#Ebook: Pay What You Can | Explore Tumblr Posts and Blogs

burins · 7 months

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I know this is the Take Personal Responsibility for Systemic Issues website, but I keep seeing weirdly guilt trippy posts about libraries and ebook licenses, which are a labyrinth from hell and not actually something you personally need to feel guilty about. here are a few facts about ebook licenses you may not know:

in Libby/Overdrive, which currently operates in most US public libraries, ebook licenses vary widely in how much they cost and what their terms are. some ebooks get charged per use, some have a set number of uses before the license runs out, and others have a period of time they're good for (usually 1-2 years) with unlimited checkouts during that period before they expire. these terms are set by the publisher and can also vary from book to book (for instance, a publisher might offer two types of licenses for a book, and we might buy one copy of a book with a set number of uses we want to have but know won't move as much, and another copy with a one year unlimited license for a new bestseller we know will be really moving this year.)

you as a patron have NO way of knowing which is which.

ebook licenses are very expensive compared to physical books! on average they run about 60 bucks a pop, where the same physical book would cost us $10-15 and last us five to ten years (or much longer, if it's a hardcover that doesn't get read a lot.)

if your library uses Hoopla instead, those are all pay per use, which is why many libraries cap checkouts at anywhere between 2-10 per month.

however.

this doesn't mean you shouldn't use ebooks. this doesn't mean you should feel guilty about checking things out! we buy ebook licenses for people to use them, because we know that ebook formats are easier for a lot of people (more accessible, more convenient, easier for people with schedules that don't let them get into the library.) these are resources the library buys for you. this is why we exist. you don't need to feel guilty about using them!

things that are responsible for libraries being underfunded and having to stretch their resources:

government priorities and systemic underfunding of social services that don't turn a profit and aren't easily quantified

our society's failure to value learning and pleasure reading for their own sake

predatory ebook licensing models

things that are not responsible for libraries being underfunded:

individual patron behavior

I promise promise promise that your personal library use is not making or breaking your library's budget. your local politicians are doing that. capitalism is doing that. you are fine.

(if you want to help your local library, the number one thing you can do is to advocate for us! talk to your city or county government about how much you like the library. or call or write emails or letters. advocate for us locally. make sure your state reps know how important the library is to you. there are local advocacy groups in pretty much every state pushing for library priorities. or just ask your local librarian. we like to answer questions!

also, if you're in Massachusetts, bill h3239 would make a huge difference in letting us negotiate ebook prices more fairly. tell your rep to vote for it!)

#like. the nypl budget is getting cut bc Adams doesnt think the library matters!#your checking out a book a few times bc you didn't get to it in time is not actually affecting Mr. Cops Not Books #library haint #if you like the library and you like free stuff come use the library. you might be surprised about what we have!#but it's not a moral act either way.#libraries are a public good! i love the library! but so is the post office. we don't moralize about the post office.#ANYWAY.#local librarian with tendencies towards scrupulosity gets frustrated online more news at 10

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thebibliosphere · 10 months

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Okay, I'll admit it. I'm one of those people who priates books. But only because I've bought so many books that disappointed me! I need to flip through a bit of it before buying.

Sometimes, if the author has kofi or patreon or something, I like to just give them the full price of the book. That way they get it all. But I also know that this isn't the perfect answer because it messes with stats and actual readership and therefore advertising and the platform they are selling on promoting it....

It's complicated. Maybe I should buy the book normally and tip the author what the publishers/printers/distributors take? But that can get really pricey fast. Ugh.

Books are often a luxury when you have no money. I’m very familiar with that. I've saved up for several months sometimes because I wanted a $5.99 ebook and didn't want to steal from the author. That’s just what being poor is. Wanting something doesn't entitle me to it.

That said, most books these days have a reading sample on purchasing sites so you can see if you like the style. Most sites also offer refunds, at least on digital books, before you reach a certain point. (please be sparing with refunds if you can. The refund is taken from the author/publisher, not Amazon. Same with audible. My audible funds are often close to zero or negative because people just return and reuse their monthly credit.)

You can also check and see if the books are available at your library, and if not, request them. Honestly, library sales are so, so, so good for authors. Libraries pay higher lending license rates to authors, and also, depending on the country, every time someone checks out my book via Libby or the local equivalent, I get a little tiny amount of money (we’re talking literal pennies, but it can add up), and it increases the library’s likelihood of re-purchasing the library lending license the following year.

You can alsp sign up to be an ARC (advanced reader copy) reader through places like NetGalley or by checking if the author offers ARCs as well. In a world of algorithms, books live and die by reviews. Some of us are quite happy to give out ARCs for new and upcoming titles.

Failing that and you have absolutely no other option... Yeah. Ko-fi or whatever is an option. Even if I wish they didn't do it because it fucks my sales metrics, I still appreciate when I get a little ding on ko-fi for the exact amount of the book. It's always telling. I even sometimes get little anon messages going “sorry for pirating your book it was really good.”

Like thank you. Please buy the next one properly, lol.

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mostlysignssomeportents · 9 months

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Kickstarting the audiobook of The Lost Cause, my novel of environmental hope

Tonight (October 2), I'm in Boise to host an event with VE Schwab. On October 7–8, I'm in Milan to keynote Wired Nextfest.

The Lost Cause is my next novel. It's about the climate emergency. It's hopeful. Library Journal called it "a message hope in a near-future that looks increasingly bleak." As with every other one of my books Amazon refuses to sell the audiobook, so I made my own, and I'm pre-selling it on Kickstarter:

https://www.kickstarter.com/projects/doctorow/the-lost-cause-a-novel-of-climate-and-hope

That's a lot to unpack, I know. So many questions! Including this one: "How is it that I have another book out in 2023?" Because this is my third book this year. Short answer: I write when I'm anxious, so I came out of lockdown with nine books. Nine!

Hope and writing are closely related activities. Hope (the belief that you can make things better) is nothing so cheap and fatalistic as optimism (the belief that things will improve no matter what you do). The Lost Cause is full of people who are full of hope.

The action begins a full generation after the Hail Mary passage of the Green New Deal, and the people who grew up fighting the climate emergency (rather than sitting hopelessly by while the powers that be insisted that nothing could or should be done) have a name for themselves: they call themselves "the first generation in a century that doesn't fear the future."

