12 or 20 (second series) questions with Michael B. Tager

Michael B. Tager is stardust currently in the form of the author of Pop Culture Poetry: The Definitive Edition (Akinoga Press, ’24), and Managing Editor of Mason Jar Press.

1.      How did your first book change your life? How does your most recent work compare to your previous? How does it feel different? The first book I "really" read was The Lion, the Witch and the Wardrobe. I was in 2nd grade and it was like "oh, books can do this? They can transport me away entirely and make me forget about everything else? Well I'm into that!" It was quite a moment and I never looked back. As for how it relates to my current writing? When I write prose, I often lean into magic and/or the unexplained. I'm a genre boy at heart. But I tend to write more poetry these days, and poetry about pop culture as opposed to fantasy. Maybe I'll write a thing about Turkish Delight, or my deep confusion at Christian iconography (cause I'm Jewish and that whole Jesus parallel went woosh over my head!)

2.      How did you come to poetry first, as opposed to, say, fiction or non-fiction? I came to poetry well after prose! I have never taken a poetry course, either lit or writing. So the fact that my first book is poetry is an irony not lost on me. I came to poetry because it allows me to be weird more than prose. Maybe because I was never taught in poetry, I don't have any bad habits that I need to break, like I do with prose. Plus I can be really vulnerable and hide it in imagery and fun phrases, which is harder (for me) than in prose. In fiction, I layer my own self a bit too deep and in nonfiction I fight the vulnerability at every single step. Poetry is a happy medium for me!

3.      How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes? When I'm writing--which isn't now--I have two ways I come to writing. The first is that I have a set time every day in which to write on current projects or on new ideas. The other way is that when inspiration strikes, it doesn't matter what I'm doing, I have to get a pen or a computer and just start writing as much as possible, because I've learned that if I ignore inspiration, it goes away. Shocking right? Now, when I get into a project, the writing comes fast-fast-fast. I've been known to write a 5,000 word story or 10 poems in one sitting. Revising can take longer, but first drafts? That's not slow at all. 

4.      Where does a poem or work of prose usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning? Skipped

5.      Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings? I like performing! I have minors in theater and speech communication, I have done dance performances and debate, I've given presentations at conferences and trainings. I like karaoke and I've done weird experimental art exhibits. So, performing isn't a barrier to me. It isn't part of my process or anything, and I don't write for the performance, but I enjoy giving readings. I don't like what leads up to the reading (because stage fright and general introvertedness) but once I'm on stage, it's all downhill. 

6.      Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are? I'm trying to get back to the weirdo I was when I first began writing. That sense of fun and play that MFA and general adulthood beat out of me. It's why I am drawn more to poetry these days; it's the genre I have the least experience in and by far the least training. I'm able to access that "fuck it" mentality that eludes me in prose. So while I don't have any particular concerns or theoretical roots that I'm exploring, I do have a goal, which is to capture that childhood uniqueness. 

7.      What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be? Writers are artists and artists are the soul of culture. No one remembers Odysseus because of his awesomeness, we remember him because a dope ass book was written. Without artists, there's no memory. You're welcome, world. 

8.      Do you find the process of working with an outside editor difficult or essential (or both)? I LOVE working with an editor and I find it easy as pie. Possibly because I'm an editor, but also because I love collaboration and I love people telling me how to make my stuff better. Improve me, daddy! 

9.      What is the best piece of advice you've heard (not necessarily given to you directly)? I was at an SF &F panel when I was a baby writer and they were all smart genre writers talking. One jabroni in the audience asked about money and you could feel the panelists' eyes rolling. one of them said something along the lines of there's three reasons to me to write. The first is because you want to get paid--in which case you should just follow the career paths and writing styles of Stephen King or Jodi Picoult or something, or just write cookbooks. The second is because you only feel the need to write and create--in which case who cares about money--or even being published. The last--and the reason I write and probably my colleagues--is because you want people to read you and think about what you think. We like money and we'd like to make a full living by this, but it's not the main concern. So, my advice is to figure out why you're writing and go from there. Don't start at the money. 

10.  How easy has it been for you to move between genres (poetry to prose)? What do you see as the appeal? Pretty easily! One thing leads to another and being around brilliant creative people gives ideas and thoughts that I want to try. Plus, I get bored and need to experiment or I lose my mind. But I also find that one informs the other. My poetry makes my prose prettier, my fiction makes my nonfiction (incidentally my least favorite genre and one I really only do these days when paid) more interesting, my nonfiction helps me get to the point in my fiction, and the prose helps me keep my head out of my ass with poetry. It's a circle. 

