(she lives between pages)
Blasts from the (not so distant) past:

Earlier today, thedeftmegalodon pointed out that not all of my Sir Gawain and the Green Knight fic had successfully made the migration over from LJ.  That turned out to be quite correct!  All of Hidden Favor 'Verse is now where it should be in sequence, and the stand-alone from Yuletide 2005, Men Well Met is also present.  

(Hidden Favor has more story that comes after “Blood for the Bride,” but I just haven’t got around to writing it yet.  Given that series was written in scattered bits between late 2005 and early 2011, I can’t say when I’ll continue.  But I may yet!)

pixiepunch:

Sup @irisbluefic 

I already did 7, but here’s a 4. C:

4 - Eyelid Kiss

I imagine it to be some kind of distraction ploy to get Hermann to get some rest. And Hermann complaining about how unsanitary eye kisses are. And if he gets pink eye he’s gonna stab someone. And that Newt is just smudging the shit out of his glasses. You know, the romantic stuff. 

190 plays

prodigalproblemchild:

Okay, I was thinking I wanted to lay this out for demonstration of how phrasing and inflection is key when it comes to podficcing. How you read a sentence is really important - how you stress and emphasize words and clauses can impact the meaning of a sentence and the mood of the exchange.

I said in my last post that I try to steer away from over characterization in dialogue, and I do. But you can’t escape the fact that you’re reading actual dialogue and it needs to have some base of inflection to help the listener distinguish it from the narrative. Sometimes how something is said is indicated in the text - for example the writer might say “she whispered” or “he shouted shouted.” You as the reader are going to have to make the call on whether you’re going to vocalize your delivery to match. Truthfully, sometimes I do and sometimes I don’t, it’s really depends on the situation. Generally, I’ll raise and lower my voice for whispers and shouts…but other vocalizations, particularly sighs and laughs, I don’t. This is mainly because I’m not confident in my ability to do so. It’s something I practice and hope to master convincingly at some point. Not that the writing always calls for it, and not that I’ll use it every time it is, but it’s nice tool to have in your arsenal as a reader.

But what about where no specific direction is given? How do you tell if someone is being sarcastic or sincere? Clever? Manipulative? Whiny? That’s when it’s really important to look for other cues in the scene - mood, lighting, previous dialogue, etc. I don’t want to sound condescending, because some of this is pretty obvious (especially since many podficcers are writers themselves, and everyone a silent reader). But there are times - especially in plot heavy scenes where the dialogue is meant to be moving the action along, or in really emotional scenes where things are progressing quickly - where you will find yourself not knowing with certainty just HOW the character is feeling.

This bit isn’t a really the most solid example of that - but it is sort of a bridge moment. The characters are transitioning from talking about outside matters of the day to a much more intimate things. Is it a sudden change in mood? Or does Aziraphale’s rebuttal soften to fondness, easing the way? Here is where I as a reader have to take some leaps. With this example you can see my trial and error as I experiment with different ways to deliver this sentence, and how each reading gives a different meaning and mood to the scene.

I know I’ve spoken mainly of dialogue at this point, but this is true in narrative as well. That being said, with narrative it can be less clear and you’re less likely to have explicate cues as you would within in context of a verbal exchange. One thing I think is particularly important to remember is not to bring too much of yourself to the narrative. As silent readers we bring a wealth of our own personality and life experience to a story, and it’s easy to not realize or forget that fact when you read a loud. 

For that reason, it becomes important to keep narrative moments more towards neutral, without going so far as to be flat and uninteresting. I always try to avoid any extreme expression unless it is specifically called for - one of the best examples (that I am unfortunately a little clunky with my explanation of) is when the writer comes to a conclusion in the text (think of it as an “aha!” moment).

As a reader, you might have picked up on where the writer was going before the writer actually got there (possibly through intended foreshadowing, or characterization). You might read the narrative in your head with what I think of as a “duhhh” tone. However, another reader might not have picked up on the conclusion before the writer made it. For them, it’s more of an “oh, huh, yeah, I can see that” moment.