I fear the future. Unchecked corporate power has us barreling over a cliff's edge and all the one-percent has to say is, "Well, it's too late to swerve now, what if the bus rolls and someone breaks a leg? Don't worry, we'll just keep speeding up and leap the gorge":

https://locusmag.com/2022/07/cory-doctorow-the-swerve/

That unchecked corporate power has no better avatar than Amazon, one of the tech monopolies that has converted the old, good internet into "five giant websites, each filled with screenshots of the other four":

https://twitter.com/tveastman/status/1069674780826071040

Amazon maintains a near-total grip over print and ebooks, but when it comes to audiobooks, that control is total. The company's Audible division has captured more than 90% of the market, and it abuses that dominance to cram Digital Rights Management onto every book it sells, even if the author doesn't want it:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

I wrote a whole-ass book about this and it came out less than a month ago; it's called The Internet Con and it lays out an audacious plan to halt the internet's enshittification and throw it into reverse:

http://www.seizethemeansofcomputation.org/

The tldr is this: when an audiobook is wrapped in Amazon's DRM, only Amazon can legally remove it. That means that every book I sell you on Audible is a book you have to throw away if you ever break up with Amazon, and Amazon can use the fact that it's hold you hostage to screw me – and every other author – over.

As I said last time this came up:

Fuck that sideways.

With a brick.

My books are sold without DRM, so you can play them in any app and do anything copyright permits, and that means Amazon won't carry them, and that means my publishers don't want to pay to produce them, and that means I produce them myself, and then I make the (significant) costs back by selling them on Kickstarter.

And you know what? It works. Readers don't want DRM. I mean, duh. No one woke up this morning and said, "Dammit, why won't someone sell me a product that lets me do less with my books?" I sell boatloads" of books through these crowdfunding campaigns. I sold so many copies of my last book, *The Internet Con, that they sold out the initial print run in two weeks (don't worry, they held back stock for my upcoming events).

But beyond that, I think there's another reason my readers keep coming back, even though I wrote a genuinely stupid number of books while working through lockdown anxiety while the wildfires raged and ashes sifted down out of the sky and settled on my laptop as I lay in my backyard hammock, pounding my keyboard.

(I went through two keyboards during lockdown. Thankfully, I bought a user-serviceable laptop from Framework and fixed it myself both times, in a matter of minutes. No, no one pays me to mention this, but hot damn is it cool.)

https://pluralistic.net/2022/11/13/graceful-failure/#frame

The reason readers come back to my books is that they're full of hope. In the same way that writing lets me feel like I'm not a passenger in life, but rather, someone with a say in my destination, the books that I write are full of practical ways and dramatic scenes in which other people seize the means of computation, the reins of power or their own destinies.

The protagonist of The Lost Cause is Brooks Palazzo, a high-school senior in Burbank whose parents were part of the original cohort of volunteers who kicked off the global transformation, and left him an orphan when they succumbed to one of the zoonotic plagues that arise every time another habitat is destroyed.

Brooks grew up knowing what his life would be: the work of repair and care, which millions of young people are doing. Relocating entire cities off endangered coastlines and floodplains, or out of fire-zones. Fighting floods and fires. Caring for tens of millions of refugees for whom the change came too late.

But with every revolution comes a counter-revolution. The losers of a just war don't dig holes, climb inside and pull the dirt down on top of themselves. Two groups of reactionaries – seagoing anarcho-capitalist billionaire wreckers and seething white nationalist militias – have formed an alliance.

They've already gotten their champion into the White House. Next up: dismantling every cause for hope Brooks and his friends have, and bringing back the fear.

That's the setup for a novel about solidarity, care, library socialism, and snatching victory from defeat's jaws. Writing it help keep me sane during the lockdown, and when it came time to record the audiobook, I spent a lot of time thinking about who could read it. I've had some great narrators: Wil Wheaton, @neil-gaiman, Amber Benson, Bronson Pinchot, and more.

I record my audiobooks with Skyboat Media, a brilliant studio near my place in LA. Back in August, I spent a week in their recording booth – "The Tardis" – doing something I'd never tried before: I recorded a whole audiobook, with directorial supervision: The Internet Con:

https://transactions.sendowl.com/products/78992826/DEA0CE12/purchase

When it was done, the director – audiobook legend Gabrielle de Cuir – sat me down and said, "Look, I've never said this to an author before, but I think you should read The Lost Cause. I don't direct anyone anymore except for Wil Wheaton and LeVar Burton, but I would direct you on this one."

I was immensely flattered – and very nervous. Reading The Internet Con was one thing – the book is built around the speeches I've been giving for 20 years and I knew I could sell those lines – but The Lost Cause is a novel, with a whole cast of characters. Could I do it?

Reader, I did it. I just listened to the proofs last week and:

It.

Came.

Out.

Great.

The Lost Cause goes on sale on November 14th, and I'll be selling this audiobook I made everywhere audiobooks are sold – except for the stores that require DRM, nonconsensually shackling readers and writers to their platforms. So you'll be able to get it on Libro.fm, downpour.com, even Google Play – but not Audible, Apple Books, or Audiobooks.com.

But in addition to those worthy retailers, I will be sending out thousands – and thousands! – of audiobook to my Kickstarter backers on the on-sale date, either as a folder of DRM-free MP3s, or as a download code for Libro.fm, to make things easy for people who don't want to have to figure out how to sideload an audiobook into a standalone app.

And, of course, the mobile duopoly have made this kind of sideloading exponentially harder over the past decade, though far be it from me to connect this with their policy of charging 30% commissions on everything sold through an app, a commission they don't receive if you get your files on the web and load 'em yourself:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

As with my previous Kickstarters, I'm also selling ebooks and hardcovers – signed or unsigned, and this time I've found a great partner to fulfill EU orders from within the EU, so backers won't have to pay VAT and customs charges. The wonderful Otherland – who have hosted me on my last two trips to Berlin – are going to manage that shipping for me:

https://www.otherland-berlin.de/en/home.html

Kim Stanley Robinson read the book and said, "Along with the rush of adrenaline I felt a solid surge of hope. May it go like this." That's just about the perfect quote, because the book is a ride. It's not just a kumbaya tale of a better world that is possible: it's a post-cyberpunk novel of high-tech guerrilla and meme warfare, climate tech and bad climate tech, wildcat prefab urban infill, and far-right militamen who adapt to a ban on assault-rifles by switching to super-soakers full of hydrochloric acid.

