#Being a Traditionally Published Author

[arimeghlen]

Ep 214 | The Merry Writer Podcast

Quick Announcement – The Advent Calendar Story Train is still looking for writers to participants. Want to write a flash fiction story for the Train? In today’s podcast episode, Rachel and I are joined by a guest, writer Serena Labrecque who asks and answers the question: “How Can You Write Middle-Grade Characters Well?” Continue reading Ep 214 | The Merry Writer Podcast

[nicosraf]

As per my last post, if yall arent aware — Cait Corrain, the author of the upcoming Crown of Starlight made a bunch of fake accounts on Goodreads to review-bomb other debut authors, almost entirely BIPOC, with 1 star while 5-starring her own book. She also added traditionally published debut authors to a list derogatorily labeling them as "self-published" hacks. She went after random books that are Greek mythology retellings, like her own is, and again targeted BIPOC authors. She even targeted my good friend RM Virtues, who is an indie author who writes queer Black Greek myth reimaginings.

Many of those she attacked were people who considered her a colleague and friend. She's tried to spin a lie about how she's being framed by someone from her Reylo fandom days, but Reylos have disproven that already.

Cait allegedly liked to brag about how her publisher treated her like royalty, and she had a massive Illumicrate deal. Her book was also getting favorable advanced reviews and had a beautiful cover, so she had nothing to be jealous of. She's potentially destroyed her career due to racism alone. Do not buy her book and do not support her.

Here is a thread if you want specifics and here is the 31-page doc of evidence.

[intomybubble]

Its been a week or something since I started reading Shounen Note (middle school choir manga), and I'm almost finished. Its not a long series (30 Ch), but it has taken me longer than I expected to finish it. I think the topic is interesting, but the way it's told didn't particularly grab me like some other manga I've read. I will say though, that I really like the art work. The linework is really good (its an older manga so it's still drawn traditionally, and for me it gives a different vibe than some recent digitally drawn series imo), and I really how the mangaka illustrates the atmosphere around the characters

[fingertipsmp3]

Reading an actual published book that is really, confidently bad gives me more confidence in my writing than just about anything actually

[mindblowingscience]

Biologists have long known mushrooms of the genus Mycena, commonly known as bonnet mushrooms, as fungi that live off of dead trees and plants. New research from the University of Copenhagen demonstrates that bonnets can also find their ways into young, healthy trees and plants, where they try to cooperate. In doing so, they have made an evolutionary leap which challenges our understanding of the ecological roles of fungi. Fungal spores float through the air. Thin strands of their mycelia creep along surfaces. They seek out defenseless hosts to wrap themselves around in webs of fungal growth. Their victims can then be used to satisfy their own need to devour and disperse. That fungi have begun to invade the living is a horrific thought for anyone who ever thought that fungi only dined upon the dead. Or, at least for those who stream The Last of Us, a post-apocalyptic series in which humans battle relentless fungal-infected zombies. Fortunately, reality is rarely so dramatic. But after Danish mycologists targeted local Mycena, known as bonnet mushrooms, it turned out that certain similarities emerged nevertheless. New research from the University of Copenhagen's Department of Biology suggests that this genus of fungi, which has traditionally been considered saprotrophic—i.e., a decomposer of nonliving organic matter—is in the midst of an evolutionary leap. The research is published in the journal Environmental Microbiology. "Using DNA studies, we found that Mycena fungi are consistently found in the roots of living plant hosts. This suggests that bonnets are in the process of an evolutionary development, from uniquely being decomposers of nonliving plant material to being invaders of living plants, under favorable conditions," explains Christoffer Bugge Harder, the study's lead author.

Continue Reading.

[dduane]

BTW… re: Smut

... off my comment to this post the other day...

I'm an entertainer. Writing's a form of entertainment. (And not just for the readership: for me, too.) To be aroused by art one's experienced is (almost by definition) to be entertained, I'd say. If someone's jerking off to my erotica, then all I can do is lean back in the typing chair, smile a bit, and think, Good! I got the job done. :)

(...with the tags: #and no I'm not going to let on where the smut is#why would i deny anyone the delights of the search#and of being repeatedly mistaken#while possibly finding smut writers who're better at it than i am#:) ...)

...and then noting (with affectionate amusement) some responses:

Well, troops, better get busy filling in that bingo box. 😄

Also: I have to say (while stressing that I absolutely appreciate the humor behind "shocked, shocked, scandalized...") that the dissonance is, temporally speaking, a bit ill-founded. Because while I may be best known for the Young Wizards works these days... by no means did they come first. This did.

A soft chuckle in the darkness. “Lorn, remember that first time we shared at your place?” “That was a long time ago.” “It seems that way.” “—and my father yelled up the stairs, ‘What are you dooooooooing?’ “—and you yelled back, ‘We’re fuckinnnnnnnnnnng!’” “—and it was quiet for so long—” ���—and then he started laughing—” “Yeah.”