If a podficcer reads it the former way, and a listener was experiencing it in the latter way, that difference would be enough to pull the listener out of the moment. And could possibly alienate a listener from the work altogether. You don’t want that, and the author certainly doesn’t. So while I do use some inflection in narrative, I try to limit it to small variations on neutral. 

Hopefully makes sense and didn’t get too far off course or down a wormhole…the tl;dr is that inflection is important in dialogue and narrative, but you need to tread carefully, remember the author’s intent, and remain a neutral relayer of the story.

cxstxxl:

irisbleufic:

cxstxxl:

sorry but you cant deny that in good omens, neal and terry specifically stated that aziraphale is an angel and angels have no gender. aziraphale is agender get the fuck out

This discussion has been persistent enough on the tag that I’d love to join in.  From my perspective, the crucial thing to remember is that there are quite a number of intentional clues in the text as to why Aziraphale and Crowley both, as examples of angel stock, are very different from the rest of their kind.  Crowley’s present body is described as “his favorite shape,” and he’s always terrified when he has to shape-shift that he won’t be able to change back.  Similarly, Aziraphale’s dowdy bookshop-owner human manifestation is an aspect of himself to which he’s so attached that he goes so far as to ensure his nails are always flawlessly manicured.  My guess is that Neil and Terry point out that angels are gender-less in order to highlight the fact of just how native Aziraphale and Crowley have really gone as a result of their time on earth with humans and with each other.  The male human bodies they inhabit are now a crucial part of their respective senses of self-hood; at every turn, the pronoun used for both of them, whether by themselves or by each other or by others around them, is he.  Did they start out as creatures essentially without gender?  Absolutely.  Did they both eventually discover that they’re otherwise much happier identifying as we see them now?  Textual evidence seems to point to yes.  That they evolve and change as a result of their unusual existence is part of the point.  Along with the dolphins, of course.

pronouns do not equal gender.

No, they do not :)  But the point I’m trying to make is that the textual evidence is more complex than the statement that angels do not have gender.  Both of these creatures have adopted identities that are far more nuanced than that single statement indicates.  Male presentation is a large part of how they seem to prefer to identify, as is usage of the pronoun he.  To ignore the rest of the text beyond the statement that angels do not have gender is to ignore their complexity.  And their complexity is why we love this novel so much!

cxstxxl:

sorry but you cant deny that in good omens, neal and terry specifically stated that aziraphale is an angel and angels have no gender. aziraphale is agender get the fuck out

This discussion has been persistent enough on the tag that I’d love to join in.  From my perspective, the crucial thing to remember is that there are quite a number of intentional clues in the text as to why Aziraphale and Crowley both, as examples of angel stock, are very different from the rest of their kind.  Crowley’s present body is described as “his favorite shape,” and he’s always terrified when he has to shape-shift that he won’t be able to change back.  Similarly, Aziraphale’s dowdy bookshop-owner human manifestation is an aspect of himself to which he’s so attached that he goes so far as to ensure his nails are always flawlessly manicured.  My guess is that Neil and Terry point out that angels are gender-less in order to highlight the fact of just how native Aziraphale and Crowley have really gone as a result of their time on earth with humans and with each other.  The male human bodies they inhabit are now a crucial part of their respective senses of self-hood; at every turn, the pronoun used for both of them, whether by themselves or by each other or by others around them, is he.  Did they start out as creatures essentially without gender?  Absolutely.  Did they both eventually discover that they’re otherwise much happier identifying as we see them now?  Textual evidence seems to point to yes.  That they evolve and change as a result of their unusual existence is part of the point.  Along with the dolphins, of course.

mydogsnokes:

if the loch ness monster is ever proven to be real i’m throwing a huge party and im gonna get Fucked Up

(Me too, Newt.  Me too.)

feriowind:

I FORGOT TO INCLUDE THIS but irisbleufic wrote a sequel fic to my comic Stars Above called Parallax / Perihelion and it’s super duper cute and wonderful and everyone should read it!!!!

feriowind:

Earlier this year I was invited by shikino1003 to participate in a Japanese Newmann doujinshi anthology, and I jumped at the offer because holy moly how cool is that?!  