It's a book about struggle, hope in the darkness, and a way through this rotten moment. It's a book that dares to imagine that things might get worse but also better. This is a curious emotional melange, but it's one that I'm increasingly feeling these days.

Like, Amazon, that giant bully, whose blockade on DRM-free audiobooks cost me enough money to pay off my mortgage and put my kid through university (according to my agent)? The incredible Lina Khan brought a long-overdue antitrust case against Amazon while her rockstar DoJ counterpart, Jonathan Kanter, is dragging Google through the courts.

The EU is taking on Apple, and French cops are kicking down Nvidia's doors and grabbing their files, looking to build another antitrust case for monopolizing GPUs. The writers won their strike and Joe Biden walked the picket-line with the UAW, the first president in history to join striking workers:

https://doctorow.medium.com/joe-biden-is-headed-to-a-uaw-picket-line-in-detroit-f80bd0b372ab?sk=f3abdfd3f26d2f615ad9d2f1839bcc07

Solar is now our cheapest energy source, which is wild, because if we could only capture 0.4% of the solar energy that makes it through the atmosphere, we could give everyone alive the same energy budget as Canadians (who have American lifestyles but higher heating bills). As Deb Chachra writes in her forthcoming How Infrastructure Works (my review pending): we get a fresh supply of energy every time the sun rises and we only get new materials when a comet survives atmospheric entry, but we treat energy as scarce and throw away our materials after a single use:

https://www.penguinrandomhouse.com/books/612711/how-infrastructure-works-by-deb-chachra/

Anything that can't go on forever will eventually stop. We have shot past many of our planetary boundaries and there are waves of climate crises in our future, but they don't have to be climate disasters. That's up to us – it'll depend on whether we come together to save ourselves and each other, or tear ourselves apart.

The Lost Cause dares to imagine what it might be like if we do the former. We don't live in a post-enshittification world yet, but we could. With these indie audiobooks, I've found a way to treat the terminal enshittification of the Amazon monopoly as damage and route around it. I hope you'll back the Kickstarter, fight enshittification, inject some hope into your reading, and enjoy a kickass adventure novel in the process:

https://www.kickstarter.com/projects/doctorow/the-lost-cause-a-novel-of-climate-and-hope

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/10/02/the-lost-cause/#the-first-generation-that-doesnt-fear-the-future

#pluralistic #audiobooks #the lost cause #crowdfunding #kickstarter #spoken word #climate #climate emergency #monopoly #drm #amazon #audible #skyboat #science fiction #hope not optimism

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dduane · 8 months

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The Young Wizards series turns 40!

...And yes, we're having a sale to celebrate. But that can wait. :)

I'm sitting here looking at the date and considering how amazing it is that, despite the changes in the publishing world, anything can stay in print nonstop for forty years.

But this book has. Here's how it started:

...Well, not how it started. It started with three things:

A newbie YA writer being deeply annoyed with a non-newbie one for (as she thought) stripping their teenage characters of their agency without good reason.

A suddenly-appearing joke involving two terms or concepts that wouldn't normally appear together: the 1950s young-readers' series of careers books with titles that always began So You Want To Be A..., and the word "wizard."

And the idea immediately springing from that juxtaposition. What if there was such a book? Not a careers book, but a book that told you how to be a wizard—maybe some kind of manual? One that would tell you the truth about the magic underlying the universe, and how to get your hands on it... assuming you felt you could promise the things that power would demand of you, and survive the Ordeal that would follow?

Six or seven months after that confluence of events, there was a novel with that joke-line as its title. A month or so after that, the novel was bought. So You Want To Be A Wizard came out as a Fall 1983 book, as you can see from the Locus Magazine ad above (from back when Locus was only a paper zine). The first reviews were encouraging.

And by the middle of 1984, the publishers were asking, "So, what's next?" A question I'm still busy answering.

There's been a lot of water under the wizardly bridge since. In SYWTBAW's case, this involved a couple/few publishers, a surprising number of covers, a fair number of awards here and there; and lots more books. (I always knew there'd be more, but how many more continues to surprise me. Which is a bit funny, considering how much stuff that universe has going on in it.)

So here we are at forty, and looking ahead to The Big Five-Oh with some interest. More books? Absolutely. Young Wizards #11 is in progress at the moment, and YW #12 is in the late concept stages. More covers for So You Want To Be A Wizard? Seems inevitable. A TV series, perhaps? (shrug) Stranger things have happened: we'll keep our fingers (or other manipulatory instrumentalities) crossed. The New Millennium Editions in translation? and in international paperback? Working on that right now. The sky's the limit.*

And meanwhile, to celebrate, just for today we'll have a sale. (Except in the UK. To our British friends, the usual sad apology: the expensive bureaucracy of Brexit has made it impossible for us to sell directly to you any more. Details here, with our apologies.)

As has been mentioned before, changes are afoot at Ebooks Direct, so this kind of sale won't be happening again for the foreseeable future. (In fact I thought we were all done with them already. But the number 40 suggested one last opportunity that wouldn't be recurring, so I thought, "Aah, what the heck? Let's.")

New things first! Today, to mark this occasion, we're introducing the "All The Wizardry" Bundle. This is Ebook Direct's entire inventory of Young Wizards works; the contents of the bundle are listed on its product page. The $29.99 price listed there is for today only, to celebrate SYWTBAW's birthday, and will go up as of 23:59 Hawai'ian time tonight. As always, should you ever lose your ebooks or need to change reading platforms, we'll change your formats as necessary, or replace the books, for free.

Just click here, or on the image below, for the "All The Wizardry" Bundle. (Please ignore the category listings under the "Pay Using..." icons on the product page: they plainly think they're in a different universe. Kind of an occupational hazard around here...)