11.  What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin? Well, I'm not writing at all now since I have kids and two jobs and a press but eventually that'll change. (answered routine question above)

12.  When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration? Either physical activity in order to empty my brain of all the stuff clogging it: working out, walking, dancing, etc., or other forms of entertainment. By that I mean video games, movies, card games like Magic the Gathering, and stuff like that. I've written several stories inspired by video games, for example. Get the inspiration from other places! 

13.  What fragrance reminds you of home? What fragrance reminds you of home? I'm more triggered by physical sensations than smell, so also the weight of light jackets, warm sun and chill breeze, walking for hours without sweating or shivering. Yeah, that's the stuff. 

14.  David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art? (see 12)

15.  What other writers or writings are important for your work, or simply your life outside of your work? What other writers or writings are important for your work, or simply your life outside of your work? My favorite book is Startide Rising by David Brin, which is hard sci fi about space dolphins. I love pulpy fantasy and detective stories. I cut my teeth on Dragonlance and early Stephen King. in other words, given the choice between never reading literary fiction or genre fiction again, I'd be like "fuck you lit fiction." Even though I primarily write lit fiction and poetry, I get most of my inspiration from other venues.

16.  What would you like to do that you haven't yet done? skipped

17.  If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer? If and when I switch careers again, I'm going into hospitality. Being a concierge, or making events at a hotel (weddings, cons, whatever) would be my jam. I'm good at it! 

18.  What made you write, as opposed to doing something else? I don't know. Does anyone know? I'm just biding my time on this earth until I die and writing makes me happy. I’m an optimistic nihilist: nothing matters, so let’s have fun and make everything brighter and cheerier before the void swallows us whole. I like writing, I’m good at it, I recognized that early so I guess fuck it let’s write some books?

19.  What was the last great book you read? What was the last great film? I haven't read a book in two years but the best storytelling I've read is the video games Hades. It's a rogue-like wherein each game is different, and it's designed to kill the hell out of you. In between deaths, you talk to characters from Greek myth like Thanatos, Persephone, Hades (duh), Cerberus, Achilles, the Furies, and so on. The backstories, romances, subversions of myth that are parsed out over 50-100 hours are absolutely brilliant. Video games have become art. It's a fact. As for film, you don't really want to open that can of worms. I can go on. But, ummmm, Hunt for Red October was pretty baller. I missed it when it came out and so watched it. It was dope. 

20.  What are you currently working on? NOTHING! I have two kids, my parents now live with me, two jobs, a semblance of a social life, a wife, and a press that I run (which satisfies most of my artistic cravings). When the baby goes to day care and my wife goes back to (paid) work so I can decrease my hours, I'll probably write again. Until then, I have no guilt at not writing. 

12 or 20 (second series) questions;

12 or 20 (second series) questions with Nancy Stohlman

Nancy Stohlman is the author of six books including After the Rapture (2023), Madam Velvet’s Cabaret of Oddities (2018), The Vixen Scream and Other Bible Stories (2014), The Monster Opera (2013), Searching for Suzi: a flash novel (2009), and Going Short: An Invitation to Flash Fiction (2020), winner of the 2021 Reader Views Gold Award and re-released in 2022 as an audiobook. Her work has been anthologized widely, appearing in the Norton anthology New Micro: Exceptionally Short Fiction and The Best Small Fictions 2019, as well as adapted for both stage and screen. She teaches at the University of Colorado Boulder and holds workshops and retreats around the world. Find out more at http://www.nancystohlman.com

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

The first book is like the first wedding–everyone comes! Everyone is so happy for you. You get to open up that first box of books, hold it in your hand. Smell the ink! See your name on that cover! Have a book release event! Change your bio to say things like: I published a book. It’s crazy and amazing. For me this was 2009.

Fast forward almost 15 years, and After the Rapture is almost nothing like that first book in content or process. My first book was realistic, fictional but plausible. Every book I’ve since then has gotten weirder and more absurd, which is I suppose a good reflection of where I am these days. And, not only does the work itself feel more mature, but my identity as a writer just feels natural, an inherent part of who I am. Before we have published a book we have all these fantasies about how our lives will change…which they do…but also they don’t. Published or not, we still have to get back to work.

2 - How did you come to fiction first, as opposed to, say, poetry or non-fiction?

I don’t think it was a choice. I’ve always been a storyteller, so I was always leaning towards narrative. And I’ve always been in love with novels, so writing novels was the natural first thing for me. I’ve dabbled quite a bit in journalism, and I appreciate the writing of reality, but for me, the fun of being a writer is the license to distort reality and make interesting shapes where there were no shapes before.

3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?