Granted, from the here-and-now POV of readers with access to the hot-'n'-spicy shipfic or PWP on AO3, this sort of thing (and the numerous other lights-often-off or dialogue-only sexytiems passages in the traditionally published Middle Kingdoms works) would be seen as pretty small beer: soft, non-edgy stuff. Yet in 1979 apparently there were those who found the sex and sexualities on display in The Door Into Fire arresting enough that the book got me nominated for the Astounding Award (for best new author in the field) two years in a row.

There's no question that the broadly inclusive tone set by the Middle Kingdoms books went on to affect and underlie the YW universe in very basic ways. (There've been some scholarly works written by academics who've picked up on this, so [much to my relief] this perception hasn't been just me imagining it.) But I'll grant you that those who don't know the MK novels wouldn't be in a position to make the connection. (shrug) This is just one of those things that comes of having a lot of fragmented readerships who don't know about each other... a side effect of having done a lot of different things during a career. I can also understand how not knowing about the MK works could leave people who know me only, or primarily, as someone writing for a younger readership, a little bit disoriented (or maybe concerned) when the issue of me writing openly sexual material rears its head. But that wouldn’t be a change of direction. It’d be, to some extent, more a return to form.

Anyway: I consider erotica—and its more casually-dressed (or undressed...) cousin, smut—to be perfectly legit forms of literary expression; ones that can soar to unexpected heights if you're willing to put in the work. The sexy-stuff-writing muscle requires periodic exercise if it's to remain viable and/or useful. So I exercise it. And being a 70-year-old person who sometimes creaks audibly when she walks has done absolutely nothing to decrease my interest in the subject—the brain being, after all, the biggest sex organ, and the one least vulnerable to the depredations of time. If anything, nearly fifty years of experience (and three and a half decades of marriage to @petermorwood) have added... let's just say nuance. 😏

Now this whole concept will doubtless horrify some of the "Eww, You're Too Old To Be Writing This Kind Of Thing, Go Get A (Home) Life" types. To which all I can say is, "...Well, good!" By and large, such folks are not my readers anyway. And as for any of them who are, and can't deal…? They need to understand that (pointing off to one side) those people over there—the various kinda-straight and pansexual and bisexual humans, and the gender-fluid fire elemental, and the otherly-gendered Dragon, and the mostly-gay ones enthusiastically shouting "We're fuckinnnng!" down the stairs—are Nita's and Kit's godparents. Without the members of that extremely mixed marriage and their increasingly extended family, there might be no Young Wizards series... not least because it was the splash made by the first of the Middle Kingdoms books that got the Errantryverse crowd in through a major publisher's door. And the series’s continued (modest but still noticeable) success through the second and third volumes kept the writing of new YW books going for a good long while.

...So. For those who may have had questions: HTH. 😀

(And now back to the unending search for a more graceful synonym for “testicles”.)

[writingquestionsanswered]

Hi, thank you for taking the time to answer these!

It seems like all successful authors have to be on social media these days. I want to publish my book under a pen name so nobody knows it’s me. How do I succeed at author social media while also being anonymous?

Maintaining Author Anonymity on Social Media

It really depends on what you want to write and how you want to publish. Either way, a pen name isn't a 100% guarantee of anonymity, so that's something to consider before publishing. Whether you self-publish or traditionally publish, you're still conducting business, which requires the involvement of your real name on paper. Some of those documents will be available to the public, so it isn't usually difficult to figure out the real identity behind a pen name.

If you want to traditionally publish, you should keep in mind that the publisher is making a big financial investment in your book, so they want it to sell well so they can make back their investment and make a profit. Part of that may be asking you to do things like book signings, guest appearances, or having visibility on social media. Some publishers won't work with authors who want to be completely invisible, especially if they feel your book would benefit from that kind of visibility in marketing. So, if you pursue traditional publishing, it's something you would want to talk about with your agent once you land one so they can keep that in mind when they look for publishers.

If you want to self-publish, you don't have to worry as much about being visible. There are many who feel that authors do better when they are visible to their readers, but it's certainly not a requirement. You can still have a solid, meaningful social media presence without posting videos or photos of your face, or without giving away intimate details about who you are. You can find a balance with sharing photos and details that feel personal without revealing anything that blows your cover.

Anonymous but "Intimate" Photo Examples:

All of these images give the reader a glimpse into your world and who you are without giving them a full window into your personal life.

If you caption the coloring photo as, "Coloring with the little ones today..." All the reader knows is there are kids in your life, but are they kids, grandkids, neighbors, students, friends' kids? Who knows?