The other, older kind of sale folks will have seen here is on the "I Want Everything You've Got" Bundle, which is the whole Ebooks Direct store—obviously including all the Young Wizards books as well: more than 2.5 million words in 36 DRM-free ebooks. Just for today, in honor of the birthday book, we're dropping the whole-store price to USD $40.00. This, too, will go away just before midnight Hawai'ian time tonight... and it will never be lower. So if you want everything we've got at that price, don't wait around.

Make sure you use this link or the one associated with the image to get the baked-in discount at checkout. (If it fails to display correctly, use the discount code "40FOR40" in the checkout's "discount code or gift code" field.)

Meanwhile? Onward into the next decade. The new A Day at the Crossings novel unfortunately won't make it out before the end of 2023; other work in-house currently has taken priority. But as for early 2024... stay tuned.

And for those of you who're Young Wizards readers, and have kept this book, and its sequels, alive for pushing half a century?

Thank you, again and always!

*Though actually, it's not, is it? As the proverb has it, "Wizardry doesn't stop at atmosphere's edge..."

#Young Wizards series #Young Wizards meta #So You Want To Be A Wizard #ebooks #Diane Duane

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bitchesgetriches · 4 months

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{ MASTERPOST } Everything You Need to Know about Saving Money and Being Frugal

We’re all in this together. Don’t give up.

On food and groceries:

How to Shop for Groceries like a Boss

Why Name Brand Products Are Beneath You: The Honor and Glory of Buying Generic

If You Don’t Eat Leftovers I Don’t Even Want to Know You

You Are above Bottled Water, You Elegant Land Mermaid

You Should Learn To Cook. Here’s Why.

On entertainment and socializing:

The Frugal Introvert’s Guide to the Weekend

7 Totally Reasonable Ways To Save Money on Cheap Entertainment

Take Pride in Being a Cheap Date

The Library Is a Magical Place and You Should Fucking Go There

Your Library Lets You Stream Audiobooks and eBooks FOR FREEEEEEE!

What’s the Effect of Social Media on Your Finances?

You Won’t Regret Your Frugal 20s

On health:

How to Pay Hospital Bills When You’re Flat Broke

Run With Me if You Want to Save: How Exercising Will Save You Money

Our Master List of 100% Free Mental Health Self-Care Tactics

Why You Probably Don’t Need That Gym Membership

How to Get DIRT CHEAP Pet Medication, Without a Prescription

On other big expenses:

Businesses Will Happily Give You HUGE Discounts if You Ask This Magic Question

Understand the Hidden Costs of Travel and Avoid Them Like the Plague

Other People’s Weddings Don’t Have to Make You Broke

You Deserve Cheap, Fake Jewelry… Just Like Coco Chanel

3 Times I Was Damn Grateful for My Emergency Fund (and Side Income)

When (and How) to Try Refinancing or Consolidating Student Loans

The Real Story of How I Paid Off My Mortgage Early in 4 Years

Season 2, Episode 2: “I’m Not Ready to Buy a House—But How Do I *Get Ready* to Get Ready?”

The Most Impactful Financial Decision I’ve Ever Made… and Why I Don’t Recommend It

On buying secondhand and trading:

Almost Everything Can Be Purchased Secondhand

I Am a Craigslist Samurai and so Can You: How to Sell Used Stuff Online

The Delicate Art of the Friend Trade

On giving gifts and charitable donations:

How Can I Tame My Family’s Crazy Gift-Giving Expectations?

In Defense of Shameless Regifting

Make Sure Your Donations Have the Biggest Impact by Ruthlessly Judging Charities

The Anti-Consumerist Gift Guide: I Have No Gift to Bring, Pa Rum Pa Pum Pum

How to Spot a Charitable Scam

Ask the Bitches: How Do I Say “No” When a Loved One Asks for Money… Again?

On resisting temptation:

How to Insulate Yourself From Advertisements

Making Decisions Under Stress: The Siren Song of Chocolate Cake

The Magically Frugal Power of Patience

6 Proven Tactics for Avoiding Emotional Impulse Spending

On minimalism and buying less:

Don’t Spend Money on Shit You Don’t Like, Fool

Everything I Know About Minimalism I Learned from the Zombie Apocalypse

Slay Your Financial Vampires

The Subscription Box Craze and the Mindlessness of Wasteful Spending

On saving money:

How To Start Small by Saving Small

Not Every Savings Account Is Created Equal

The Unexpected Benefits (and Downsides) of Money Challenges

Budgets Don’t Work for Everyone—Try the Spending Tracker System Instead

From HYSAs to CDs, Here’s How to Level Up Your Financial Savings

Season 2, Episode 10: “Which Is Smarter: Getting a Loan? or Saving up to Pay Cash?”

The Magic of Unclaimed Property: How I Made $1,900 in 10 Minutes by Being a Disorganized Mess

We will periodically update this list with newer articles. And by “periodically” I mean “when we remember that it’s something we forgot to do for four months.”

Bitches Get Riches: setting realistic expectations since 2017!

Start saving right heckin’ now!

If you want to start small with your savings, consider signing up for an Acorns account! They round up your every purchase to the nearest dollar and save and invest the change for you. We like them so much we’ve generously allowed them to sponsor us with this affiliate link:

Start investing today with Acorns

#frugal #saving money #personal finance #money tips #financial tips #financial literacy #financial freedom #money #debt #money management #how to save money

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oldshrewsburyian · 8 months

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Dear college students,

I really hope that I, your spinster aunt of Tumblr, am not the first person to tell you this, but: please use your university library services. You are paying for them. They are there for you. Moreover, your professors are operating on the assumption that you will use them as necessary.

When I say "library services" I mean not only physical books that will help you with research, but the usually more extensive eBook collections ditto. Novels you've been meaning to get around to and can't afford to buy. Even (quaintly?) DVDs for your entertainment. And perhaps most significantly of all, interlibrary loan.

I'm going to reiterate interlibrary loan in its own paragraph because a student complained to me recently that publishers were "literally incentivizing piracy" by not pricing academic monographs for purchase by college students and my reaction is best summed up as: ????? Publishers typically price scholarly monographs in the pious hope of not losing money on them. Everyone complains about the ones priced at $300, and a lot of them are priced around $30-50. They are priced for purchase by libraries and specialists. And they are priced for purchase by libraries precisely so that libraries can make them accessible to college students. Anyway, use interlibrary loan, good grief.

