#SudoWrite For Authors

[jolenes-book-journey]

AI Assistant or Authorial Apocalypse? The Future of Fiction is a Human-Machine Dance

Forget robots churning out bestsellers – the truth about AI in fiction writing is far more nuanced. While AI can’t replace the human touch that breathes life into characters, it’s emerging as a powerful tool for brainstorming, research, and even co-writing alongside human authors. Science fiction has long depicted a future where robots write our novels and compose our symphonies. But is AI truly…

[grimwood-notice-board]

AI AS A WRITER'S TOOL

Check out the site here

The following is my take on AI writing, and the content of this video on Sudowrite.

Sudowrite class

By Eldon Macwood, grimdark/cyberpunk author.

For those who don't understand AI writing, using a platform like Sudowrite isn't all point and click. There's still a lot of work, just different work. For some, this will really help them, as the AI becomes a jr writer, not THE writer. Note the difference.

I still prefer to write my own stories, but I do dig cool tools that can help me out. I have used name generators to help me out. I have picked brains to help me out (not literally, unless AI can help with that, kidding, maybe).

I have played around with different styles to see how a story might work. I have gotten ideas from movies/series, from shit that happens to ppl, etc. I also use story prompt cards that doubles as a game to flesh out story ideas, which right now you can check out the Lore Master's Deck backerkit! Not AI, but the company is called, The Story Engine, it's fucking fantastic!

Point is, I still use the world around me to help write stories. AI is just another tool. There will be idiots who abuse it, fuck those idiots. And fuck anyone who overloads story submissions with AI stories when the rules clearly state not to.

I support Human authors, and funny thing, many who use Sudowrite are actual writers. Hence why this tool helps them so much, because they know enough actual skills to get the most out of the tool. I know it's the trend to hate AI, and hate anyone who uses it, but as a person who hates trends, and hates people looking for fights, I do hope to shed thought on this topic that challenges that tend. I am a natural author. I have been writing off and on for over ten years, had some published. I have shared pages with some great names.

I will continue to write my stories. I will also use the tools available to help me best tell the story. I won't use it to this extreme, as seen in the video above, but I do dig how Elizabeth West really puts a lot of work and thought into her writing.

And like with any book, it all depends on the writer. If it sucks, review it, rate it, and explain the problems. Like with every book. Let potential readers know if the book wasn't well written/edited. This is the thing with self-published books, and everyone of us don't gatekeep self-published authors (I'm assuming reasonable Humans are reading this, ergo, they're not gatekeeping tash heaps). But we still know there are a lot of idiots out there who abuse the ability to self-publish. Be we writers aren't those idiots, are we? We're better than that. No different than with a pro writer who uses AI as a tool.

I will again stress this, it's very different to let the AI do all of the work, which yes, there are writers out there who will do that. Sure, they can if they wish, and I hope if they do, they will make sure the story is still edited well, and give a warning that it is.

I'm not against that if they are upfront. My issue would be, if I see a really interesting book. I decide to buy it. I read it, and I hate it bc it looks like something a toddler would write. THEN, I find out it was all AI written. I'd feel like they didn't even try. I'd feel like they just plugged in some words, let a machine crank out 80k words, and called it book, and then released it. A story is a Hell of a lot more than that.

Sure, in a year, three years, ten years, at some point we will see an AI app that can write any story, make it perfect, and people will indeed use it. They will be able to crank stories just as good as our favorite authors, and release those books as soon as a day apart. Imagine AI stories just as good as a GRRM novel, only without the 10+ year wait in between books. Ten days later, BOOM, sequel!

That is scary. Especially since I adore writing. And those of us who adore it, we will choke on the dust of AI because we won't be able to keep up with the AI writers. BUT, while this is a coming thing to expect, there will be readers who will want to read our books. And this doesn't mean we can't use AI as a tool.

Because if we use it as a tool, and not to do all the writing for us, while we might be a little slower than the complete AI generated stories, we won't be near as slow as those who don't use the tools.

It's up to us all. It's fine to hate the abusers. I fucking hate every kind of abuser. Well, I abuse caffeine, and I don't hate myself, so I do have a few loopholes, but still. Just don't go hating on everyone who uses AI. Because for one, using AI as a tool, doesn't make the author less of a writer. Just like they're not thieves. The topic of AI in the creative world is a lot more complex than what the AI haters think. Hence why I stand by the artists and writers who use AI as a tool. Their voice counts just as much as the haters, and they're way more likable.

If you're still a hater, and you look down on me, I will assume you're no different than a self-publish hater. You might as well be. I will also assume you don't bother to look outside of your opinion, which is sad. For those of you more open minded, and at the very least, curious how this all works, here's the site! I like the Story Engine (not the prompt cards I mentioned earlier) plugin they use. It's a sweet tool, and there are various ways you can use it.

Love me, hate me, whatever, just remember, I never, ever, support abusing AI. I don't support tools replacing Humans, I support tools being used to help Humans. Note the difference.

I wish you farewell, and may your wordsauce be plentiful! Except for the haters. I wish a GRRM level of writer's block on them, because I'm a cruel fucker. lol.

[bloseroseone]

Suowrite Review: Pros, Cons, Pricing and More

Sudowrite Sudowrite has emerged as a standout alternative for writers seeking to increase creativity and productivity in an ever-changing ecosystem of writing tools. Whether you’re creating novels, short tales, or even brainstorming blog ideas, this AI-powered application promises to change your writing experience. But is it worth the hype? Let’s get into the details.

What is Sudowrite?

Sudowrite was created by a group of writers and technologists who wanted to bridge the divide between technology and creative writing. The application uses powerful AI to help authors create intriguing narratives.

Key Features of Sudowrite

Story Suggestions: Generate plot twists and story arcs in seconds.

Descriptive Tools: Find the perfect word or phrase with AI-powered suggestions.

Brainstorming Capabilities: Overcome writer’s block by exploring new ideas with ease.