Anonymous but "Intimate" Detail Example:

-- Spent today out shopping with the family. We had lunch at one of our favorite eateries, then went to see a movie. Afterward, we took a walk along the water and came home to play board games. Great day!

With or without an accompanying "semi-anonymous" photo, the above paragraph gives the reader a glimpse into your day without giving too much away. Spent the day with family... your immediate family? Extended family? Found family? No specification of which eatery, which movie, what body of water, or which board games, but it still paints a picture.

Engagement Matters, Too

And remember, for indie authors especially, engagement with your audience is important. Replying to comments, participating in tag games, "signal boosting"/sharing/reblogging posts, posting polls/QOtD/challenges, etc. are all ways you can engage without having to be visible.

I hope that helps!

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[thebibliosphere]

What are your thoughts on authors writing and posting fanfiction of their own work? Do you think being self published vs traditionally published makes a difference? I tried searching around about the topic before but found nothing conclusive, other than the statement, "if you're the owner of the work, you might as well make more money off of it," which doesn't sit right with me.

I mean, I'm quite (in)famously writing an AU fic of my own work (Sugar Vladdy) purely for fun and because Tumblr has a unique ability to pilot my lack of impulse control like the ADHD version of Ratatouille.

Numerous people have told me they'd buy Sugar Vladdy if I ever decided to make it into a proper book. Frankly, I'm not interested in that because my motives for writing Hunger Pangs vs. Sugar Vladdy were different.

Writing for profit vs writing for fandom occupy different spaces in my brain. They scratch different itches. Yes, I'm playing around with the same characters. But I'm sort of just treating it like enrichment in my enclosure. It lets my brain throw around all the ideas that wouldn't work for those characters within the canon universe but still likes to go, "Oh, but what if..."

Honestly. No idea how much of that is my ADHD or what, but that's the only way I can explain it. They're the same, but they're not. They're fun in different ways. And I can get away with it because I'm self-pub. I haven't sold the rights to anyone. The world and characters are mine. I can put my blorbos into situations if I want to.

Now, if I were trad-pub, there would probably be a lot of restrictions about what I can and cannot do surrounding my own characters because I've sold the rights for X amount of time. I couldn't just give things away. It might be considered a breach of contract if I did. It'd definitely be something I'd need to run by an agent first just to make sure.

As for not liking the "might as well make money off it" mindset, as a literal struggling writer who lives paycheck to paycheck, I'm not going to judge anyone who keeps their official work as for profit only. People deserve to be paid for their labor. If they/we want to create stuff away for free, that's up to us.

Would I personally find it stifling and joy-killing to only ever write for profit? Yes. But that's a me thing. Not a universal thing.

[mortalityplays]

Unfortunately the incredibly fragile fanfic writer with thin skin thing has crossed over into literature, particularly YA and genre literature, these days. Everyone is having a bad time and no one can stand constructive engagement with their work

there is a particular kind of person that falls in love with the concept of being a writer, but is absolutely unwilling to put any effort into seeing or treating it as a craft they need to actively master. they have always existed and will always exist, probably because it's much harder to see at a glance when a writer is full of shit than when someone makes terrible visual art.

traditionally you'd either find those people vanity publishing or wealthy/connected enough to publish through friends, family, old classmates etc. the people who didn't have access to those avenues (or who were too cowardly even to brush against the possibility of having someone read their work and think it was less than perfect) would stereotypically just work on their great novel forever and never let anybody read it.

the point I'm getting to is I think the larger and larger market share commanded by crybaby bad writers is reflective of the point we've reached in late capitalism. publishing companies have realised there's money to be made in doing marketing pump and dumps on writers who don't know or care enough about writing to spend more than maybe 2 years producing a finished manuscript, and who are so intensely horny for attention that they'll happily accept whatever conditions are put on them (we're looking for vampire enemies to lovers in a speculative future hunger games marriage tournament. also you have to promote it on tiktok and speak on a panel at this fan expo we sponsor, and give every other YA author in our stable a 5 star goodreads review. we will not be paying you for this). at the same time, people have been conditioned to see media consumption and audience affiliation as virtues and even skillsets. an infantilised media landscape combined with the proliferation of youtube media analysis hustle culture has primed an entire generation to believe that they're insightful, incisive, genre savvy wunderkinds whose bts-meet-the-winchesters fanfiction is actually the voice of a generation and DESERVES a three novel series and movie adaptation.

we're sick. we're not well.

[arimeghlen]

Ep 210 | The Merry Writer Podcast

In today’s podcast episode, Rachel and I are joined by a guest, author Dalene Foster where we ask and she answers: “Why Is Writing For Children Important?” Continue reading Ep 210 | The Merry Writer Podcast

[dramioneasks]

Mannn, I thought the new HBO series was going to take out HP Fanfic. Who knew the fandom would start to eat itself and cause its own demise with bad manners regarding reader entitlement and a lack of awareness supporting illegal profits from book binding😮‍💨.

