I am passionate about Poetry, Writing, Reading, and Cats. I originally started this channel to document my travels abroad and things I found entertaining or interesting, and have expanded to join the Booktube, Poetry, and Authortube communities. I'm hoping to share my love of writing and help swell the appreciation for poetry on this platform. You can find more about me at kayespivey.wordpress.com
Your later recommendations sound very interesting. My adult daughter also loves Acevedo. A lot of these are new to me too, so thanks for that, I will search them out. So much wonderful poetry!
I look forward to following your bookish adventures when family life settles down. Congratulations on the baby, hope it all goes really well, it'll certainly give you heaps to write about.
Oh wow, another poet on BookTube - brilliant. I am really interested in confessional poetry, but also poetics of place & ekphrasis. I am one of those lucky people who lives off their reading & writing. Poetry is my first love, but I also write a lot of reviews & essays. This BookTube is a new venture, hopefully will allow me to make more connections with readers. I really look forward to following your adventures with books (& especially with poetry).
love the encouragement. The Dead Emcee Scrolls by Saul Williams. it's in verse, it rhymes, and its undeniable. also Raymond Carver and Gwendolyn Brooks. they have structure yet sound american.
These spaces aren’t safe for LGBTQ+ though or for them. Go into one of these ‘safe’ fanfic places and suggest that the ‘bottom’ character could be written as a ‘top.’ Or that anything in these fics are stereotyping m/m. Or that it’d be nice if the fics featured a little less non/dubious consent and more romance. See how safe the spaces are then.
It's true there is a lot of fanfiction that is just straight up pound town with little or no consent, but I've read plenty of really beautiful and thoughtful romances in fanfiction communities also. There's a huge spectrum. You definitely have to find and carve out what you feel is a safe space for yourself when you go into them. Never disregard the tags!
I wrote a pretty angry comment, but I deleted it cause it was fueled by too much negative emotions, here's a more constructive comment on my part: I feel as though its hard to find gay content made by gay men due to the extent at which straight women produce MLM content. I have really mixed feelings, on one hand, this creates more MLM content to consume, but on the other hand, it makes searching for the genuine for gay men by gay men content WAY harder. I can't help but get a little upset finding a MLM novel to read only to see a straight women wrote it, and all the innacuracies that come with that. I think there's a point to be made for staight women finding comfort in gay relationships, but I also don't like the idea that our relationships are used as a coping mechanism for straight people instead of as representation for gay men. I think using us and our sexualities in this way is objectifying and unethical unless executed properly, but I also don't necessarily think anyone writing gay relationships is "wrong". My reccommendation is that you PLEASE PLEASE PLEASE, do research into gay relationships and talk to gay men before writing a gay character, I don't wanna see anymore straight coated dynamics between two gay men.
That's a really good point. I can see why your original comment was fueled by anger. I think the anonymity in some fanfiction circles especially is a double edged sword. Bad or uneducated content becomes normalized and alienates the group who the content is actually about. On the other hand, someone can write very openly about content that they do have experience with and still fit into the circles where the content is popular but maybe overrun by outsiders. In published fiction I think you're right that especially in romance and YA it tends to be dominated, at least marketing wise, by straight women. It's harder to find the genuine MLM written by a gay man. I know it's out there, but it isn't being broadcast as loudly. I still think a good story is a good story, but you're right that there is a certain amount of assumption and heteronormativity that gets overlooked in the name of "story" and probably just seems straight up gross or infantilizing to actual gay men. I'm sure it's refreshing when you're able to read something by someone who actually seems to have a clue what they're talking about!
@@KayeSpivey Thank you for replying with such care, it means a lot, looking back I have no idea why I was angry, I've never been a keyboard warrior, but something about the topic struck a nerve I guess. As long as you're willing to acknowledge gay men's opinions in the subject of writing MLM, I have no problem with anyone, no matter who they are, writing MLM. And even if you didn't see it, sorry for writing a pretty angry comment, it wasn't meant to insult you, more so to scream about the subject in general. It was a very well made video and changed my outlook on women writing gay men a lot, keep up the great work!
hey Kaye, for my table of contents, do you recommend I make it manual or is it fine I use the option on word to make it when submitting for publishing? if I use the word option then the titles become sort of like a hyperlink where if you click it then it takes you to that page, and the page numbers align better. when I try to do it manually I somehow cant align the page numbers that well. also, at the end of my manuscript, do I have to do a page where I write 'END?' because I know people who write fiction and non fiction usually do this.