But yeah, here’s the comic I drew for the anthology! 

Please read RIGHT to LEFT!

The fact that you're still writing for Good Omens after such along time fills me with so much hope and leaves me giggling like a child. Thank you so so so much for your contributions to the fandom. Thank you for making me laugh, and for making me cry. You've brought so much life into the characters that the book is now more impossible to forget. I hope you continue to stay just as fabulous as you are and that you continue to write with as much love as you have already shown. And thank you.
Anonymous

It must be a GO-asks kind of morning, anon (see previous post) ♥  This sudden flurry may have to do with prodigalproblemchild resuming podfic on CoT after a hiatus, but part of me is incredibly touched that it’s lining up with the approach of my ten-year anniversary in the fandom (and also of the tenth annual Good Omens Holiday Exchange, for which, by the way, sign-ups will be opening soon).  I’ve been saying that November 2004 was when I first read the book, but then I got curious as to whether that was accurate, because what I can recall is that I read it all in one sitting and in under six hours and then called the friend who’d handed it to me and rambled into her voicemail.  And then that made me remember that she had actually transcribed my voice message and posted it to LiveJournal, which in turn made me realize the exact date I read the novel is on record.  So, I logged into LJ just now and trawled said friend’s November 2004 archive of posts without any luck.  I backed up a month, however, and found the message transcription dated 16 October 2004:

Hi you know what? You’re really lucky you’re not home right now because I am calling to chew you out for this I HOPE YOU’RE HAPPYare you? You know, I can uhmmno, I’m just, nope, not gonna start, uh-uh, um…I’ll talk to you laterno I’m kidding, really, I’m kidding, I’mI’m, I’m babbling I can’t stop babbling you’re (pant) very lucky you’re not on the receiving end of it all, although right now I guess technically you are, or your answering machine is, and thisisveryappropriategiventhecircumstances um I’m just gonna haha I’m just gonna go back to babbling to (name garbled), never mind, ok bye.

What’s hilarious is, I never once say why I’m calling, because I knew she would know exactly why.  She knew exactly what she was doing when she put that book in my hand, and, well, look at where we are now.  Cheers, anon.  Thank you for sticking with me all these years!

Hi! I just wanted to say that your Crown of Thorns fanfic/fan novel/perfectly acceptable sequel to GO is THE BEST THING I'VE EVER READ SINCE ACTUAL GO! I can't get over how freakin EPIC AND ADORABLE AND ACCURATE AND GAHHHHH it is. I could go on but I think I've embarrassed myself enough. You get two giant virtual hugs: one from me and one from my girlfriend, who fangirls over the fic with me.

Please consider your hugs and your girlfriend’s returned tenfold, then!  I don’t even pretend CoT, the series-that-is-never-quite-finished-but-always-marked-as-such-because-I-never-know-when-I’ll-add-the-next-part, is not at the very heart of what I consider to be my life’s work (i.e. my writing and editing activities taken as a whole).  Ten years in the fandom is a long time.  You made me curious about something just now when you called it a novel, so I decided to pit its word-count against the word-count of GO.  Here’s the result:

GO 105,000 words [citation here]

CoT = 171,179 words [at present]

It’s certainly novel-length, and I had a similar moment of hilarity with the Gatsby sequence I wrote last year when I realized TGG itself is only 47,094 words and that I’d basically written half its length in fic (and will easily exceed it if I ever decide to revisit that series and add to it, which is never out of the realm of possibility).  Thank you for reminding me why I write: I don’t forget this, not as such, but reminders mean so much.

