Who Is The Author Of Size Zero?

What a fun niche to explore — I get excited whenever I can point people toward spaces that celebrate both queer love and body diversity. Over the years I’ve followed a handful of shows that routinely interview queer authors and creators, and those are the best hunting grounds for writers who focus on plus-size lesbians. Big-name interview podcasts like LGBTQ&A and The Book Riot Podcast often feature queer novelists and cultural critics; their archives are searchable, so I’ll usually type in keywords like 'lesbian', 'fat positivity', 'body image', or 'fat rep' and surface interviews where those topics come up. Romance-focused shows, especially 'Smart Podcast, Trashy Books', also bring on romance authors who write inclusive characters, and they tend to be relaxed and granular about tropes and representation, which is perfect for finding writers who center plus-size lesbians. For smaller, community-driven outlets, I keep an eye on queer literary blogs and magazines — Autostraddle and similar platforms sometimes run author interviews or link to podcast episodes that highlight underrepresented characters. Indie romance podcasters and booktubers often spotlight self-published or small-press lesbian authors; those episodes can be gold because hosts dig into character appearance and reader responses. My go-to method is: pick a promising author who writes plus-size lesbian protagonists, then search podcast platforms and the author’s website for interview appearances. It’s a little detective work, but I usually find thoughtful conversations that go beyond surface-level representation. Happy listening — I love when a great interview makes me want to read everything that author’s written.

I've noticed that Revolve's swim cover ups don't have a single sizing rule — and honestly, that's kind of the point. Revolve carries a lot of different designers, so whether something runs true to size really depends on the brand, the fabric, and the silhouette. Lightweight chiffons and mesh pieces tend to fit pretty true to size because they drape and aren't meant to hug the body, while knits, crochet, or stretch styles can be tighter or more generous depending on how much give there is. When I shop there I always check the product measurements and the model info first. Reviews are gold: people will say if a tunic is shorter than expected or if a kaftan runs huge. For fitted cover ups — think bodycon slip or ribbed tunics — I often size up if there's no stretch. For oversized kimonos or ponchos I stick with my normal size because the designers intend that roomy look. Returns at Revolve are straightforward enough that I sometimes order two sizes and send back what doesn't work, but measuring against the provided size chart saves me that extra step. Overall, I'd say many styles are true to size, but the caveats about fabric and cut mean you should double-check each listing; it's a bit of treasure hunting, and I love that part of it.

I get fired up talking about this because period dramas carry such a heavy visual language, and plus-size casting bumps that language right off its rails in interesting ways. Costume and silhouette are the first hurdles: corsets, stays, waistcoats, and fitted gowns were designed around specific historical ideals — at least as costume departments imagine them. Tailors may not have ready patterns for larger bodies in historical cuts, so fittings become time sinks and budgets balloon. That leads to practical problems on set: duplicated costumes for stunts, continuity issues, and increased costume maintenance. There’s also a persistent historical myth that period eras were universally slender, which producers sometimes use to justify narrow casting choices. That erases real historical diversity and forces actors into prosthetics or padding that can feel demeaning. Beyond the seams, storytelling and stereotyping crop up. Plus-size characters in period pieces are too often relegated to comic relief, nursemaids, or moralized figures. Casting directors and writers may shy away from romantic leads or complex villainy when considering larger actors. Camera work and lighting can be tuned to flatter a narrow range of body types, so cinematographers need to rethink blocking and lens choices to avoid signaling bias. I love period work, and when productions commit to genuinely inclusive casting — hiring skilled tailors, consulting costume historians, and embracing body-positive storylines — it feels like the genre gets a breath of fresh air. It’s messy, but the payoff in authenticity and representation is worth the extra effort for me.

A good size for a Little Free Library balances functionality with accessibility and aesthetics. Most standard libraries are about 2 to 3 feet tall and roughly 1 to 1.5 feet wide, with enough depth to hold a modest selection of books. This size is convenient for both adults and children, allowing them to browse and reach titles comfortably. The interior should provide space for at least 20 to 50 books, depending on the thickness of the volumes, while leaving room for airflow to prevent moisture buildup. The size should also consider location and safety. Smaller structures are easier to place on private property or community sidewalks without obstructing foot traffic, while larger libraries can accommodate more books but may require sturdier construction. Weatherproofing is essential for all sizes, so adding features like a sloped roof, sealing, and elevated placement helps protect books from rain or snow. Choosing an appropriate size ensures that the Little Free Library is inviting, functional, and sustainable. By selecting dimensions that suit the community and the intended book volume, stewards can create a welcoming space that encourages neighbors to read, share, and donate books regularly.

Explaining it plainly, Peter Thiel in 'Zero to One' treats a startup monopoly not like some shady legal privilege but as the outcome of creating something truly unique — a product or service so good that no close substitute exists. In my view, he means a company that controls a market niche because it solved a hard technical problem or discovered a secret others missed. That monopoly isn’t about crushing rivals with unfair tactics; it’s about being exponentially better: think about the almost-10x-better test he talks about, where marginal improvement isn’t enough to build lasting profits. He drills into what makes that position defensible: proprietary technology, network effects, economies of scale, and strong branding. I like how he contrasts creative monopolies with perfect competition — in the latter, everybody races prices toward zero and innovation dies. Thiel also warns against confusing monopoly with bureaucratic or state-granted privileges; the kind he celebrates is one you earn by building something new. Personally, I find that framing energizing because it reframes success as original thinking and long-term planning rather than short-term fighting, which feels more inspiring to me.

