Like It
Can u do an imagine where u r friends with all of the guys and 1 day u r at a party at the Jacks house and Kalin White and u always flirted and Nate would always get jealous bc he secretly liked u but never said anything and u had promised Nate that u would dance with him earlier but before he could ask u while there Kalin came up to u and asked and u went with him and Nate ignored u for the rest of the night and u were confused and Sam told u he liked u but at the end nothing happened w Nate
Saturday night. Absolutely nothing to do.
I could edit these videos I recorded with the Jacks that I promised would be up by tomorrow.
Or, nevermind. I should be doing something productive.
I pick up my laptop and place it on my lap, opening my video editor.
I’m almost done with editing the video, I just have to blur out some of the weird things Gilinsky was doing, and then I can post it.
Then my phone dings with a text message. 3 times.

Kalin: Party at the Jacks’ tonite, be my date?
Skathan: Hanging with the Jacks 2nite, wanna come?
(Y/Sister/N): R we still going out tom??
I quickly respond with a ‘yes’ to my sister, and reply to both Kalin and Nate.
To Kalin: Yea sure. What time?
To Skathan: I’ll be there, but I’ll be with Kalin. Promise to save you a dance tho!
Kalin: I’ll pick you up in an hour, is that okay?
To Kalin: Perfect.
Skathan: Kalin? Are you serious? But, alright, I’ll hold you to that dance.
What does Nate have against Kalin? I never understood why he doesn’t like him so much. They’d be great friends.
I quickly showered and got dressed, finishing up just as Kalin knocked on my door. I jogged down the hall and opened the door.
He was leaning against the doorway, looking extremely hot.
“M'lady. Your carriage has arrived.” He jokes, motioning to his car.
“Thank you. I’ll be out in a second, let me get my stuff.” I smile, turning around to get my keys, phone and purse off of my bed.
I go back out to Kalin, and he led me to the car, opening and closing the door for me.
The ride was fun, my house was really far from the Jacks’, so the ride was filled with a bunch of music and flirting. We even kissed at a stoplight that was taking too long, and we couldn’t stop giggling afterwards, because a car across from us was giving us the evil eye.
We pulled up to the house and I got out, Kalin walking behind me, putting his hand on the small of my back.
He opens the door and we walk in, immediately being pulled in by the slow music.
“Hey guys! You’re just in time!” Johnson comes over, giving me a hug.
“Hey Jack!” I kiss his cheek, pinching it afterward. 
I could see Nate approaching me, but the slow beat of Chris Brown’s '2012’ blaring from the speakers caused Kalin to grab my hand and lead me to where a few more people were dancing.
His hands rested on my hips, grinding them back and forth. I followed his lead, turning to face him. His hands travel down to grip my ass, and I let him. Because it’s Kalin-fucking-White, why wouldn’t I?
His lips connected with mine, but it wasn’t the soft, innocent kiss he gave me in the car, it was more rough, and So. Much. Hotter. The song faded out and he let my lips go.
“Meet me in the car in an hour, we can do that and more back at your place.” He growls in my ear. I nod, giving him a sexy smirk. I sway my hips as I walk away from him, hearing him lightly curse under his breath.
“I changed my mind, half an hour!” He calls after me, and I blow him a kiss.
I looked around the party and found Nate in the kitchen.
“Nate!” I squeal, going to give him a hug. He doesn’t hug me back and I look at him.
“What’s with you?”
“Don’t worry about it.” He snaps, causing me to jump back.
“Why the attitude?” I scoff. He looks at me with a look that could kill. “Okay?” I mumble under my breath going over to Sam.
“What’s up with Nate?” I ask Sam, who looked up me and laughed.
“You don’t know?” I shake my head, “He has a thing for you and doesn’t like seeing you with Kalin.”
Leave it to Sam to be so blunt.
“Wow, I have to talk to him.” I walked back over to Nate.
“Go away, I don’t want to talk right now.”
“Can I just-”
“Why don’t you go fuck Kalin or something, it seemed as if the two of you had some 'unfinished business’ on the dance floor.” He puts air quotes around 'unfinished business’
He can be such an ass sometimes, and here I am to make sure it comes back around to bite him in the ass.
“You know what, I came here to tell you that I felt the same way you did, and maybe we could try something out. But since you want to be a dick about it, I had plans to fuck Kalin anyway.” I turn on my heel, grabbing Kalin by his collar.
“Fuck me, now.” I command, and he nods, leading me outside.
Nate’s POV
Man, I fucked up. Seeing the lust in her eyes as she said that to Kalin made me want to punch myself in the face.
“I told you not to set her off, she knows exactly how to piss all of us off.” Gilinsky pats my back.
“She’ll never forgive me for that will she?”
“Fuck.” I groan, rubbing my hands over my face.