If you use the option in word I would go over it very carefully and edit it for mistakes before you try to publish. It can be a useful tool but don't put your trust into it completely!
Doing a 'The End' page seems like it's fallen a bit out of fashion. If it feels more complete that way to you I don't think anyone will find it weird, but you definitely don't need it.
I like the idea of setting out to do a themed collection, which I am trying at the moment (but keep going back to whatever I fancy anyway), but I find it can feel like it is somewhat forced somewhat to always set out to write a poem with a certain theme in mind.
I personally agree because that doesn't come naturally to me, but so many people absolutely master it and work best in that style. It's probably similar to the difference between being a plotter or pantser when it comes to novels. :)
I don't begrudge anyone their personal right to write what they want, especially if it's of generally legal content. My beef is with those that'd stymie them.
I always wondered why English IPA doesn't capture the full range of unique vowel and consonant sounds. Perhaps there would be way too many? For example with: IPA: bidz [beads] vs. IPA: bits [beats] The "i" vowel sound is not quite the same between the two. It's slightly more elongated for "beads" by human speakers (although robots read it like the same sound). Like "b-eee-ds" vs. "b-ee-ts". Even IPA pronunciation keys fail to show us these nuanced differences. One of the things that makes Japanese so simple (although nowhere near as rhythmically complex) as English is that our syllables (which only have around 110 unique sounds) are all roughly the same length in sound. So "a-yu-mi" takes pretty much the same time to speak as "o-su-shi", "ma-gu-ro", "o-sa-ke", "ha-na-bi", "ka-ta-na", "sa-shi-mi", "pa-n-da", "etc. English seems so complicated. "Sa-ga" is so much shorter than "cra-zy" which is still shorter than "squan-dered".
I hope you'll forgive a beginner's confusion, but something always seemed so wrong to me to analyze English rhythm in terms of syllables given how English syllables vary wildly in length. For example, the names, "Bo-bby" [/ˈbɑbi/] and "Char-lotte" [/ˈʃɑrlət/] have radically different syllable lengths and therefore different rhythmic patterns despite both being disyllabic words with an accent on the first syllable. "char-lotte and bo-bby" [rougher flow] ends up having a very different rhythm (and seems to tempt a small pause in the middle or an elongation of "and" as a result over), "bo-bby and char-lotte" (smoother flow), because "bo-bby-and" seems to take around the same time to speak as "char-lotte", but "char-lotte-and" takes substantially longer than "bo-bby". If we think of rhythm at least in terms of the fixed-length beats of music, then English poses the complexity of trying to map/position variable-length syllables to fixed-length beats. The "most stressed" syllables to seem to want to be quantized discretely to land evenly on timed rhythmic beats with subtle pauses or stretching and/or extra unstressed syllables, but syllables don't seem to map one-to-one with a uniformly-timed beat (such as that of a metronome). "The cat" seems to tightly fit into a dibeat foot/monometer, mapping neatly to the disyllabic foot/monometer, because "the" and "cat" have relatively short and evenly-timed syllables and offers no room for insertion of syllables in between without disrupting the whole rhythm and length of the phrase. However, "The cat went to the schools," seems to want to stretch to a tetrabeat meter due to the longer length of "schools". "The cat went to | the sch-oo-ls." The syllabic accents then seem to manifest in something like a secundus paeon against a tetrabeat foot: "the CAT went to | the sch-OOls [tap]." A syllabic analysis seems to suggest an iamb followed by a pyrrhus followed by an iamb ("the CAT | went to | the SCHOOLS.") which seems clumsy and chaotic unless "TO" is considered accented (which seems a bit odd and unnatural to me when spoken at natural speed: "the CAT | went TO | the SCHOOLS"), but when analyzed in terms of beats rather than syllables, it seems to cleanly and uniformly conform to a secundus paeon tetrabeat dimeter rather than a jarring mixture of disyllabic feet, and naturally extends: >> the CAT went to | the sch-OOLs [tap] | and WAN-dere-d in | the FIE-lds [tap tap]. It seems so much easier to think about this way in terms of fixed-timed beats rather than variable-timed syllables. The above if we attempted a scansion towards a disyllabic hexameter would be: >> the CAT | went to | the SCHOOLS | and WAN | dered in | the FIELDs. Iamb, pyrrhus, iamb, iamb, pyrrhus, iamb? Or maybe it's using tetrasyllabic trimeter? >> the CAT went to | the SCHOOLS and WAN | dered in the FIELDs. Secundus paeon, ditrochee, quartus paeon? That doesn't seem right. Or maybe it's using trisyllabic tetrameter? >> the