It's wild to think people would pay hundreds of dollars for something that is kindly posted for free. I know some of you mods are authors. Thank you all for what you do and your MASSIVE contributions to this fandom.

In the last few days I've seen so much talk about this. I believe some authors have started that they were removing their fics from AO3? Which sparked all this talk.

For those who don't know, many authors are having their work downloaded and bound into a physical book and being sold. They are not being informed of this. They do not get contacted for permission, nor do they see any money from the sale.

Someone just decided to take a popular fic, one that got some traction on tiktok, and make it into a book and sell it for money. The original author is clueless of this happening.

Previously, in this fandom, some small bookbinding business owners would reach out to the authors and ask permission to bind a copy of the fanfic for their own use. They were granted that permission. They would post about it, and other people wanted the same. Those bookbinders then reached out to their author for permission to sell the bound copies and informed the author of the price they were selling to for. They only made a profit on the materials and labour.

Now, things have changed, especially since fanfiction and dramione fanfiction, in particular, have gotten super popular on tiktok.

People have realized that they can make a quick buck and sell physical copies of works. Even if it is illegal. YES selling fanfiction is illegal.

Fanfiction comes from another author's intellectual property. You can make fanfiction and post about it because you can not and will not make money off of it. If you do, the original author can take you to court. These bookbinders are selling fanfiction, and they are gonna get everyone in trouble if a traditionally published author decided to look into this. With how easy it is for someone's video to go viral on tiktok and how many authors are using tiktok, it's not impossible for this to come their way.

Right now, it seems these bookbinders are only on tiktok and etsy.

If you see people selling fanfiction, report them.

If you go on the dramione, tag here on Tumblr, you will see lots of chats about this, especially from authors themselves. Take some time to read it and follow some guidelines that they suggested to help combat these sales.

(PS: Our author mods are not active at the moment, you can reach out to them personally on their Tumblr pages to express your support!)

- Lisa

[mittensmorgul]

which books used to be destiel fics?

hi there! there's a lot! Some I know about, like this list *which was posted in 2013* so obviously there are many more now.

There's also a number of writers who have written destiel fic and then gone on to successful traditional publishing careers (or who already had successful publishing careers and also wrote some destiel fic). I'm not sure how many of them would like to be publicly included on a list like this, though... but if you ask me off anon i will be happy to rec some of those authors and their published works (and... i do actually rec their works, in my "you should be reading" tag when they cross my tumblr dash, so that might be a good place to start).

if any destiel authors would like to rec their traditionally published works, they can reply here too! I'd just like to make sure authors are comfortable being listed like that before taking that liberty.

[wolverinesorcery]

UNBLENDING CELTIC POLYTHEISTIC PRACTICES

Celtic Umbrella

This lesson is largely focusing on the insular Celtic nations & Brittany (Ireland/Eire, Scotland/Alba, Wales/Cymru, Cornwall/Kernow, Isle of Man/Mannin, & Brittany/Breizh) - traditionally regarded as 6 out of the 7 Celtic nations. Galicia/Galizia is the 7th, but because of a mix of the below + my own lack of knowledge, I won't be covering them.

The vast swath of Continental Celtic cultures are a different but equally complex topic thanks to extinction, revival, varying archaeological artefacts and the work of modern practioners to piece unknown parts back together.

This will serve as a quick 'n' dirty guide to the insular Celtic nations, Celtic as a label, blood percentages and ancestry, the whats and whys of "Celtic soup", and how to unblend practice.

The insular Celtic groups are split into two language groups: Brythonic languages and Gaelic languages.

Brythonic languages are Cymraeg/Welsh, Kernewek/Cornish, & Breton

Gaelic languages are Gàidhlig/Scottish, Gaeilge/Irish, & Gaelg/Manx.

The language split leads to certain folkloric and religious figures & elements being more common within the language group than without. All of these nations had historic cultural exchange and trade routes via the Celtic sea (and beyond). Despite this, it is still important to respect each as a home to distinct mythologies.

Pros/Cons of a broad Celtic umbrella

Pros

- Used within celtic nations to build solidarity - Relates to a set of cultures that have historic cultural exchange & broad shared experiences - A historic group category - Celtic nations’ culture is often protected under broad legislation that explicitly highlights its ‘Celtic-ness’.

Cons

- Can be used reductively (in academia & layman uses) - Often gives in to the dual threat of romanticisation/fetishisation & erasure - Conflates a lot of disparate practices under one banner - Can lead to centring ‘celtic american’ experiences. - Celtic as a broad ancestral category (along with associated symbols) has also been co-opted by white supremacist organisations.