We’re so pleased to share this intimate Q&A between Jim Shepard and his  editor, Gary Fisketjon. If you’re in NYC, you can see the two in conversation at mcnallyjackson tomorrow night at 7 pm.

Gary Fisketjon:  The Book of Aron appears on a poster celebrating some of the most notable books published by Knopf in the month of May over the past hundred years.  Are there any old books on this list that you happen to be particularly fond of?  And will you hang this framed poster in your guest bathroom or tack it up in the garage until you next make a garbage run?

Jim Shepard:  Of course it’s thrilling and humbling to be a part of such a lineup.   (When I first looked at it, my initial response was, Jeez, which book doesn’t belong on this list?)  All of the old books on that list are ones I’m particularly fond of.    I wish I had enough narcissism to prominently hang a poster with my book cover on it; I get embarrassed, though, so my guess is that it’ll end up in the kids’ playroom in the basement, where ping pong balls will rocket off it every so often. 

GF:  Your first two books were published by Knopf in the early Eighties, as have your last six since 1996 (including The Book of Aron but not Love and Hydrogen, a Vintage Original).  This makes you a Borzoi of longer standing than most people who still work here.  Do you have any tales from the crypt you’d care to share?

JS:  Well, that’s a frightening thought: I’m the old guard?  One thing I used to like to do with old pals like Ed Hirsch was raid the book room.   Back in the Eighties there was a central windowless room where they kept lots of recently published hardcovers, and Ed and I would visit and then on our way out ask innocently, “Do you mind if we visit the book room?”  We made out like bandits.   We’d also hang around Gordon Lish, since he was so relentlessly outrageous.  He’d shout down the hall when he saw us coming that he wanted to marry Ed and have an affair with me.  Then we’d give him grief by reading aloud to him the flap copy he wrote for his authors.  I still remember the opening phrase he’d proposed for one of Jack Gilbert’s books of poetry: “Not since Homer…”   

But most of my tales from the crypt would probably involve my first editor, Bob Gottlieb.  I hadn’t realized he was famous for his informality, and I think he was bemused that I was even more informal than he was.  When I first met him I’d just come from playing basketball downtown and was still pretty sweaty.   I sat on his floor because I felt so gross.  Then it turned out that Knopf publicity had been so horrified by the author photo I’d sent — I’d had my girlfriend take it while I stood out in the street, and I think the sun was even behind me — that they’d planned a photo-shoot during my visit, but here I was in a soaked basketball jersey.  So someone borrowed a dress shirt and they shot me from the waist up.  The collar was about twelve sizes too big.   Bob was a spectacularly good editor, and he had no patience whatsoever — at least with me — with what he considered to be grand syntactical or rhetorical flourishes.  He’d talked me into cutting one from the end of my first novel, and then when he wanted to do the same with my second, I resisted.   He patiently explained his thinking on the matter and then finally said that if I wanted to keep it, it was my funeral.   I kept it.   The first review that came in mentioned that flourish with great enthusiasm, and when Bob forwarded the clipping to me, next to that assertion he wrote, “I can’t agree with this.”    The next review that came in also mentioned the flourish with even more enthusiasm, and when Bob forwarded that clipping, he’d drawn a skull and crossbones over the quoted passage and had scrawled, in Kurtz’s handwriting, “This must stop!”  

GF:  Did you ever meet Alfred himself?  Or hear anything about him?

JS:  I never met Alfred himself.   And how’s this for disappointing: Bob did tell me a few stories about him, and I don’t remember a single one of them with any accuracy.   Oral historians, take note: there’s no point in bothering Jim with any questions. 

GF:  Being fearful of children in books and movies and even – in the case of those belonging to friends – life itself, I marvel at your fearlessness about using a great variety of them throughout your career, catholic in terms of age and preoccupation and both where and when.  I started drawing up a list of my favorites but soon gave up because I have too many, each entirely independent of the others in every respect.  First, where do you get this courage and, better still, the skill to make each one (plus their pals) so damn convincing?  Second, do you have any special favorites?  Third, there of course is Aron, so I wonder:  Did creating this remarkable boy require something more than the youngsters you’ve already distinguished yourself with?

JS:  It helps to have not completely grown up myself, I suppose.   I think as a kid I got in the habit of observing kids — I was always a passionately interested outsider, but not such a pariah that I’d be chased away — and that meant that I was always recording what made various kids tick, how they operated, what they loved.  I’m not sure I was particularly unusual in that regard.  And even as a little kid I loved doing voices, and my Italian relatives loved doing voices, too.    And since I’ve always been interested in the relative powerlessness of children, as well as the weird double-binds that certain forms of precocity generate for kids, I’ve been continually drawn to writing about them.   Do I have any favorites?   I suppose the two boys I’ve spent the most time with: Hanratty, the miserable schmo at the heart of Project X, and Aron.  As for the special difficulties involved in imagining Aron, many of them are what you’d expect: the distances in time and place from my own childhood, etc.   And although he seems in recognizable ways to have lots in common with a kid like Hanratty, there was also that problem of how to render someone who’d experienced such extremities of loss and deprivation.   


