You know what I don’t get? When fanfic authors apologize for long chapters. It’s like? You gave me bonus content, for free, and you’re sorry about it? Bruh. I have already named my firstborn after you. Dude.
You know what else I don’t get? When they apologize for short updates. It’s like: look at these new words I gave you! Sorry I didn’t give you even more free words. Bro, that’s at least two words that I did not have yesterday. For free. Dude. Thank you.
And another thing: when people drop out of nowhere with a surprise update and then apologize for it taking a while. Like, dude, I wasn’t expecting anything, and you gave me words. I thought this fic was abandoned, but wait: there’s more. You just popped in and reminded me that this is a Good Fic that I should probably reread. You made my goshdarn day.
Basically fanfic writers are under no obligation to publish anything so when they do update it’s always a net positive because the story is longer now, and I have something to read, so thank you so much to everyone who writes fic at whatever pace or quantity they want.
33-“Don’t you ever do that again! You scared the shit out of me!”
There you anon ❤ again sorry for the delay, i’ll try to do one a day but no promises 😩
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As soon as Tin steps into the apartment, Can launches himself from the couch into Tin’s arms, holding onto him as if Tin could fade away at any moment.
Tin’s arms come up slowly to wrap around Can. He holds Can’s neck, rubbing soothing circles with his thumb, soothing him in silence for a minute. He doesn’t know what’s happening with Can, but he clearly needs some hugs, and who is Tin to deny him? Besides, he’s been thinking of Can the whole time he was stuck in traffic hell and finally being home with an armful of his boyfriend is as close to heaven as he can get today.
“Cantaloupe… ?” Tin asks softly. “What’s going on?”
“Don’t you ever do that again! You scared the shit out of me!” Can mumbles into Tin’s collar, hiw words muffled as his lips press against Tin.
“You’re two hours later than usual, and you didn’t answer your phone, and Pete didn’t know where you were either, and there’s no one else I can call when you don’t answer, and I was worried, okay?” Can continues, all in one breath.
“Oh, Can,” Tin sighs, exhausted by the traffic jam, sorry for making Can worry, and somehow secretly happy that he does worry about him at all. “There was an accident on the road and I got stuck in traffic, and my phone was dead even before I left campus.”
“You could have charged it in your car then,” Can says with a pout, still not letting Tin go.
“Maybe, if someone hadn’t borrowed my USB port weeks ago and never gave it back,” Tin says, nudging Can playfully.
“…Okay, fair. But still! I was worried! I thought you got mugged and I was this close to calling the police to look for you,” Can says.
Tin laughs softly and kisses Can’s forehead in answer. He’s glad he’s home.
On this day in music history: November 6, 1971 – “Inner City Blues (Make Me Wanna Holler)” by Marvin Gaye hits #1 on the Billboard R&B singles chart for 2 weeks, also peaking at #9 on the Hot 100 on the same date. Written by Marvin Gaye and James Nyx, it is the seventh chart topping single for the R&B music icon. Following the huge success of the single “What’s Going On” after its release in late January of 1971, Motown demands a full album to accompany it. Gaye quickly gets to work on the rest of the songs, writing both on his own and collaborating with close friends and associates around Motown including songwriter Al Cleveland, Four Tops member Renaldo “Obie” Benson, and even his wife Anna. Marvin also writes with songwriter James Nyx, who had originally had worked as a janitor and handy man at friend and former Moonglows band mate Harvey Fuqua’s Tri-Phi/Harvey record label in Detroit. Nyx eventually begin writing songs with Fuqua, then following him to Motown in 1963 when Tri-Phi and Harvey Records are absorbed by Motown. Nyx meets Marvin Gaye through Fuqua at this time and the trio begin writing together, though their material is shelved. Together, Gaye and Nyx write songs for The Originals (“Baby I’m For Real”, “The Bells”), including the single “We Can Make It Baby”. While working on songs for the “What’s Going On” album, the pair collaborate on three songs, “What’s Happening Brother?”, “God Is Love”, and “Inner City Blues (Make Me Wanna Holler)”. While the title track expresses anguish over problems affecting the world at large, most prominently the war still raging in Vietnam (at that time), the latter of those songs mediates on issues even closer to home. “Inner City Blues” puts into clear focus, the often dire and bleak conditions in major inner cities in America that many of its citizens are living under. The track is recorded in March of 1971 at Motown’s Studio A in Detroit with members of The Funk Brothers including Bob Babbitt (bass), Eddie “Bongo” Brown (congas), Robert White, Joe Messina (guitars), and Chet Forest (drums). Issued as the third and final single from “What’s Going On” in September of 1971, it follows its predecessors to the top of the R&B singles chart, and into the top ten on the pop singles chart. “Inner City Blues (Make Me Wanna Holler)” becomes one of Marvin Gaye’s most popular and often covered songs, with versions recorded by Grover Washington, Jr. (the title track of his debut album on Motown’s Kudu imprint in 1972), Gil Scott-Heron, Maceo Parker, and Sarah Vaughan. It is also sampled by numerous artists including The D.O.C., A Tribe Called Quest, MC Solaar, Spice 1, Scarface, Ice Cube, Too Poetic, K-Solo, Janet Jackson, Ralph Tresvant, and Angela Winbush.
