𩵠avery cochrane š©µ
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Love Begins
cherry valley forever

@theartofmadeline
2025 on Tumblr: Trends That Defined the Year
YOU ARE THE REASON
d e v o n
š
let's talk about Bridgerton tea, my ask is open
Noah Kahan
šŖ¼
we're not kids anymore.

bliss lane
Claire Keane
Show & Tell
will byers stan first human second

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Lint Roller? I Barely Know Her
Mike Driver

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@into-september
Double trouble!
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My cover for Copycat (LāImposteur)! Check out the other covers atĀ #SquadMiraculousCollab and #SquadMiraculousCovers!!!!Ā
Doodle dump from Zombizou!
;;u; nothing much just some iconic stuff //cough// chatās kissoued face
Whoops I may have gotten carried away -whistles innocently-
the thing about CC is that she did plagiarize. she was found guilty of plagiarism and banned from fanfiction dot net! she plagiarized pamela dean, among others, and lied about it repeatedly! it happened! and regardless of whatever else she writes, regardless of whether the publishing industry and her fans trust her not to do it again, regardless of how many times her wikipedia page gets scrubbed clean, that will always have happened! so it is not in fact cruel gossip, but a factually true statement, to say that she plagiarized and i'm not interested in supporting her or giving her the benefit of the doubt because she plagiarized and lied about it repeatedly! fuck!
what really incenses me about cassandra clare ā and forgive me for bringing this up again, but i don't think i've articulated this point yet ā is not that i believe she is currently plagiarizing. any accusations i've seen about recent work seem to me to be superficial. but even if one could prove that she never plagiarized again once she started publishing, it wouldn't matter to me, because she chose to capitalize on her fandom history. while trying to distance herself from what she did, she made a brand out of the fanfic pen name "cassandra clare" and continues to profit off the reputation and fanbase that she amassed while she was, provably, a plagiarist.
you don't get to do that and bury the things that made you famous. as an individual, as a human being, she is capable of change and any other good qualities you may want to ascribe. but she built her career on lies. professionally, i don't understand why she gets to move on.
the worst part for me--worse than building her career on plagiarism--is that her career was also built on a truly reprehensible level of harassment. she told her followers to help get her unbanned from FFN (as if that would ever happen) and they spent months harassing the site owner and several abuse team members. one of them, after enduring extensive abuse, ended up in the hospital.
this was just the beginning of the harassment, though. CC additionally used her friend heidi, a lawyer, to send cease & desist letters and other forms of legal harassment against ppl. none of it would hold up in court and these sort of things weren't even heidi's area of expertise as a lawyer, but it still happened.
CC was such a terrible serial harasser that people started to leave her alone about the plagiarism stuff after a while because it was just not worth her blowing up your entire spot. not just with her lawyer, but with her minions who harassed targets on her behalf. getting a deluge of harassment is a horrible experience that hurts people, so of course people tried to avoid it.
i hate CC because she hurt lots of people. she did it intentionally, repeatedly, and with singular focus on covering her own ass no matter who she hurt.
she has the career she has now because of her harassment of fandom as much as the plagiarism.
receipts
fanlore article
Rooftop Moment
A rendition of a supposed picture of the heroes just existing.
Flavours of unreliable narrator:
Lying to the reader
Lying to themselves
Simply misinformed
Not paying attention
Has weird priorities
Assumed you knew
Hates you personally
Bad at communicating
Easily sidetracked
Will believe anything
Has weird prejudices
Just kind of dumb
thanks @chaos-has-theories
These are important things I have learned about writing fiction. I know these things, but sometimes I need a reminder. So I am writing them here, both as a reminder for myself, and as a reminder for all those who, like me, sometimes forget.
Characters must make choices.
Characters should often make bad choices before they make good choices.
Character choices should drive the vast majority of the plot. Characters reacting to having random stuff thrown at them is far less interesting than characters reacting to the stuff they've thrown after it's ricocheted around and comes bouncing back toward them.
If a character refuses to make a choice, there better be consequences for that too, and you better have a damn clear way of showing those consequences to the reader and the character.
Nearly every time I'm struggling with writing something, taking a step back and thinking about these 4 things usually helps get me unstuck.
teachers
softāØ
You are an unreliable narrator because your coping mechanisms for your deep-seated trauma forbid you from acknowledging the reality of the situation. I am an unreliable narrator because I sincerely have no idea what the fuck is going on.
For @mardimari, just beecause.
šMy Queen š
Ladybugās trust in ChatĀ
Requested by @hchano Gorizilla Miraculous Ladybug
Nathalie Sanceour is an Ace Atorney witness ass name, but ACTUALLY Nathalie would be the defendant who refuses to give us her alibi even though Adrien Agreste is Phoenix' assistant of the month (or perhaps Maya is his superfan, and then they hang out and hit it off because they for sure watch the same shows, and now Maya is begging us to help him) and he's desperate not to have her be declared guilty because that's his MOM, but it's all because she is trying to hide the crimes his actual parents did so his memory of them won't be tainted. Send post
I never saw people say stuff like this enough when I was a teenager, so Iām saying it now.
Iām in my mid-thirties and I have never had sex. Iāve thought about it and could have had one or two opportunities if I put in more effort, but I always decided against it because I just wasnāt into it at the time.
I can safely say that I do not feel I have missed out on anything. I was perfectly capable, by myself, of learning about my own body and boundaries without anyone else there to muddy the waters. The immense pressure that was there in my teens/twenties to Have Sex Just Do It is basically gone. Iām vibing. Iāve got my routine by myself in bed that I enjoy, and thatās enough for me.
