#Best eBook formats

[keydekyie]

it's free now!

[not-poignant]

For t/f: I assume you’re a huge advocate for physical books over ebooks??

False!

~

Ebooks are hugely accessible, and as someone with massive RSI issues in my wrists (partly from writing), holding heavy books and the repetition of turning pages can be literally agonising, and can even lead to me needing surgery one day for tendon release.

I do love physical books, and I have a large collection that I'm very proud of, and weed on a yearly basis. But I absolutely am not an advocate for them over ebooks, let alone a huge one. Ebooks have been such a game-changer for anyone with accessibility issues.

Readers no longer have to rely on publishers being grudgingly generous enough to offer books in large fonts if they have visual processing issues. They can change the font (most of the time) on an e-reader. Readers no longer have to lug around extremely heavy nonfiction books, and can save their backs and wrists. Readers who live in very small or cramped spaces because of poverty or other reasons no longer have to deal with 'where do I keep all these books' because some of them (or all of them) can be ebooks. Also, almost always - with mostly the exception of some university texts - they're cheaper. What a win!

On an accessibility level, ebooks win every time, especially now that we have so many lighting options so that people don't have to put up with backlight etc. anymore. They highlight just how previously ableist the publishing industry has been around visual accessibility and joint strain accessibility.

So I'm mostly a hardcore advocate of people reading how they want to read. A hybrid mix. Only audio. Only ebook. Only paperbacks. Only hardbacks. Some combination of the four.

I love the smell of books, but I don't love the dust. I love having them organised in my library, but I don't love the eternal problem of never really having enough room. I love my ebook collection, but I sometimes forget to check into it. I love that I can get very large nonfiction tomes in ebook form, but sometimes I find them harder to highlight etc. because there's something visceral to me about dragging a highlighter or pencil across a page. Everything has its pros and cons.

But ebooks beat out literally everything else except audio for accessibility (though I can't do audio ironically because of accessibility, lmao, my auditory processing for language isn't great).

[zasmn]

I'm waiting on the library so I can listen to the last two books in the Murderbot Diaries. I technically could buy the next two dramatized audiobooks, but I'd rather buy the series in book form and if I buy the last two audiobooks I'd need to buy the first five so I could relisten to them all and then well, I'll have spent so much money that buying the physical books would be out of my budget

[an-ruraiocht]

oh fuck yeah i just found i can get the foley book from a library i didn't think had it anymore. maybe i can finally reread it

[okayto]

To add to the above, the library will take steps if they can't afford things! For example, Seattle Public Library made news when it reduced the number of digital holds patrons could place because its patrons like digital reading so much. And I encourage people to read this article--the news isn't "oh no the library can't afford to buy all the books people want," it's framed as "look at what publishers are doing to libraries with these ridiculous prices and rules" and then mentions some possible future legislation. It's the sort of thing that helps build awareness and support.

The library knows its finances and will handle that, whether it's purchasing fewer digital resources, reducing the number of pay-per-use titles available, or other options, regardless of whether they announce it publicly (a la Seattle's own announcement or the NYPL's response to budget cuts) or implement it quietly.

Saw your post from the author who was happy people were using Libby. I'm torn as I understand the author is happy to get the license renewed, but libraries only get 26 loans on a digital license vs 60-80 loans on a physical copy. I love the convenience of digital books, but if taking out the physical copy is better for the library I'm willing to make the trip. Just looking for thoughts from others about it.

It depends on the license agreement the library has and its different for every one. Some renew annually, others renew by X amount of rentals. The library does what is best for them, and the more people use their services the more they can usually argue for more funding.

This is not universal, of course, but most of the librarians I know are ecstatic when people use their services.

[fine-nephrit]

🥏 Where to find good XF fanfics

👽 On Tumblr

@lilydalexf has an encyclopedic knowledge of fics and continues to be an invaluable resource. You'll find a boatload of themed fic lists, individual rec posts and helpful answers to anon asks.

@txf-fic-chicks-blog seven years of almost daily recs, with well-written blurbs and a lot of fun, run by @kateyes224 and @piecesofscully. Look out for their themed days: "Casefile Monday", "Tumblr Tuesday", "Editor's Pick Wednesday", "Post-Ep/Missing Scene Thursday", "Novel Length Friday", "Smut Sunday", and the very cool "Because You Watched"

@msrlibrary a well-tagged library of MSR fics; each entry includes a short excerpt and a nicely chosen image from the show.

@201daysofxfiles a rewatch blog by fandom veteran @wendelah. Each episode in season 1-7 is paired with its own fic rec post.

@enigmaticxbee an aesthetically pleasing and neatly organized rewatch blog that is packed with great content, including excellent fic rec lists categorized by season, story type, trope, and more. Each episode guide sometimes features related fic recs.

@thatfragilecapricorn30 posts one fic rec every Friday, accompanied by a nice writeup.

@randomfoggytiger curates many fic rec lists sorted by often fun and creative categories.

@cecilysass has a google doc titled "fics I love", which is a fantastic fic list categorized by story type, complete with thoughtful blurbs. She's also shared two episode-related fic rec lists on Tumblr: here and here.

@pookie-mulder writes a monthly fic journal with good recs.

**self-promo plug** I post fic recs on my Tumblr blog @fine-nephrit under #nephrit's fic rec. Plus, I reblog others' fic recs that I come across!

👽 Rec Communities

XF Book Club: the best thing ever, an absolute gem that deserves to be preserved for posterity. During its run, 270 fics were recced and discussed in depth here. The community's intelligent and insightful comments on this blog are sometimes even more enjoyable to read than the fics themselves.

The Fic Filter (xf tag): well-curated selections with short blurbs.

Multifandom Het Recs (xf tag): a major rec site's xf section that offers nice "why this must be read" writeups. @het-reccers

Crack Van (xf tag): another major rec site with a big xf section, featuring endless recs and blurbs

Fancake (xf tag): another major rec community's xf section boasting an extensive thematic tagging system

👽 Personal Blogs

Emily Shore aka Naraht: meta essays, fanvid recs, fic recs—great stuff aplenty

Bad for the Fish aka Scarlet Baldy: fantastic fic list paired with highly enjoyable reviews and analyses of the fics she's read. @badforthefish

Ramblings of a Mind Untamed: reviews of a dozen or so classic fics

xxSKSxx XF Fanfic Recs: still active in 2024! @xxsksxxx

X-Libris: more of a fic library, this is the best place to download nicely-formatted ebooks of pre-AO3 oldies. What I love most is the incredibly detailed and extensive tagging system.

👽 Individual Rec Lists with good writeup

Character Manifesto - Dana Scully: a character analysis and 10 Scully-centric fic recs, categorized by "best of .." selections. Amazing format and choices!

Character Manifesto - Fox Mulder: same format as above for Spooky

bachlava's awesome fic rec essays, covering classic fics and slash fics

ShipRecced blog's classic MSR fics and newer MSR fics recs

luminary's 16-fic rec post

RivkaT recs fics and writers @rivkat

Anna Otto's favorite stories

Syntax6's rec list on her site, great rec list on Tumblr and FTF rec list @syntax6

👽 90s Old School Rec Sites

The Basement Office - Musea: a treasure trove of extensive fic lists with lovely written blurbs, recced by a group of talented writers from back in the day

The Other Side - Fanfic Recs from Beyond the Grave: a large collection of 'scary' or 'spooky' story recs with nice blurbs. Beautiful web design.

the Rookery - Favorite Authors: nice commentary on a list of classic fic writers

X-Files Fanfiction 101: an intro guide to fic categories and what to read for each

The Primal Screamers: a fun site run by a mailing list that hosts fic recs with blurbs, and a 'Coffee Talk' section full of delightful discussions of canon

Idealists Haven - Elemental Fanfic Archive: an archive with rec blurbs

Chronicle X: a large, well-organized archive with blurbs, plus a 'Can We Talk' discussion section of novel-length fics, plus a total of 46 author interviews. Simply incredible!

