J.M. Frey

And who am I now that I'm not who I was?

13,525 notes

But the funny thing about that is we (as readers/viewers) sometimes miss out on information that might have been interesting. The author didn’t think it was, but fans? Most fans will soak up content like a sponge (see: LotR extended editions, cutscenes, etc). And so we’re likely to ask ridiculous questions like “What is laundry day like at Avengers Tower?” - not because it’s important to the narrative, but because we’re curious.

Not to mention: every narrator is an unreliable narrator. Especially the ones who seem the most straightforward. Which means there are a wealth of stories not being told hiding right behind the story that is.

Which, I think, gives an inkling of the primary difference between original fic and fanfic: original fic is declarative, saying “here is the story, these are the important events and characters and aspects of the world,” while fanfic is exploratory (even when it’s got a cracking good plot).

Fanfic exists in the interstices, in the ellipses and the enjambment. Fanfiction exists in the moment before the wave function collapses.

splashikins: Fandom as Inhabitation of Negative Space* (via owldee)

(Source: bethanyactually, via msaether)

3 notes

Anonymous asked: How do you choose which images to illustrate for the book?

I mentioned in a previous post that illustrator Jennifer Vendrig and I had had the opportunity to talk a lot about the poem before we came to project, so that was very helpful. We already had a “look” established, and we already knew what the characters looked like through a few weeks of trial-and-error pencil sketches where she mostly said “Well, what about this, this and this?” and I said, “Yes! I love that, that, but maybe make that like this?” and she said “Yes! And—” (You get the point.)

When I reapproached Jennifer about doing the picture book, one of the first contractual items we discussed was how much drawing she would be doing. We agreed on the number of illustrations - one for every two stanzas - and Jennifer broke the whole thing down into a sort of a story board.

She provided me with three doodles for each stanza to choose from, and when I made my choices we discussed why I thought those were best, and what she wanted to do with it. The nice thing is, I really like Jennifer’s art, and I’ve known her as an artist for so long that in commissioning her to illustrate the book, I knew exactly what to expect. I wasn’t disappointing - I love the work!

Once we had the doodle-thumbnails locked down, Jennifer began doing pencil sketches of each illustration. She sends them to me in batches, and we discuss little changes or additions as needed. Then I sign off on the pictures. Once I’ve signed off on all of them, she’ll begin the inking process and creating the illustration for the cover.

In the meantime, Jennifer is drawing to a size spec, and the interior designer and I are working together to get the draft-layout together so that when Jennifer provides the final inked pictures, we can just drop them into place and go!

Jennifer also illustrated the announcement picture! Isn’t it cute?

Filed under j.m. frey The Dark Lord and the Seamstress tDLatS Jennifer Vendrig

2 notes

Anonymous asked: How did you and the artist find each other?

Jennifer and I were introduced in… uuuuhm… 1996? Yeah, Wiki tells me that DBZ aired on YTV in 96.

Anyway, I had become enamored of Sailor Moon in 1995 when it aired on YTV (and lucky me, later I got to work with one of the voice directors and take some voice acting workshops from directors and talent alike), and followed that into DBZ. From DBZ I found fanfiction, and in fanfiction I found author [Ruthanne Reid](http://doortoriver.com/).

(Although, at the time, she had her fanfic pseudonym and so did I.)

Ruthanne introduced me to fanartist [Jennifer](http://icegaze.deviantart.com/), and we all chatted. I stayed in touch with Jennifer through university, where she sent me fan art and did a poster for my first play, and did some art based on the novel I was writing at the time.

In 2002, when I wrote the poem that comprises the book, Jennifer and I noodled around with the idea of doing some sort of illustrated version of it, but a webcomic was too involved for both of us (being, as we were, in school and part time jobs), and frankly self-publishing as we know it now hadn’t been invented yet.

We lost touch after Jennifer got married and began a family, but a few years later I had the opportunity to offer up the poem to a morbid little poetry chap book. The publisher and I discussed having all the poems illustrated, and I remembered the doodles Jennifer had already conceived. I got back in touch with Jennifer, and we had some discussions. She mocked up some thumbnails, but then unfortunately the publishing house collapsed and the project was cancelled.

Several more years passed, and I forgot about the poem. Eventually I was interviewed by Arial Burnz of ParaNormalRadio, and she reminded me that the poem existed. I discussed it with my agent, and we agreed that it would be a fun project for me to selfpub the poem as a picture book, and I got back in contact with Jennifer again! I figured there was no point in going elsewhere when Jennifer and I had already done so much work on the book.

And here we are! 

Filed under j.m. frey sailor moon dragon ball z icegaze ssjtrinity Ruthanne Reid Jennifer Vendrig The Dark Lord and the Seamstress tDLatS

0 notes

Anonymous asked: Your books are for a grown up audience, I was wondering what inspired you to do a children's picture book?

Is it still a children’s book if it takes place in Hell? :3

While I do generally write for the adult market, with the occasional forays into YA or NA, I have always wanted to write for kids, too. Picture books are so fun, aren’t they? I’ve always wanted to write comics or a graphic novel, as well. Maybe one day I’ll have the chance to do that.

And as hokey as it sounds, I don’t begin a writing process with saying “I’m going to write a story for __________ market.”  I let the story dictate the audience. Usually when I’m done writing a story I step back and evaluate it and say, “Okay, so what market does this fit in? What’s the demographic? Does it need tweaking to fit into that market better?”

And when I wrote the poem that comprises the book, I was working in a primary school library, so there was a lot of kid lit around me, influencing the story. It was also before I actually began to write novels for the adult market, so perhaps I, myself, was youthful, too!

Filed under The Dark Lord and the Seamstress tDLatS j.m. frey ama amwriting process

283,376 notes

Marvel’s biggest secret is how they make Robert Downey Jr. appear taller than he actually is…

purpleceline:

mcdownies:

crimsonpoppyfields:

thefrogman:

RDJ is 5’ 8½”

Gwyneth (5’ 9”) and we know she is wearing killer heels ALL the time

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Chris (6’ 0½”)

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image

Problem solved.

[spelledjustlikeescape]

I think I just bloody died scrolling down and seeing rdj wearing heels.

always reblog rdj in his hooker heels

Work it, Tony, work itttt

No wonder Tony Stark has such excellent posture, a beautiful S-curve, and delicious hip-pops when he’s standing still.

(Source: my-tenerife-sea, via ruthannereid)

738 notes

Some Camera Shots in Sherlock

mid0nz:

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CRANE SHOT

A shot where the camera is placed on a crane or jib and moved up or down. Think a vertical tracking shot. (x)

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CROSS CUT

the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence, or event) with…