my editor myself

4

And I can’t take it

But I keep on coming back to you

[Bebe singing version]

004. morning kisses | pjm

morning kisses
[Pairing] Jimin | Reader
[Genre] Fluff, Drabble
[Word Count] 731


The morning breeze tickling your nose was what first caught your attention as you were slowly dragged from your slumber.  The second thing was just how cold you were because yet again, Jimin had stolen the duvet.  The third was the light making the back of your eyelids just a bit more red than black.  Lastly, was the absence of a familiar weight around your midsection.

Blinking and struggling to adjust to the light trickling through the open window (thankfully the thin curtains were down, somewhat shielding you from the onslaught of UV rays), you turned your head to see a mess of black hair and swollen red lips.  Just the sight made you smile; you turned your whole body just so you can look at the boy next to you.

Jimin’s hair was everywhere, and thankfully it was just short enough that it didn’t cover his eyes (well, it wouldn’t if they were open).  It looked just as silky as you knew it felt, having ran your hands through it just the night before.  You wanted to do it again but withheld the urge: you didn’t want to wake him up just yet.

His head was securely tucked into his pillow, his arm curled under it to keep it close, and the duvet was pulled up to his chin.  The only indication of his tight grasp on it was the way it scrunched up a little further down from the top, exactly where it was tucked under his side so it wouldn’t move.  The arm that usually would be resting lazily across your stomach was up, it’s hand pressed against his chin and the bottom of his lip.  It only served to make his lips fuller, if that was possible.

His lips.  Red and swollen, they were pursed ever so slightly, almost as if he were pouting, with a small gap inbetween.  At random moments when he’d jerk in his sleep, they’d pop out a tiny bit more, practically begging for your attention.  It took everything within you not to lean over and press your own lips against his, just to feel the cracks and rough patches on them before he covered his lips in lip balm.

With his lips pursed, the hollows of his cheeks—the right side with a small breakout, almost too light to be noticed, even without makeup—sucked in a tiny bit.  It did nothing to hide the puffiness of his cheeks, though.  You never quite knew why, but every morning his face seemed to be puffier than usual.  You didn’t mind; it was one of many things you absolutely adored about him.

His delicate eyelashes rested against the tops of his cheeks, somewhat covering the purplish bags from all the nights he spent up in the practice room, memorizing choreography with Hoseok so they could help the other members learn it.  You remember many caffeine charged nights spent waiting for him, just so you could let him fall asleep with you holding him.  Whenever he was exhausted, he always became the little spoon, no matter what, and you were okay with it.

The only sound in the room was that of his soft snoring, almost quiet enough to be mistaken as simply breathing.  You had barely even noticed that you were holding your breath, as if just the sound of it could wake him—ridiculous really, considering you knew just how hard it was to wake him up.  So, as you let out a breath, a lazy smile found its way onto your lips, and you leaned forward.

As you got closer, you noticed he had forgotten to take his earrings out.  Even closer and you noticed the small bit of drool at the corner of his mouth.  Closer still, and you could feel his soft breath, steady and warm against your skin.  Your lips softly touched his, unable to hold yourself back, and as your eyes fluttered closed, his fluttered open.

He leaned in, and it wasn’t long before you found yourself underneath him: his firm, bare chest pressing against yours and your palms flat against it.  Jimin pulled back, his large, warm eyes gazing down at you with a small smile playing on his lips.  You giggled softly, leaning up to catch his lips again in a quick peck, uncaring that both of you probably had horrible morning breath.

“Well, good morning to you, too.”

5

-poem by naum

hi so i won’t really be as active because i’m gonna do like a total organization of my blog and organize my tags and i have 4k+ posts to go through so it’s going to take a while ,, i’ll probably set up a queue with my new tagging system so my blog isn’t completely dead (i guess y’all will get a sneak peek at what it’ll be like 👀)

nirwastir  asked:

Hi Faith! I saw what you wrote on hours spent on writing vs. drawing comics and I realized I've never actually seen a comic book script before. Does it look like a movie script? Could you tell us a bit about what scripting a comic is like?

I started writing the script for Nameless City book 2 this week, so I am totally prepared to talk about this! 

DISCLAIMER! I’m going to give you a peek into how I write comics. This is a method that works for me, but it may not work for you. You don’t have to write this particular way, this is just how I do it. I’m friends with many people who work in the comic book industry and what I’ve discovered by talking to them about process is that we all make comics differently. 

So, this is me, working away on the script for Nameless City book 2 this week:

(Your bowls, kitchen table and beverage choice may vary.) The typed pages on the right are my outline. For me, an outline is important. It’s how I keep track of what needs to happen in the story. Mine tend to also have emotional beats (Kai is feeling angry because [reason], Rat is hungry because she’s always hungry) and some important dialogue thrown in. On the left is a spiral notebook purchased from a drugstore. That’s where I draw my rough draft of the book. When making my first draft of a graphic novel, I thumbnail and write dialogue by hand beside the thumbnails. 