GF:  An impertinent question, for sure:  Do you think, in your heart of hearts and your deepest thoughts, that Aron somehow managed to escape the fate of Treblinka that was suffered by Janusz Korczak and the other children from the ghetto? Clearly the good doctor thought Aron might well be able to pull this off, but what are your thoughts about all that?  Or is this something you’d like each reader to decide for him- or herself?

JS:  It is something that every reader will decide for him- or herself.  I love thinking he might have.   But escape from Treblinka meant escape from the trains themselves — you didn’t get out once you reached the camp — so for Aron that would have meant leaving Korczak and the rest of the children on the train.   He might have.  He’s given a blueprint for how to do it towards the end.   

GF:  Are there any writers you find particularly adept or inspirational (in not the sappy sense but the literary one) when it comes to writing about children?

JS:  Off the top of my head I can immediately cite Jona Oberski’s Childhood — speaking of children who’ve experienced extremities of loss and deprivation — and Kaye Gibbons’ Ellen Foster.  I’ve always loved the tenderness with which Nabokov’s children are rendered, and Flannery O’Connor’s flinty-eyed lack of sentimentality when it comes to the subject of children.   I love the portraits of the non-saintly children in Dickens’ novels, though even the saintly ones are affecting.  Charlie Baxter and Aimee Bender and Margot Livesey and Deborah Eisenberg do great kids.   Then there are all of those books about adolescents, like Charles Portis’ True Grit.  I’m sure I’m forgetting three hundred others.   


GF:  I’ve often said that you do more research for certain short stories than some writers of would-be epics might dream of undertaking.  Is there any truth to that claim?  

JS:  Ha!   My general rule of thumb is that there’s some truth to all of your claims.   To back you up, though, Ron Hansen, an old friend, has always scolded me for how little bang I get for the buck when it comes to research.   He took appalled notice of the thickness of my research folders for a story about the executioner who presided over the Reign of Terror during the French Revolution and said, “Jeez.   I could get a trilogy out of the amount of stuff that you use for a short story.”   I reminded him that I'd always aspired to be crappy provider, when it came to my kids.  

GF:  And in the case of prodigious investigations, historical or otherwise, how do you separate the wheat from the chaff, and how many of your discoveries inform your understanding of the story’s background without ever appearing in the story itself? 

JS:  It isn’t just a matter of which are the most amazing details, I’ve finally figured out; the wheat turns out to be all of that stuff that bears on the central emotional arc that I’m starting to develop – those details that seem to illuminate it, or resonate with it – and the chaff turns out to be all of that stuff that seems to simply provide Atmosphere.  As you might expect – or maybe you wouldn’t – the great majority of details that I think are incredibly great don’t get in, since it turns out that they often seem to be doing the same emotional work.   A big percentage of those details that didn’t get in then of course inform my understanding of the world, and the story.   In the case of that story about the executioner, for example, I learned a huge amount about the history of the protagonist’s family, a family that passed down through its generations the title of Executioner of Paris.   That information was crucially helpful in terms of my construction of the protagonist’s psyche, but almost none of it got into the story.   

GF:  Here’s a question I’ve always wanted to ask, but maybe haven’t yet had the cheek to actually do so.  Is there any chance that The Book of Aron started out as a story that soon, or at some point, started turning into a novel?

JS:  No.  Forget what I said about there being some truth to all of your claims.  I’ve had that happen once – with Nosferatu, which went from a story I’d thought I’d finished to a novel – but not with any of the other novels.  In the case of Aron, as I began to think about it and imagine its shape in my head, I estimated that it had to be at least eighty to a hundred pages, and since that’s no man’s land in terms of a publishable length (what gets a publisher more excited than the news that someone’s working on a novella?), I thought, Oh, this is going to be a novel.  Which for me is always good news, since lately it hasn’t happened that often.

GF:  How do you see the future of writing (or publishing, for that matter) in this increasingly digitalized age?  What, or how much, are you and your friends saying about this?  What are you telling your writing students?

JS:  I tell my students (and friends) that I’m less worried about the future of publishing than I am about the future of reading.  In some ways reading itself – the kind that involves sustained concentration and the gradual accretion of details that cohere to evoke a world that lives entirely in the reader’s imagination – seems to have been undermined by the digital age’s modes of engagement, and by what that age offers as competition.  My kids can barely cover three or four pages before they’re checking their phones.