How Does Sudowrite Work?

User-Friendly Interface

Sudowrite has a simple, intuitive interface that allows authors to focus on creation rather than mastering complex tools. The interface is simple, making it easy for both beginners and expert users to access its capabilities. Sudowrite’s clearly defined tools for brainstorming, editing, and rewriting create a smooth workflow. The platform’s user-friendly design reduces distractions, allowing authors to focus on their work and achieve maximum productivity. This simplicity is a major reason why many people select Sudowrite for their writing requirements....Continue reading

[oneaichat]

How Authors Can Use AI to Improve Their Writing Style

Artificial Intelligence (AI) is transforming the way authors approach writing, offering tools to refine style, enhance creativity, and boost productivity. By leveraging AI writing assistant authors can improve their craft in various ways.

1. Grammar and Style Enhancement

AI writing tools like Grammarly, ProWritingAid, and Hemingway Editor help authors refine their prose by correcting grammar, punctuation, and style inconsistencies. These tools offer real-time suggestions to enhance readability, eliminate redundancy, and maintain a consistent tone.

2. Idea Generation and Inspiration

AI can assist in brainstorming and overcoming writer’s block. Platforms like OneAIChat, ChatGPT and Sudowrite provide writing prompts, generate story ideas, and even suggest plot twists. These AI systems analyze existing content and propose creative directions, helping authors develop compelling narratives.

3. Improving Readability and Engagement

AI-driven readability analyzers assess sentence complexity and suggest simpler alternatives. Hemingway Editor, for example, highlights lengthy or passive sentences, making writing more engaging and accessible. This ensures clarity and impact, especially for broader audiences.

4. Personalizing Writing Style

AI-powered tools can analyze an author's writing patterns and provide personalized feedback. They help maintain a consistent voice, ensuring that the writer’s unique style remains intact while refining structure and coherence.

5. Research and Fact-Checking

AI-powered search engines and summarization tools help authors verify facts, gather relevant data, and condense complex information quickly. This is particularly useful for non-fiction writers and journalists who require accuracy and efficiency.

Conclusion

By integrating AI into their writing process, authors can enhance their style, improve efficiency, and foster creativity. While AI should not replace human intuition, it serves as a valuable assistant, enabling writers to produce polished and impactful content effortlessly.

[amaryllis-sagitta]

A few months ago I would cast my old works down as something to never repeat again. Then came the AI fic and AI "novel" production phenomenon, and people even started becoming anxious of being falsely accused.

This sincerely made me rethink the attitude of self-cringe because... honestly, if there's a remedy to the latter at least, I think it would be more encouragement for authors to occasionally do something so whack and crack they wouldn't necessarily believe themselves. Some avant-garde shit. Like IDK, make up a neologism that fits in the context. After all, 'neologism' is the logical opposite of a machine learning model generated response.

A bit of whimsy, in my humble understanding, is something a randomized statistics machine would not generate as an output of a training on thousands of works typical of a style or form. It's still subjective. Down to poetics. But isn't it also one way to find one's own unique voice?

A few years back I tried out what a few narrative genAIs like SudoWrite could do -- out of sheer curiosity but also to know the enemy -- and it was always superficial and bland and painfully cliche, and the stories had no continuity on the paragraph to paragraph basis. I don't know if it got more cohesive but honestly, using these generated stories, as they were at the time, even as a scaffolding for a person to expand with their own writing and edits... sounds like a process more annoying than it would ever be starting from scratch and rewriting some ideas. Because an idea that needs to be cut can still be reused. What genAI makes is just often doesn't stand the test of common logic.

[ottopilot-wrote-this]

Review: Sudowrite Story Bible

Before you get out the torches and pitchforks, I only went to check out Sudowrite, the AI writing platform, because of my credit card statement. My wife - who doesn't even write! - bought it to try it out for fanfics (disclaimer: she is dyslexic).

I haven't tried it before even though my stance on AI is pretty neutral (I don't hate it or love it, I think it's good for some applications but makes a lot of mistakes) because it's fairly expensive. The cheapest plan is $19.99/mo, and it bills in credits, which is actually a good thing, but it makes budgeting cost confusing.

The Tl;dr is it's actually pretty impressive, even before I looked at the community plugins. It depends if you can afford it, and how you plan to use it.

I've tried the writing feature and I still think AI isn't ready for prime time here, even with a premium model like ChatGPT 4o. As I've said before, people get big mad here that AI is going to be used to write novels as if a) they wouldn't be bad and repetitive without human intervention and b) like they wouldn't cost a fortune to make.

I maintain AI is good for shortcuts. People are fond of saying they want AI to do chores for them, not make art. But writers, are there not parts of writing that are chores? Instead of me reading about trees that grow in Massachusetts and how an antrhopologist would be an expert on demigods, why not just ask AI to give me some nuggets so I can move on with my life and you get some nice, enriching details?

So with that, I want to talk about (for me) the coolest feature of Sudowrite, which is the story bible set of tools.

There are a few components to the story bible: braindump, genre, style, synopsis, characters, worldbuilding, and outline. You work on them in that order, and after doing the first couple, some of the others can be generated.

I started with Braindump: you just put whatever the story is about, up to 2000 words. I whipped up this premise:

"In the vein of Stephen King's "The Dark Half" and the erotic stylings of Tabico, this is the story of Ted Stryker, a mild-mannered freelance journalist living in the Pacific Northwest with his wife Elaine and his college student son, Joshua. Ted is working on his magnum opus, a children's book about unicorns and soft-serve ice cream, when he hits writer's block. Ted's world starts to unravel as his past comes to haunt him in the form of Otto, the pen name alter ego he used when writing dark mind control and corruption stories on Tumblr years before."