No notes. It happens like a relationship–slow and flirty at first, then hot and heavy. Then maybe after the initial burst it stalls out…and the project and I are forced to sit down and have a heart-to-heart: what are we doing here? Are we a couple or what? Then we figure it out, I have some sort of crucial epiphany about the work that changes everything, and then I finally know what I’m doing.

Followed by…a second draft of that process. And a third. Most of my books take me about 4 years to complete from beginning to end. My best advice to others (and myself!) is to remember that you are never in charge of the story. The story is always in charge–you’re just there to write it all down.

4 - Where does a work of prose usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?

Actually, both. I’m a huge fan of flash fiction, and I’ve been working and playing in the house of flash fiction for years. But, as I’m mentioned, I’m also a big fan of the novel, the sweeping story that you can’t finish in one setting. So this intersection has become my sweet spot: playing and writing at the crossroads between flash fiction and the novel. I’m basically always writing a large-scale idea made from pieces, like a puzzle or a mosaic, and After the Rapture is the perfect example of that kind of play.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

I love public readings! I even love Zoom readings. Reading your work and writing that work are really two completely different things, but when you can do them both well, it’s magic. I’m very lucky to have a performance background, both as an actress and a singer, so I’m very comfortable on the stage, and I think it’s a skill and a gift when someone is also able to bring their words to life in a reading. Ten years ago I started the Fbomb Flash Fiction Reading Series (www.fbombdenver.com), which was the first and now longest-running flash fiction reading series in the country, and one of my main objectives, besides spreading the gospel of flash fiction, was to foster a space where we could all become better readers.

Speaking of reading, I also did the audio narration for Going Short: An Invitation to Flash Fiction last year, and I had to tap into all my stage and musical training in the studio during an epic one-day recording. Yeah. My face hurt for a week, but it was an incredible experience.

6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?

Hmmm…I think the theoretical concerns bloom from my observations of and the way I engage with the world. I don’t sit down and think: I have a theoretical concern I would like to express through a story…and then try to craft a story to hold the container of that concern. For me, that would be a disaster. No. Instead, I lean into what’s interesting to me, knowing our bodies and brains are a kind of theoretical sieve and social commentary is likely to bleed into the text. We are all political creatures, whether we want to admit it or not, and when I arrive at my final result in this organic way, I am often as surprised as the reader.

7 – What do you see the current role of the writer being in larger culture? Do they even have one? What do you think the role of the writer should be?

I think the writer’s job is to hold a vision, and to create frames for others to see that vision. We hold up the frame and say: Look at that. Isn’t that amazing? (tragic, gorgeous, etc.) Which of course means that we need to always practice our own seeing, perpetually honing and polishing our own lenses of wonder and delight.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?

Ah…it all depends on the editor! I’ve been on the other side as the editor much more often than I’ve been on the receiving end, so when I do find myself on the receiving end, I am very empathetic and attuned to the delicate relationship that must transpire if editor and writer are going to do their dance in a profound way. On the receiving end, it’s so important to be in the right frame of mind, receiving it from someone you trust or who at least understands what you are trying to do with your work (as opposed to what they would do if it was theirs). Not all criticism is equal or even valid. But sometimes it’s crucial.

I try to pay attention to two reactions: the instant yes and the instant no. Both of those tend to hold heat for me. I work with a lot of writers who think critique should be painful, who let me know they can ”handle it” and then brace themselves like a linebacker. I think critique can be soft and inspirational and enlivening. It can be like your best friend telling you an important truth. It can be like a brainstorm that leaves you excited and ready to play. So I attempt to put critique, both the giving and receiving, in that frame of mind.  And when it’s not, I recommend banana splits.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?

As a young writer I was very inspired by Stephen King’s attitude towards writing as a job, one with good days and bad days. Your job is to show up to work, regardless. That attitude helped me take a little bit of the preciousness out of the writerly identity. Because yes, a whole lot of magic has to happen between concept and artifact…but it doesn’t happen at all if we are in some sort of “waiting for the muse” holding pattern. James Clear says in his book Atomic Habits that the difference between an amateur and a professional is that the amateur only shows up when it’s fun, and the professional shows up regardless. I also love this quote by W. Somerset Maugham — '”I write only when inspiration strikes. Fortunately it strikes every morning at nine o'clock sharp.”

10 - How easy has it been for you to move between genres (flash fiction to the novel)? What do you see as the appeal?

For me, extremely easy. I love both so much that crossing the streams was just an organic process for me. Any big story is made up of a million tiny stories–a life is made up of millions of tiny moments. In many ways it feels like a more accurate and natural way to approach a longer story, and it’s a method I teach (and love).

11 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?

