this is a published work

anonymous asked:

is the cia verse a fic in progress ?? :D

We’ve got huge chunks written already but the timeline alone is 26 pages so at this stage it’s less of a “fic in progress” and more of a sprawling behemoth that we keep playing with and adding to and generally making damn nuisances of ourselves with.

It’s going to be longer than my goddamn postgraduate thesis and I can’t tell you how fun cipollakate is to write with!!

Polish Literature: In the 1970s, Polish literature went through tough times, notably because of the increase in censorship and the poor quality of the works published by the officials. This crisis was progressively fought by unofficial publications and the new generation of young authors. It’s in the 1970s that the theme of the countryside and regained lands became important. Sur les Bords de l’Issa by Czeslaw Milosz is extremely popular even if he’s not yet back to Poland. 

Czesław Miłosz represents, at the time, and somehow still today, a symbol of the Polish intellectual culture (as opposed to the popular culture) which survived to the communist wish to see the disappearance of a strong national culture which was the bearer of a national identity as an individual entity in USSR.

The Nobel Prize in Literature 1980 was awarded to Czeslaw Milosz “who with uncompromising clear-sightedness voices man’s exposed condition in a world of severe conflicts”.

one of the interesting things about Wittgenstein is that for a ‘great philosopher’ of the 20th century his total collected works are not very large and published books during his lifetime amounts to just the Tractatus Logico-Philosophicus (which was also his dissertation) and a children’s spelling book he wrote while he was a primary school teacher (IIRC i think he also wrote one thing for an academic journal one time but then quickly disowned it) and the contents of that elementary spelling book have actually been published in Wittgenstein journals because like people that are really into Wittgenstein are really fucking into him and try to glean his philosophy from basically anything he ever did

just a thank you letter

this wasn’t included in my schedule but earlier i was looking at my follower count, which is almost 1k!

not to get emo or anything but i remember starting this account around january and reading people’s works and then started writing around february. i remember publishing my first fic which only reached 14 notes, i remember seeing it only had a small amount of notes and that made me so happy

i was looking through my masterlist, rereading my scenarios and fics and it made me realize how far ive reached, from reaching 10 notes to reaching hundreds and having a lot of people recognize my writing makes me so so so happy !! the point of this is just to say thank you to everyone who’s been there ever since the day i started my account, everyone who has supported my works, gave positive feedbacks and people who i’ve became close to!

i never really got the chance to say how i really felt when i reached 500 followers because i was shocked (never did i imagine reaching this much followers tbh) but here it is — thank you very much!

@lovesehunright @that-girl-who-is-in-ravenclaw @baekfanapleintemps @ahreum-ssi @haejayy @smracaraihc @pcy-cupid-me @soowritings @8bityeol @kollectionn @dropsofletters @mai-ly-love @k-drez @ink7yeol @booyunbaekhyun @bread-jinie @exostential @dream-exo-fantasy @forbyun @yeollieollie @luke-penguin-hemmings

youtube

On this day in music history: October 22, 1988 - “A Groovy Kind Of Love” by Phil Collins hits #1 on the Billboard 100 for 2 weeks. Written by Carole Bayer Sager and Toni Wine, it is the fifth solo chart topper for the singer, songwriter and musician from Chiswick, Hounslow, UK. Written by songwriters Toni Wine (The Archies, Dawn) and Carole Bayer Sager (“Don’t Cry Out Loud”, “It’s The Falling In Love”, “That’s What Friends Are For”, “On My Own”) in late 1965 while both are working as staff songwriters at Screen Gems Publishing. The two teen age songwriters, only seventeen and eighteen years old at the time, compose the song in just twenty minutes. Jack McGraw, the head of Screen Gems’ London branch hears the song and pitches to The Mindbenders (“The Game Of Love”), who like it immediately and agree to record it. Their version goes straight to number one on the UK singles chart and number two on the Hot 100 in the US in May of 1966. In 1987, when Phil Collins signs on to play infamous “Great Train Robber” Buster Edwards in the biopic “Buster”, he is initially reluctant to perform on any songs for the film’s soundtrack, wanting the attention to be focused on his acting. He changes his mind when his friend, musician Stephen Bishop (“On And On”, “It Might Be You”) records a rough version of “A Groovy Kind Of Love” for the film, with the intent of having Collins produce the final version. Collins likes Bishop’s treatment of the song so much, that he ends up recording it himself, co-producing it with “Buster” score composer Anne Dudley (of The Art Of Noise). Released as a single in August of 1988 just ahead of the films’ September release, it is an immediate hit. Entering the Hot 100 at #52 on September 3, 1988, it climbs to the top of the chart seven weeks later. “A Groovy Kind Of Love” is certified Gold in the US by the RIAA.