Each section tells you which other sections they affect. For example, Braindump affects Synopsis and Beats. For genre, you can put up to 40 words, I put: "Psychological horror, suspense, erotica, hypnosis, mind control, corruption, dark humor, supernatural"

Style is interesting, you can prompt a style, but it also lets you upload a 2000 word sample of your own writing to match style. Here's what it said about Coven, Part V:

**Analysis of Writing Style** **Tone and Mood:** The tone is dark, intense, and foreboding, creating a sense of urgency and danger. The mood oscillates between tension and arousal, with an underlying feeling of betrayal and impending doom. The emotional atmosphere is charged with anger, lust, and a sense of loss of control. **POV:** The piece is written in the third-person limited point of view, primarily focusing on Lilith's internal thoughts and feelings. The narrative shifts to a more omniscient perspective at times, particularly when describing the actions and emotions of other characters, such as Helen and the coven. **Vocabulary and Word Choice:** The vocabulary is rich and evocative, with a mix of formal and informal language. The author employs strong, visceral imagery and figurative language, particularly in descriptions of power dynamics and physical sensations. Words like "sanguine," "impaled," and "exquisite" contribute to the dark and erotic tone. **Sentence Structure:** The sentence structure varies, with a mix of complex and compound sentences that build tension. Short, punchy sentences are used for emphasis during moments of high emotion, while longer, descriptive sentences create a more immersive experience. The use of fragments adds to the urgency and emotional weight of certain passages. **Pacing and Rhythm:** The pacing is dynamic, alternating between fast-paced dialogue and slower, more introspective moments. The rhythm builds during climactic scenes, with shorter sentences creating a sense of urgency, while longer passages allow for deeper exploration of characters' emotions and motivations. **Dialogue:** The dialogue is sharp and impactful, reflecting the characters' personalities and emotional states. Lilith's speech is filled with disdain and anger, while Helen's dialogue is manipulative and seductive. The use of direct address and confrontational language enhances the tension between characters. **Descriptive Style:** The author employs vivid sensory imagery to create a strong sense of place and emotion. Descriptions are detailed and often graphic, particularly in the portrayal of physical sensations and the supernatural elements. The use of metaphor and simile enhances the emotional depth of the narrative. **Themes and Motifs:** Recurring themes include power, betrayal, and the struggle between control and submission. The motif of darkness and the supernatural is prevalent, with references to demonic forces and the coven's rituals. The exploration of desire and the consequences of giving in to one's darker impulses is central to the narrative. **Cultural and Historical Context:** The piece appears to draw on contemporary themes of empowerment and the exploration of sexuality, set against a backdrop of witchcraft and the occult. The characters' struggles with identity and power dynamics reflect broader societal issues, particularly regarding gender and autonomy. **Tense:** The narrative is primarily written in the past tense, which allows for a reflective quality while maintaining immediacy in the unfolding events. The use of past tense also contributes to the sense of inevitability in the characters' fates.

You're allowed to edit this before the next step, which condenses it into 40 words. "The style is dark and immersive, using rich vocabulary and vivid imagery. It employs a third-person limited POV in present tense, with dynamic pacing and sharp dialogue, exploring themes of power, betrayal, and female empowerment within dark fantasy."

You have the choice to generate items for the remaining sections: Synopsis, Characters, Worldbuilding, and Outline. I generated the Synopsis and you get an expanded version of the braindump. At each step, you can edit the output to feed the next section:

Ted Stryker was a mild-mannered freelance journalist living a quiet life in the lush forests of the Pacific Northwest with his wife Elaine and teenage son Joshua. To the outside world, he was the picture of domestic bliss and creative inspiration, working tirelessly on his soon-to-be masterpiece - a whimsical children's book celebrating the joys of unicorns and soft-serve ice cream. But beneath the surface, darkness stirred. Ted was haunted by his past indiscretions, a dark secret that threatened to unravel the carefully constructed facade of his idyllic life. Years ago, under the anonymous pen name "Otto," Ted had indulged in writing lurid tales of mind control, corruption, and psychological horror on the underbelly of the internet. What had started as a harmless creative outlet soon became an obsession, a twisted desire to push the boundaries of decency and revel in the depravity of human nature. As Ted struggled with writer's block on his children's book, the shadow of Otto began to loom larger. Strange occurrences plagued the Stryker household—misplaced objects, unexplained noises, and a pervasive sense of dread that seemed to emanate from the recesses of Ted's mind. It was as if Otto, the sinister alter ego, was clawing his way back into existence, determined to corrupt the idyllic world Ted had constructed. The descent into madness accelerated when Elaine discovered Ted's sordid online writings, the graphic depictions of mind control and psychological manipulation a shocking betrayal of the man she thought she knew. Confronted with the truth, Elaine found herself seduced by the darkness, allowing Otto to crush her will and transform her into a seductive blank bimbo dollie. As Ted spiraled deeper into Otto's dark embrace, he became increasingly unrecognizable, the lines between his identity and Otto's malevolent influence irreversibly blurred. Joshua, now trapped in a waking nightmare as he witnessed his parents' descent into depravity, realized he needed to escape before it was too late. With his best friend Kenzie—who harbored an unrequited crush on him—he plotted their departure from the increasingly twisted town that had become a prison of madness. In a climactic showdown that blurred the boundaries of sanity, Ted was forced to confront the demons of his past and the monstrous entity that Otto had become. As he embraced the darkest recesses of his psyche, he found himself ensnared in a web of his own creation, a prisoner of his most depraved impulses. As Joshua and Kenzie made their desperate bid for freedom, they left behind a shattered family forever altered by the harrowing ordeal. Ted's children's book, once a symbol of innocence and whimsy, now stood as a twisted monument to the fragility of the human mind and the dangerous power of our darkest urges—an eerie reminder of what had been lost in their descent into darkness.

My favorite part of this is referring to Tumblr as the "underbelly of the Internet" like it's the darkest of the dark web. Perfect characterization. If you want you can provide input and hit Rewrite Synopsis and it will refine based on your feedback. Like I decided at this point it was wise to age up the son (I was thinking about The Shining but forgot King also wrote IT, in which kids do, uh, some adult activities) and give him a bestie/love interest.