👽 Special Mention

The X-Files Lost and Found: a fic finder message board that is miraculously still very active today—How wonderful! Its FAQ page hosts a huge collection of well-categorized themed fic lists (not recs), including "Classics (or, Your Fanfic Education is Not Complete Until You've Read ...)".

Where do you find your next read? What did I miss? Reblog and share your favorites!

[maverick-werewolf]

Sabine Baring-Gould - A must-read source for werewolf folklore

Ever wanted to read just one fantastic source on werewolf legends? Read Sabine Baring-Gould's The Book of Werewolves from 1865! If you love werewolf folklore, you really need to read this sooner rather than later.

My edition is the best, of course (no, really, it is, I tried all the other ones I could ever find and ended up just making my own instead; I made this edition because this really needs to be preserved better than it is currently being preserved).

The text on the image reads as follows:

Only surviving source of multiple werewolf legends

Modernized formatting for ebook, paperback, & hardcover

Annotated bibliography with other sources to explore

Editor has lifelong background in studying werewolf folklore

Not just copy-pasted from Gutenberg! Actually formatted!

Fully annotated with relevant commentary and further citations & discussion

Translations for nearly all excerpts in Latin, Old Norse, and more

Unabridged, uncensored, author's work untouched

A must-read for werewolf enjoyers & anyone in werewolf studies

Find it here!

Also available on my website (ebook fulfilled by BookFunnel, I promise it's safe, since I've been asked about my ebook fulfillment)!

[drchucktingle]

Where is the best place to preorder Bury Your Gays? What is of most benefit to you?

i know other types of media have given the trot of preorders a bad way, but for publishing books i cannot even begin to tell you buckaroos HOW IMPORTANT PREORDERS ARE WHEN SUPPORTING AUTHORS YOU CARE ABOUT. i mean HECK preorders are so important i even wrote three dang tinglers about it

basically preorders are what publishers use to determine how much financial backing they will give a book for advertising and book tours and all that, but that is only PART of this way. BOOK STORES also use a preorder equation to determine how much shelf space to give a book. your preorder does not just mean YOU get a book for yourself, but basically means you are making room for someone ELSE to get the book in a store by putting another copy on a shelf

that is why it is better to put in a preorder instead of just saying 'oh i will just remember to buy myself a copy on the day it comes out'

LASTLY preorders are how books get onto bestseller lists because all the orders leading up to your book release date COUNT AS FIRST WEEK SALES. something like new york times bestseller list is close to impossible trot without preorders

think of it like a handsome surfing bigfoot trying to ride a wave. it is one thing to actually ride on the wave, but what matters most is that initial moment when you GET UP THERE and actually have the strength to pull yourself up when the wave starts. PREORDERS are the climbing up part

NOW LETS GET DOWN TO YOUR SPECIFIC QUESTION

first of all ANY preorder is great. what matters most as far as bestseller lists is actually FORMAT. the best thing you can order for an author is not ebook or audiobook, it is HARDCOVER. personally i am an audiobook buckaroo myself so please understand you should order whatever format you want, but technically speaking the answer is HARDCOVER

next is WHERE do you order. this answer is pretty dang cool actually. the best place to order for the sake of author is your LOCAL INDIE BOOKSTORE. if you MUST order at a big timer website that is fine, but many bestseller lists are weighted towards indie bookstores

so to sum it up. the technical BEST WAY to support chuck with 'bury your gays' is to PREORDER a HARDCOVER from an INDIE BOOKSTORE.

thank you for your question but before you go trotting along i would like to add one more thing

all art is important. when we create things they serve as stepping stones for us to move along our journey as artists and creators on this timeline. i have so much love for every book i have made, from POUNDED IN THE BUTT BY MY OWN BUTT to CAMP DAMASCUS

but i have to say with deep sincerity in my way, BURY YOUR GAYS is something special. i absolutely believe that if you care about fandom, or creation, or love, or fanfiction, or supernatural, or the future of media, or asexual buckaroos, or gay buckaroos, or bi buckaroos or any queer buckaroos, you will love this book. i promise buckaroo

it is the best thing i have ever written, and i think it is going to bend this timeline in incredible ways. i would like you to trot with me into the future, since we have already trotted this far together. i cannot say this enough: this one is special, and the timelines we create from here are going to make the whole dang world look up in surprise and say 'where the heck did that come from?'

so if you are even CONSIDERING preordering, take a moment a do it.

if you are one of those buckaroos who says 'chuck tingle is my favorite author ive never read' then now is your moment

lets trot buckaroos. thank you for reading and thank you for constantly proving to me that love is real

preorder BURY YOUR GAYS here

[lilyprettyremy]

How to Get Out of a Reading Slump:

Let’s be real—reading slumps happen to the best of us. One day you’re devouring novels like snacks, and the next, the thought of picking up a book feels like climbing a mountain. But don’t worry, this isn’t permanent! Here’s how you can reignite your love for reading with practical advice (and a little personal touch).

1. Start Small and Easy

Sometimes, the thought of diving into a big, heavy novel can feel overwhelming. Instead, reach for something light, fun, or even familiar. What Worked for Me: When I hit a slump, I re-read my favorite childhood book. The nostalgia pulled me in, and before I knew it, I was back in the reading groove.

Try This:

A novella, poetry collection, or short story.

A feel-good romance or an easy thriller that keeps you hooked.

2. Switch Formats

Who says reading has to be on paper? Shake things up with audiobooks, eBooks, or graphic novels. Sometimes, a new format is all you need to make stories exciting again. What I Loved: Listening to an audiobook while walking felt like having a friend tell me a story. It’s low-pressure and immersive.

Try This:

Download an audiobook for your commute or chores.

Explore comics or manga—they’re visually engaging and quick to finish.

3. Create a Cozy Reading Ritual

Make reading feel like a treat, not a task. Set the scene: grab a warm drink, snuggle up in a cozy blanket, and turn reading into a moment of self-care. What Helps Me: I light a candle, sip some tea, and read for just 15 minutes. Even if I don’t feel like continuing, I’ve created a moment of peace for myself.

4. Ditch the Guilt

If a book isn’t grabbing your attention, it’s okay to put it down! Life’s too short to force yourself through something you’re not enjoying. What I Do: I keep a “second chance” stack of books I didn’t finish but might come back to later. It takes the pressure off and lets me move on guilt-free.

Pro Tip: Give yourself permission to stop at any time. The right book will find you when you’re ready.

5. Set the Mood with Your TBR

Sometimes a slump happens because you’re not in the mood for what you’ve been reading. Change it up with books that match your current vibe. My Recent Trick: When I wanted cozy, wintery vibes, I picked up a snow-filled mystery, and it fit the season perfectly. It felt like I was part of the story.

Try This:

If it’s cold, go for a winter romance or mystery.

Feeling adventurous? Pick up a fast-paced fantasy.

6. Buddy Up

Reading doesn’t have to be a solo activity. Share the experience with someone who loves books as much as you do. What Worked for Me: My friend and I read the same book and texted each other our reactions. It made the whole process so much fun, and we got to geek out together.

Pro Tip: Join a book club, even if it’s online! Goodreads or apps like Fable make it easy to connect with other readers.

7. Take the Pressure Off

Sometimes, we fall into slumps because we set unrealistic expectations for ourselves. Forget about reading “x” number of books or finishing by a certain date—just read what you love. My Perspective: I stopped tracking my reading goals for a while and focused on enjoying the stories. That shift in mindset made all the difference.