TL;DR: the library is there for you, that is what it is for, please behave accordingly.

#spinster aunt of tumblr #libraries #academic libraries #studyblr #college #also i took my survey class to the library this week and none of them had heard of boolean operators #did they all miss fourth grade #and sixth grade #and then never get asked to write a research paper ever #i am baffled #this particular student didn't want to pay more than $10 for a book but that's a different issue

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renthony · 9 months

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My doctor ordered tests that I can't afford + I need further appointments

Without plastering my medical info all over tumblr, I need about $600 to cover some bloodwork, a followup appointment, and a separate appointment plus medication for a different issue.

Now is a SUPER great time to buy my book, check out my Etsy shop, or pledge to my Patreon for updates about my art & writing.

Shop my Etsy

Buy my book on Amazon as an eBook or paperback

Pay-what-you-want for my book on Gumroad

Pledge to my Patreon

If you're not interested in any of that and still want to help me out, you can:

Kick me a tip on Ko-Fi

Use the tip feature on this post

PayPal @ [email protected]

Venmo @ renniequeer

CashApp @ $renniequeer

Thank you so much for reading, have a great day, and I hope you enjoy my book if you read it. <3

#original post

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copperbadge · 1 year

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Every time, you guys. Every time I look into alternatives to Lulu.com for self-publishing I come up with “Wow Lulu really is the best of a bad set of options, huh?”

Recently, Draft2Digital bought Smashwords in order to bring a print book company under their aegis; they’d formerly only done ebooks. I thought I might investigate them as an alternative to Lulu, which I’ve used for about twelve years now. For ebooks I would venture D2D is probably top of the line. For print books they are....not.

I’m writing this out half so other folks can see it but half so that in the future I can look this up and remind myself of why I’m still with Lulu.

TLDR: Not only does Draft2Digital want 60% of my print book royalties where Lulu takes 0%, and $30 for a proof that costs me $11 at Lulu, but I also appear to have solved the problem of why Lulu was making me price my books so goddamn artificially high. Which is like. Honestly the best anti-anxiety drug I’ve experienced this week.

Basically there are a number of elements that go into self-publishing with a print-on-demand service. For some publishers, there’s a “setup fee” which doesn’t really set anything up, it’s just there to be a fee, everything is done by computer on the back end. Traditionally, Lulu has not charged a setup fee. Smashwords used to charge $50, but Draft2Digital currently waives it. I was heartened by that because the setup fee was keeping me from migrating, since I can afford $50 but I balk at knowing I’m paying them $50 for nothing.

Next is the cost of printing -- what it costs the company in paper, ink, machinery, labor, etc, to just make a book with no profit. Lulu’s price calculus isn’t super clear and I’ve never bothered looking at what the breakdown is, because they’re pretty up-front -- they tell you in the process of setting the book up how much it’ll cost. In this case, a 140-page 6x9 trade paperback, no frills, which is how all my books are printed, is $5. Draft2Digital doesn’t tell you the flat price anywhere but they do offer the breakdown information; it costs $1.22 flat plus $0.0133 per page. So, for a 140 page book, the at-cost is $3.08. So far so good.

Now, if you’re going to sell through Lulu, the “at cost” is the minimum price. You won’t make any money but you CAN charge just $5 for a $5 book. Any pricing above that is your cut. So -- let’s price this 140 page trade paperback at $13-$15. That’s a bit high to be honest but let’s just see. At Lulu, your take is roughly $6-$8 based on those prices, because you’re just dropping out the cost of printing from the retail price.

At Draft2Digital, the same 140-page trade paperback, which remember is quoted as costing roughly $1.20 less to print than Lulu charges, gets you $2.75-$3.50 in royalties per book.

....wait, what?

So now we need to sidetrack a little but I promise it’s for a reason. One of the motivations for looking into a change to Draft2Digital is that I didn’t like that Lulu was setting higher “minimum prices” than I was accustomed to -- they would tell me the book only cost $5 to print but require me to sell it for $12 or similar, and I couldn’t work out why. I’m an idiot but the penny did finally drop: it’s because when you distribute them outside of Lulu (say, on Amazon or Barnes & Noble or similar) your royalties drop like a stone. $7 in royalties purchased through Lulu comes out to like twenty-five cents purchased through Amazon. So Lulu forces you to price the book at a point where you even GET royalties and don’t end up weirdly owing Amazon money. The “global distribution” is what’s driving that minimum up.

So in price-quoting a competitor I actually solved the problem with Lulu.

Which is good, because the fun doesn’t stop there. If you want a proof copy of a book from Lulu, it’s the at-cost of the book, plus tax, plus postage. Buying a proof copy of this book from Lulu would cost me $11. Lulu makes you order a new proof copy every time you make a change, which is shady, but usually I only need to make 1-2 changes across the life of a book, so at most the cost will probably be $35 and for that I’ll get three copies of the book. Draft2Digital doesn’t give you an option. If you want a proof pre-publication, it’s $30 flat. If you want to publish and then buy a copy you can, but you can only make one change to the book every 90 days once it’s published. If you want to make more than one change, it’s $25 every time you upload a new version of the manuscript within that 90 day period.

So Draft2Digital’s books cost less to print but they take a massive cut of your royalties out of the retail cost of the book. If the book costs $3 to print, and I price it at $15, that’s $12 in profit on the book. Of that $12, however, I only receive $4. Draft2Digital literally wants 2/3 of my royalties per book. They want $20 more than Lulu to send me a proof copy. If I need to correct the proof, the correction is free, but I’m assuming the second proof will also cost me $30. Any changes after that, within 90 days, will cost $25 plus $30 for a new proof.

Which means my upfront costs at Lulu are about $35 per published book; to do the same thing at Draft2Digital is between $60 and $105 depending on whether I need to make changes after the second proof copy. And even after that, my royalties at Lulu are just about twice what they would be at Draft2Digital per purchase.

So, well, Lulu it is. And the problem I was having with Lulu is solved if I decide to just retail through Lulu rather than selling globally. Which...selling globally has done two things that I’m aware of:

1. Fucked up my author page so badly on Amazon that one of my books is still attributed to Kathleen Starbuck, and one of her books is for sale on my author page.