prettier-communist-than-stalin  asked:

"learn to keep your fans in check" is such a stupid concept, there are so many shitty fandoms out there of popular published works but strangely noone writes to those published writers to be held accountable for their fans. Every person is an individual, and EVEN IF you ACTIVELY encouraged your fans to be shitty, the blame would be on each individual "shitty fan" for actually doing it! Noone is being controlled by you or any writer! Let's get some understanding of free will please!

I’d like to clarify that my exclamation marks were not intended as angry or aggressive. Merely,, frustrated. I do not mean to attack (2/2)

Thank you for agreeing, but it really is not a big deal. I think that one person is just upset over something someone else said to them, and that’s understandable. If they want to reach out to me and tell what is actually going on, I’m sure they will. Otherwise there is not much I can do. I do feel bad though. No one should be compared to other writers just because they write about similar things. That’s not fair. 

are you drunk, mrs. lahey?

Originally posted by lovershub

a night out with the girls takes a surprising turn of events, and isaac’s not likely to deny his wife what she wants. (humor/smut)

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GUCCI HAS PLAGIARIZED THE IDEA FOR THEIR NEW TAROT CAMPAING FROM A BROWN AND BLACK ARTIST VIDEO. AGAIN WHITE PEOPLE KEEP STEALING US AND TAKING ADVENTAGE OF US

SO THIS IS THE SITUATION:

Gucci has released their new campaing directed by Emma Delzell shot Tim Walkers, both british creatives.

This campaign is a plagiarism from a Neila Czermak and Akinola Davies Jr seen below.
Their work was publish on BBC ARTS web a month ago. The original video is videoclip that talks about immigration and how hard is to left you country agains your will. In the video poc recreate tarot cards.

IT HAS BEEN PUBLISH 2 MONTHS AGO IN BBC SITE http://www.bbc.co.uk/programmes/p05bymx7

2 MONTHS LATER GUCCI LEADED BY THEIR WHITE THIEF UNTALENTED AND IRRELEVANT DIRECTOR EMMA DELZELL RELEASE A VIDEO ABT REAL LIFE TAROT SCENES.

THEY CAN NOT STOLE THE HARD WORK OF YOUNG BROWN AND BLACK ARTIST IN ORDER TO EARN UNWORTHY MONEY AND PRESTIGE.

SHAME ON GUCCI

SHAME ON EMMA DELZELL

SHAME ON ANOTHER MAN MAGAZINE

SHAME ON TIME WALKER

BOOST THIS. BC GUCCI KNOW THIS YOUNG PEOPLE CANT AFFORD SUE THEM. THE DAMAGE IS ALREADY DONE BUT WE CAN CALL OUT THIS EVIL STOLE MADE BY A MULTINATIONAL TAKING ADVENTAGE OF 2 YOUNG POC ARTISTS. THE INFO IS ALL OVER THE INTERNET AND WE WON’T STOP TIL THEY DELETE THE STOLEN PIECE AMD RECOGNIZE THE HAVE PLAGIARIZED NEILA’S AND AKINOLA’S HARD WORK

THESE ARE THE PROOFS. SO ACT AND DESTROY WHITE IRRELEVANT “ARTISTS” THAY STEAL US AND GET ALL THE CREDIT

4

Aslaug Meme → [2/3] Quotes: 4.14 - “In the Uncertain Hour Before Morning”
✧ I am not my mother, nor yet my father. I would never win. But still I have fulfilled my destiny.

2

BOOKS READ IN 2016: the hating game by sally thorne

I have a theory. Hating someone feels disturbingly similar to being in love with them. I’ve had a lot of time to compare love and hate, and these are my observations.
Love and hate are visceral. Your stomach twists at the thought of that person. The heart in your chest beats heavy and bright, nearly visible through your flesh and clothes. Your appetite and sleep are shredded. Every interaction spikes your blood with adrenaline, and you’re in the brink of fight or flight. Your body is barely under your control. You’re consumed, and it scares you.