In this I’m using ‘Celtic’ as a broad umbrella for the multiple pantheons! This isn’t ideal for specifics, but it is the fastest way to refer to the various pantheons of deities that’ll be referenced within this Q&A (& something that I use as a self identifier alongside Cornish).

What about blood % or ancestry?

A blood percentage or claimed Celtic ancestry is NOT a requirement to be a follower of any of the Celtic pantheons. The assumption that it does or is needed to disclose can feed easily into white supremacist narratives and rhetoric, along side the insidious implications that a white person in the USA with (perceived or real) Celtic ancestry is 'more celtic' than a person of colour living in a Celtic region (along with other romanticised notions of homogenously white cultures).

Along side this, a blood percentage or distant ancestry does not impart the culture and values of the Celtic region or it's recorded pagan practices by itself. Folk traditions are often passed down within families, but blood percentage is not a primary factor within this.

Connecting with ancestry is fine, good, and can be a fulfilling experience. It stops being beneficial when it leads to speaking over people with lived experiences & centres the USA-based published and authors - which can lead to blending/souping for reasons further on.

What is 'soup'?

Celtic soup is a semi-playful term coined by several polytheists (primarily aigeannagusacair on wordpress) to describe the phenomenon of conflating & combining all the separate pantheons and practices from the (mainly) insular Celtic nations into one singular practice - removing a lot of the regionalised folklore, associated mythos, & varying nuances of the nations that make up the soup.

Why does it happen?

The quick version of this is book trends and publishing meeting romanticisation and exotification of Celtic cultures (especially when mixed with pre-lapsarian views of the Nations). It's miles easier to sell a very generally titled book with a lot of Ireland and a little of everywhere else than it is to write, source and publish a separate book on each.

This is where centering American publishers and authors becomes an issue - the popular trend of USA-based pagan publications to conflate all celtic nations makes it hard to find information on, for example, Mannin practices because of the USA’s tendency to dominate media. Think of Llewellyn’s “Celtic Wisdom” series of books.

It has also been furthered by 'quick research guides'/TL;DR style posts based on the above (which have gained particular momentum on tumblr).

The things that have hindered the process in unblending/"de souping" is the difficulty in preserving independently published pamphlets/books from various nations (often more regionalised and immediately local than large, sweeping books generalising multiple practices) along with the difficulty of accessing historic resources via academic gatekeeping.

All of this has lead to a lack of awareness of the fact there is no, one, singular Celtic religion, practice or pantheon.

Why should I de-soup or unblend my practice?

Respecting the deities

It is, by and large, considered the bare minimum to understand and research a deity's origin and roots. The conflation of all insular Celtic deities under one singular unified pantheon can divorce them from their original cultures and contexts - the direct opposite to understanding and researching.

Folklore and myth surrounding various Celtic deities can be highly regionalised both in grounded reality and geomythically - these aren't interchangeable locations and are often highly symbolic within each nation.

Brú na Bóinne, an ancient burial mound in Ireland, as an entrance to the otherworld of the Tuatha Dé Danann.

Carn Kenidjack & the Gump as a central site of Cornish folk entities feasts and parties, including Christianised elements of Bucca’s mythology.

The Mabinogion includes specific locations in Wales as well as broad Kingdoms - it’s implied that Annwn is somewhere within the historic kingdom of Dyfed, & two otherworldly feasts take place in Harlech & Ynys Gwales.

Conflating all celtic pantheons under one banner often leads to the prioritisation of the Irish pantheon, meaning all of the less ‘popular’ or recorded deities are sidelined and often left unresearched (which can lead to sources & resources falling into obscurity and becoming difficult to access).

Respecting the deities

Deities, spirits, entities, myth & folklore are often culturally significant both historically and to modern day people (just average folks along with practitoners/pagans/polytheists and organisations) located in the various Nations

A primary example is the initiatory Bardic orders of Wales and Cornwall.

Desouping/Unblending makes folklorist's lives easier as well as casual research less difficult to parse. The general books are a helpful jumping off point but when they constitute the bulk of writing on various Celtic polytheisms, they become a hinderance and a harm in the research process.

A lot of mythology outside of deities & polytheisms is also a victim of ‘souping' and is equally as culturally significant - Arthurian mythology is a feature of both Welsh and Cornish culture but is often applied liberally as an English mythology & and English figure.

Celtic nations being blended into one homogenous group is an easy way to erase cultural differences and remove agency from the people living in celtic nations. Cornwall is already considered by a large majority of people to be just an English county, and many areas of Wales are being renamed in English for the ease of English tourists.

How can I de-soup?