CAT went | to the SCHOOLS | and WAN dered | in the FIELDs. Amphibrach, anapest, amphibrach, anapest? That seems the most uniform in structure so far using trisyllabic tetrameter, but actually it's showing repeated hexasyllabic patterns: >> the CAT went to the SCHOOLS | and WAN dered in the FIELDs. [di DA di di di DA | di DA di di di DA] But thinking about it in terms of hexasyllabic dimeter still doesn't seem anywhere near a true description of its rhythm. Meanwhile, it does seem to map very cleanly to tetrabeat feet (specifically a secundus paeon tetrameter) which doesn't map a syllable one-to-one to a beat and considers the variable-length nature of syllables as well as natural pauses. >> 1. The cat went to the schools and wandered in the fields. >> 2. the CAT went to | the sch-OOLs [tap] | and WAN-dere-d in | the FIE-lds [tap tap]. >> 3. [di DA di di | di DA di pi | di DA di di | di DA si pi] -- ["pi" indicates natural pauses] -- ["si" indicates natural pauses with syllables half-spilling into them.] This seems to capture something closest to the true musical rhythm against uniformly-timed beats, including the natural pauses: a secundus paeon (tetrabeat) tetrameter. And it doesn't have a one-to-one syllable mapping because the syllables vary in length: two syllables map to one beat in some cases, one syllable maps to two or more in others, and there are natural pauses in between syllables to ensure 4 beats per foot. Is this a strange way of looking at it? I'm mostly just hung up on how variable in length English syllables are. That makes mapping them to uniform-length beats so complicated to me unless we start looking further into the lengths of syllables and not just in terms of stress/unstressed syllables, or else our ideas of relative syllabic stress seem to get extremely complicated and contextually-variable with loads of exceptions. I have some background in musical production and the idea of thinking of rhythm in terms of English syllables is so counter-intuitive to me when the syllable sounds vary so much in length. Yet if we think about "stressed sounds" and the phonetic length of sounds (which decomposes syllables further down into one or more uniform-length sound pieces), there seems to be a much simpler and "atomic" way of "sound scansion" that wants to emerge over the very complex and "compound" way of "syllabic scansion". Variable-length syllables don't seem to be the proper atomic units to analyze rhythm; they seem to want to decompose further, and where speakers tend to pause seems important to factor in as well.
One of the reasons people don't account for is because of women's body standards. When Im reading about a female protagonist I'm more likely to project my insecurities onto her the way I wouldn't with a man.
Demian an Sinclere are just one of Hesse caracter wich Hese promote in all of his books spiritual awakening is tematic wich Hese represent budist will say how the get eligthened be free from eny concept atachment idea and folow inside individual fredom original light . So I think you percive this books in not higher level misundastanding take place in your mind just because Hese never think in terminologie od gay bisexal lezbian this whose so far from Hese mind no interest zone . In eny of his book one of caracter get elightened same like Buda in India or Sidarta and Vasudeva in his book Sidarta. hese never acept kolective energie like conzesus abut eny thinks if he stay alive last 5 years in world he will never folow 89% people wich take vacine cover mask and folow order like he represent in war time how people easy folow order but not him. He like to be him pure self no identification with eny idea like Buda teach
I believe that at the end of the day, shipping is more like a matter of projection and feeling comfortable with the characters(or liking them platonically or not), if you learn how to do/control that you can project or imagine any type of relationship dynamic
"The lamp of heaven's gone, the darkness draws. Within the poignant hue, I pray for you. My grasp, my grieving hearts only solace. With every beat it sighs a say for you. Their days are swift, are those who know no grief. I wish these tears may carve a way for you. Let fall that faith, in hopeless union be In death we meet I shall obey for you. Perhaps the lord has virtued Yusuf's rhyme. Decreed he Thus Im kept away for you"
Well, this pregnancy-focused analysis is super interesting. In Europe we aren't even remotely as obsessed with teen pregnancy, it's more of a thing everybody knows exists but nobody wants to bring up. And it's weird because in my anecdotal experience girls get pregnant way earlier in the US than in any European country. So I don't think it is a central piece of the equation, since straight girls loving BL is a phenomenon way bigger than the US school system, but it is a factor at least in some environments and I never though of that!