8. Revisit Your Why

Ask yourself: Why do you love reading? Is it the escape, the knowledge, the way stories make you feel? Reconnecting with that "why" can reignite your passion. 💡 What I Remind Myself: Reading isn’t a chore—it’s a gift. When I focus on that, it stops feeling like something I “should” do and starts feeling like something I want to do.

9. Explore a Different Genre

If you’ve been stuck in the same genre, it might be time for a change. Trying something new can surprise you and pull you right back in. My Experiment: I went from contemporary fiction to fantasy and felt like I’d rediscovered the magic of reading all over again.

Pro Tip: Ask for recommendations in genres you don’t usually explore!

10. Go Easy on Yourself

At the end of the day, slumps happen. Don’t stress about it—it’s just a phase. The books will always be there when you’re ready. My Advice: Take it slow, experiment, and most importantly, enjoy the journey. Sometimes, stepping away from reading for a little while can also recharge your love for it.

Getting out of a reading slump is all about finding what sparks your interest again—whether it’s a cozy atmosphere, a gripping audiobook, or a change of genres. Be patient with yourself, and remember, it’s not about the number of books you read but the joy you find in them. So go ahead, grab that book, and take it one page at a time. You’ve got this!

[aaronstveit]

so you want to read more this year!

i answered an ask about this recently, but i thought i would make a post about it so i could (hopefully) be a bit more clear and helpful. i specifically wanna help people who used to read a lot, but have fallen off for a while now. obviously everyone is different, but i hope at least a few of these tips can help you.

let yourself read slowly. you don't have to speedrun every book you read; in fact, it's usually better if you don't. forget the way that you used to race through books when you were younger. let yourself take time with them now. especially if you haven't read much lately, it's going to take you longer to read now than it used to. and that's okay! a lot of stories are better when they are experienced slowly, so you can absorb them more.

stop viewing reading as a competition. you aren't trying to win a pizza party or special field trip now, so there is no need to compete with other readers. so what if someone else read 10 books in the time it took you to read 1? other readers have nothing to do with you. the only person you should be "competing with" is yourself.

that said, setting goals and challenges for yourself can be a life-changer. i'm not just talking about a goodreads goal, although setting a numerical goal is often helpful. but i mean setting more broad goals, like reading more books of certain genres, or more books by authors of color. setting goals without specified quantities can help you because it's not a pass-fail situation, it's just a personal challenge. there are also all sorts of reading challenges you can try, like reading a book for every letter of the alphabet. you can find any sort of reading challenge on the internet; the storygraph has a whole section dedicated to challenges, both site-run and user-run. you can even create your own! popsugar also runs a very popular year-long reading challenge.

experiment with book formats. physical books, e-books, and audiobooks allow several different formats for people to try out! figuring out which formats work best for you help you to enjoy reading and gain more from the experience. don't listen to people who say audiobooks aren't "reading." if you enjoy audiobooks, listen to them! the only person you have to answer to is yourself.

experiment with different genres. even if you think you know exactly what genres you like and don't like, try branching out and trying books outside of your comfort zone, especially if you haven't read a lot lately. you never know when your tastes might change!

don't be afraid to DNF or pause a book. the thing about reading as a hobby is that it's supposed to be fun. yes, you should read books that challenge you, but this doesn't mean you have to make it to the end of every book. if you're hating a book, if you dread picking it up, if it bores you: just quit. that way, you can find a book you actually enjoy to read. trying to force your way through a book you're hating just usually makes you read less in the long run.

utilize your public library if you have one. this one always feels obvious, and yet people always seem to forget it. libraries exist for a reason! a lot of libraries have apps where you can check out e-books and audiobooks, so definitely use those if you have them. if you want to read a physical copy of a book that your library doesn't have, you can probably request an interlibrary loan! and if they still don't have it, you can usually request that your library order a book.

take advantage of books in the public domain. most classics are now in the public domain, which means that you can read them for free on Project Gutenberg, and if you use apple products, you can usually find them as free ebooks on Apple Books as well. if you're looking for audiobooks, Project Gutenberg also has those. you can also check out LibriVox, which is a volunteer-based organization that provides free audiobooks of public domain books. you can find a lot of their books as free podcasts on spotify!

reread old favorites. this is my personal favorite way to get out of a reading slump. familiar favorites are great for getting your brain back into reading mode without having to introduce yourself to a brand new story. you can also take the opportunity to annotate, if you're into that! speaking of which:

don't let the idea of annotation intimidate you. if you're not being graded, you can do whatever you want with annotations! i know some people who choose specific themes and tab them in their books, which is cool. some people just highlight favorite quotes and passages, and that's good too! you can pick out foreshadowing, make notes on things you find funny or interesting, even draw on the pages! if it's your copy of a book, then you can do whatever you like with it.

challenge yourself to write reviews. even if it's only a few sentences, it makes you engage more with the story, which is a good thing! you don't have to share these reviews, you can keep them in a private journal or document if you like. but it's good to make you think more about the book you've just read.

check the trigger warnings. if you have any triggers whatsoever, you definitely want to check trigger warnings before you read a book. you can usually find them by scrolling through goodreads reviews, or by googling "[book name] trigger warnings."

let yourself get distracted sometimes. i know this sounds counterintuitive, but hear me out. if you're in the middle of reading and suddenly you start thinking about scrolling through social media or something, finish your chapter and then let yourself scroll for a few minutes. it's better to give yourself a few minutes to scroll and then come back to your book, rather than continue "reading" while just thinking about scrolling. i'm not saying to put down your book and devote yourself to your instagram feed for the rest of the day; just take a few minutes, then get back to your book. do it between every chapter if you have to. or, if you decide you want a snack or something to drink, go get it! you don't have to sit still for hours on end if that doesn't work for you.

find someone, anyone, that you can talk to about books. it can be a person irl or online, a friend or coworker or family member. you can join a book club or a discord server. just, if you can, find someone to talk to about the books you're reading. this is another way to engage more with your reading material, because you're thinking about it in conversation, and it's also a way to get more excited about the things you're reading! you don't even have to be reading the same books. you can also recommend books to each other, and discover new favorites this way.

try reading more than one book at a time. mix and match genres, time periods, and styles so that you have different books going for different moods. that way, if one book isn't holding your attention, you have another one that will.

social media is cool, but don't let it control you. let social media bring you new book recommendations and friends, but don't let it dictate what you read or how you organize your bookshelves. just because everyone else is reading something doesn't mean you have to, if you don't want to; just because everyone else has a picture-perfect reading nook doesn't mean you need one, too. you aren't less of a reader because you don't spend hundreds of dollars on new books, or because you don't read the most popular genres and authors. you also aren't less of a reader for reading what's most popular! again, you aren't in competition with anyone else. don't let bookfluencers steal your joy.

obviously, this list isn't all-encompassing or universal. this is just the advice that helped me get back into reading after years of barely touching a book. i hope there is something on this list that can help you, if you need it. happy reading!

[charliejaneanders]

Back in 2020-2021, I wrote a book about how to survive scary hard times by writing your own stories and getting lost in the imaginary worlds you create.

I feel more than ever that making up stories can help save us and keep us whole.

So this feels like good timing: Never Say You Can't Survive is just $2.99 in ebook formats for just one day.

[leveragehunters]

Downloading fanfic from AO3

I've been downloading a lot of fanfic lately for personal archival purposes, and I figured I'd share how I do it in case it's useful to anyone else (and so I have it written down in case I forget!).

There are lots of different ways to save fic, including the file download built into AO3, but I find that this gives me the nicest ebooks in the most efficient way.

(Under a cut cause long.)

Download Calibre: https://calibre-ebook.com/ or (clickable link).