Chase down your sources' sources, and look for even more sources

Check your sources critically. Do they conflate all pantheons as one? Do they apply a collective label (the celts/celts/celt/celtic people) to modern day Celtic nations? How far back in history do they claim to reach?

Research the author, are they dubious in more ways than one? Have they written blog articles you can access to understand more of their viewpoints? Where are they located?

Find the people the author cites within their work - it can be time consuming but incredibly rewarding and can also give a good hint at the author's biases and research depth. You may even find useful further reading!

Find primary sources (or as close too), or translations of the originating folklore, e.g The Mabinogion. Going to the source of a pantheon’s mythos and folklore can be helpful in discerning where soup begins in more recent books as well as gaining insight into deities' actions and relationships.

Ask lots of questions

Question every source! Question every person telling you things that don't define what pantheon or region they’re talking about! Write all your questions down and search for answers! Talk to other polytheists that follow specific Celtic pantheons, find where your practices naturally overlap and where they have been forced into one practice by authors!

Be honest with yourself

There’s no foul in spreading your worship over several pantheons that fall under the celtic umbrella! A lot of polytheists worship multiple pantheons! But be aware of the potential for soup, and make sure you’re not exclusively reading and working from/with sources that conflate all practices as one.

If you approach any Celtic polytheistic path with the attitude of blood percentage or 'ancestral right', stop and think critically about why you want to follow a Celtic polytheistic path. Is it because it's the most obviously 'open' path to follow? Is it a desire to experience what other folks experience? Being critical, turning inward, and really looking at yourself is important. Originally posted in the Raven's Keep discord server

[derinthescarletpescatarian]

Hi Derin,

I’m a relatively inexperienced writer (my only publication is in a school magazine lol), and I was hoping I could ask for advice, if it’s not too much of a hassle?

It feels weird being a writer in a time where there’s so many ways to publish work, and I’m having a hard time choosing between the stable but competitive traditional publishing routes and the independence of self-publishing. As an established writer, what works for you? Is independent publishing more of a struggle? Or does it create less stress from the lack of bureaucracy surrounding the publication?

Thank you.

I've never tried traditional publishing so I can't accurately compare the two for you, but I have to ask... why on earth would you think that trad publishing is in any way *stable*? Trad publishing does have many advantages, mostly in terms of publishers having existing networks to get your books into the hands of libraries and stores and soforth (it's best to ask a trad pub author about those, it's not my area), but stability is absolutely not one of those advantages. Trad authors are dropped all the time. It's a long journey fraught with obstacles to even get the book released.

For me, the choice was easy because I didn't consider things in terms of trad vs. indie, I considered income models. The two major avenues of earning money in this field are via book sales or via 'salary'. Trad or indie publishing fits the first; making your money primarily through book sales (traditional publishing is nice here because you get an advance as well as the sales connections of the publisher and use of their editors etc., indie publishing is nice because it's faster and you keep more of the money since you're doing it all yourself). A model relying directly on sales is inherently unstable --you might earn more in the long run, but aside from your advance, it's really hard to predict how much you're getting month to month.

I chose a salary model, via Patreon, for the stability. I want to be able to predict my income, and while it does fluctuate (people subscribe and unsubscribe all the time), it doesn't fluctuate nearly as much. Patreon also tends to be a 'rolling weight'; patrons who join usually stick around for awhile, meaning that once I've acquired a patron, they increase my income for several months, often years, rather than a single sale. This also means that I can release the stories for free to people who can't afford to, or don't want to, pay me.

Independent publishing is no struggle for me whatsoever, because I use the patreon model. This means that I don't have to do most of the marketing and organisation stuff that someone trying to sell books has to do. The big issue is still marketing, but if you can get a critical mass of readers, readers who will help you by making fanart and memes and getting their friends into your work, your main job is to write the best story you can and never miss any updates. I do know that indie publishing via the book sale model can be extremely challenging, which is why some people choose trad publishing instead (which is also extremely challenging but people who know what they are doing are involved with you). If does sound like your goal is to sell books though, judging by how the question is posed, in which case I'm the wrong person to ask, because I am not in the business of selling books. A previous work of mine (Curse Words) is available for sale as an ebook, but the core of my income is via Patreon, which is an entirely different business structure.

Do any indie or traditionally published authors who rely on book sales have advice?

