LJCC

😂 I'm guilty of buying Playgirl.

I LOVE LOVE LOVE Trainspotting. It really makes you think, as a Brit, why we're better than Scottish people. (I'm kidding, btw. I dated a Scot so I love Scottish men.) The Adventures of Huckleberry Finn is the most American novel I could think of that uses dialect writing. If Mark Twain wrote it differently, in your standard American English, I doubt it would have had the same impact.

Like Lord of The Rings? Tolkien literally created a new Elvish language in his novel. But then again, it is a NEW language, so he had to give insights to his readers as to wtf he was writing about; otherwise, people would just assume he was writing gibberish. I think he published a large glossary of terms and explanation at the end of his novel. I guess no writer would write a novel if half of it was written in another language. It's like if I wrote a novel in Italian with 80k words, and 40k of those are in Italian, then I'm assuming (AS a Reader) it's an Italian book with English context made for Italians that just happens to have English written on it. However, if I am writing an 80k novel with roughly 500+ words written in Italian, I don't think that constitutes a story losing context in its entirety due to language barriers. For example, in the current story I'm writing, I provided a parenthesis explanation for the text because my characters are literally speaking Italian in dramatic phrases. Why did I translate it? These two characters in particular are multilingual. They can easily switch from Italian to English with ease. So my logic is that they weren't speaking Italian because they don't speak English, or they have a hard time speaking English. They speak Italian because it's another part of their language. Reading the translated text written in English is reading it as though they themselves have said it in English. But in this sample, from the same novel: I didn't translate the Brazilian (Portuguese) text because Martha's speaks Portugeuse-Brazilian (the language she was born in), Italian (her father's native language), Swedish (her mother's native tongue), and English, the language she'd learned at school and eventually mastered when she migrated to the US with her husband. And I even explained it in my story: I wanted the readers to read it in a language they don't understand because I wanted them to feel Martha's passion and that she's a Latin mother filled with spunk. This is the translation: Como se atrevem a machucar meu filho daquele jeito? Só porque são ricos acham que podem fazer tudo! How dare you hurt my son like that? Just because they're rich they think they can do everything! Did it add context if I translated it? No. Because earlier paragraphs already explained that they were rich. The point is, GA has the freedom to post all your translated text because there's no limitation from a publisher that you only get to write a certain amount of text. It's a fact at this point that any author writing on this site can freely do so. But it'll depend on you, AS a WRITER, to gauge if said translations are harmful to your story or worthwhile.

The comments in the story are gold: Straight pride As you read the short story you can’t help but draw parallels to how events are unfolding in America with the hyper acceptance of homosexual propaganda, and the junk science of the non existent homosexual DNA. It is chilling and frightening the backward progress homosexual offenders are making in all walks of public and private life. We now have a military that gives special protection, treatment and clearance for soldiers to openly practice dishonorable homosexual conduct/sex. Our “safe school” Czar appointed by Obama has brazenly boasted his intention to queer our children with homosexual social engineering. Children are being punished in schools for having a biblical worldview concerning homosexual perversion. People are getting fired, not being hired and/or promoted if they have a work place that favors homosexual conduct. More and more those who oppose the demonic homosexual agenda are unjustly being labelled the sick bigots who are really the ones who need “fixing.” If backward progress continues at the current rate in favor of the homosexual lie, then Charles Beaumont’s “The Crooked Man” short story may very well be eventually made fully manifest in the very near future. And if that is the case, I for one will not go quietly into the night! □ Reply 0 September 22. 2014 at 3:38 am noteven You are a fucking idiot.

Aww. Yeah, it was hard to write and be inside the head of a ditzy billionaire. This was really strange because I normally don't write this way. But alas, experience is king, so I had to try new things. I'll finish your story once it's done and completed. I normally read stories that are done and completed. I've been burned by incomplete stories before, so I've been traumatized.

YEEZ. I'm planning on re-editing the entire thing with the new one. Although I'm being lazy about it. 😄 I'll probably finish it by next year since I have several pending stories to finish. Re-editing this is just a side-project.