The movie feels like a different beast from the book. I loved reading 'Less Than Zero' and then watching the 1987 film, and what struck me most was how much the filmmakers softened the novel's jagged edges. The book’s voice—icy, list-like, and morally numb—is the point; Ellis uses that detached first-person narration to skewer Los Angeles consumer culture and emotional vacancy. The film, by contrast, gives Clay clearer motives, more obvious scenes of crisis, and a patter of melodrama that turns bleak satire into a personal rescue story. That change isn’t just cosmetic. Plot beats are reordered, some episodes are combined, and a heavier focus on addiction as a problem to be solved replaces the novel’s relentless ambivalence. Robert Downey Jr.’s Julian is unforgettable and humanizes the chaos, which makes for compelling cinema but moves away from Ellis’s intention to leave moral questions unresolved. So no, it isn’t faithful in tone or voice, though it borrows characters and images. I still find both works worth revisiting—different experiences that each have their own bittersweet sting.

Costume sizing can be surprisingly tricky, so here's the practical guide I use when picking a 'Bubble Guppies' outfit for kids — peppered with what worked for my niece and a few things I learned the hard way. First off, never rely solely on the age label. Instead, grab a soft measuring tape and take these simple measurements: height (top of head to floor), chest (widest point, across the nipples), waist (natural waistline), and head circumference if there's a headpiece or hood. If the costume has legs, also note inseam or pant length; for shoes or booties, get actual foot length in centimeters or inches. Write those numbers down and compare them to the vendor's size chart — different brands mean wildly different fits, from snug lycra suits to roomy plush rompers. When you find where your kid's measurements fall on a chart, follow a couple of rules I swear by: if they fall between two sizes, size up. Kids move, grow, and inevitably want to layer a sweatshirt under a costume if it’s cold. For toddlers and preschoolers, I usually allow an extra 1–2 inches (2.5–5 cm) in chest and waist and 1–3 inches in height so they can sit, bend, and wear a shirt underneath. For babies, an extra inch or two helps with diaper changes and comfort. If the costume is made of stretchy fabric like spandex or polyester, you can be slightly more conservative; if it’s a rigid foam or heavily embroidered polyester, give more room. Also check sleeve and crotch lengths — a costume that’s perfect across the chest can still be too short in the torso if it’s designed for a different body proportion. Different styles change the rules a bit. If you’re buying a full-body jumpsuit or onesie inspired by 'Bubble Guppies', prioritize torso and inseam measurements; a tight crotch or short legs will be uncomfortable. If it’s a dress or tutu-style costume, chest and length are the big ones — add room for a leotard underneath in chilly weather. For costumes with attached shoes or booties, make sure footwear is roomy; those attached booties usually run small and aren’t suitable for walking far. Headpieces and masks require head circumference plus a check whether there’s adjustable elastic or Velcro. I also always read product reviews: other buyers often mention whether the costume runs large, small, or has weird proportions like a short torso or narrow shoulders. A few safety and practical notes I always keep in mind: avoid costumes with loose beads, tiny plastic pieces, or long trailing parts that can be a trip hazard for little kids. Pick flame-resistant materials and double-check zipper quality because a stuck zipper on Halloween night is its own kind of tragedy. If you’re ordering online, check the return policy — some Halloween shops exclude returns, which matters if you guess wrong. Finally, a small tailoring tweak (shorten sleeves, add elastic) can make a so-so fit great, so don't toss the idea of a quick adjustment. My niece ended up in a slightly roomy 'Bubble Guppies' outfit that we cinched with a hidden elastic — she had full range to dance and splash during the party, and her smile said it all. Happy shopping and I hope your little guppy looks adorable and comfy!

I keep coming back to these books when folks ask about plus-size protagonists because they actually made me feel seen. 'Dumplin'' by Julie Murphy is the one people usually mention first — Willowdean is loud, snarky, and complicated; the book treats her body as part of her life, not the whole plot, and the movie adaptation captures that warm, messy energy. Another that stuck with me is 'The Upside of Unrequited' by Becky Albertalli: Molly wrestles with crushes and body image in a way that’s tender and real, with humor threaded through the pain. If you want something with a different flavor, try 'Fat Chance, Charlie Vega' by Crystal Maldonado — it’s vibrant, bilingual at moments, and tackles family expectations along with body-image stuff. 'Fat Angie' by e.E. Charlton-Trujillo is darker and more raw, dealing with grief and identity while centering a larger teen girl. And for a joyful, queer-leaning feel, 'You Should See Me in a Crown' by Leah Johnson gives you a protagonist who’s proud, anxious, brilliant, and not erased into a stereotype. Representation matters to me: these books let characters be big and complicated without turning their size into a single moral. I keep rereading them when I need a reminder that teenage life is messy and beautiful at any size.