Calibre is about the best ebook management and control program around and it's free. You can get it for windows, mac, and linux or download and run it from a portable storage device (I'm using a windows PC).

Install it and run it. It's gonna ask you where you want to put your library. Dealer's choice on this one. I recommend your internal drive (and then back up to external/cloud), but YMMV.

If you want to keep fanfic separate from the rest of your ebooks, you can create multiple libraries. I do, and my libraries are creatively named 'Books' and 'Fic'.

Customise Calibre

Now you're gonna install some plugins. Go to Preferences on the menu bar (far right), click its little side arrow, then choose 'Get plugins to enhance Calibre'.

At the top right of the box that pops up is 'Filter by name'. The plugins you want to get are:

EpubMerge

FanFicFare

Install them one at a time. It will ask you where you want them. I recommend 'the main bar' and 'the main bar when device is attached' (should be selected by default). When you're done, close and reopen Calibre.

The plugins you just installed should appear on the far right of the toolbar, but if you can't see one or both of them, fear not! Just click Preferences (the button, not the side arrow), then Toolbars and Menus (in the 'Interface' section) then choose the main toolbar from the drop down menu. That will let you add and remove things - I suggest getting rid of Donate, Connect Share, and News. That'll leave you room to add your new plugins to the menu bar.

(Do donate, though, if you can afford it. This is a hell of a program.)

Now you're ready to start saving your fave fanfic!

Saving fanfic

I'll go through both methods I use, but pick whatever makes you happy (and/or works best for what you're downloading).

ETA: if the fics are locked you can't easily use FanFicFare. Skip down to the next section. (It does ask for a username/password if you try and get a locked fic, but it's never worked for me - I had to edit the personal.ini in the configuration options, and even then it skips locked fics in a series.)

Calibre and FanFicFare

You can work from entirely within Calibre using the FanFicFare plugin. Just click its side arrow and pick from the menu. The three main options I use are download from URL, make anthology from a webpage, and update story/anthology.

Download from URL: pick Download from URL (or just click the FanFicFare button) and paste the fic's URL into the box (if you've copied it to your clipboard, it will be there automatically). You can do more than one fic at a time - just paste the URLs in one after the other (each on a new line). When you're done, make sure you have the output format you want and then go.

Make Anthology Epub From Web Page: if you want a whole series as a single ebook, pick Anthology Options, then Make Anthology Epub From Webpage. Paste the series URL into the box (if you've copied it to your clipboard, it will be there automatically), click okay when it displays the story URLs, check your output format and go.

Update series/anthology: if you downloaded an unfinished fic or series and the author updates, you can automatically add the update to your ebook. Just click on the ebook in Calibre, open the FanFicFare menu using its side arrow, and select either Update Existing FanFic Books or Anthology Options, Update Anthology epub. Okay the URLs and/or the output format, then go.

Any fic downloaded using FanFicFare will be given an automatically generated Calibre cover. You can change the cover and the metadata by right clicking on the title and picking edit metadata. You can do it individually, to change the cover or anything else specific to that ebook, or in bulk, which is great for adding a tag or series name to multiple fics. Make sure you generate a new cover if you change the metadata.

Browser plugins, Calibre, and EpubMerge

You can also use a browser addon/plugin to download from AO3. I use FicLab (Firefox/Chrome), but I believe there's others. FicLab: https://www.ficlab.com/ (clickable link).

FicLab puts a 'Save' button next to fic when you're looking at a list of fics, eg search results, series page, author's work list etc. Just click the 'Save' button, adjust the settings, and download the fic. You can also use it from within the fic by clicking the toolbar icon and running it.

FicLab is great if you're reading and come across a fic you want to save. It also generates a much nicer (IMO) cover than Calibre.

You can add the downloaded fic to Calibre (just drag and drop) or save it wherever. The advantage to dropping it into Calibre is that all your fic stays nicely organised, you can adjust the metadata, and you can easily combine fics.

Combining fics

You can combine multiple fics into an anthology using EpubMerge. This is great if you want a single ebook of an author's short fics, or their AUs, or their fics in a specific ship that aren't part of a series. (It only works on epubs, so if you've saved as some other format, you'll need to convert using Calibre's Convert books button.)

Select the ones you want to combine, click EpubMerge, adjust the order if necessary, and go.

The cover of the merged epubs will be the cover of the first fic in the merge list. You can add a new cover by editing the metadata and generating a new cover.

Combing with FanFicFare

You can also combine nonseries fics using FanFicFare's Make Anthology ePub from URLs option by pasting the individual fic URLs into the box.

Where there's more than a few fics, I find it easier to download them with FicLab and combine them with EpubMerge, and I prefer keeping both the combined and the individual versions of fic, but again YMMV.

Reconverting and Converting

Once I'm done fussing, I reconvert the ebook to the same format, to ensure everything is embedded in the file. Is this necessary? YMMV, but it's a quick and easy step that does zero harm.

If you don't want your final ebook to be an epub, just convert it to whatever format you like.

Disclaimers

Save fanfic for your own personal enjoyment/offline reading/safeguarding against the future. If it's not your fic, don't distribute it, or upload it to other sites, or otherwise be a dick. Especially if the author deletes it. Respect their wishes and their rights.

This may work on other fanfic sites, eg FFN, but I've never tried so I don't know.

If you download a fic, do leave the author a kudo or a comment; you'll make them so happy.

This is how I save fic. I'm not pretending it's the only way, or even the best way! This is just the way that works for me.

[rallamajoop]

Queer lit of the 1800s: Two gay Victorian vampire stories you've probably never heard of

So, I have this post in the works tackling that all-important question: just why are there so many gay vampire stories? But in writing it, what was supposed to be a brief tangent about a couple of little-known m/m vampire stories from all the way back in the late 1800s era… started expanding into something not-so-brief, as such tangents are prone to do.

But what the hell, the internet tells me it's queer history month: clearly the only solution is to give those stories their own post, where my tangent can spin out as far as it likes!

Now, if you know anything about Victorian vampire literature or the lesbian vampire genre, you’ve probably already heard about Carmilla, by Sheridan le Fanu (1872), the world’s very first (known) lesbian vampire story. To this day, it's easily the second best-known and widely adapted tale in all the Victorian vampire canon (after Dracula, obviously) – and it probably deserves to be too.

But this is not a post about Carmilla, because Carmilla is not the only gay-vampire-story written way back in the Victorian era. It's not even the least subtle gay-vampire-tale.

There are (at least) two others, both featuring male/male vampire/human pairings. And whether or not they ‘deserve’ to be remembered in the same breath as Carmilla, they’re both fascinating works in their own rights: Manor, by Karl Heinrich Ulrichs (1884) – one of the world’s first gay activists – and A True Story of a Vampire, by Count Eric Stenbock (1894).

You can read both online. A True Story of a Vampire is long out of copyright and can be found on Gutenberg (Carmilla is too, if you're interested), and many other places. Manor has been translated into English only much more recently, but you can still get hold of it in pdf form, or buy it in ebook format. But if what you really want are some summaries, and/or whole lot of extra context and analysis to go with the stories themselves, I've got you covered below.

Manor (1884), Sailor Stories, and Karl Heinrich Ulrichs

We’ll start with Manor, since it was published ten years before our other example, and because I’m not quite cruel enough to leave you going "wait, did you really just tell me there was a legit gay activist writing vampire slashfic in his free time way back in the 1880s?" while I ramble on about the other story first. We'll start with the author himself, because his own story is at least as interesting as any fiction he ever published.

Born in Germany in 1825, Karl Heinrich Ulrichs knew from a young age that he was attracted to men. He trained in law, but wisely resigned before he could be fired in 1854 when his proclivities came to the attention of his superiors. Most in his position would've redoubled their efforts to hide; Ulrichs spent the next several years joining societies dedicated to science and literature and developing his own theories about non-hetero orientations, before officially coming out to his family in 1862.