First, it's word count. But then again, this isn't a publishing house, so everyone can do what they please. But those translations add to the word count. Secondly, unless your demographic is young adults ages 21 and below and you're using foreign words to express sentiments, places, or actions, then you could offer a glossary to educate the youngins. Thirdly, translations break momentum. "Ti odio, cazzo! You promised me we'd be together. You liar! You lied to me. Bugiardo! Mi hai mentito. Why did you lie to me?" Compared to: "Ti odio, cazzo! (I fucking hate you!) You promised me we'd be together. You liar! You lied to me. Bugiardo! Mi hai mentito (You liar! You lied to me). Why did you lie to me?" I'd be more pissed off if someone wrote a very dramatic moment that way because you're putting words into your character's mouth. If you're Italian, Ti odio, cazzo! has more meaning and weight. And if you're a western reader who googled what Ti odio, cazzo! means, you'd be able to understand the subtext that the character is implied to be hurting—as intended in the scene. An example from ROBERT LUDLUM's BOURNE IDENTITY--intended for mature readers. Or at the expense of his life, and there were moments last night when that was a distinct consideration. “Tu es fatigué, hein, mon frère?” his brother shouted, grinning at him. “Va te coucher maintenant. Laissemoi faire.” “D’accord,” the brother answered, throwing his cigarette over the side and sliding down to the deck on top of a net. “A little sleep won’t hurt.” There were no translations, no glossary of words (since the setting is in Europe and uses a lot of foreign terms), just the entire dialogue itself as italicised. The point of this paragraph is to elicit confusion about a man who had wandered to the sea, as the boaters were confused if this man was still alive. It's a brilliant SUBTEXT to apply in the story because, as you're reading the French conversation (if you're not French), you're confused and muddled about the protagonist's fate, whether he's dead or alive. That's why it wasn't translated to English, because it feels authentic, it feels real, and it literally fits the setting—at which the start of the story indicates Mr. Bourne stranded in France, without memory. The thing about translating foreign text is that you're assuming your readers are idiots, when in reality, they're smart and educated and could answer 1 + 1. If you want to give them a crutch, go ahead... It's YOUR STORY. I won't force you to blow me if you wrote translations or provided a glossary of terms in YOUR OWN story. What I'm saying is, IF IT DOESN'T make sense... Why put it? If it doesn't fit... Why force it? Which is where foreign text mostly applies, depending on your story's demographic and intended purpose, YOU, as a WRITER, wrote it that way for a reason. And that reason is FOR your characters, NOT for your readers. So, I'll shut up now. I don't want to get stabbed here. Haha. Suck me before stabbing me, please... whoever you are. 🤣 Send me off with a smile. Tnx.

You were affected when I said, "The request for a glossary reveals the entitlement of someone who's used to always being the intended audience--?"' Sorry darling, I'll be more generic than that generic term or phrase I typed, literally unintended for no one. I'll make it extremely vague and obtuse; no, I'll turn it into a decagon in case you feel hurt by circles. I pwamis. Now, let me kiss that booboo. There. All better? Now put that dick away. That's not what I meant.

I can't believe you've been a member since 2010 and only posted a story now. I've been a lurker since 2009 [I had to edit this; I was in my second year of university, so it's probably around 2006 or 2007], when there was a frigging chatroom (which I, er, was an avid chatterer), and I only joined in back in 2017. It only means your story has been in the works for almost 14 years, marinating in the background.

I feel attacked! 🤣

Reasons for Views: There are some stories in here that are very simple, and they rack up views because of their simplicity. Simple plot = Simple storytelling. Casual-minded readers who want a casual story to pass time—nothing wrong with that. Anything TEEN-related will generate views, regardless of the awful grammar used or horrible plot. YA readership is a goldmine. Anything MATURE will generate fewer views, but personally, that's where the best GA work resides since you're not limited to thinking of mindless, bratty teens consuming your work. This is an amateur gay writing site, and acceptable writing is indeed accepted. But grammar and bad writing will put off readers, for the most part. Readers will impart heartfelt reviews on stories they find have touched their souls in some way. I believe that the real test of your own work is not the views, but if someone out there took the time to write a sincere review because he related to your story in some way, that's a winner in my book. Some stories drag on for years; in essence, some of these year-long stories have generated high views. Some stories have turned their comment section into a group chat; hence, some views are really high because of the refresh rate from the same people doing their commentaries. Again, nothing wrong with that. Just a simple equation: reader interaction = viewership. I'm an editor; if you want, we could work together. But I'm going to be upfront and say that I won't waste time on shitty writing. That's just the nature of the job. People won't waste time on your work if you yourself have never wasted your own time on your own work.