And in the unlikely event that I ever decide to have sex with someone in the future, I donāt feel at all like Iām lacking some essential Knowledge or Skill that would āmake it goodā for someone else. I fully expect to ask my partner out loud what they like and to receive an answer clearly communicated and to relax and have fun. And if itās a disappointing experience, Iām fine with that too. It is what it is.
Sex is just not that big of a deal. I suspected it as a teen, and Iām more sure of it now. Itās fine to have it or not have it. Itās whatever.
materialist-scumbag
THE TICK THAT DREW THE MAP OF THE WEST June 28, 2026
So the longhorn was a garbage animal. Stringy, mean, half-feral, descended from Spanish cattle that had gone loose in the brush country for a couple centuries and bred for survival rather than meat. In Texas after the war it was worth maybe three or four dollars a head, because there were millions of them and nobody to eat them. The local market was Texans, and Texas was broke. Up in Chicago or New York the same animal was worth thirty, forty dollars, because the Union had spent four years eating its way through the eastern cattle supply and the cities were short on beef.
That spread is the whole engine of the cattle drive. You don't need a tick to explain why a man would walk a cow a thousand miles to multiply its value by ten. The arithmetic does it.
What the tick explains is the SHAPE.
Because the thing about the longhorn nobody in the romance mentions is that it was a carrier. Centuries in the brush had given it a shaky immune truce with Babesia bigemina, a protozoan that lived in its blood and rode around on a tick that dropped off into the grass wherever the herd went.
The longhorn itself looked fine. Walked fine, sold fine, butchered fine. But the cattle it walked past, the fat improved Midwestern stock that had never met the parasite, those animals would start pissing blood and die at a rate that touched nine in ten. The Texans, reasonably, refused to believe their healthy-looking cattle were doing it. They took it to the Supreme Court in 1877 and won, on the entirely correct observation that their cows weren't sick. The cows weren't sick. The cows were Typhoid Mary.
(The disease disappeared every winter, too, north of a certain latitude, which baffled everybody for thirty years until somebody worked out that the tick just froze to death up there, no vector, no disease, the whole thing seasonal in a way that made it look like a moral judgment on Texas cattle specifically. It wasn't anybody's leading hypothesis that an insect was committing the murders. The leading hypothesis for a while was that the longhorns were poisoning the grass.)
So now run the two facts together. The cow is worth ten times more up north. The cow kills every other cow it passes on the way up north. What do you get?
You get a line.
You get a bunch of lines, actually. Quarantine lines, drawn and redrawn by Missouri and Kansas legislatures and eventually by the federal government, declaring that Texas cattle could not cross at all, or could only cross in winter when the tick was dead, or could only cross by rail if they were going straight to slaughter and never touched dirt that a local cow might later stand on. Missouri shut its border. Farmers formed Vigilance Committees (which is a polite nineteenth-century way of saying armed men) and turned the herds back at gunpoint. Kansas banned Texas cattle outright in 1885. And every one of those legal and shotgun-enforced lines was a wall the drive had to find a gate in.
The gate was the railhead.
This is the part that rewires the map. The famous cattle town (Abilene, Dodge City, Wichita, Ellsworth, the whole gunfighter pantheon) is not a town that grew up around ranching or water or gold or a river crossing. It's a point where the trail coming up out of the quarantine zone touched a railroad that could take the cow east to the slaughterhouse without it walking through anybody's protected pasture.
Abilene gets invented basically from scratch in 1867 by a man named Joseph McCoy who looked at the map, found a spot on the Kansas Pacific that was far enough WEST that the trail in from Texas could swing around the settled farm country and its quarantine, and built stockyards there. The town is a loading dock. The cowboy at the end of the trail, in the saloon, shooting the place up: he is a longshoreman who has just finished a shift, and the shift was getting the cargo to the one point where it could legally change from hooves to wheels.
And the cargo had to keep moving west precisely because the tick kept the settled east closed. As Kansas farmers spread and the quarantine line marched west with them, the railhead had to march west too. Abilene to Ellsworth to Wichita to Dodge, each town flaring up and dying back as the line of legal infection-free transfer slid across the state. The towns weren't competing on amenities. They were competing on being the current solvent point in a chemistry problem about where a tick could and couldn't survive the trip.
(Dodge City lasts longest because it's furthest out, last to get caught by the advancing farms, sitting out where the quarantine couldn't reach it yet. Its whole mythological career (Wyatt Earp, Boot Hill, the Long Branch) is a few years long and happens because of an agricultural-settlement frontier creeping toward it at the speed of homesteading. When the farms arrive, the party's over. The party was always a function of the farms not having arrived.)
So the geography of the Wild West, which towns exist and why they're where they are and why they boom for five years and empty out and why the trail bends where it bends, is not topography and not destiny and not the romance of open range.
It's the intersection of a price differential and a quarantine map. The price differential said go north. The quarantine map, drawn by the tick, said you may only go north HERE, and HERE, and now not there anymore, here. The cow drew the route and the parasite drew the borders and the men with the guns were just enforcing a public-health regime they didn't know was a public-health regime.
And it all gets zeroed out, eventually, the same way these things always do, not by a hero but by a logistics upgrade. They build the Kansas City stockyards and the packing plants, and then the rail net gets dense enough that the cow doesn't have to walk to the train at all, the train comes to the cow. Refrigerated cars mean you slaughter in Chicago and ship the meat instead of the animal. The long drive, the trail town, the whole apparatus that existed only to get a tick-bearing animal across a quarantine line to a loading point, it just stops being necessary, and the gunfighter towns settle down into being ordinary Kansas, dry and flat and law-abiding, within about a decade of their own legend.
The cattle tick itself they finally beat in 1943, dipping every cow in the South in arsenic for forty years to break the lifecycle. Nobody made a movie about the dipping vats.
Same as it ever was.