He was just getting started. By 1867, he was ready to come out to the whole world.

Ulrichs is far from the first gay man to recognise his attraction without shame and find society in like-minded individuals ‒ but he may well be the very first to come out voluntarily and publicly, and advocate for the decriminalisation of homosexuality. And when I say "publicly" what I mean of course is, "in a formal address to the Congress of German Jurists." He was shouted down, but it was still a staggering act of bravery for a man of his time. It would still be a staggering act of bravery in many parts of the world today.

Undaunted by his reception, Ulrichs would also publish a dozen booklets advocating for rights for his community between 1864 and 1879, framing their sexuality as natural, inborn and wholly benign. In 1880, after multiple arrests for his political advocacy, he left Germany for self-imposed exile in Italy, where he would remain until his death in 1895. But it's during this period that he published some poetry, as well as Sailor Stories, a collection of four short stories inspired primarily by Norse mythology, including Manor (which we’ll get to, don’t worry).

Though Ulrichs saw little legal success in his lifetime, through modern eyes, his greatest failure might be only that he was so far ahead of his time. When he began writing and advocating, the word 'homosexuality' didn't even exist yet ‒ he himself used the term 'Urnings' for gay men, eventually coining terms for variations like 'Mannling' and 'Weibling' (gay male equivalent of 'butch' and 'femme') as well. He also came to recognise bisexuality, lesbian attraction, and even intersex conditions, theorising that all resulted from some combination of male and female characteristics developing in the same individual, as the available knowledge on embryonic development suggested might be possible. For a guy with only Victorian era science to work from, that's still remarkably close to the modern consensus today.

Nor did Ulrichs' work die with him. His writings would go on to inspire and be republished by gay rights movements that followed him ‒ including the work and advocacy of Magnus Hirschfeld, who created what may be the world's first trans-affirming clinic. Even in his own time, responses from his own readers show much his work meant to them, reassured at last that they weren't alone.

So how does a German activist from the 1880s find himself publishing gay vampire fiction based on Norse mythology while living in exile in Italy? I only wish I knew. My sources suggest his main goal with Sailor Stories was to publish something that would sell. Unsurprisingly, given the subject matter it seems to have sold very little. Manor is the third of four short tales, and by far the gayest of them all. It's also (IMHO) by far the best, and the most interesting.

Set in a Norwegian fishing village, Manor tells the story of the romance between a 15-year-old boy called Har, and the titular Manor, a sailor 4 years his senior, who rescues Har from the wreck which killed his father. In the days that follow, the pair become close, and Manor takes to swimming across the bay on summer evenings to visit Har at his home. And so they meet whenever they can, until tragedy strikes again, and Manor is killed in a shipwreck near the coast, leaving Har inconsolable with grief.

But this being a vampire story, in the nights after Manor’s death, something is seen swimming across the bay to Har’s home, just as Manor used to do. Har is visited night after night by the spectre of his beloved, who lies beside him in bed, strokes his cheek with cold hands, and kisses him with icy lips, draining his blood from his heart, "like an infant at its mother’s breast." Har himself awaits each night with mixed joy and fear, longing to see Manor again, even in such a form.

As Har weakens, the villagers attempt to trap Manor in his grave by hammering a stake through his body, but he continues to visit Har nonetheless, now sporting a gaping wound in his chest. The villagers return with a new stake, widened at the base like a giant nail, and finally, Manor is restrained in his grave. But it’s too late for Har: weakened and heartsick, he dies, begging only that he should be buried beside his beloved at last. Neither rise again. 

Though I can’t speak to how it reads in the original German, in translation, Manor is relayed in largely workmanlike prose. Its tale is short, simple, and sad – but so much about it fascinates me all the same.

(Draugen, Theodor Kittelsen, 1891)

There’s the incorporation of elements you might better recognise from Norse draugr folklore – revenants more typically associated with deaths at sea, or charged with guarding their own graves ‒ but still far more closely related to the vampires of Slavic mythology than most people probably realise. Manor is also one of painfully few stories which clearly recognises what is surely the original purpose of hammering a stake through a vampire’s body: not to kill it, but to hold the creature down and prevent it from leaving its grave. As a hopeless vampire-nerd (I've presented panels at conventions about this stuff, it's dangerous to get me started), I can’t tell you how much I love those aspects of this story.

But above all, Ulrichs’ tale captures what might be one of the oldest and most traditional versions of the folkloric vampire: the spectre of a lost loved one, and the potent mixture of fear and twisted longing thus inspired, that the weight of their loss might drag you down into death to join them. Many ‘real’ tales of vampirism have been inspired by outbreaks of wasting diseases like consumption, working their way through a family, one member at a time. But in Har’s case, it is clearly grief as much as Manor’s physical visits that claims him. He loves Manor so much that he welcomes his lover back, even as a revenant. In his own way, Har too is cursed by Manor’s death to wander the world like the walking dead, until finally reunited with his lover once more.

Nowadays, tragic love stories like this tend to get an eye roll from a lot of the queer community. The old ‘bury your gays’ trope has been done to death, and we’re largely sick of being told that noble suffering is the best we can hope for. But it’s notable nonetheless that Manor’s sexuality has no bearing on his death, and little about the story would change were Har female. It's far from clear if the rest of the village even recognises Har and Manor's love for what it is, let alone whether they'd disapprove ‒ after all, vampires will often go after friends and acquaintances when lovers and family members are exhausted. As such, it’s hard to read the village’s attempts to keep Manor in his grave as a simple matter of prejudice. They're also genuinely trying to save Har's life.

And yet, the way Har keeps the undead Manor’s visits a secret, even begging for the stake to be removed so they can resume, echoes the real experiences of so many gay and lesbian couples far too clearly to be accidental. And however disturbing to a contemporary audience, Har’s willingness to follow his lover to the grave leaves little doubt of the depths of his feelings. To an audience in the 1800s, even the most cliched example of bury-your-gays would be revolutionary.

Did I mention that this story fascinates me? There are layers to this thing.

For completeness, I’ve also read the rest of Sailor Stories (and you can too at the same link). Only one of the other three tales contains any queer romance: the first, Sulitelma, where a boy called Erich falls for a handsome sailor called Harald he meets aboard a spectral storm ship. But there's no happy ending: his sister falls for the same handsome sailor, and shoves Erich overboard to his death to eliminate her competition.

Atlantis, the second story in the collection, is a direct sequel to Sulitelma, but it's even more bizarre. Erich is barely mentioned, and instead we find ourselves reading a tale which I can only summarise as like something I might have found on fanfiction.net back in the early aughts, written by some 14yo trying to straightwash the original material. Here, Harald and some of his fellows go on shore leave to the land of the phoenix, populated by Greek nymphs and Cupid, and mildly comedic hijinx ensue. It is fascinatingly bizarre, but not exactly satisfying as a read (or a sequel).

The final story, The Monk of Sumboe, tells of how two close friends destroy their relationship and themselves with their fixation on the tale of an alluring siren. There's a solid concept in there somewhere, but it's far too short and abrupt to do much with it, and all the characters remain strictly heterosexual. But if there's one thematic detail that ties it to the rest of the collection (beside the many Norse elements), it's that hopeless longing for something others would warn you away from ‒ whether that be a phantom ship, a visit from a vampire lover, or an elusive siren. None of these tales end well for their protagonists, but we're drawn to sympathise with them nonetheless.

I cannot guess what reception Karl Ulrichs expected in publishing this book. Sailor Stories is neither a work that could expect good reception from mainstream audiences or a defiantly-radical queer masterpiece. What did people make of it in its own time? Was it read and cherished by at least a few boys or men like Har and Manor? I’d hope so, but I’ll probably never know.