You don't have to italicize, translate, or provide a glossary. There's no need to make the language and world of the characters seem foreign or unfamiliar, catering solely to the white Western reader. The request for a glossary reveals the entitlement of someone who's used to always being the intended audience. They're unaccustomed to looking things up themselves, inferring from context, or embracing the discomfort of not fully understanding something, like the rest of us do. Growing up in the UK, I spent my childhood immersed in American novels featuring characters named "Yanks or Yankie"—a concept that seemed totally foreign to me, yet I grasped its meaning well enough within the narrative's context. Decades later, when I finally discovered what "Yankie" truly meant, it was disappointing. A derogatory word could never capture the enchanting melody of that term. I find inspiration in writers throughout history who have resisted glossing in all its forms. Salman Rushdie, in the introduction to the 40th anniversary edition of Midnight's Children, explores his quest to write in an English that isn't controlled by the English themselves. He reflects on how the flexibility of the English language has allowed it to become naturalized in various countries, with Indian English, Irish English, West Indian English, Australian English, and the many variations of American English all carving out their own unique identities. In my second-to-last novel, I decided to translate a few Filipino terms. My thinking was that the book wasn't primarily meant for Filipino readers; it's a Western-style romance set in the Philippines, so the italicized words were there to provide context. But if my target audience were Filipinos and the story was written in English with a sprinkle of Filipino English tailored to the locals, then honestly, I wouldn't give a damn about translating the text.

That's where the rating goes. If the readers are affronted by debauchery and raunchy topics, then that's why the rating-M explicitly tells it as it is: that this novel isn't going to hold your hand and read you a bedtime story. I mean, writers can write about incest and rape, and still it would be classified as a mature rating (on this site) if the writing speaks for itself and talks about it sensibly, with a moral clause subjected to reason. My last story was pretty violent and had some very graphic rape scenes, but I'd like to think I handled it fairly well. If any reader were to come at me, I would gladly point them to the "M-Rating" plastered on the story. "Go back to bed boy, this story ain't for you."

I think you can critique a professional or business letter with ChatGPT. But Fiction is a tad different. That was the first few paragraphs from Margaret Atwood's Oryx and Crake's ChatGPT's criticism. The problem with this criticism is that it literally takes away Margaret Atwood's voice and strips it out of her own speech pattern. Like every writer, they have their own sense of writing pattern that is particular to them and shows in every story they write. For example, this is a paragraph from a story I'm currently writing: And this is the analysis of Chat GPT: It sounds so dull and unoriginal and literally strips my writing any of its authenticity and voice. I really think CHAT GPT won't touch Fiction writers so far, or fiction novels for the meantime because it can't recreate the subtlety and nuance of human writing. I don't know 20 years from now though.

Thanks heaps! Yeah, I'm also excited for this. 😁 This'll be my side project.

The problem with adding their happy ending is that it requires me to add another 100k+ words to an already 100k+ novel. And that requires a lot of time. My plan is that I'll write The Longest Third Date while rewriting this on the side. Then finish Mr. & Mr. Danvers, then proceed to finishing this story, and then I have another romantic/comedy novel in mind pending to be written. So by 2050, I'll get to finish everything.🤣 Hopefully, I get to publish three novels this year. My goal is to finish this story, Mr. Danvers, and the longest third date. That's wishful thinking for now, depending on my free time.

Thanks for the support! 😄 Yes, it's a rewrite + added things. And the story is over. But it's not yet over in the sense that I've somewhat ended the story in an open-ended way. Depending on the time and energy I've spent rewriting this, I might finish it. This is the FINAL-FINAL edit, cause I really don't want to touch this story again. So I'll be fleshing out all of the characters while rewriting this shiznit. I'm hoping I don't go mental after this. Because chapter one alone already took me a month to rewrite. So, it's not an easy process.