On this day in music history: November 6, 1971 – “The Stylistics”, the debut album by The Stylistics is released. Produced by Thom Bell, Marty Bryant and Bill Perry, it is recorded at Sigma Sound Studios and Regent Sound Studios in Philadelphia, PA from Mid 1970, Early – Mid 1971. After being signed to producer/songwriters Hugo & Luigi’s Avco Records on the strength of their debut single “You’re A Big Girl Now” (#7 R&B, #73 Pop) and release the follow up “Stop, Look, Listen (To Your Heart)” (#6 R&B, #39 Pop) in May of 1971. The Stylistics go to work with producer, songwriter and arranger Thom Bell on their debut album. Utilizing the great musicianship of Sigma Sound’s crack studio band MFSB and string section led by Don Renaldo, the album is recorded during the Spring, Summer and early Fall of 1971. Led by the instant classic “You Are Everything” (#10 R&B, #9 Pop), the album quickly spins off two more singles including “Betcha By Golly Wow” (#2 R&B, #3 Pop), and “People Make The World Go Round” (#6 R&B, #25 Pop). With lead vocalist Russell Thompkins, Jr.’s distinctive high tenor falsetto voice featured front and center, it is regarded as one of the greatest “Philly Soul” albums ever made, putting The Stylistics firmly on the map as one of the top R&B vocal groups of the 70’s. In Australia, the album is re-titled “You Are Everything”, after the hit single of the same name. Strangely, the artwork for that release replaces the original cover photo of Stylistics lying in a field of tall grass, with a young white couple. After going out of print following the demise of Avco Records, the album is finally reissued on CD by Victor Records in Japan in 1991, and is remastered and reissued by Amherst Records in 1994. The 1994 reissue features an extensive essay about the group and the album, written by music historian A. Scott Galloway. “The Stylistics” peaks at number three on the Billboard R&B album chart, number twenty three on the Top 200, and is certified Gold in the US by the RIAA.
look…………….. write as much shitty fic as you want. nobody can stop you. you’re learning constantly and it’s better to write hackneyed implausible ridiculousness than it is to not write at all out of fear of fucking up. you’re good
There was an experiment a professor did. I think it was pottery students. He did an experiment of “quality” vs “quantity”. One half of the class he told; you have to make as many pots as possible. Good pots, bad pots, shitty pots, whatever. The more pots you make, the higher your grade.
The other half of the class were told, “you can make only one pot”. But that pot had to be perfect. The quality had to be high; the highest quality pot would get the best mark.
But when it came to the grading, they noticed something weird.
All the best quality pots were in the ‘quantity’ group.
The guys who were literally churning out pots, trying to make as many as possible, not concentrating on the quality. But every pot they made, made them better at making pots. By the end of the month (I think it was a month) – they had some pretty awesome pots coming out, because they enjoying finding all the ways and all the things they could do to make all their pots. Where as the ‘quality’ guys had spent their time reading up on pots, and technique, and researching and planning; which was all great but they’d had no further practice at actually making pots.
The best way to get really good at something, the only way to be really good at something, is to make lots of shitty attempts at that thing several of which will fail. If all you create are perfect things then you won’t improve, because how can you improve on perfect?
The Last Good Bar 
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