One of the two most famous BL novels (The Untamed and Husky And His White Cat) in the world was written by women and was loved by people all over the world. But somehow when it comes to writing two gay men have sex with each other, they suck at it. It clearly shows that they don't know what is sex like between two men (I read some of the sex scenes in the book and it makes me cringe so hard). But the love story is on point and the plot is chef kiss.
Thank you for this! I have a question, do old timey words always sound amateur? I personally quite like an ocassional whence or thou especially in love poems. I also much prefer rhyming. I'm a beginner but I don't want my poetry to sound it :)
This happens a lot in the Kpop industry. Straight girls are being too much with this gay ships content that its become super weird. It was lovely reading or seeing ship videos that are not too sexual, it was more just like love cute stories of two guy.... But nowadays its just horrible of how they put this videos together to make a really deep disgusting sexual content from them.
Wow, surprised you were dissing Billy Collins, a poet laureate. I'm sure he speaks highly of your work. On another note, I'd like to know what you're taking, that makes you find everything you say so incredibly giggle-inducing!
A very good evening ma'am just could you help me out with atleast three poems which compliment each other and during the elocution few props can be taken up to make them look fancy .The poems I selected are The Walrus and the carpenter ,The blind man and the elephant and Middlesome Matty. Ma'am really need ur help kindly suggest more according to you which compliment each other. Regards Jade
Love number one's first mistake: "cloying"--love it! And even the 2nd one about using big words. I used to publish a magazine for new writers (Beginnings Publishing, Inc., 501 3 (c) 1999-2007) and one of the quotes I put in the magazine (I LOVE quotes) was Mark Twain, "Why use a million dollar word when a ten cent one will do? Words such as "metropolis" vs "city" This Mark Twain quote memory is off the top of my head so if I'm wrong but the mistake isn't taking away from the point of the quote, don't let me know! haha Do poets still write "oft" and "thou"? Overall, I think you are spot-on with your list of writer's 7 great mistakes. I'm a fiction writer although I do write poetry. HOWEVER, not sure how good they are. In defense though, I never send my poetry out--just every now and again so it's my fault. But i know i need to be in a group where I can be critiqued. (got one poem published) but I'm doing the comparison thing, (comparing my shoddy poems with others--hahah) But I know I can write better. As with most writers, we teach ourselves how to write thru trial and error, by finding other writers (absolutely NO family members!) hahah and we READ, READ, and READ! Another great point from Kaye is when she suggested NOT to read the same poets all the time! One always needs to go outside their comfort zone and boy did I learn through doing that. Sometimes it takes a few hard knocks to make the point come across in our favor. Now that I have some extra time on my hands I would like to write poetry....BETTER than I have been.
just wanted to tell you - i know you're maybe not getting as many views as some of the bigger channels, but i truly do love this type of content and you're great at creating it. keep it up if it's still fun, love this stuff
I can’t seen to write without rhyming and it feels like a ten year old has written it. Think I’ve made all these mistakes lol. I initially write to express emotions - but I really want to share or now. It’s just learning how to write beyond what I was taught in junior school!
Listen- I am a fan girl of gay men- I support them fully, and I’m glad there is some diversity in this world! :) Now me myself am not a straight white girl, I actually happen to be lesbian myself, and I’m part Native American. (Tan squad fr fr.) I don’t know why but I’ve always imagined myself as a boy dating another boy- Just saying tho once I find a guy couple I will fr support them like they are making the world a better place- Cause it’s just a natural thing I do so idk how to explain it 😂
This was an interesting video. I wanted to know why women ship gay men and now I do. I personally don't ship anyone. I'm not an anti-shipper, I'm not even against frtishization sense that's simply an extension of our human sexuality. As long as you show real people respect I don't care what fanfics you're writing or what pictures you draw.