I generated characters. Honestly, I could use the AI write now because I'm getting tired of typing this review. It will give each character Personality, Background, Physical Description, and Dialogue Style sections, in case you want your character to talk like Sling Blade. Additional traits can be added, and at this point it's likely the AI will make up some characters you didn't tell it to and possibly duplicate one, so give this section a critical eye.

I kind of rushed through Worldbuilding but in some cases it's the most useful section for me, as I find this type of legwork tedious when I write. There are items here for Setting, Organization, Lore, Key Event, Clue, Magic System, Item, Technology, Government, Economy, Culture, Religion, and Custom.

Finally, there is the outline. You can choose from a few generasted templates, depending on the type of story. I have read Story Circle is best for shorter works, since I don't know if there is enough here to write a novel(!). True to form, it gave me 4 acts with 2 chapters each.

Like with Synopsis, there is a textbox here to rewrite the outline. I gave it the following feedback:

Starting in Act 3, have Ted and Elaine attempt to corrupt Kenzie. Rewrite Chapter 8 so that Ted dies in the conflict, sacrificing himself to take Otto with him. The story ends with Josh and Kenzie leaving Bend, but Kenzie is reading Otto's stories on Tumblr, setting a downbeat ominous ending.

It did what I asked, having Ted and Elaine approach Kenzie as early as Chapter Five, and ending with Kenzie reading Otto's smut (at least someone is).

You can then start a document from each chapter, and it will link them back to the outline. You can write or generate story beats, and then generate prose from those beats. If you use the default model (which is GPT 4 Turbo) it's a fortune, I switched it to Mistral 7B Instruct because it can still do spicy and I'm cheap (it's like 3% of 4 Turbo cost).

The result is just okay, but this is the part where you should be actually writing something if you haven't already. From here you can use the common features: ask it to continue on from where you are, rewrite something you already wrote, describe with sensory details, or brainstorm through a plot hole.

As demonstrated above, the cost depends on how much data you send to the AI, and which model you use. That sucks if you just want to know how much it costs. But it is nice because you have access to all the models, and sometimes, you really want a more creative model to reword something for you. In other products that are tiered, that's not always an option - you get unmetered access but only to certain models.

Anyway, if you made it this far, you deserve a cookie. I haven't fully decided if I want to get this - I already did a lot of the legwork on my WIP - but it might help me with worldbuilding and dialogue, and help bump up my output. But there's definitely utility here, even if not value.

[queenlua]

interesting (though faintly dispiriting) article on The Folks Using AI To (Help?) Write Their Novels

also this was a wild way to learn Sudowrite is made by that amit gupta guy, whose post years ago on How To Publish A SFF Story managed to make my skin crawl even though i couldn't really point to anything specifically wrong with it & I respected the transparency at least. something something A Particular Kind Of Nails-On-Chalkboard Portland Tech-ish Person. anyway weird plot thread to see pop up again

[creativitycache]

Does anyone know if Sudowrite is behind those horrible bot comments playing AO3 accusing authors of using Sudowrite to make their fics?

Has that been confirmed? Did the bots drop other names?

Because someone out there is really helping a LOT of users learn about how Sudowrite scraped all AO3 up until 2019 to make its plagiarized database.

Either this is a marketing stunt gone wrong or a very horrible double ploy. Either way Sudowrite should take a swan dive.

[mariacallous]

In the early weeks of 2023, as worry about ChatGPT and other artificial intelligence tools was ratcheting up dramatically in the public conversation, a tweet passed through the many interlocking corners of Book Twitter. “Imagine if every Book is converted into an Animated Book and made 10x more engaging,” it read. “AI will do this. Huge opportunity here to disrupt Kindle and Audible.”

The tweet’s author, Gaurav Munjal, cofounded Unacademy, which bills itself as “India’s largest learning platform”—and within the edtech context, where digitally animated books can be effective teaching tools, his suggestion might read a certain way. But to a broader audience, the sweeping proclamation that AI will make “every” book “10x more engaging” seemed absurd, a solution in search of a problem, and one predicated on the idea that people who choose to read narrative prose (instead of, say, watching a film or playing a game) were somehow bored or not engaged with their unanimated tomes. As those who shared the tweet observed, it seems like a lot of book industry “disruptors” just don’t like reading.

Munjal is one of many tech entrepreneurs to ping the book world’s radar—and raise its collective hackles—in recent months. Many were hawking AI “solutions” they promised would transform the act of writing, the most derided among them Sudowrite’s Story Engine (dubbed in a relatively ambivalent review by The Verge’s Adi Robertson as “the AI novel-writing tool everyone hates”). Story Engine raised frustrations by treating writers as an afterthought and, by its very existence, suggesting that the problems it was trying to bypass weren’t integral to the act of writing itself.

Last month, Justine Moore, a partner at Andreessen Horowitz, provided a sort of bookend to Munjal’s “AI-animated books” proposal. “The three largest fanfic sites—[Archive of Our Own], Fanfiction.net, and Wattpad—get 3 billion-plus annual visits in the US alone,” she wrote. “Imagine how much bigger this market could be if you could chat with characters vs. reading static stories?” The thread was likely a reference to Character.ai, a startup that lets users chat with fictional heroes and villains; Andreessen Horowitz led a $150 million funding round for the company in March. The comment also came after the revelation that large language models (LLMs) may have scraped fanfiction writers’ work—which is largely written and shared for free—causing an (understandable) uproar in many fan communities.

Setting aside the fact that fandom role-playing has been a popular practice for decades, Moore’s statements felt like a distillation of tech’s tortured relationship with narrative prose. There are many kinds of fanfiction—including an entire subgenre in which “you” are a character in the story. But those are still stories, sentences deliberately written and arranged in a way that lets you lose yourself in an authored narrative. “Imagine having such a fundamental misunderstanding of the appeal of reading fanfiction—let alone reading fiction more broadly,” I wrote in response to her thread. What’s so wrong with people enjoying reading plain old words on a page?