2. Raised the minimum price I’m allowed to set my books at by like, 40%.

So I think probably what’s going to happen is going forward my books will be for sale only on Lulu. I can still assign them ISBNs and they still will ship worldwide, and the prices will fall significantly. My deepest apologies to those of you who have paid an artificially inflated price for the last few books; I’m going to fix that going forward, I’m going to go in and try to fix it retroactively in the books that are already on Lulu, and if it’s any consolation at least the cash came to me, and TWO THIRDS OF IT didn’t go to Lulu.

It’s gonna take me a little time, untangling Lulu’s relationship to other retailers is tricky, but eventually the Shivadh Omnibus and Twelve Points should come down significantly in price, and there ought to be a dollar or two drop for the older books as well.

This is why it always pays to do the math, even if like me you are dreadful at it.

#selfpub #self publishing #publishing #draft2digital #lulu #archive

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b-a-pigeon · 1 year

Text

As you might expect from a couple of queer indie authors, Fell & I are going hard on the sales and promotions for Pride Month! I'll try to summarize as succinctly as possible, and remember that you can always click the links for a full synopsis ;)

Are you in the mood for...

✨ An emotional, reflective gay fantasy romance following a werewolf cowboy whose family takes in an amnesiac vampire? Fell's debut novel, Both Sides of the Moon, is on sale! You can buy a paperback for $11.99 & the ebook is on Countdown Sale June 3-7, starting at $0.99!

✨ A short and sweet sapphic contemporary fantasy read? My novella Worm in a Jar is pay what you want on Gumroad all month, so you can download it free if you'd like!

✨ A not-romantic fantasy novel with queer trans protagonists, about a demon and a demon hunter who must team up to prevent an imprending wave of violence? Our upcoming collab, Hierarchy of the Unseen, comes out June 21! It's up for preorder now, and available as an ARC on Netgalley :)

✨ The above, and also deals and/or supporting queer trans authors? This month, we're running a special offer on Patreon: all new & current patrons starting at the $4 tier will receive a free paperback of HotU (in addition to the ebook downloads, early access to our work, behind-the-scenes exclusives, and more already offered to patrons)!

✨ Finding more queer indies to support? Check out Pride SFF Reads & Read LGBTQ Authors on Bookfunnel!

I'll post about these individually in the coming weeks, but just wanted to throw it all out there at once 🖤 Reblogs appreciated! Thank you all for your support!

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olderthannetfic · 6 months

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Since you've mentioned that you use Scrivener as a word processing software, I have a bit of a weird-ish question. I have looked at the programme and it seems incredibly useful, and then I looked at the pricetag and- gulp.

I currently use Word which costs 5 euros per year thanks to university, but am thinking about switching to another programme that isn't related to my uni as I feel too paranoid about my smutty fanfic ideas being looked at by my uni and them disapproving of my writing. XD (Word keeps marking "fuck" with a squiggly line and suggesting I choose another word to avoid offending my readers, but if canon doesn't give Barclay some holographic MMF action taking place during "A Fistful of Datas" and turning both his holographic partners into holographic Data and therefore inducing maximum tension and insecurity due to feelings in poor sandwiched Barclay whenever he meets actual Data after that, I will have to write it myself! :P )

According to the website where one can buy a Scrivener license, one pays for the current version of it and will have to buy later versions anew if I haven't misunderstood. You seem to have used it for quite a while, and I haven't managed to find out when the different versions came out. I know the current one is 3, but I am unsure how much time passed between 1 and 2 and 2 and 3, and am unsure whether it's a good idea to buy a license now or whether it would be wiser to wait if it's likely that another version might be released in the near future (that is within one year for example) because then I might wait a little while with my purchase, heh. It probably sounds quite stingy but I am solely getting it for my tiny and too seldom indulged hobby of writing fanfic, and currently have to kinda sorta pay more attention to my wallet and where its contents go, so to say, which is why I'm hesitant.

The question basically is: As a (probable?) long-time user, do you think it's likely a new version of Scrivener will be released within the next year or so or do you think it's likely the current version will be tha latest to purchase for a longer while than 1-2 years?

I hope this rambly mess makes sense, haven't really slept for quite some time, so I am sorry if this is terribly incomprehensible. Sorry for the weird stingy question. Have a nice day and I hope you have slept and will sleep better than I currently do, heh!

I've only used it for like three years.

A quick google suggests that Scrivener 2 was released in 2010. 3 was released in 2017 basically to keep up with OS changes.

(IDK what you searched, but this isn't hard to find, dude.)

Scrivener is a fairly... old-fashioned style of software, I guess I'd call it. Some dude wrote himself a program to write his own novel and then people liked it. Some other guy decided to port it to Windows.

They update approximately never. When they do, recent buyers of the old one upgrade for free and everybody else gets like half off. The trial period is 30 days of actual use. The current retail license for 3 is only like sixty bucks. It's a commercial product, but... not like you've been trained to expect by your average modern software that wants to nickle and dime you at every turn.

Do you need Scrivener? Well, no. Not unless you want customizable high-level ebook output formatting and fancy features like that. You could just use some other free option if you just want to type stories in something that isn't Word. But Scrivener is priced extremely low for what it is.

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rallamajoop · 4 months

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Mia Winters and the Connections

There are a lot of bad takes on Mia Winters out there, a lot of really irritating shallow misconceptions. But for now, I’m just going to tackle one of the big ones that annoys me the most.

Mia Winters is not a scientist, and it's debatable whether she had any long-term association with the project that created Eveline. She may not have even met Eveline before being assigned to transport her to South America.

Mia’s not any kind of researcher. Her job when she worked at the Connections is laid out clearly in the first document you find within moments of starting the flashback ("Orders"): she’s a member of the Special Operations Division in the English version, or a 'special agent' in the Japanese (特殊工作員, tokushu kousaku-in). The English version also gives Mia the role of 'caretaker', implicitly of Eveline, but there's not much to suggest this is a role extending beyond the bounds of this particular mission (for comparison, the Japanese doesn't mention caretaking at all).