Why? Because this allows me to think about the artwork and pacing of the comic while writing dialogue. Comics are both art and writing (one does not take precedence before the other), and this thumbnail-and-script method allows me to keep the balance of both at the beginning. 

When I’m done my very rough thumbnail draft, I end up with something that looks like this:

lol! That’s the first draft of The Nameless City book 1. All the loose paper is scenes I’ve added or altered, and I wasn’t able to fit them into the spiral notebook. If I was smart, I’d do these early drafts on loose paper or notebooks that allow you to add and remove pages, but I dunno, I just like these cheap spiral notebooks for some reason. XD

Then, when I’m satisfied with this early draft of the comic, I go and type the whole sucker up. It looks approximately like this:

So here’s where we get into the whole thing of “I am both the writer and artist of this comic, so I work a little differently than if I was just the writer.” As both the writer and artist, I have a mental picture of what will be going on in each scene in my head (I’ve also done those thumbnails). So I’m not very detailed when describing what’s going on in each panel. I tend to include only basic, important information in addition to the dialogue, so my editor can understand what’s going on. 

In contrast, here’s a page from the script for Bigfoot Boy 3, a kids’ comic series I did with the writer J. Torres. J, by the way, is an experienced and skilled writer, and very good to work with. As an artist, I recommend him! 

J is a LOT more detailed in his writing than I am, and there’s a reason for that: he’s not the artist of the comic, I am. And I can’t see into his head. So he has to effectively communicate what he wants drawn in each scene. That’s super important! J also formats his pages properly, which is something I can’t be bothered with if I’m writing for myself (my editor at First Second doesn’t seem to mind). I believe this is a format you can get from that writing program Final Draft (which I do not own but should probably buy at some point). I do all my writing in Open Office, a free program.

So that’s pretty much it, I think! I do a bit of revising when I type up my script, tightening the dialogue and just trying to give things a final polish, and then I hand it into my editor. She gets back to me with notes, we revise, and then I’m off to draw the sucker. 

comingupcait  asked:

Hi Mo! I'm quite a fan of you and your work, you are my badass TV critic idol, to say the least! I was just reading your HuffPo piece from 2011 on How To Be A TV Critic. I know my heart is in it. Any advice for a young newspaper journo and freelancer who wants to make her way as a TV critic, but is still trying to figure out just how to get there? Keep rocking ✌🏻️💜

I’ve gotten this question a number of times over the years, so I hastily wrote this. Hope it’s of some help. And now I can send folks this link when I get this question. Thank you! 

So you want to be a TV critic! All righty. Here is me interviewing myself about that. Pull up a chair and check it out. 

But first of all, Two Big Things to remember. 

My main pieces of advice are: 1. Read writers you admire and think about what you like about their work and why 2. Write as often as you can. It’s really only repetition of the act of writing that makes me better at it – maybe others have different advice, but those are my two big ones. Read a lot and write a lot. (I cribbed this from the foreword to Doris Lessing’s The Golden Notebook, which you should read. The foreword and the book itself. They’re both great, and I think about them all the time.)

1) What inspired you to pursue your career? What steps did you take to make it where you are now?

I was originally inspired to go into journalism by some traveling I did in my mid-20s. I traveled around the world for about a year, and I wrote about what I saw and experienced in journals, and I wanted to do more things like that. I never really have had a gift for fiction (though I’m writing more and more of it these days –who knew?). Anyway, after I ended the wandering, I decided to focus on non-fiction, and applied to journalism schools. 

While in j. school, I realized that I preferred feature writing to news writing, though the training I received in news writing was a terrific way to begin learning the craft. (Fun thing about the journalism school I attended: We wrote news stories [that only instructors saw] every day, and if you got even one fact wrong, you got an F on it, no matter how good the rest of the story was. No exceptions. It was a terrifying experience to get that first “F,” but that’s nothing compared to getting an angry call or email from a real, live human being whose life or career you got wrong. Check your facts, folks, and then check them again.)

After journalism school, I got a job at a public policy magazine, but I also founded a music magazine of my own (an underground “zine,” sort of the forerunner of the kind of music sites that are all over the web today. My zine was called Steve Albini Thinks We Suck, and yes, that is a fucking great name). The zine and other indie work I was doing ended up getting me a lot of work at other, bigger outlets, and my career basically grew from there and eventually I was hired by the Chicago Tribune, where after a few years in various jobs, I became the television critic (that’s the short version of that transition – basically it helped that I’d been writing about pop culture and TV a lot before I began writing about TV full-time, and it helped that I was good at Internet stuff way back in the day).