[olderthannetfic]

I feel kinda stupid now that I've taken some intensive fiction writing/creative writing classes. I've always liked writing but more as a hobby. I have absolutely no interest in being traditionally published, so creative fiction writing seemed like something cool to do when given the opportunities. By far, I think i learned the most from my children's creative fiction writing classes (took three). The most important thing I think more people online could learn is that your favorite authors to love and hate are just normal people, and they're often bound by the constraints of their audience (and publishers, agents, etc). A lot of children's fiction writers, I think, want to tell good, entertaining stories for kids and want to introduce them to complex topics, especially (from experience) fantasy children's authors. However, when you have a word count or other constraint, how do you go about explaining real-life problems in a fantasy setting? The easiest and most common method is to use imagery of real-world events and problems that are, or will be (once they learn it in school) more commonly understood as Bad and Oppression. Fantasy sub-species or gender is oppressed in fantasy setting?--model it after the Magdelene Laundries. Fantasy race is opressed by society?--model it after Jim Crow or Nazi Germany or anti-Christian isolationist practices in Japan. Is the author saying these events were good? Absolutely not; quite the opposite. Though, it's much easier for kids to understand difficult topics when it's spoonfed to them, and in order to criticize fascism in stories or settings, you have to, you know, depict it first.

This was something I was missing in my media analysis about 4-5 years ago. Just because I'm adult, I forgot the adult writer(s) were writing for kids (or young adults). Makes me feel really dumb for jumping on the "Steven Universe, Voltron, AoT, insert random fantasy YA book encourages fascism/racism/oppression/etc bandwagons."

--

People tend to forget that just because they like media, it doesn't mean that media is for them.

That often gets lost in the rush to defend oneself against "LOL, you read YA as an adult!" or "All anime is for kids, har har" type jeering.

Granted, one hopes most YA titles will be more morally complex than things for 5-year-olds, and some anime is for adults, but...

[hayatheauthor]

The Rejection Checklist: Manuscript Pitfalls to Avoid

The literary industry’s writing standard can be hard to meet, especially when you’re a debut author querying your first manuscript. Even with a flawless query letter and a captivating storyline, authors often find themselves facing rejection due to subtle shortcomings in their writing. What seems like an insignificant writing quirk to an author can be the reason for an agent’s rejection. 

As an #amquerying author, I have received personalised feedback from agents and editors alike that has helped me curate the best version of my manuscript. If you’re an author looking to get traditionally published, here is my rejection checklist of things to look out for before querying. 

Passive Voice

The use of passive voice in your manuscript can be a stumbling block on your journey to securing an agent. This seemingly innocuous writing quirk, if left unaddressed, can lead to rejection. Passive voice occurs when the subject of a sentence receives the action rather than performing it. It often involves the use of auxiliary verbs like "is," "was," or "has been," which can make sentences sound less direct.

Passive voice can introduce ambiguity and make sentences less engaging. It tends to slow down the narrative flow and may distance readers from the action. Agents and publishers often frown upon its excessive use. Consider the following examples to better understand passive voice: "The book was read by Jane" (passive) versus "Jane read the book" (active).

Agents are looking for manuscripts that grip readers from the start. Passive voice can weaken the impact of your prose and hinder reader immersion. Agents may interpret it as a sign of weak writing, leading to rejection. To spot passive voice in your writing, pay attention to the use of passive verbs and phrases. Look for sentences where the subject isn't the primary "doer" of the action. Reading your manuscript aloud can often help identify passive constructions.

Over Description

In your quest to paint a vivid picture with words, it's easy to fall into the trap of over-describing every detail. While rich descriptions can enhance your storytelling, an excess of it can lead to manuscript rejection. Agents and publishers often seek balance in narrative description.

Over description can slow down the pace of your story and, ironically, detract from reader engagement. When every element is meticulously detailed, readers may become overwhelmed, losing sight of the plot's core. Agents may see this as a sign that the narrative lacks focus and that the pacing is sluggish.

Finding the right balance is key. Instead of inundating your readers with exhaustive descriptions, consider focusing on elements that contribute significantly to the scene or character development. Encourage readers to use their imagination, allowing them to fill in some details, which can create a more immersive reading experience.

An easy way to distinguish over description is by considering whether your passage helps set the scene or is distracting from the actual plot. For example, if your character was kidnapped and in a dark room with a blindfold on their eyes describing what they can hear or the harsh ropes on their wrists would be adequate description. 

However, if you go too much into it and start writing winding paragraphs about the way the chair feels, the smell of moss in the air, etc. you risk ruining immersion. Are these details interesting? Yes. But do you need them to help set the scene? Not really. 

Show, Don't Tell

One of the golden rules of effective storytelling is to "show, don't tell." Agents and publishers look for manuscripts that immerse readers in the narrative by allowing them to experience the story rather than being told about it.

When writers rely too heavily on telling, the narrative can become flat and unengaging. Readers want to see and feel the story unfold through vivid scenes, actions, and dialogue, rather than being handed a summary of events. Agents recognize the power of showing and may be quick to reject manuscripts that fail to employ this technique effectively.

Consider the difference between these two approaches:

Telling: "Sarah felt incredibly nervous about the job interview."