If you'd like to read more about Karl Ulrichs, I can recommend (among my sources) this New York Times article for a quick overview of his work, or the various work of Michael Lombardi-Nash and Hubert Kennedy (link 2). You can also read the first chapter of his published correspondence online for free.

A True Story of a Vampire (1894), and Count Eric Stenbock

Our second Victorian vampire tale was first published in English, though it was written by a Swedish Count. Like Carmilla in its own day (and quite unlike Karl Ulrichs), both story and author seem to have flown largely under the radar until many years after publication, the queer subtext little noted or commented upon (if at all).

If nothing else though, A True Story of a Vampire aptly demonstrates that at least someone of that era spotted what Carmilla was really about – because he wrote his own version, only about men. Stenbock’s tale is effectively a much shorter, gender-swapped version of Carmilla – but with a larger age gap between vampire and victim lending the story uncomfortable pederastic overtones.

"Vampire stories are generally located in Styria; mine is also," it begins – though I couldn’t name you any vampire story from the era besides Carmilla set there. The narrator, the surviving sister of the vampire’s victim, is called ‘Carmela’, if you needed further proof.

Much like in Carmilla herself, the vampire, Count Vardalek (a Slavic term for vampire) arrives at their house after being forced to seek local hospitality when some convenient ‘accident’ interrupts his travels. There, he bewitches and slowly drains the life from her brother, Gabriel – a boy described in terms variously angelic and fey, a wild thing who befriends wild animals and would rather climb a tree to a window than take the stairs to his own room, but who cleans up beautifully for church – a sublime, cinnamon roll of a creature, far too good for this sinful earth, too pure. Gabriel is a true male equivalent of the likes of Dracula’s Lucy, feminised further still by his youth and innocence. Had a vampire not got him, one can only imagine he’d have eventually have been spirited away by the fairies.

Gabriel and the mysterious Count are drawn to one another immediately. Even as Gabriel wastes slowly away, he greets Vardalek eagerly each time he returns by throwing his arms around his neck and kissing him on the lips. Count Vardalek himself seems to be a vampire of the psychic variety, gaining in health and vitality while Gabriel wilts, merely after spending time in one another’s presence. Vardalek himself seems to genuinely regret Gabriel’s inevitable death, but unlike in Carmilla, there’s no rescue at our conclusion. Gabriel dies, and we’re given no reason to assume he’ll rise again.

To the modern reader, the true horror of this tale lies not with the vampires or even the homoeroticism, but with those uncomfortably pederastic implications. Gabriel can’t be more than twelve years old, his youth and innocence emphasised in his every description. Pains are taken to suggest that Gabriel’s own attraction to Vardalek is as much responsible for his fate as the vampire himself. Gabriel’s father is similarly bewitched by this charming stranger, and never recognises the danger, or the reason for his son’s tragic death. Even the narrator, his loving sister, cannot truly hate Vardalek for taking her brother from her – even when her father dies of grief soon after. Gabriel’s fate seems sealed from the moment the Count enters their home.

But knowing how often real child molesters get away with it, their actions excused or downplayed by their family, their victims accused of ‘seducing’ their abusers and made complicit in their own misery… I can only say that, for my money, A True Story of a Vampire is a very effective horror story in ways the author probably never intended, once you start to question the reliability of its narrator.

It won’t surprise you to learn that the author, Count Eric Stanislaus Stenbock, was a (very) gay man, deeply involved with the gothic and decadent artistic movements of his day. Born to a Swedish Count and an English heiress, Stenbock seems to be remembered less for his writing than for his character. In The Oxford Book of Modern Verse, 1892-1935, W.B. Yeats describes him as a "scholar, connoisseur, drunkard, poet, pervert, most charming of men" ‒ naming Stenbock as an exemplar of the poetic zeitgeist of the age. Notably however, none of Stenbock’s actual poetry is featured in the volume.

Stories about Stenbock are so bizarre that it’s hard to know how much should be believed. Eric Stenbock supposedly travelled with a multitude of exotic pets and a life-sized doll he referred to as his 'son', dabbled in religions ranging from Roman Catholicism to Buddhism, and decorated his dwelling with peacock feathers, oriental shawls, a bronze statue of Eros and a hanging pentagram. One acquaintance once compared him to a 'magnified child': "very fair hair beautifully curled, and a blond, round, blue-eyed face," who paused at the door and "took a little phial out of his pocket, from which he anointed his fingers, before passing them through his locks." But by his thirties, he was already dying of liver disease after years of alcoholism. He passed away at only 35.

Stenbock’s surviving artistic legacy consists of three volumes of poetry and one of prose, with some of those poems including explicit references to Ganymede or male lovers. So how did he escape the same controversy that dogged similar works by other queer creatives of his day, like Oscar Wilde or Walt Whitman – let alone Karl Ulrichs? Well, simple: his work never attracted enough attention to generate real controversy. Stenbock may have been just as much a character as figures like Wilde, but he hadn't nearly the same talent or success.

One last minor biographic detail that may be worthy of note (discovered courtesy of some very poor-quality scans of his one proper biography) is that the youthful Gabriel of A True Story of a Vampire may owe his name to a real Gabriele ‒ a female cousin ten years Stenbock’s junior, whom he would've spent time with in his teens, and seems to have been especially fond of. Whatever the true significance of that name, he'd use it more than once in his fiction: another short story, The Other Side: A Breton Legend, also stars an angelic little boy called Gabriel, with a similar dangerous attraction to the strange. It features some lovely mood and imagery as it sets the scene, but (perhaps as a result of the lack of a suitable model story like Carmilla) it is, in my opinion, a much weaker story overall.

But again, the most disturbing aspect of Stenbock's biography are the hints about his own relationships with much younger men. His second book of poetry, Myrtle, Rue and Cypress, is dedicated to three people: Simeon Solomon (a gay painter of the pre-Raphaelite movement, whom he met at Oxford), Arvid Stenbock, Eric's cousin, and to "the memory of Charles Fowler" ‒ the son of a Clergyman, who died of consumption at only 16.

This enigmatic dedication is all we know about Stenbock's relationship with Fowler. We don't even know how the they met (Fowler seems to have had a relative at Oxford at the same time as Stenbock, but even this is speculation). But that dedication, in a book which will go on to feature poems about the beauty of Ganymede, or explicitly addressed 'To A Boy' (Tis ever a delight, dear, To gaze upon thy face, To love the life within thee, Fair fashioned, full of grace) makes it hard to read Stenbock's feelings as remotely platonic.

It doesn’t help that the same volume includes a poem about an actual vampire, published ten years before A True Story of a Vampire would ever be penned, but with very comparable subject matter:

With slow soft sensual sips Draw the life from the tender spray, And brush from thy soft lithe lips The bloom of thy boyhood away

It's worth keeping in mind that Stenbock himself would've been only 21 at the time of Fowler's death, and that we don't know whether he ever acted on his attraction (whatever form it may have taken). He may well, as I've seen suggested, have kept his admiration private, idealising the image of the beautiful, dying boy in his final days, in that classic Victorian-gothic way. But it doesn't help that Stenbock's cousin Arvid, from that other dedication in the same book, was 8 years his junior, and that their family apparently disapproved of their relationship as "unnaturally close." Or that another famous Stenbock-associate was Norman O'Neil, a composer whom he met on a London omnibus in 1891, when O'Neil too was only 16. Stenbock was apparently taken by his intelligence and beauty, and would go on to leave him a considerable sum of money in his will. By 1891, Stenbock would've been 31, but his fixations hadn't aged with him.