2) What does your typical work day include? What is your favorite aspect of your job?

The biggest misconception of the job is that I get to watch TV all day. I wish! A lot of my day is spent writing reviews or features or writing up interviews I’ve done, emailing or meeting with colleagues, emailing or talking to publicists and also, of course, watching some TV. However typically I only watch TV for about an hour or two per day, during the day (I watch more at night, with my husband or with my husband and son. Currently we’re re-watching Mr. Robot and it remains THE SHIT [that’s meant as the highest possible compliment]).

My two favorite parts of the job are seeing something really incredible and being able to write about that, and also, getting the chance to interview the people who make the shows I really enjoy. Both those things are a lot of fun. A little scary sometimes! But fun. 

3) What under-grad/grad schools have you attended? What was your major?

I went to Washington University in St. Louis for undergrad, and my majors were English and psychology. I received my Masters in journalism from Northwestern’s Medill School of Journalism. Go Fighting Medilldos!  

4) Are you given a lot of deadlines or are you able to work on your own time/schedule? Is your job extremely demanding/do you get time to yourself?

The deadlines I get are basically set by myself. My editors typically know what I’m working on – my pieces are typically posted around the premieres and finales of various shows, so we work out those schedules in advance. But if I change my mind and want to do something other than what we’ve talked about, my editors are flexible. We talk a lot via email, chat and now Slack. Soon we will just communicate silently through chips installed in our brains, and mostly our conversations will continue to consist of Broad City and Game of Thrones gifs. 

What can be challenging is getting a chance to give my brain downtime. There are so many networks sending press kits and episodes of new shows to critics all the time, plus there are just so many shows on the air at any one time – how do you choose which ones to focus on? That’s something that I still struggle with. It’s good to have time away from TV, because when something you do for fun (i.e., watching TV) is also your job, you need mental breaks from it. I think I’ve gotten somewhat better about taking those. I like gardening!

5) What do you know now that you wish you knew when you were first starting out?

That I should be flexible and that I would eventually learn a lot of different things, and a lot of those things are fun and challenging and help me up my game, ideally. Doing some of those things convinced me I didn’t like them (I don’t mind going on camera, but that’s not my happy place.) Anyway, I’ve shot video, edited audio, done podcasts, done various behind the scenes jobs (editor, comment wrangler, art director, photo editor). Life comes at you fast, and the media industries change faster. Be prepared to try a lot of different things. It’s great to set goals for what you want to do, but just know that where you’ll end up might be different from where you start out – and that’s OK. 

And if I had my 22 year old self in front of me, I’d say to have fun and just be open to new experiences, and I’d tell her that following my passions (writing, creating the ‘zine, loving storytelling in all forms, being an obsessive fan of music, TV and art) would end up steering me into some cool and exciting places. Definitely try to be the best version you can be of yourself, because trying to be a pretty good simulation of somebody else is bound to end in failure. There’s only one you – don’t deprive the universe of that voice. 

As for specific advice on how to get in the TV-critic game, look at the TV or pop-culture websites you like to read, contact those editors (there are usually email addresses on the sites, or be very NICE while saying hello to the relevant editors on social media and asking if they accept pitches). However you get those contact emails, use them to pitch editors with your ideas (in a concise fashion). Be prepared for the fact that every editor I know is totally overwhelmed 98 percent of the time and that if they don’t get back to you, it’s really not personal (probably! honest!). If you hear nothing, get back in touch periodically, politely, and if you get nothing over the long term, move on to the next editor/site. Or just do your own website, maybe while you’re freelancing, if you can swing that. 

The great thing about right now is that nobody can tell you not to do anything. Try stuff. Write things down. Put them in the world. Keep doing that, and of course try to get paid and/or on staff when and where you can. But while you try to do those things, you do you. If you have a thought you have to bust out RIGHT NOW, do it! Nobody’s stopping you. :) 

The other great thing about that strategy is that you can just send people to links of things you’ve already done when they ask for samples of your work. I’m not going to lie to you – it’s hard, hard, hard work to be a freelancer writing about TV. It’s very hard to make a living at it. But there’s nothing stopping you from trying. Throw up a Tumblr tonight, and get started. And send me links :)

Edited to add: I periodically retweet links I see to job listings in the media industries. Follow publications you like to try to get that kind of info. You don’t have to follow me to get those tips (but if you do follow me, for whatever reason, thanks! I also tweet cute animal photos sometimes, if that’s more your thing). In any event, media folk know how hard the game is, so many of us pass around job listings on Twitter and other social media, and publications themselves advertise that way as well. Wishing you luck!