New PR Stand-Alone Fic: Recover

irisbleufic:

Title: Recover

Pairing/Characters: Newton Geiszler/Hermann Gottlieb; Tendo, Herc, Mako, Raleigh, Max, OCs

Rating: NC-17 [NSFW]

Word Count: 6,340

Notes: Around six months ago, during a conversation with bowlingforgerbils, I tossed around the idea that has essentially become this story. However, I deferred it because Parallax / Perihelion called for an opening scene in the same physical setting as the opening of this piece, and I wanted to space them out sufficiently that by the time I got back to this one, I’d be looking at a medical context with fresh eyes. There’s no injury in this story more serious than you see them sustain in the film, although I would say it’s taking a look at the more literal cut-scrape-and-bruise variety alongside the hesitation of how to break new-relationship ice without fucking up. This is a stand-alone, although you’ll notice that the backstories I established for each of them in Anthology very much apply here (as you can assume they do for all N/H fic I’ve written or may yet write).

Summary: You’re my new favorite blanket.  Come inside?

(Read it @ AO3)

Reblogging for the weekend crowd. Have a restful one, all!

So one of the many many things I love about Anthology is the surrounding cast, canon & OCs alike, how fleshed out they feel even when they're only 'on screen' briefly & one I wish we had more opportunity to spend time with is Allison. From the barest mention in the film & para-canons, you've created this amazing woman who I totally have a crush on and who is more than a match for our fave chief LOCCENT officer. Care to tell us more about her? We've gotten tit-bits in the fic but its not enough!

Confession time: I think I’ve been dying for someone to inquire about Allison, because she’s so much more fully fleshed in my head than I’ve indicated in the text (as are most of the OCs I built for Anthology, whether they’re in the foreground or in the background), but I didn’t realize this until you asked!  To the best of my recollection, the following paragraph contains the only indicators of Allison’s physical appearance I’ve given:

The dark-skinned woman from Tendo’s photograph comes to life as she approaches them, waving, with a travel bag slung over one shoulder and a bewildered toddler clinging to her neck. She has faint freckles and vivid storm-grey eyes that crinkle a bit at the corners when she smiles. Daniel fists one tiny hand nervously in his mother’s short, curly black hair, and he immediately starts to wail when he gets handed over to Newton so that his parents can kiss right there in the middle of the terminal.

Anthology #8: Carte Blanche

Likewise, there’s only one point where I comment on her childhood:

“Whatever, Grandpa,” Newton says, hoisting Daniel up even as he shrieks with glee, and keeps a tight hold on the boy’s hands. “Who’s an airplane? Vroooom, whoosh. Look at those clouds!”

“My older sisters did that to me all the time,” says Alison, refilling her glass. “I turned out fine.”

—Anthology #30: Retrospective

As hobbies and likes go, one particular musical taste did turn up:

Once Tendo, Newton, and the baby have gone, Hermann presents Alison with a signed copy of Monica’s new album and then waits patiently until she returns from the queue with a cappuccino. She opens the CD case and peruses the liner notes with pleasure.

"So, opera-singer mom," says Alison, emptying sugar into her cup. "What’s she like?"

—Anthology #18: Tutorial

There’s also mention somewhere in the text (I couldn’t find it right now at a cursory sweep) of her job, although it’s vague; she takes an IT job at a major bank in Hong Kong when she and Daniel join Tendo there.  For those of you who haven’t read the series yet or have no plans to do so, Daniel is their adopted son (I headcanon Tendo as trans).