The tech world has long been convinced that it understands the desires of readers better than they do themselves. For years, VCs have promised to upend books and the structures around their creation and consumption. Some came from within the publishing industry, but like their counterparts “disrupting” other sectors, including film and TV, many more did not. And for the most part, despite tech’s sometimes drastic (and often negative) effects on other industries, book- and reading-related startups failed to alter much at all. People are still buying books—in fact, they’re buying more than ever. Pandemic lockdowns brought a perhaps unsurprising boom in sales, and even though numbers slipped as restrictions lifted, print sales were still nearly 12 percent higher in 2022 than they were in 2019, and sales of audio books continue to increase dramatically year over year.

One reason books haven’t been particularly disruptable might be that many of the people looking to “fix” things couldn’t actually articulate what was broken—whether through their failure to see the real problems facing the industry (namely, Amazon’s stranglehold), or their insistence that books are not particularly enjoyable as a medium. “It’s that arrogance, to come into a community you know nothing about, that you might have studied as you study for an MBA, and think that you can revolutionize anything,” says writer and longtime book-industry observer Maris Kreizman. “There were so many false problems that tech guys created that we didn’t actually have.”

Take, for example, the long string of pitches for a “Netflix for books”—ideas that retrofitted Netflix’s original DVDs-by-mail model for a different medium under the presumption that readers would pay to borrow books when the public library was right there. Publisher’s Weekly keeps a database of book startups that now numbers more than 1,300; many of them are marked “Closed,” alongside a graveyard of broken URLs. There were plenty of practical ideas—targeting specific demographics or genres or pegged to more technical aspects, like metadata or production workflows. But many more proposed ways to alter books themselves—most of which made zero sense to people who actually enjoy reading.

“I don’t think they’re coming to that with a love of fiction or an understanding of why people read fiction,” Kreizman says. “If they were, they wouldn’t make these suggestions that nobody wants.”

The “10x more engaging” crowd has come in waves over the past two decades, washed ashore via broader tech trends, like social media, tablets, virtual reality, NFTs, and AI. These tech enthusiasts promised a vast, untapped market full of people just waiting for technology to make books more “fun” and delivered pronouncements with a grifting sort of energy that urged you to seize on the newest trend while it was hot—even as everyone could see that previous hyped ventures had not, in fact, utterly transformed the way people read. Interactive books could have sound effects or music that hits at certain story beats. NFTs could let readers “own” a character. AI could allow readers to endlessly generate their own books, or to eschew—to borrow one particular framing—“static stories” entirely and put themselves directly into a fictional world.

AI isn’t remotely a new player in the book world. Electronic literature artists and scholars have worked with various forms of virtual and artificial intelligence for decades, and National Novel Generation Month, a collaborative challenge modeled after NaNoWriMo, has been around since 2013. Even now, as much of the book world loudly rejects AI-powered writing tools, some authors are still experimenting, with a wide range of results. But these bespoke, usually one-off projects are a far cry from the tech industry’s proposals to revolutionize reading at scale—not least because the projects were never intended to replace traditional books.

“A lot of interactive storytelling has gone on for a very long time,” says Jeremy Douglass, an assistant professor of English at the University of California, Santa Barbara, citing everything from his early career work on hypertext fiction to the class he’ll teach next year on the long history of the pop-up book to centuries-old marginalia like the footnote and the concordance. “These fields are almost always very old, they’re almost always talked about as if they’re brand-new, and there haven’t really been a lot of moments of inventing a new modality.”

To VC claims that AI will totally alter books, Douglass takes what he calls a “yes, and” stance. “What people are actually doing is creating a new medium. They’re not actually replacing the novel; they created a new thing that was like the novel but different, and the old forms carried on. I’m still listening to the radio, despite the film and game industries’ efforts.”

Tech entrepreneurs rarely pitch “yes, and” ideas. In their view, new technologies will improve on—and eventually supplant—what exists now. For all of his interest in the many forms of interactive fiction, Douglass doubts that most books would benefit from an AI treatment.

“There are extremely pleasurable aesthetic systems that aren’t intentional,” he says. “But how often when I’m reading The Autobiography of Malcolm X or The Joy of Cooking do I think, ‘If only a chatbot could augment this on the fly’? And it’s partly the fact that some communication is deeply intentional, and that’s part of the pleasure. It’s handcrafted, it’s specific, there’s a vision.”

That isn’t to say that Douglass thinks there’s zero appetite for AI in literature—but it’s “probably a very small slice of the pie. So when you say ‘all books’? Almost certainly not. For the same reason that we’re not reading 100 percent pop-up books, or watching all of our books on YouTube, or anything else you can imagine. People are doing that too, but it’s extra.”

The exact size of that small pie slice remains to be seen, as does the general public’s appetite for instant novels, or chatting with characters, or hitting a button that will animate any book in your digital library. But those desires will likely need to come from readers themselves—not from the top down. “If you just give the tools to everybody, which is happening in spite of venture capital, as well as because of it, people will figure out what they want it for—and it’s usually not what the inventors and the investors think,” Douglass says. “It’s not even in their top-10 list of guesses, most of the time. It’s incredibly specific to the person and genre.”

The recent history of publishing has plenty of examples in which digital tools let people create things we couldn’t have predicted in the analog days: the massive range of extremely niche self-published romance, for example, or the structural variation and formal innovation within the almost entirely online world of fanfiction.

But when the tech industry approaches readers with ways to “fix” what isn’t broken, their proposals will always ring hollow—and right now, plain old reading still works for huge numbers of people, many of whom pick up books because they want to escape and not be the main character for a while. “That’s a good thing,” Kreizman says. And as AI true believers sweep through with promises that this technology will change everything, it helps to remember just how many disruptors have come and gone. “In the meantime, tech bros will still find VCs to wine and dine and spend more money on bullshit,” Kreizman predicts. But for the rest of us? We’ll just keep on reading.