So how are we to take all this? This was an age where a marriage between a 16-year-old girl and a suitor of Stenbock's age would scarcely have raised eyebrows. Uncomfortable as it may sound today, for many queer youths of the era, a romance with someone older and experienced enough to play mentor may genuinely have represented the safest real option available. There are layers of complicated subtext, meanwhile, in the idea of any gay man of the Victorian era casting himself as a vampiric monster, doomed to ruin the object of their attraction with their very touch. There may be layers more in Stenbock framing his tale as "A true story" before telling us of the misery a foreign Count brought to an innocent family, with his helpless fixation on their youngest child.

It's worth noting also that even in Manor, by Legit Gay Activist Karl Ulrichs, our love story is between a boy of 15 and a man of 19 ‒ an age gap of only 4 years, but large enough at 15 to raise some serious eyebrows. His first story too, Sulitelma, involves attraction between a man and a boy (exact ages unknown). Though Ulrichs explicitly viewed relationships with prepubescent children as reprehensible, he seems to have had no problem with relationships between young teens and much older adults ‒ even printing a story sent in by a reader (details in this article), joyfully recounting how he (the reader) was initiated into the world of male/male love as a 14-year-old by his brother's riding master. Ulrichs saw no reason to disapprove.

To confuse things for anyone looking this up today, google Ulrichs, and you'll find a number of online articles claiming that his own first experience involved being sexually assaulted by a riding instructor when he was only 14. This is wrong on multiple fronts: not only is the story related by Ulrichs as a positive experience, it wasn't even Ulrichs it happened to. No, shit like this would not be okay if it happened today (and frequently wasn't then), but we don't help ourselves by distorting the stories told by our queer forebears to fit modern expectations.

But none of that surrounding context makes the youth of the day any less vulnerable to predation, or Stenbock's fixation on youthful beauty less creepy. Today, no evidence remains to help us guess whether idealising the beauty and innocence of youth was the greatest of Stenbock's actual crimes, or the least of them. Anything is possible.

In brief: welcome to the joy of trying to reconcile the complicated place of pederasty in queer history! I'm afraid you can look forward to seeing a lot of it from here on back.

A True Story of a Vampire is not a bad work of fiction by any means. There are some lovely descriptions and entertaining turns of phrase, and the horror is certainly effective. It may even be considerably more readable than Carmilla to many, simply for being so much shorter. But how you feel about it is really going to be up to you.

One last digression about Carmilla and Christabel

There’s one additional work that I’ve once or twice seen listed as an even earlier queer vampire tale: Samuel Coleridge’s unfinished poem Christabel (1800) – the only problem being there’s no vampire in the story (and how queer it is may be questionable too).

Like Carmilla, Christabel tells of a Baron’s daughter (the titular Christabel) who comes upon a mysterious stranger in apparent distress (Geraldine) and invites her into her home. We never learn what kind of being Geraldine truly is (three further parts were planned in addition to the two that were completed), but when she undresses, Christabel spies something that horrifies her, remembering it later with the words "Again she saw that bosom old / Again she felt that bosom cold." But under Geraldine’s spell, Christabel’s recollection of this incident comes and goes, and Geraldine has soon bewitched her father too.

All ‘evidence’ that Geraldine was intended to be a vampire rests on such details as Geraldine having to be carried past an iron gate into the house, much as vampires have to be invited in – but that particular vampire trope wasn’t actually codified until a solid century later (like most vampire-tropes, we have Stoker's Dracula to blame). The idea that Geraldine has the cold, shrivelled body of the undead and revives herself on Christabel’s blood is a perfectly valid reading, but the more obvious interpretation would be that she’s some manner of shapeshifting fairy creature, weakened by the iron of the gateway, not the entrance to Christabel’s home. The aristocratic literary vampire had existed for over 40 years and appeared in numerous works of fiction by Carmilla's day; but Christabel predates the origins of the genre a solid two decades. For Coleridge to have come up with the idea independently seems vanishingly unlikely.

I mention Christabel here partly for completeness, but mostly to bring us back around to the greater family of Carmilla, which is still legitimately the first known queer vampire story. Though far better known than any other story discussed here today, how it came about is perhaps the most mysterious.

Sheridan le Fanu was a prolific writer, but I don’t know of any other story he’s penned with subtext like Carmilla's (and I’m not quite invested enough to read all of the rest to check, though someone totally should so I don't have to). Le Fanu was married, and had children, and that's all I can discover about his personal life. Was he some shade of queer himself? Did he have connections to anyone who was? Did he even realise what he was writing with Carmilla? Nothing I’ve read about him provides any answers. Nor can I tell you how many readers spotted the subtext it the story was first published. In its own time, it caused no great scandal, nor even seems to have garnered much attention (by contrast, Byron & Polidori's The Vampyre caused an uproar when it was published in 1819, mostly thanks to Byron's established fame and debates over its true authorship). It took until well into the 20th Century for it to obtain the reputation it has today.

But I’m sure it’s no coincidence that it was Carmilla that spoke to Stenbock enough that he chose to retell it. And while A True Story of a Vampire is still the only other vampire story of the era set in Styria, there was almost another one: Dracula, at least Stoker’s early plans for the novel. Styria also remains part of the unused prequel chapter later published as Dracula’s Guest. The setting isn’t the only detail Stoker nearly-borrowed from Carmilla either, my favourite example being the weird schedule by which both she and Dracula seem to have to be in bed in their coffins at dawn each day, both apparently helpless and immobile in sleep, though both are also repeatedly seen up and about later in the day. Neither tale offers any real explanation.

Have I mentioned lately that Stoker, too, was almost certainly some shade of gay?

Now, the fact that two different queer writers both found Carmilla so very inspiring – and would even both publish their own works of vampire literature within five years of one another – isn’t much to go on, in trying to establish what a story like Carmilla might’ve meant to England’s queer population some twenty years after it was written. Maybe Carmilla was being eagerly passed around London’s own Uranian gothic societies at the time. Or maybe two different men happened upon it by chance in wholly different circumstances, and took very different things from reading it. Maybe Stoker didn’t even notice the queer subtext himself. But I can’t help but wonder if just maybe, there's something more than coincidence at work here.

Carmilla the vampire is an explicitly villainous character, her victim confused and unwilling. But she remains one of the most complex and sympathetic vampires of her era. And perhaps, to a community who had never seen Ulrichs’ writing published in their own language, and might never see themselves represented in fiction except as monsters buried in layers of protective subtext, that still meant something to readers like Stenbock, and Stocker, and who knows how many others.

In short, maybe old, gay vampire stories like these really are worth remembering. I'll leave that one up to you.

[clau1r9i]

Yesterday was an incredible experience, seeing the entire yuri and romance loving community to save the LoveBullet manga was completely touching and super exciting, with everyone's participation we have managed to sell out the manga in all the stores that shipped to the West (including Amazon) in the Amazon's sales lists it went from position 69,000 to 6,000, and even in Bookwalker (where the ebook format is sold) it has reached position 14 of the best sellers

We have even managed to appear in a digital newspaper!!!

and added to all of this, lots of people have made an effort making fanarts and retweeting, dyeing all twitter in red and white

We have to keep trying!! We are achieving it!!!!

[hooleidoscope]

Long post/rant ahead:

Ever since the Hellaverse announcement, I’ve been thinking about people who think SpindleHorse “sold out” to Amazon.

Now, don’t get me wrong. Amazon is a monopoly of a mega-corporation run by a morally bankrupt billionaire. If you can buy things from elsewhere, I always recommend doing so. Support small businesses, local businesses, and creators.

Here’s where the ‘but’ comes in: I am in a position to where I understand why SpindleHorse may have signed on with Amazon…because Amazon is my publisher.