Showing: "As Sarah sat in the waiting room, her palms grew sweaty, and her heart raced. She fidgeted with her resume, her eyes darting around the room as she rehearsed her answers."

The second example allows readers to experience Sarah's nervousness rather than being told she's nervous. To address this issue in your manuscript, focus on crafting scenes that engage the senses, evoke emotions, and enable readers to draw their conclusions.

An important thing to remember is that simply adding a couple of words can also help you show the scene, you don’t have to add new paragraphs to fix every ‘tell’. 

Lack of Atmospheric Detail

Creating a rich and immersive story world is essential for drawing readers into your manuscript. When a manuscript lacks atmospheric detail, it can lead to disengagement and ultimately result in agent rejection.

Agents and publishers seek manuscripts that transport readers to unique and vivid settings. Without atmospheric detail, the story may feel flat and fail to capture the reader's imagination. Agents understand the importance of world-building and its impact on reader immersion.

To address this issue in your manuscript, focus on incorporating sensory descriptions and setting elements that bring your world to life. Consider the mood, sounds, smells, and visual cues that define your story's environment. By painting a detailed and evocative picture, you'll enhance reader engagement.

During the editing process, review your narrative for places where atmospheric detail is lacking. Are there scenes where you can infuse more sensory descriptions or highlight unique aspects of the setting?

Remember that we have five senses for a reason and it isn’t good to solely rely on your characters’ sight.

Character Connections

One of the key elements that agents and publishers look for in a manuscript is the ability to create a deep and meaningful connection between readers and the characters. When you’re researching agents you will often see this listed on their MSWL or website pages. 

Agents understand that relatable, well-developed characters are the heart of a compelling story. Without this connection, readers may struggle to empathize or invest emotionally in the characters' journeys. Agents often consider character development as a critical factor in manuscript evaluation.

To address this issue in your manuscript, focus on crafting characters with depth, complexity, and relatability. Consider their motivations, flaws, and unique qualities that make them stand out. Encourage readers to form emotional bonds with the characters by weaving their personal stories, struggles, and growth into the narrative.

During the revision process, evaluate your characters. Are they multi-dimensional and relatable? Do readers have a reason to care about their fates? By enhancing character development and forging emotional connections, your manuscript becomes more appealing to agents and readers alike.

Dialogue and Authenticity

Authentic and engaging dialogue is a crucial element in creating relatable characters and advancing the plot. When dialogue feels forced or unrealistic, it can lead to a rejection from agents.

Agents and publishers recognize that authentic dialogue not only brings characters to life but also deepens reader engagement. Dialogue that lacks realism can disrupt the reader's immersion in the story. Agents may view this as a sign of weak character development or storytelling.

To address this issue in your manuscript, focus on crafting dialogue that reflects the unique voices, personalities, and motivations of your characters. Avoid excessive exposition through dialogue and prioritize the use of conversation to reveal character traits, conflicts, and plot progression.

A good way to edit your dialogue is by reading it out loud or pasting only the dialogue in a new document and see whether it flows well. You can also add certain quirks or words into your characters’ vocabulary to help you make the dialogue authentic to that character. 

Pacing and Tension

Pacing is the heartbeat of your story, and it plays a vital role in maintaining reader engagement. When the pacing is off or the tension doesn't build effectively, it can lead to manuscript rejection.

Agents and publishers are attuned to the rhythm of storytelling. They understand that pacing and tension are critical to keeping readers turning the pages. Manuscripts that lack well-managed pacing can lose reader interest quickly. Agents may view this as a sign that the narrative lacks direction or fails to hold their attention.

To address this issue in your manuscript, focus on managing pacing effectively. Consider the balance between action, description, and dialogue. Use pacing as a tool to control the reader's experience, speeding up during action-packed scenes and slowing down for character development or crucial moments. Tension should steadily rise as the story progresses, keeping readers on edge and eager to find out what happens next.

Author Notes 

Finally, I would like to remind all querying authors this is an unpredictable and highly subjective industry. Rejection is an inevitable part of the process, and it's important not to let it deter you from pursuing your dreams. 

An agent can think you have a great book and love your writing but still reject it because of external reasons like marketability. And that's perfectly alright because as an author you deserve to find an agent who can help you reach your full potential. 

Accept feedback with an open mind but also with a grain of salt, as not all agents share the same viewpoint. I've had two agents reject the same sample pages because one thought there was too much description and the other thought there wasn't enough. This goes to show there really isn't a one-size-fits-all formula for securing an agent. 

This blog post is a way for me to share knowledge and help fellow querying authors, but it's not a strict guideline you must follow. As you embark on your querying journey, I wish all of you the best of luck in your querying process and remember, one no is never the end of the journey!  

I hope this blog on The Rejection Checklist: Manuscript Pitfalls to Avoid will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!