[andypantsx3]

omf miss whats your opinion abt sudowrite btw

It's a mixed bag!!

I work in AI actually, though in a non-technical role. At its core the technology really has the potential to be so good. Like in theory Sudowrite gives people with less formal education or differently-abled populations access to the tools they need to communicate in places where than can be a challenge for some, and do so clearly and eloquently.

But you can never trust like anyone in tech to do the right thing and it's been proven that Sudowrite was trained on stolen data, including fics from sources like ao3 which is expressly against the site's TOS and technically a violation of the fic authors' personal copyright, as far as I understand it. So like, in my opinion this tool absolutely cannot and should not be available to use until the data set is guaranteed to contain only sources which are public domain or for which the copyright holders have granted their permission.

And then there is also the question of what this technology means for writers and for personal expression as a whole. If people are using this tool to assist them in writing fic or books or what have you, whereas another person is drawing solely from the well of their own knowledge and talent, then that also creates a conundrum for me personally.

I haven't really come to a solid conclusion on this last point, but I have to say just thinking about it as a writer myself, I am harboring some slightly uncharitable instincts towards people who would use this to write fic/stories/etc instead of putting in the work themselves.

At some point, and I haven't decided what that line is for me personally, but at some point, the work becomes not your own if you use tools like this. It's not in your voice, it's in the voice of the thousands of other people whose work was used to train this model. And I think that will need to be reckoned with at some point.

[kamreadsandrecs]

By Elizabeth Minkel

In the early weeks of 2023, as worry about ChatGPT and other artificial intelligence tools was ratcheting up dramatically in the public conversation, a tweet passed through the many interlocking corners of Book Twitter. “Imagine if every Book is converted into an Animated Book and made 10x more engaging,” it read. “AI will do this. Huge opportunity here to disrupt Kindle and Audible.”

The tweet’s author, Gaurav Munjal, cofounded Unacademy, which bills itself as “India’s largest learning platform”—and within the edtech context, where digitally animated books can be effective teaching tools, his suggestion might read a certain way. But to a broader audience, the sweeping proclamation that AI will make “every” book “10x more engaging” seemed absurd, a solution in search of a problem, and one predicated on the idea that people who choose to read narrative prose (instead of, say, watching a film or playing a game) were somehow bored or not engaged with their unanimated tomes. As those who shared the tweet observed, it seems like a lot of book industry “disruptors” just don’t like reading.

Munjal is one of many tech entrepreneurs to ping the book world’s radar—and raise its collective hackles—in recent months. Many were hawking AI “solutions” they promised would transform the act of writing, the most derided among them Sudowrite’s Story Engine (dubbed in a relatively ambivalent review by The Verge’s Adi Robertson as “the AI novel-writing tool everyone hates”). Story Engine raised frustrations by treating writers as an afterthought and, by its very existence, suggesting that the problems it was trying to bypass weren’t integral to the act of writing itself.

Last month, Justine Moore, a partner at Andreessen Horowitz, provided a sort of bookend to Munjal’s “AI-animated books” proposal. “The three largest fanfic sites—[Archive of Our Own], Fanfiction.net, and Wattpad—get 3 billion-plus annual visits in the US alone,” she wrote. “Imagine how much bigger this market could be if you could chat with characters vs. reading static stories?” The thread was likely a reference to Character.ai, a startup that lets users chat with fictional heroes and villains; Andreessen Horowitz led a $150 million funding round for the company in March. The comment also came after the revelation that large language models (LLMs) may have scraped fanfiction writers’ work—which is largely written and shared for free—causing an (understandable) uproar in many fan communities.

Setting aside the fact that fandom role-playing has been a popular practice for decades, Moore’s statements felt like a distillation of tech’s tortured relationship with narrative prose. There are many kinds of fanfiction—including an entire subgenre in which “you” are a character in the story. But those are still stories, sentences deliberately written and arranged in a way that lets you lose yourself in an authored narrative. “Imagine having such a fundamental misunderstanding of the appeal of reading fanfiction—let alone reading fiction more broadly,” I wrote in response to her thread. What’s so wrong with people enjoying reading plain old words on a page?

The tech world has long been convinced that it understands the desires of readers better than they do themselves. For years, VCs have promised to upend books and the structures around their creation and consumption. Some came from within the publishing industry, but like their counterparts “disrupting” other sectors, including film and TV, many more did not. And for the most part, despite tech’s sometimes drastic (and often negative) effects on other industries, book- and reading-related startups failed to alter much at all. People are still buying books—in fact, they’re buying more than ever. Pandemic lockdowns brought a perhaps unsurprising boom in sales, and even though numbers slipped as restrictions lifted, print sales were still nearly 12 percent higher in 2022 than they were in 2019, and sales of audio books continue to increase dramatically year over year.

One reason books haven’t been particularly disruptable might be that many of the people looking to “fix” things couldn’t actually articulate what was broken—whether through their failure to see the real problems facing the industry (namely, Amazon’s stranglehold), or their insistence that books are not particularly enjoyable as a medium. “It’s that arrogance, to come into a community you know nothing about, that you might have studied as you study for an MBA, and think that you can revolutionize anything,” says writer and longtime book-industry observer Maris Kreizman. “There were so many false problems that tech guys created that we didn’t actually have.”

Take, for example, the long string of pitches for a “Netflix for books”—ideas that retrofitted Netflix’s original DVDs-by-mail model for a different medium under the presumption that readers would pay to borrow books when the public library was right there. Publisher’s Weekly keeps a database of book startups that now numbers more than 1,300; many of them are marked “Closed,” alongside a graveyard of broken URLs. There were plenty of practical ideas—targeting specific demographics or genres or pegged to more technical aspects, like metadata or production workflows. But many more proposed ways to alter books themselves—most of which made zero sense to people who actually enjoy reading.