2

pull me like a ripcord, break me down and build me up x

4

MAIA WEEK — Day five: song lyrics

I had a one-way ticket to a place where all the demons go
Where the wind don’t change
And nothing in the ground can ever grow
No hope, just lies
And you’re taught to cry into your pillow
But I survived (x)

We Are Seeking a Publicity/Marketing Professional!

Good evening followers!

As we gear up for the release of our first commercial works, we are in search of Marketing and/or Publicity wizards to help us make each book a success! 

We are seeking someone with professional experience in the area of marketing and/or publicity. Fandom experience is a plus (because we are all about supporting fandom!), as is a love for fan fiction. This is a paid, part-time consultant/contract position. The ideal candidate is adept at digital marketing strategies (SEO/email marketing/social media/etc.) and is willing to help establish a strong promotional plan for our first releases. Experience with promoting novels, particularly ebooks, is a major plus and will be given preference. 

If you would like to join our team and help us launch the original works of some of our favorite fan fiction authors, please email us a short cover letter and your resume to contact@carnationbooks.com. 

across these pages

rating: e | words: 6,419 | chapters: 1

a sequel to between each beat are words unsaid

*****

“Here,” John says almost as soon as Sherlock’s settled next to him. “I wanted to give you something special today. Something important. And I, uh, I think it is.” He says it with a little shrug, a tiny bit of doubt creeping in.

“It is,” Sherlock reassures him, and John huffs out a laugh.

“You don’t even know what it is yet.”

*****

After the reception ends, John and Sherlock exchange wedding gifts. 

Domestic

Part 1: Engaged/ Newlyweds 

A/N: I’m not relevant anymore but here’s part one of a possible series of a reader and Tom growing up, growing together, and growing old. 

Word count: 3,112


It’s like a scene out of a movie when you and Tom finally have a date: a streetside café bustling with New York natives, a wall of plants and flowers fencing where the sidewalk ends and the seating starts. A slight breeze cools the piping hot coffee you ordered, a gorgeous spread of food laying in your sights. Tom says something, but you can’t quite hear him over how loud everything is.

“Can you repeat that babe?”

“I said the back of your head looks really nice today.”

Keep reading

HEARTWOOD: Non-binary Tales of Sylvan Fantasy is the newest anthology from P&M Press.

Across time and cultures, humanity has spun tales about the forest: tales of caution, adventure, rites of passage, and discovery. Some of those stories persist as the folklore and fairy tales that delight our imaginations today, and the forest remains a symbol for facing the unknown and emerging transformed.

This anthology is for everyone who’s walked through the undergrowth, in the silence of nature, and longed for an adventure of their own to unfold. These stories of modern-day sylvan fantasy will showcase the best non-binary cartoonists of our day, guiding characters like us into the woods and back again.

Submission Period

Submissions will be open to the public from October 16th - November 13th. (A line-up of preselected creators will also be unveiled throughout this period!)

Who Can Participate

We want submissions from people who identify as nonbinary, genderqueer, agender, bigender, neutrois, twospirit, genderfluid, demigender, trans femme or trans masc, and other genders outside the “man or woman” binary. 

For team submissions, at least the writer must meet the above criteria. If two submissions are equally matched, the all non-binary team will be prioritized. Use #TeamHeartwood (Tumblr or Twitter) to find teammates!

Age Restrictions

All contributors must be 18 years or older. All content must be suitable for readers as young as 14 years old.

Specifications

  • Comics from 4 - 12 pages long
  • 6” x 9” trim size (template provided)
  • Bleed? Yes.
  • Black & White or Grayscale (no screentones please)
  • 600 dpi

Timeline

Selection Process (October 2017 - December 2017)

  • Project Announcement - 2 weeks
  • Open Submissions - 4 weeks
  • Final Selection - 2 weeks

Work Period (December 2017 - July 2018)

  • Creator Portraits - 1 week
  • Script + Thumbnails - 8 weeks
  • Pencils - 10 weeks
  • Inks - 6 weeks
  • Grayscale - 6 weeks
  • Letters - 2 weeks
  • Bios - 1 week

Kickstarter (Fall 2018)

Compensation

Contributors to our first anthology were paid $100/page plus Kickstarter bonuses. In keeping with P&M Press’ founding goal of increasing pay with each successive campaign, HEARTWOOD contributors will be compensated at $105/page plus any Kickstarter bonuses.

Contributors also receive a minimum of 10 complimentary copies of the anthology, royalties on all digital sales, and royalties on any print runs of the anthology after the first printing sells out.