CHAPTER 1: MISREAD The sunlight danced and frolicked on the brim of my hat. This straw hat, crafted from rye, exuded a stylish charm. It was a gift from a dear friend during one of my wild birthday adventures. I used to have tons of those—birthday parties, that is. Sex. Parties. Drugs. Booze. Lots of dick and ass. Lots of men. Slim. Thick. Short. Tall. Hairy. Smooth. Muscle. Twinky. Black. White. Brown. Yellow. Latino. Asian. European. Genovian. Hell, I’d even fuck Barney, the purple dinos

AND SO IT BEGINS... I've yelled "fuck you" so many damn times, hoping for someone to yell it back and chuck the same rock I've thrown into the ocean countless times. The silence can be deafening and even drive you crazy. But there I was, sitting on the beach, half-drunk and a little tipsy, dangling my San Mig Light on the side where nobody wandered. I asked the water if it could grant me a wish. A prayer to bring me someone or something I could hold onto and never le

An American resort manager finds himself entangled with a mysterious guest, whose luggage and baggage from his past may be more than what he’d booked for.

The problem with this is that your plot progression is locked to whatever it is you've already written because you can't go back to earlier chapters and change anything. Unless you've plotted twists and turns and stuck to whatever you've planned in your story, then you're good. I'm a panzer and generally it lends itself to interesting plot, my problem in general is that any changes deters me to move forward. So you'd have me stuck in an 8k chapter for a month because I can't make up my mind if Mrs. Rosa should be Italian or Mexican, or if my character should have a past like this or that. Both have advantages and disadvantages. Whatever works for you I guess.

I'm going to defend that the scenes of Zero and the brawny hot bottom agent (Jude) were Day of Our Lives levels of acting good. It's actually the only good thing in the series; none of the other characters and their stories come to mind. I watched their entire storyline in four hours several years ago, since they had parts 1, 2, 3, and 4 in Daily Motion, but parts 1 and 3 are now taken off—probably copystriked. Also, Adam Senn is 39 and looks like this. He was in a lifetime movie about cowboys and one crazy horny chick. This man is aging like wine. His tiddies are so perky? Why? I want to flick it. And Brent Antonello's not a chonky, jiggly, bottom-bloke anymore: He became like 99.9% like the rest of white America. It was truly a sad day for chonky-thick bum chasers out there, like moi. I might actually use these two as sexpiration for the next novel I have in mind.

The Spirit of the Plum Blossom Tree (TSPBT) has a really good narration style. It really harkens me back to the streets of Kowloon. The pace of the narration is slow, which lends itself to the kind of story it is, which I like—short and punchy. I just wish the translator frigging finishes the story since it's been nearly three years now and it's still not yet finished. 😔

I only watched their relationship cutscenes (the sex-cutscenes of Zero and the brawny hot gay sports agent), and all I can say is that those sex scenes...ARE MINT, and really hot. The acting is shite, but those sex scenes are NOT...shite. It's not pornographic, but it was steaming, piping hot. The way they gazed at each other, I was like, shit...I'm so single. Just look at the video's views. It's around 22 million. The gays and the girls have spoken. When I first watched this, I was like, "Are they banging each other in real life? Cause I've boned someone in a coat checkroom once, and it wasn't this passionate the last time I checked." It's somewhat sad that the actor for the blonde character Zero stopped returning to the series due to his religious background. I mean, he was sticking his imaginary peen into someone's bunghole and literally eating a man's face on television. It makes you question why he took the role for a reason. See, this is why religion is evil. It prevents actors like him from fulfilling their destiny by thumping brawny men in a television series for our consumption and lusty minds.

Stereotypical comedy has its roots because there are stereotypical gay people out there who are loud, campy, and proud of who they are. They certainly exist and are the first prime example to be given avenues in the media because, as you've said, they're obviously out, loud, campy, and proud of who they are. It doesn't help that the straights have a difficult time seeing two very masculine men being gay (living in that period). The majority of the media is centered around loud homosexuals, but that's just the trajectory of that decade—the 90s. And if you think about it, our loud, campy, and flamboyantly expressed gay friends paved the way for movies like Brokeback Mountain or other heteronormative-centric films focusing on homosexuality to exist. And it's not that Nathan Lane was impersonating a woman; it was his job to impersonate a woman since the role was addressed as a drag queen, whose job it was to exemplify feminity and grace. And I watched In and Out at the cinemas. I think I was 10 when we watched it in the movies. My cousin brought me in, and the ticket checker let a minor inside for some reason (because I didn't look like a minor at 10. Haha). It was the first time I'd seen two men kiss. I was surprised and elated. I had a huge crush on Kevin Klein at that young age. Then it quickly shifted to 14-year-old Henry Cavill when he played a role in The Count of Monte Christo. I was like, "Who's this gorgeous bastard, my god!" He's like a frigging oil painting come to life.