“I don’t think they’re coming to that with a love of fiction or an understanding of why people read fiction,” Kreizman says. “If they were, they wouldn’t make these suggestions that nobody wants.”

The “10x more engaging” crowd has come in waves over the past two decades, washed ashore via broader tech trends, like social media, tablets, virtual reality, NFTs, and AI. These tech enthusiasts promised a vast, untapped market full of people just waiting for technology to make books more “fun” and delivered pronouncements with a grifting sort of energy that urged you to seize on the newest trend while it was hot—even as everyone could see that previous hyped ventures had not, in fact, utterly transformed the way people read. Interactive books could have sound effects or music that hits at certain story beats. NFTs could let readers “own” a character. AI could allow readers to endlessly generate their own books, or to eschew—to borrow one particular framing—“static stories” entirely and put themselves directly into a fictional world.

AI isn’t remotely a new player in the book world. Electronic literature artists and scholars have worked with various forms of virtual and artificial intelligence for decades, and National Novel Generation Month, a collaborative challenge modeled after NaNoWriMo, has been around since 2013. Even now, as much of the book world loudly rejects AI-powered writing tools, some authors are still experimenting, with a wide range of results. But these bespoke, usually one-off projects are a far cry from the tech industry’s proposals to revolutionize reading at scale—not least because the projects were never intended to replace traditional books.

“A lot of interactive storytelling has gone on for a very long time,” says Jeremy Douglass, an assistant professor of English at the University of California, Santa Barbara, citing everything from his early career work on hypertext fiction to the class he’ll teach next year on the long history of the pop-up book to centuries-old marginalia like the footnote and the concordance. “These fields are almost always very old, they’re almost always talked about as if they’re brand-new, and there haven’t really been a lot of moments of inventing a new modality.”

To VC claims that AI will totally alter books, Douglass takes what he calls a “yes, and” stance. “What people are actually doing is creating a new medium. They’re not actually replacing the novel; they created a new thing that was like the novel but different, and the old forms carried on. I’m still listening to the radio, despite the film and game industries’ efforts.”

Tech entrepreneurs rarely pitch “yes, and” ideas. In their view, new technologies will improve on—and eventually supplant—what exists now. For all of his interest in the many forms of interactive fiction, Douglass doubts that most books would benefit from an AI treatment.

“There are extremely pleasurable aesthetic systems that aren’t intentional,” he says. “But how often when I’m reading The Autobiography of Malcolm X or The Joy of Cooking do I think, ‘If only a chatbot could augment this on the fly’? And it’s partly the fact that some communication is deeply intentional, and that’s part of the pleasure. It’s handcrafted, it’s specific, there’s a vision.”

That isn’t to say that Douglass thinks there’s zero appetite for AI in literature—but it’s “probably a very small slice of the pie. So when you say ‘all books’? Almost certainly not. For the same reason that we’re not reading 100 percent pop-up books, or watching all of our books on YouTube, or anything else you can imagine. People are doing that too, but it’s extra.”

The exact size of that small pie slice remains to be seen, as does the general public’s appetite for instant novels, or chatting with characters, or hitting a button that will animate any book in your digital library. But those desires will likely need to come from readers themselves—not from the top down. “If you just give the tools to everybody, which is happening in spite of venture capital, as well as because of it, people will figure out what they want it for—and it’s usually not what the inventors and the investors think,” Douglass says. “It’s not even in their top-10 list of guesses, most of the time. It’s incredibly specific to the person and genre.”

The recent history of publishing has plenty of examples in which digital tools let people create things we couldn’t have predicted in the analog days: the massive range of extremely niche self-published romance, for example, or the structural variation and formal innovation within the almost entirely online world of fanfiction.

But when the tech industry approaches readers with ways to “fix” what isn’t broken, their proposals will always ring hollow—and right now, plain old reading still works for huge numbers of people, many of whom pick up books because they want to escape and not be the main character for a while. “That’s a good thing,” Kreizman says. And as AI true believers sweep through with promises that this technology will change everything, it helps to remember just how many disruptors have come and gone. “In the meantime, tech bros will still find VCs to wine and dine and spend more money on bullshit,” Kreizman predicts. But for the rest of us? We’ll just keep on reading.

[grimwood-notice-board]

OUTLINES! WTF DO I WRITE???

By Eldon Macwood

I've seen several authors over the years talk about outlining being a problem for them. To fair, you can totally pants an entire book, edit the holy fuck out of it, and potentially make a bestseller. Lee Child, Stephen King, and many others have done just that. But if you're like me, and want to build your story, then there's hope for that.

This post isn't for the pantser. Maybe a hybrid who's a plotsters, and definitely for the plotters.

The thing about outlines, yeah, there are a few different templates out there, and you don't have to follow them them to the T. You can be as general as you want. Have as much, or as little as you want. YOu can just write story beats, which are nothing more than small guideposts on the chapter, to an outline, and then create your beats from that. Which is what I like to do.

There are two ways to write them: 1, the old fashion way, and it's totally cool if that's your way. As in, you do all the work. 2, use AI. Now, now, calm down. Breath. I know, the evil AI, blah blah blah. But hear me out, you don't have to use AI for everything. I know, this isn't something that the AI-phobes would tell ya, but it's true. You can use Claude or Chat GPT for free, and create outlines and story beats.

Even if you never use AI for anything else, using it just for outlining, and beats creation, you can 10X your writing output.

Regardless if you wish to join me in using AI as a tool, there are templates I will share with you. If you just want to write it all yourself, here are some sources (I can help you if you wish to use AI).

TAKE OFF YOUR PANTS! is a book I started out with, and was a template I used for a very long time.

Here's the template for Derek Murphy's outline template, which is one of my favorites. This post shows how to use it with AI, but you don't have to use AI to make it work. As Derek talked about this template four years ago, and can be found here on YouTube!