Rights

Creators will cede exclusive first worldwide print and digital rights to their stories for a full calendar year from the date of publication, and non-exclusive worldwide print and digital rights in perpetuity. Ownership remains with the creators.

What We Want

  • Previously unpublished stories.
  • Forests. Jungles. Decaying structures reclaimed by nature. Trees, trees, and - oh yeah - more trees! Deep, lush settings that have character. (If you absolutely hate drawing backgrounds/characters interacting with their environment, you may want to sit this one out.)
  • At least one protagonist must be non-binary.
  • At least one non-binary protagonist must be human (they can be half magical-species-you-made-up, but their gender should not be portrayed as a “fantastical” result of that).
  • Stories set now-ish (a hard date isn’t necessary, but keep the human fashion and any tech to post-1990 and pre-2030).
  • Movement from one space to another (entering, leaving, traveling), literally and/or metaphorically.
  • Personified aspects of the natural world (e.g. whispering winds, walking plants, talking animals, etc).
  • Original fantastical creatures/beings.
  • Discovery and Understanding.
  • Tests (of will, wits, ethics, etc).
  • Person Allied With Nature.
  • A spirit of adventure!

What We DON’T Want

  • No fan works. No auto-bio. No prose. No one-off illustrations.
  • Stories that basically amount to “protagonist realizes they are non-binary and explains gender to the other characters/the reader.” Your character can come to understand their gender better by the end of the story, but there should be a plot beyond that.
  • Meet-cutes. (“Two people meet and crush at first sight, the end.”)
  • Horror: this includes horror tropes, body horror, classic horror monsters like werewolves or vampires, popular cryptids/urban legends like Slender Man or the Jersey Devil, and so on. Your story can use fear and danger as plot elements, but if instilling fear/existential dread in the reader is the overarching theme, this is the wrong anthology.
  • Tolkienian fantasy: no elves, dwarves, orcs, etc. We won’t freak out if you make something up that’s very loosely(!) inspired by any of these (unless it replicates the problematic elements of Tolkien’s work, in which case your work will not be accepted).
  • Cursing is permitted as long as words aren’t used literally (i.e. “Shit, you scared me!” as opposed to “Let’s go shit in the woods!”) and are used very sparingly when used at all. In general, we’d prefer not.
  • No porn. No references to specific sexual acts. No explicit nudity whether sexual or non-sexual (sorry, folks). “Consensual fade-to-black sex between legal adults” is fine.
  • No depictions of abuse (sexual, physical, psychological) whether pictorial or written. Characters may vaguely reference (in non-graphic language) abuse that they have suffered in the past if doing so serves the story or is integral to the character (i.e. maybe the story is about a survivor working on their agoraphobia by going on what they believe will be a brief, non-magical hike…).
  • No gore. People can get hurt, bleed, die, etc, but not in a grossly over-the-top way that fetishizes violence.
  • No slurs, no racism (not even “fantasy racism”), no misogyny, no transphobia, no ableism, no xenophobia, no white supremacist nonsense in general. (And please, no stories whose sole purpose is to teach that these things are bad.)

Ready? Here’s How To Pitch

Send us an email at powerandmagicpress@gmail.com with the subject line “Heartwood Pitch” that includes the following information/attachments:

  1. The name, pronouns, and role of everyone on your team (or just yourself for solo submissions). Give the name(s) you want used during communications with you, marketing of your contribution, and credits in the book (even if those are all different).
  2. A working title and page count for your comic (doesn’t have to be exact).
  3. A synopsis of your story, including a beginning, middle, and end. Spoil everything, but try to keep it under 500 words.
  4. Preliminary sketches associated with your pitch: character ideas, important creature designs, environment concepts (the latter is especially important if your portfolio lacks strong examples of background art), etc. These don’t need to be final or polished pieces! Just detailed enough to give us an idea.
  5. Links to any relevant publishing credits (whether you’re writing the comic, drawing it, lettering it, or doing everything yourself). Self-published works and webcomics count as credits! Choose examples that best reflect the style you intend to use for this comic. You may simply include a link to your portfolio if you have no pre-existing credits, but please note that folks with sequential storytelling examples will receive preference.
  6. Tell us about yourself, your cultural and artistic background, and why you want to be in HEARTWOOD. Short and sweet is best!

More Questions? 

Check out the FAQ. If your answer isn’t there, Ask away!