Mia's job is exactly what we see her doing in the game: transporting important assets under cover identities, and running around doing damage control with a machine gun if things go south. She echoes the same in her letter to the Bakers, stating she 'was assigned to transport some important cargo.' Even the 'imprinting protocol' she refers to seems to be mostly part of a transport protocol (going by the very little we ever learn about it), and may not even have been implemented until shortly before they left.

Even in the one photo of her standing with the research team, you might note that Mia and her partner Alan are the only people present not wearing lab coats (and believe me, with how much other photoshopping there is in this photo, Mia would have been wearing a lab coat if they'd wanted her in one). The photo itself is far more of an easter egg than a real plot point anyway, and probably isn't worth reading too much into ‒ I mean, Alan is apparently the director of the Special Operations division, so it makes no sense to assume he's part of this one science team. But if you really want a 'canonical' explanation for this photo, considering Mia and Alan are wearing the same clothes as in the ship flashback, you could reasonably assume it was taken right before Eveline was shipped off to America ‒ a kind of "Let's get one last snapshot of the team together with the transport crew before Eveline goes to South America" deal. It's completely plausible Mia may not even have met Eveline until the same day this was taken.

So where does this 'scientist' nonsense come from? The only source which does call Mia a 'researcher' is a timeline entry in this one RE7 strategy guide which has never been published in English – and it's a good example of why sources like this are usually better treated as pseudo-canon at best. You can find various translations of it online – but you can also buy the whole ebook (which I did), so here's the page where it originally comes up.

And yes, inasmuch as I’m qualified to translate, the line does state that Mia joined the company as a ‘researcher’ (研究員, kenkyuu-in) in 2010. But the same guidebook also refers to her as an operative (工作員) just a couple of pages later, so even the guidebook is hardly consistent.

Charitably, perhaps we could read that Mia was initially hired as some kind of generic, low-level research assistant before being transferred to the special operations division after showing aptitude in that area. But it's more likely that Mia was simply going to be a researcher at some point in the game’s development history, before Capcom changed their minds, and the timeline that made it into the guidebook is just very out of date ‒ it happens. Either way, one line in an inconsistent guide book hardly trumps what actually made it into the games.

I do realise that asking people to pay attention to what's actually in the games over what's repeated in some wiki somewhere (or a gazillion different fanfic) is a big ask for any fandom, but Mia was clearly never a scientist in the game we all played. She still knowingly worked for some really evil people – she doesn’t get to claim innocence here – but the idea she's personally responsible for every bad thing ever done to Eveline is absurd.

FWIW, other details from the guidebook also back up the idea that transporting assets was a major part of Mia’s job. Her bio (above) mentions that she was away from home a lot, something that strained the Winters’ marriage, and that she told people she worked for a ‘trading company’ – a solid cover for a job focused on travel and logistics.

A very little is said about Mia’s relationship with Eveline. The guidebook does mention that the reason Eveline’s so attached to Mia is because Eveline had known her since she was ‘confined to the “mysterious organisation” that created her’, which could be taken to imply she knew Mia well before their trip began, but it's not much to go on. Mia's own feelings on Eveline are described briefly in a caption: “Although Mia found Eveline creepy, she also felt compassion for her lonely situation,” which tracks with how Mia interacts with her in-game. It doesn't track so well with the idea Mia had any real authority over how Eveline was raised or treated, however, and would be perfectly consistent with the idea Mia might not have known her long at all.

The guidebook timeline also tells us that the E-series project begain in 2000, and that Eveline herself was created in "the early 2000s." This doesn't make a whole lot of sense for reasons I've talked about already, but does put Eveline's creation well before 2010, the year the same timeline gives us for when Mia started working at the Connections. Since the guidebook also tells us Mia was 32 in 2017, back in 2000, she would have been all of 15 years old. Whatever Mia's involvement, the project long predates her joining the company.

But the real issue with trying to given Mia any major responsibility for the E-series project is that the lab that created Eveline was located in Europe. Mia, meanwhile, has a driver's license telling us she's from Texas.

The European location for the lab is another detail that gets barely mentioned in the games, though it's mentioned repeatedly in the guidebook, and the Baker Incident Report even puts it specifically in Munich, Germany. Given all we learn in RE8, that location does make a lot of sense, when the mould was found in Eastern Europe, and that Miranda herself was part of the research team (she gets multiple photos and a lab coat, you may note). And even if the lab wasn’t right on Miranda’s doorstep, Munich is a heckuva commute from Texas, or anywhere else in the US. Even if Mia was often away from Ethan for long periods, as her bio implies, how involved could she realistically have been?

I don't want to overstress the idea that it "doesn't make sense" for a special agent from Texas to have been intimately involved in a European research project ‒ making sense has never held back RE lore before. But the idea that Mia was brought in only as a handler for Eveline when she was being moved to America still makes a lot more sense than to suggest the Connections were fine with their star asset’s primary handler going home to the US every other weekend.

There are possibilities between the two extremes, of course: Mia may have had sporadic contact with Eveline before the trip, either regularly or just once or twice. It's easy to assume the 'imprinting protocol' must mean that Mia's been Eveline's primary handler for some time, but heck, maybe it's better read as the opposite ‒ something that can be quickly applied to a new handler or caretaker in a hurry, to explain how Eveline got so attached to someone she'd only just met.

Given everything we actually see of her, you could even speculate that Mia was chosen as Eveline's 'caretaker' specifically because she was someone nice and motherly enough for Eveline to bond with. Eveline was pretty clearly fucked up long before Mia ever got involved, and not actually wanting to adopt a walking bioweapon whose idea of a happy family involves mould-powered mind control really does not reflect badly on Mia's character.

Whether Mia was already working for the Connections before she met Ethan also isn't clear. The guidebook tells us she began working for them in 2010, and married Ethan in May of 2011 (later confirmed by the date on Mia's ring in RE8) – though it doesn't specify when she and Ethan met. Even by Texas standards, marrying someone you’d known less than a year would be pretty unusual, so it’s likely Ethan knew her before she took the job. But even that 2010 statement comes along with the bit about Mia being hired as ‘a researcher’, so you can always take it with a grain of salt if you'd prefer.

And that's pretty much it for what the complete RE canon ever tells us about Mia and her former employers.