Here’s some more of the scoop, then, on Allison: she was born to an Alaska Native mother (see the hint on this front in Antho-‘verse side adventure Try Anything Once / Twice Shy where she swears in Qawiaraq, which is an Inuit [Inupiaq] dialect) and mixed-race father (African and European descent) in Anchorage, and raised there.  She has three older sisters, all of whom still live in the United States.  Her mother is still alive, but her father died shortly before she joined the Jaeger Academy.  Where further physical details are concerned, she and Tendo are more or less the same height, frame, and shoe size, which means they steal each other’s shirts, shoes, and trousers constantly (Allison doesn’t do the dresses-and-skirts thing very often; in fact, I think she might own one skirt, if that).  As mentioned, she loves opera; Tendo was baffled when they started dating, but not averse, and he enjoys both listening and going to see live performances now almost as much as she does.  She’s a hardcore gamer.  She can drink her husband under the table.  She voraciously reads travel essays and other creative nonfiction.  She and Newt have a lot to talk about on the activism front (it’s been a while since either of them has gone to a rally or protest).  I’m going to leave it at this for now, as I’ll probably find a reason to unravel more detail in writing at some future point!

On Voicing Characters

prodigalproblemchild:

So it probably goes without saying that I’m a fan of audiobooks and listen to a decent amount of them (although as with most things, I don’t get to listen to them as much as I’d like). Readers, much like writers, all have different styles. And like anybody else, I have preferences and opinions on them myself. The same is true with podfiction.

One thing I think about a lot is how to bring voice to the characters. I generally prefer more subtle vocalization both as a reader and as a listener. There are some people who develop strong and clear voices for various characters, and if done really well I think it works. I think it’s an extremely difficult thing to do though, and I’ve been turned off of even professionally done audiobooks because I’ve felt the character voices detracted from the story. I personally feel that a narrative story was written that way for a reason, (as opposed to, say, a scripted play) and I want to stay true to that.

However, I learned really early on in my reading life that conversations which seem perfectly clear on the page can get muddled and confusing when you take away the visual cues provided by grammar and punctuation. So how do I, as a reader, overcome that?

When reading in general (not just dialogue), I pay a lot of attention to pitch and cadence variations. I took speech and diction classes in college, do a lot of public speaking as part of my profession, and have long background in various performance based art. I strive to make all of my readings sounds rich, without sounding overdone and yet not being so reserved as to sounding flat. That’s something I will always consider a work in progress.

However, when it comes to characters, I feel I have a little more freedom to push the boundaries a bit without coming across as campy or over the top. And I let characterization give me some cues about how to vocalize. Just to reiterate, I’m not talking about coming up with accents and clear character voices like an animator or puppeteer, but more slight alterations in pitch, cadence, and delivery that will help distinguish a character without detracting from the narrative.

Read More

…have I mentioned how fortunate I am that this brilliant creature is the person who’s podficcing CoT?  I mean, yes, I have, but I can’t stress enough that the thought being put into every one of these recordings is breathtaking, and it shows.  I don’t know anyone else who discusses their reading / recording process in such loving depth.

New PR Stand-Alone Fic: Recover

Title: Recover

Pairing/Characters: Newton Geiszler/Hermann Gottlieb; Tendo, Herc, Mako, Raleigh, Max, OCs

Rating: NC-17 [NSFW]

Word Count: 6,340

Notes: Around six months ago, during a conversation with bowlingforgerbils, I tossed around the idea that has essentially become this story. However, I deferred it because Parallax / Perihelion called for an opening scene in the same physical setting as the opening of this piece, and I wanted to space them out sufficiently that by the time I got back to this one, I’d be looking at a medical context with fresh eyes. There’s no injury in this story more serious than you see them sustain in the film, although I would say it’s taking a look at the more literal cut-scrape-and-bruise variety alongside the hesitation of how to break new-relationship ice without fucking up. This is a stand-alone, although you’ll notice that the backstories I established for each of them in Anthology very much apply here (as you can assume they do for all N/H fic I’ve written or may yet write).

Summary: You’re my new favorite blanket.  Come inside?

(Read it @ AO3)

I came home to discover that fieto sent me the originals of these two drawings, and included with them was this little surprise gem ♥  Lu and Hannibal agree 100% with your assessment of their relationship status.  Sof, thank you so much!

I came home to discover that fieto sent me the originals of these two drawings, and included with them was this little surprise gem ♥  Lu and Hannibal agree 100% with your assessment of their relationship status.  Sof, thank you so much!