What you make does not resemble anything
Mercury wears Aquarius here and keeps its office in the 5th house: your creative output comes out at an angle to everything around it. The form is odd, the approach is not the standard one, and the result is either exactly right for somebody or entirely opaque to them.
There is no middle audience for this and there never will be. What that means practically is that finding your particular people matters more here than improving the work does.
The rules get rewritten before you start
Handed a form, a game or a brief, your first instinct is to ask why it is done that way and then not do it that way. Sometimes the result is genuinely better and sometimes you have simply made it harder for yourself. The test is whether you can say what the original constraint was for. If you cannot, learn the standard version once — you will break it far more effectively afterwards.
Humour built out of the unexpected turn
Your jokes work by arriving from somewhere nobody was looking: the observation nobody had made, the connection between two unrelated things, the deadpan statement that reframes the whole conversation. It is a distinctive comic register and it needs a listener who is paying attention. In a distracted room it simply does not land, which is information about the room rather than about the joke.
Romance on terms you worked out yourself
The way you conduct attraction ignores most of the standard sequence: friendship first, unusual timing, an arrangement that would confuse anybody watching. It suits you and it requires stating, because the other person is probably running the conventional script and reading your deviations as disinterest. Say what you are doing. It is a much shorter conversation than the misunderstanding.
Your audience exists and it is not local
The people who want exactly what you make are real, scattered, and unlikely to be in your immediate surroundings. That is why local reception has been mixed and why you may have concluded something discouraging from it. Publish where distance does not matter. Finding forty people who are precisely right is a far better outcome here than being broadly acceptable to four hundred.
Attraction starts with an idea
What draws you in is how somebody thinks: the unexpected opinion, the conversation that went somewhere at two in the morning, the sense of a mind you have not met before. Physical attraction follows that rather than preceding it. Say so, because a partner who assumes the usual order will misread your slow start as indifference when it is actually how you get there.
Nobody was ever going to commission this
The work that is most yours is the work no client would have thought to ask for, which means it exists only if you make it without a brief and without permission. Waiting for somebody to want it first is waiting indefinitely. Produce it unasked, put it somewhere it can be found, and treat paid commissions as the thing that funds the hours rather than the thing that defines what you make.
You collect the people nobody else collected
The friends you accumulate through your enthusiasms are an odd assortment by any external standard: different ages, different countries, connected to you by a shared obsession rather than by circumstance. That is a genuinely rich social structure and it has one weakness — it depends on the shared interest continuing. Keep one thread going with each of them that has nothing to do with the subject.
Making it is enough of a reason
You have probably measured your creative work against whether it was useful, and it frequently was not, so several things were abandoned that should not have been. Usefulness is the wrong test here. The output of this position tends to justify itself years later or not at all, and neither outcome is available if you stop. Keep making the thing that has no argument for it.