So here’s where I’m left with Mia’s role at the Connections. Even if she wasn’t aware of exactly what she was signing up for when she joined the company, and even if she considered all that lying to her husband about it to be a simple matter of confidentiality around sensitive research, she’s fully aware by the disaster in 2014, and plainly has a guilty conscience when she admits to lying to Ethan in her video message. However responsible she may or may not have been, she's still complicit. Her hands are hardly clean.

But they’re still a whole lot cleaner than, say, Luis’, considering that he was a key member of the science teams at both Umbrella Europe and in Saddler’s cult, and I don’t see him getting a fraction of the same hate as Mia. They both regret what they’ve done, and they’re both willing to give their own lives to make up for it. No, Luis never lied to a spouse about it (that we know of), but he's every bit as shifty and secretive. And frankly, most of the other shit that gets dumped on Mia’s doorstep is just as much bullshit (like, people do realise the “Mia” we see having “marital problems” with Ethan at the start of RE8 isn’t Mia, right?) But that’s material for other posts.

We don’t know how Mia got involved with the Connections, or how she felt about working for them, because the games never give us this information, and that’s a real shame. But in the capitalist hellscape we’re all living in, she’d hardly be the first to find herself stuck working for truly terrible people, one way or another.

Meanwhile, everything we see her doing during the outbreak on the tanker speaks to a basically good person, desperately trying to run damage control in a fucked-up situation. She tells Alan she’s not going to let him die, even though what’s going down is his fault. She tries so hard to talk Eveline down. After she’s rescued by the Bakers in the Daughter's DLC, she insists on staying in the trailer, meaning to leave at her first opportunity – pretty significant, considering she knows she’s infected already. She also leaves them a message warning them to stay away from Eveline, even sharing information on how to make a serum if they are infected. If you pick her over Zoe on the dock, the first thing she does is try to convince Zoe to come with them anyway. Even under Eveline's mind control, you'll catch her ranting about needing to contain the outbreak, blaming herself, and telling Ethan she loves him with her last breath.

And after being infected herself, the first thing on her mind is to try and protect Ethan, recording that message admitting she’s lied to him, and warning him to stay away (Ethan never gets that message, but you can’t say Mia didn’t try). Mia loves Ethan enough to die to save him – and she will, if you choose the Zoe path, and she’ll do it without a second thought.

Mia is fascinating to me as a character because she’s so full of contradictions: a woman who leaves syrupy video messages sending ‘tons of kisses’ to her husband, but who is completely comfortable running around with a machine gun killing mould-monsters, and who shrugs off an Eveline jump-scare with 'fucking hallucinations!' Someone who’s done bad things and knows it, and is trying so hard to make up for it, but whose background and motivations are left frustratingly undeveloped. But if you haven’t caught that Ethan and Rose mean more to her than anything, you really haven’t been paying attention.

Whatever you assume about Mia’s full story, she’s complicated in a way that makes her so much more interesting to me than most of the franchise’s more popular playable characters. I am very serious in saying I want RE9 to be just the full Mia-Winters-story, because to me that’s the only remotely satisfying justification for keeping her such a mystery for so long. I know that's not at all likely, but fuck it, I can dream.

Mia’s made her share of mistakes, but holding her responsible for everything the Connections has ever done is no kind of fair.

#Mia Winters #Resident Evil Village #Resident Evil 7 #Mia Winters week #The Connections #RE lore #Mia is THE BEST character I WILL FIGHT YOU ALL

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thebibliosphere · 9 months

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I love how transparent you are about what its like to be a self published author in this day and age, and i was just wondering if there was a difference on your side between amazon ebook/paperback and audible - and also if Scribd is any better, because i use it as an alternative to amazon whenever possible (and whenever the library doesnt own a copy of whatever im looking for) is it functionally all the same? What is best for you?

Thank you!

I actually did a huge long post a while back when I got the audiobooks produced and uploaded to various platforms. I included Scribd in the breakdown after people falsely claim that Scrib is better for authors than Amazon/Libraries.

A lot of people were not happy when I burst that particular bubble by showing that Scribd paid me 97 cents out of the 19.99 price tag. Which is less than what Audible paid me.

Now, obviously, Scribd is different because it's a subscription service, and you’re paying for access to multiple things with that subscription. But saying it is better than libraries is just false because I also showed the numbers for that, and my income from libraries was several times higher than both Scribd and Amazon combined (for audio), which is why authors are always begging people to request their work in libraries.

Libraries pay us better and are usually free. Not always. I know it depends heavily on the country, but for most of my English-speaking audience, that is the case.

Now, this is not to say people shouldn’t use services like Scribd. If Scribd is what you can afford and it gives you access to things your library can’t fantastic. Please continue to access our work through that legal option. I would much rather earn 97 cents than zero.

But uh, yeah, Amazon pays me more than Scrib for digital stuff and I really don’t like when people who aren’t on the author side spread misinformation and frame it as some more “gotcha.”

The sad truth is Most retailers pay us the same or within the same royalty range. The difference I earn between Kobo vs Kindle is literal pennies with Amazon coming out on top. I make my work available on multiple platforms to give people options, but unless you’re buying directly from my personal storefront, it's all roughly the same.

I do actually earn more from Amazon paperbacks than I do any other retailers (for self-pub, paperbacks are a flat rate regardless of how much a retailer is charging), but the difference is about ten cents, so I always tell people to buy from wherever is best for them.

I like bookshop.org because they give some of the profit on their end to indie bookstores. Same with libro.fm for audio.

Audiobooks are just a whole fucking nightmare. Audible sets your price point for you and takes 80% of your royalties. And because Audible does that, I have to then use that price tag on all other platforms or risk being fucked by the algorithm gods. Other audio retailers take about 60-70% in royalties, most of them veering toward 70%.

As we say in radical acceptance therapy, it is what it is—fucking end-stage monopoly driven capitalism.

Now, speaking personally, when it comes to digital media, I earn the most royalties from my Payhip store where I keep 90% of my income.

That's the best place for me.

It's also why it's worth looking up an author you like to see if they have their own storefront. It doesn't help our sales rankings or put us on any bestseller lists, but frankly after launch week, who cares. I’ll take being able to feed me and my dog.

I hope that helps!

#indie author shit

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