My book, and any books in the series that I may complete, are distributed only through Amazon booksellers or myself. And no, I’m not talking about me uploading a rough word file and slapping a picture on it and calling it a novel. I mean that I worked with my editing team and formatting team to decide which options to pursue, and Amazon’s KindleDirect was the best option for me for my debut, especially as a POC author with POC characters.

And here’s the rub about indie publishing vs. traditional: publishers like KindleDirect allow authors and creatives to keep full creative control of their work, how much it sells for, and what formats to offer it in. Nearly all of my indie published author friends publish through Kindle. Some go through Ingram, but only a few of the authors in my local community traditionally published their works through printing houses. Traditional publishers don’t often give an author any say unless the author makes a shit ton of money off of their book. If an author’s work doesn’t live up to the publishing house’s expectations on signing, they can remove your work from print entirely. I’ve seen this happen, an author I know well had her duology taken out of print because it didn’t “sell well” and she was only left with the copies she had on hand.

But with Amazon and Kindle, I have control over that. If I ever decide to remove my work from published platforms, I do so on my own terms. Another caveat is that with Kindle, I make 35%-60% profit off of each copy sold. That may not sound like a lot, but it needs to be known at how little authors normally get from book sales. The fact that I can make over half of what a paperback or ebook costs is massive. And I won’t lie, I am no bestseller. I am an indie author with a modest following of readers, but if I had gone traditional, I probably would have been dumped years ago.

And the worst part: my contract states I can only sell through Amazon, or through deals struck by me, the author. For example, a local cafe near me usually has my book in stock with a wide variety of other local authors in my state. And a few readers have gotten my book in libraries. This doesn’t breach my contract because me selling a book at an event or it being distributed by a library or small business isn’t a conflict of interest; because the book was purchased either by me or the reader, then the book is either offered for free or sold at a lower tag price. But if I went to say, Barnes & Noble to sell it at whatever they decided was suitable, then Amazon has every right to nix me from Kindle entirely, because it’s in my contract that another large, international bookseller can’t sell my work because then that bookseller gets all the profits. Not Amazon, and certainly not me.

I imagine it’s similar with Helluva Boss, and that is why it’s on Prime first, then can be posted to YouTube by SpindleHorse directly. It’s why there’s a waiting period. Amazon has to get their end of the deal first, then SpindleHorse can do as they please with it.

I don’t know the ins and outs of the animation business or television contracts, but with Amazon, I have found it’s almost better to be with the devil you know that lets you have a modicum of control and access to your own work. And as much as it sucks ass for this to be one of the few viable options out there aside from trying to get a larger publisher or studio to notice…I, and I’m sure Viv, would rather keep control over the integrity of what we put out there.

And if that makes people like her or me sell outs, then sure. I guess we did. But our creativity and works depend on that in order to be distributed to the public in the way we intend.

[traegorn]

So when I do finish this book I am writing (speaking it into existence bc adhd is a BITCH) Like what's your experience with publishing? How much does it usually cost? What kinda income does one get? I don't really care about making money but it would be super neat to make something since I cannot work. How do taxes work on that also? Google is confusing me

So far i have an idea and half a first chapter with thrilling notes such as " add a cat" and "insert spell here"

So I self publish, so that's the world I know. If you want to find a traditional publisher, you'll need to query agents and do a bunch of other stuff. My only advice for traditional publishing is that when going that route, money should always flow towards the author. If they're asking you to pay for something, they aren't a traditional publisher and there's a good chance it's a grift.

So let's talk about what I do know.

(And this turned out to be long as hell, so I'm putting in a "keep reading")

When you self publish, you are effectively acting as the publisher. If you want someone to do edits? You'll have to hire an editor. If you want someone to do the book layouts? You'll have to hire someone to do it if you can't do it yourself. You need a cover? You get the idea.

Now I don't pay an editor, so I can't really give you a price range on how much they cost off the top of my head. I do know they can get expensive though.

I also do all my own interiors, but I have a graphic design background and have been doing print layouts for decades. If you want to hire someone to do the interiors, that can run you $100-500, so I recommend just... learning to do it yourself.

Frankly, it's not terribly hard. I do mine in Apple Pages on my Mac for my paperbacks and Amazon has a free program for formatting eBooks (which you can export both as the Kindle format OR the more universal ePub format). With your print version, you just want to make sure you get your margins right, along with using a standard font like Times New Roman.

Like, literally just pick up a book and study the layout. Look at the front matter (copyright page, title page, etc) of a handful of books and mimic what you find there. I don't know why so many self published authors get that bit wrong. It's a book. Format it like a book.

Now the cover... this is where you'll probably end up spending something. I do my own covers for my comics, but hire out for my novels because I can't do the kind of covers expected of my genre. And you do want to match your genre, because you want a potential reader to know what they're getting into. I've seen so many self published books with terrible covers and it drives me nuts.

Cover design can run you anywhere from $35-$400 depending on who you choose to contract, and this is where I recommend you spend your money. On the cheap end you have companies like GetCovers. Now they primarily do covers made from edited stock photos, and I've honestly been pretty satisfied with their work... but you have to hold their hand and be very clear with what you want.

GetCovers is a part of Mibl Group, and it's pretty much all of their most inexperienced employees. The whole point of it is to get them the experience to work on bigger projects down the road. They have cheaper packages, but for their best work you'll probably only spend like $35-$45. If you're working in a genre that mainly uses stock images, that's who you want.

I often end up retouching the covers they do though, because I'm impatient. Like there are edits to The Witch and the Rose and Shadowcasting I made after they handed me the completed files. You're going to have to be very specific with what you want. The first version of the Bloody Damn Rite cover they did... was awful. But they did the revisions I asked for, and the version they delivered in the end was great.

Now if you want, like, original art or just more complicated, custom stuff? You're looking at at least $250 on the cheap end, but sometimes you end up in the ballpark of $700-$1000. Like on their regular site (just to use the same company as GetCovers for comparison), the Mibl group charges like $300 for a more complicated stock photo based cover (that requires more complicated edits) and at least $700 for covers that require digital painting, 3d modeling, etc.

There are a wide range of prices depending on what you're asking for. But, y'know, you're paying that once for a commercial piece of graphic design.

I'm cheap and can do some of the work myself, so I go for the $35 cover. I also figure out what fonts they used for the covers, so I can go buy my own commercial license for them and replicate a similar logo on my title page. You don't need to do that bit, I'm just finicky.

Actually publishing the book is easy. You'll want to use a self publishing platform like Kindle Direct Publishing or IngramSpark (or, if you're like me, both). I sell KDP books on Amazon, but all other distribution is through IngramSpark. You make more money on Amazon by using KDP, but even though they offer distribution, no book store will ever order through them. So I turn that option off, and then I take the same book and I make it available through IngramSpark.

On amazon I make a little more than $2 on a $3 ebook, and about $4.00 on a $12.99 paperback. When a bookstore buys an IngramSpark version, I make about $2.50 on a $14.99 book (if you wondered by my books cost more when not buying it through Amazon... that's why). Now if you buy yourself author copies, they cost way less -- in the end I think I can get them for like $5 a book? So when I sell them in person, my margins are much higher.

But, y'know, you have to actually sell them.

Because that's the hard part. When self publishing, you only have you to market it. I don't know how many books I'd be selling if I didn't have a pre-existing audience -- and even then it's not a huge amount. I've sold about 200 books this year? Which isn't nothing, and I appreciate every single person who's purchased one of my titles, but it's obviously not enough to quit my day job for, y'know?

That said, I've known people who do sell enough to make a steady living. So it's possible for sure.

But it's not going to happen overnight, and it won't be easy.

As for taxes, you'll need a 1099 and do stuff with the Schedule C. I always forget exactly what until I'm actually doing them, but it's not super hard, just annoying.