I write every morning in bed while drinking coffee. Pretty much every day for 25 years. This happens in a journal, by hand, and it is messy and sloppy. And wonderful. It’s the way I plug my antenna into the universal goo each morning and say, ”Put me in coach, I’m ready to engage.” If I miss a morning due to travel or something I feel off all day.

The editing part, or more specifically the part that happens at a computer, comes later in the afternoons when my brain is sharper and more discerning, as opposed to the dreaminess of morning.

By the time the sun goes down I’m usually ready to read, listen to music, watch movies and disengage with the work until the next morning.

12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

I absolutely love rereading and recommend it often, especially in those stalling moments. I know writers who lament that they don’t have enough years to finish all the books on their lists, let alone rereading! I get it.  But there is a special magic that happens in the rereading process. The beauty of rereading is there is no risk–you aren’t trying to figure out the plot, you aren’t even trying to decide if you like the book or not. With all that out of the way, rereading becomes a comfortable reunion with an old friend, words and stories that have moved you (at least once) already. You don’t have to pay such close attention–you can just enjoy the scenery a little more and watch how the whole mechanism gets put together.

Also getting outside of my head and off the page does wonders for my creativity. A solo trip to the museum or the symphony (yes, try it solo!) does wonders for me. I also love taking myself on a weekend retreat to a simple hotel–a kind of marriage encounter between me and the work where we dive in deeply and re-emerge refreshed. It works every time.

13 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?

Oh yes. All of them! I feel so lucky to be a creative individual in this life, because honestly everything is inspiration. Movies, especially the quiet foreign ones, the black and white ones, the dramas and the satires. Fashion, both wearing and contemplating it. Museums of all sorts. Classical music. Jazz. Smoky lights. Really beautiful food. Walking around the lake behind my house almost every day and becoming in tune with the miniscule changes of day-to-day nature. Photographs, both as the subject and the photographer. Travel in all forms. A good road trip, especially across the Zen flatness of the Midwest. I love to purposely wake up before sunrise and drive myself into the sunrise with coffee and Tom Waits’ Closing Time. Cathedrals and stained glass and carnivals and neon lights, and I get a lot of inspiration from Wikipedia, believe it or not.

15 - What would you like to do that you haven't yet done?

Ride in a hot air balloon. Float down the Nile. Live by the ocean. Be an ex-pat. Watch my book be made into a movie.

16 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?

As I said I went to undergrad for theater; I was planning to end up in NYC or Hollywood and become an actress, stage or screen. But at one point in the hustle I realize if you are going to hustle THAT much, and do all that work to twist yourself into a product …then you better be REALLY sure. I realized I wasn’t excited enough about the process, I just liked being on stage. So…I ran off and joined the circus instead! And that’s when I started writing seriously. But I can’t tell you how often my theater training comes up, even now. Here are a few examples of how I have crossed acting with writing:

Going Short Book Trailer https://youtu.be/lxrMMX81YXg

Madam Velvet Book Trailer https://www.youtube.com/watch?v=qZdOGFsjBlE&t=19s

The Monster Opera Book Trailer https://www.youtube.com/watch?v=HWxln66wxeg&t=4s

17 - What are you currently working on?

I’ve been working on a new project for about a year—it was initially inspired on one of those long, Zen drive across Kansas last year to visit a friend, and it has since blossomed into a set of fictitious Tarot-like cards telling a sort of Midwestern Gothic story. I’m in the fun part—still discovering , still turning over rocks to see what lives underneath. So far there are lots of elements of mythology and familiar mythological tropes meets Corn, Tornadoes, Guns, Flags and Jesus—etc. I love it, and I can’t wait to see it come into its own maturity. I’m just really sitting back and writing down what it wants to say. It’s like I’m writing the instruction manual for a game that doesn’t exist.

I’m also getting ready to run three flash fiction writing retreats in 2023—in France, Iceland, and Colorado. My two favorite things: writing and travel both together!

It's been so much fun chatting with you, thanks for having me!

Buy After the Rapture from Mason Jar Press https://masonjarpress.com/chapbooks-1/after-the-rapture

Retreats website www.flashfictionretreats.com

12 or 20 (second series) questions;

12 or 20 (second series) questions with Jaime Fountaine

Jaime Fountaine was raised by “wolves.” She is the author of Manhunt (Mason Jar Press, 2019). She lives in Philadelphia

1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?

To date, I have only written one book. Finishing something feels way better than giving up and deleting it, but it also requires significantly more effort. 

2 - How did you come to fiction first, as opposed to, say, poetry or non-fiction?

I was a lonely, imaginative child, who spent most of her time reading.

3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?

