October 6th, 2014

wincest

[Fanmix] WORST SPN FANMIX EVER, Track 09: "Further On Up the Road" by Johnny Cash

Track 01: Tiger Took My Family by Dr. Bombay (YED)
Track 02: Today is Gonna Be a Great Day by Bowling For Soup (3x11)
Track 03: I Was Born to Touch Your Feelings by Scorpions (Dean/Cas)
Track 04: You're the One That I Want from Grease (Sam/Ruby)
Track 05: Everywhere by Michelle Branch (Sam/Dean)
Track 06: I Will Follow You Into the Dark by Death Cab for Cutie (S8)
Track 07: Counting Stars by One Republic (Dean)
Track 08: The Boxer by Simon & Garfunkel/Mumford & Sons (Sam)

WORST SPN FANMIX EVER

Track 09: "Further On Up the Road" by Johnny Cash

Demon!Dean and Sam. </3 <3



Where the road is dark and the seed is sowed
Where the gun is cocked and the bullet's cold
Where the miles are marked in the blood and gold
I'll meet you further on up the road

Got on my dead man's suit and my smilin' skull ring
My lucky graveyard boots and a song to sing
I got a song to sing, it keeps me out of the cold
And I'll meet you further on up the road.

Now I been out in the desert, just doin' my time
Searchin' through the dust, lookin' for a sign
If there's a light up ahead, well brother I don't know
But I got this fever burnin' in my soul

Where the way is dark and the night is cold
One sunny mornin' we'll rise I know
And I'll meet you further on up the road.


free fall

Free Association / Stream of Consciousness

One of my favorite things about roadtripping is being able to acquire random knowledge about places. It's not knowing a place, exactly--there's a sort of touristic element to driving through something that would make that kind of claim pretty ostentatious. But the little details--they become yours, and you fall in love with them. And if they get blown out of proportion, aren't really as emblematic of a place as they feel to you, that's often for the better--because what is knowledge of home but small things meaningless outside of oneself?

I know that when the speed limit kicks down from 75 to 55 when you cross the border from eastern Washington to eastern Oregon, it's a supremely tragic feeling. In Oregon, a human is there to pump your gas. Western Montana has a weird obsession with hut-sized espresso drive-thrus that are often thematized (pagoda espresso hut, log cabin espresso hut, Christmas espresso hut...). McDonald's is cheaper in Utah than it is anywhere else I've found. The local newspaper in Dillon, Montana is one week behind the La Jolla Light, but they share the same crossword puzzles. There's gas in Illinois somewhere that is barely $2/gal (!!!). The local newspaper for some town outside of Missoula has very entertaining police reports. And oh man, let's not get started on California. Anywhere, all of everywhere in California. <3 Those kinds of things!

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tl;dr I LOVE THIS KIND OF NAVIGATION-RELATED MINUTIAE and I would read entire fics of just random road ephemera. So my wishlist for S10 is:

1. ocean- or water-based case, preferably in the Pac NW
2. backwoods case with actual backwoodsing/camping involved!!
3. random shots of the Impala driving
4. Impala-based episode
5. entire episode spent in the Impala and/or on the road
6. random faux-curtain!fic-y scenes involving Impala maintenance, beautification, or organization
7. more overzealous shots of the Impala driving
8. more of those
9. SPN bees wait, they've already granted that?? TWICE? wtf??
10. for the crew to have that same excitement and passion for all their ideas and arcs--the kind that would make Sera giggly and Kripke do that weird nerd smile and that inspires many of the other writers to take to Twitter and be completely sappy about their pitches and scripts and pumped in ways that make half the fandom wonder what drugs they're on and make me suspect they're out of their damn minds and then usually makes me fall in love with that thing they love, because it's so obvious they just fucking went for it and went big instead of going home, whether they actually stuck the landing or not ♥
free fall

Jim Ruland's "When Blurbs Go Bad: A Famous Writer Agreed to Blurb My Book"

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I also read an article titled "When Blurbs Go Bad: A Famous Writer Agreed to Blurb My Book on Electric Literature. Then they changed their mind" by Jim Ruland, which is fantastic, and which I think that as writers, many of you would find helpful. Off the top of my head I'm thinking about dear_tiger, because she's been talking a lot about writing, indiachick, because we were also just talking about writing, and steeplechasers, because we were also talking about reading and writing a bit this weekend. Ping!

I don't know that I'm interested in original fiction or the original fiction publishing scene, but if you are, this is great. If you write fan fiction, this is also really, really great. It's a hard dynamic to pin down, writing; and you might disagree with Ruland here. But I think he gets at the crux of it in ways that most reflections on writing damningly glaze over or fail to articulate satisfactorily. Here's Ruland:

[J]ust because someone decided to read my book didn’t mean that they would like it. In fact, it was a sure bet that some readers would hate it. The story wasn’t for everyone. I knew that, but if I was going to get my nose out of joint over a blurb, what was I going to do when the book was published and readers and reviewers started weighing in? How would I react when it got panned?
My novel, I realized, didn’t belong to me anymore. It belonged to those who invested the time to read it. Once a person got ahold of my book, it would become part of his or her experience of the world, not the other way around. It was unreasonable to expect every reader to shower me with love. In fact, it was unreasonable to expect it from anyone. A book isn’t a vehicle for validation. A book’s readers don’t owe its author anything. The sooner I made my peace with that, the better.

After this realization, I felt a lot better. The negativity was never really about the blurber in the first place, but about me. I’d been carrying those feelings of rejection around for a long, long time, and I needed to let them go. I came to see how difficult it must have been for the blurber to write that email, knowing how disappointed I would be. The writer could have lied and said they loved the book when they didn’t. They could have dashed off something vague and insincere – everyone exaggerates a little bit in blurbs, right? – but the blurber didn’t play those games. What had felt like a colossal letdown was actually a valuable lesson in how a professional writer conducts him or herself with integrity.
Thoughts on text ownership? (Emotional and philosophical ownership, that is.) What Ruland articulates here is in line with people like Benjamin (the "afterlife of a text") and many other translation theorists--though translation needn't mean literal, technical translation. But I know that this is not typically how people tend to perceive their work, at least in fandom and unpublished-friends-only writings. Or am I mistaken?

And what about his last line, about professionalism and integrity? Personally, this was really helpful to me (both as someone who writes things people don't like, and as someone who is sometimes asked to read things I don't like). But at the same time, I feel like that sort of realization is something people need to work toward individually. And not everyone is as self-reflective and honest to himself as Ruland appears to be. That sort of concrit is not really a done thing in many circles, fandom most often included--I feel like it would just get us all upset? XP But maybe I'm over-accounting for our fragility.

Jim Ruland's books can be found here.