Most of the time, I’m writing despite myself, rather than as some well-thought out routine. I spend more time in my head than I do on paper. Sometimes that means that after a long time considering an idea, I can bang out a pretty solid draft in a day. Other times, that means I write four sentences a month and never finish a story.

4 - Where does a work of prose usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?

Usually, a concept or a line or a voice will make its way into my head, and I’ll sit with it for as long as it takes to build a story around it, or give up.

5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?

I’ve been running reading series on and off since I was 23 (I’m 35 now), and they’ve made me a better writer, a better community member, and I think a better friend. I’m perhaps too comfortable speaking in public, but using that impulse to support work I’m interested in, and to see how a voice or an idea actually lands has been invaluable to me.

6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?

I like to say that, since it’s out in the hands of readers, it’s up to them to decide what my work means, which is both technically true, and a great way to let myself off the hook.

7 – What do you see the current role of the writer being in larger culture? Does s/he even have one? What do you think the role of the writer should be?

I have no idea! I tend to avoid making sweeping, generalized statements that I will probably regret saying in twenty minutes. I shouldn’t be a spokesperson for anything but my friends and Tide Pens. I get a lot of use out of Tide Pens.

8 - Do you find the process of working with an outside editor difficult or essential (or both)?

I had an incredible experience with my editors at Mason Jar. They paid an incredible amount of attention to my novella while working on two others simultaneously, and the book is so much better for it. I’d never worked so closely or extensively with editors before.

9 - What is the best piece of advice you've heard (not necessarily given to you directly)?

My friend Lorraine once told me that procrastination is basically a way to insulate yourself against perfectionism.

10 - How easy has it been for you to move between genres (fiction to an advice column)? What do you see as the appeal?

Most of my non-fiction writing (advice column, interviews, a couple of essays) are so much in my own, ridiculous voice that it’s technically easier than developing an authentic voice for a character and keeping it consistent over many pages. It’s not difficult to be a goofy, public version of myself, so doling out advice is much easier than being publicly honest about my feelings, which I don’t enjoy one bit. I’ve done it, and I’ll probably do it again, but it’s much harder for me than writing fiction is.

11 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?

I have no set routine for writing. When I’m in the middle of a project, more of the work is done in my head than on the screen/paper. When I’m not writing, I’m just not writing. I hate journaling, I hate staring at a blank screen, I hate generative exercises. And unless I owe somebody something, I just let myself be a brat about it, because I always come back to writing on my own.

12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?

I’m much better at figuring out these kinds of problems with my passive brain, so I usually cook when I’m stuck on something writing related. The chopping and kneading soothe me, and give me a creative endeavor with a positive outcome (most of the time, at least) that I can focus on instead of thinking about the problems I’m having with a particular narrative.

13 - What fragrance reminds you of home?

Garlic.

14 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?

I saw Twin Peaks in kindergarten, and it imprinted on me in a very big way. Watching it as an adult felt a lot like going home. I tend to think about my writing in terms of what things feel like for the characters, rather than how it should look for an audience, and finding a way to translate that has been very informed by the work of David Lynch.

There are a lot of songwriters who are very good at building entire worlds between words. Tom Waits, Nick Cave, and the late David Berman are particular favorites of mine.

15 - What other writers or writings are important for your work, or simply your life outside of your work?

I don’t think I could’ve written Manhunt if I hadn’t read Steven Dunn’s Potted Meat or if I didn’t read Bud Smith’s essays about writing on his phone at work.

I am almost always reading, and I don’t really know how to quantify the importance that has on my work. There are so many great stories and books and essays that have made me a better writer, and there’s also a bunch of mediocre shit that’s done the same. I’m terrible at making lists because I always leave something off.

16 - What would you like to do that you haven't yet done?

I haven’t traveled much. I don’t see that changing anytime soon, unfortunately.

17 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?

I very much have a day job, as an administrative and outreach coordinator at a public health research institution. I send a lot of emails.

18 - What made you write, as opposed to doing something else?

I wasn’t good at other stuff? I can’t paint or draw or play an instrument and I have very limited patience for crafts.

19 - What was the last great book you read? What was the last great film?

Recently, I’ve loved Little Eyes by Samanta Schweiblin, Sleepovers by Ashleigh Bryant Phillips, and Pizza Girl by Jean Kyoung Frasier. I’m also extremely into Samantha Irby’s “Who’s on Judge Mathis Today” newsletter, which gives me something to live for every day.

I’ve been terrible at watching movies or TV of any real substance. I was once a real asshole about film, but now I’m just a tired bitch who rewatched Hot Rod for the fifth time last week.

20 - What are you currently working on?

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12 or 20 (second series) questions;