For doing just beats (this works from your braindump or an outline you already wrote) you take the basic events from a chapter, and you use them go off of. Back in the day, I'd usually have just a few beats. Now I tend to use the Sudowrite system which works with non-AI writing as well, which is a 12 beat system. Now you can adjust that however you like. And I prefer to have my beats organized to scenes within a chapter. Use your beats to gage how many scenes you will have.

Beats are usually at least one sentence per beat, but having a few sentences might work better for you. Depends on you, and your story. You can be as general, or as specific for each beat as you wish.

Is this a lot to think about? Maybe. Again, while it's still a system to learn, AI does in fact make it easier. I have my own system, and I use for free Chat GPT and Claude. I use a prompt I learned about in the Sudo community, the person who created it did so for a Notion template. I use it in Chat GPT which gives me really good chapter summaries of chapter I've already written. I use those with the outline chapter to create the next chapter beats. The only I don't do this for would be the first chapter. But you can still write instructions for that set of beats.

Everything here that I've talked about, you could sit down and work out to system for yourself. Be it non-AI, or with AI. Either way. At some point, I will probably show more on outlining, I'd like to put together a cheap course on it. Why cheap? Because I want to help, and i need money, and I know not many people out there can afford much. So cheap is my compromise. Still not sure if I will have time to put it together, but if I do, I will make it as easy as possible, and update it as AI changes.

This is a topic I love talking about. I have no issue with helping for free when I have time to do so, a course would just be a go-to tutorial on the subject that the consumer can use at any time.

But yea, Libbie's book, TAKE OFF YOUR PANTS! and Derek's outline template are my two main suggestions. And my top one, using AI with these templates. There's also another template I've learned from the AI community which goes up to 37 chapters.

And really, the more you work with this topic, the more you will get to the point of customizing your own template style. You might come up with more than one, depending on what you're writing.

I wish you the best in writing. If you need some help with the AI side of things, let me know, and I will give you a hand.

[widedevsolution1]

AI-Augmented Creativity: The Rise of Human-AI Co-Creation in the Digital Age

In today’s rapidly evolving digital landscape, AI-Augmented Creativity is no longer a futuristic concept—it is a transformative force reshaping how humans create, collaborate, and innovate. With the rise of artificial intelligence (AI) as a co-creator in fields such as writing, coding, music, and design, a new generation of professionals is emerging—individuals who see AI not as a replacement, but as a partner in the creative process.

At WideDev Solution, we explore this revolutionary trend and how it impacts the present and future of creative industries.

What is AI-Augmented Creativity?

AI-Augmented Creativity refers to the collaborative process where humans and AI systems work together to generate new ideas, content, or solutions. Unlike traditional automation where machines execute predefined tasks, AI in this context assists with generative and interpretative thinking, becoming a creative collaborator.

Popular platforms like ChatGPT, Midjourney, DALL·E, Runway ML, and Suno AI are enabling users to generate content—text, code, visuals, and music—at a quality and speed previously unimaginable.

The Rise of Co-Creation: Humans + AI = Innovation

The shift toward co-creation with AI is more than just a technological trend—it’s a paradigm shift in how we define creativity and collaboration.

1. AI in Writing

Tools like ChatGPT and Sudowrite empower authors, journalists, and marketers to ideate, edit, and enhance content faster. Whether drafting blog posts or scripts, AI supports the creative writing process by providing suggestions, checking tone, and reducing writer’s block.

🗨️ “AI is not taking away the art of writing—it’s making better artists out of writers.” — Paul Roetzer, Founder of the Marketing AI Institute.

Key Benefits:

Brainstorming assistance

Faster content generation

Grammar and style optimization

Multilingual translation support

2. AI in Coding

From GitHub Copilot to Replit Ghostwriter, AI tools are revolutionizing the way software is developed. Developers can now rely on AI-generated code snippets, error detection, and bug fixes to significantly enhance productivity.

🗨️ “It’s not man vs. machine. It’s man with machine vs. man without.” — Satya Nadella, CEO of Microsoft.

Key Benefits:

Intelligent code completion

Real-time debugging suggestions

Cross-platform compatibility enhancements

Reduces development cycles

3. AI in Music

Music generation tools like Suno AI, Aiva, and Amper Music enable musicians to compose original tracks by collaborating with AI on melody, rhythm, and instrumentation.

Key Benefits:

Soundtrack creation for videos

AI-assisted music mastering

Fast genre experimentation

Royalty-free commercial use

This co-creative method allows musicians to focus more on emotion and storytelling while AI handles technical precision.

4. AI in Design

Graphic designers now use tools like Adobe Firefly, Canva Magic Studio, and Runway ML to generate logos, mockups, videos, and UX interfaces—all while maintaining brand identity and originality.

🗨️ “Designers who understand how to partner with AI will shape the next decade of digital aesthetics.” — John Maeda, VP of Design at Microsoft.

Key Benefits:

Fast prototyping

Auto-color palettes & font suggestions

Image background removal and object generation

Motion design and video automation

Why AI Is a Partner—Not a Replacement

While there are fears that AI may “replace” artists, coders, and writers, the real-world application reveals a different truth. AI lacks human emotion, ethics, context, and intent—elements that are critical to true creativity.

Humans provide:

Emotional intelligence

Cultural relevance

Ethical judgment

Strategic vision

AI provides:

Speed

Scale

Pattern recognition

Data-driven suggestions

This synergy leads to enhanced innovation, not obsolescence. It’s about augmenting human potential, not diminishing it.

Industries Transformed by AI Co-Creation

The following industries are experiencing a renaissance due to AI-powered creativity:

🎓 Education

Personalized learning content

AI tutors for writing/code practice

Interactive simulations & visuals

🎨 Media & Entertainment

Scriptwriting assistance

Virtual influencers & avatars

Auto-generated storyboards

🛍️ E-Commerce & Marketing

Personalized ad creatives

AI-powered product visuals

Automated content campaigns

🏢 Corporate Innovation

AI brainstorming tools

Data-driven product prototyping

Innovation hackathons with AI

WideDev Solution actively integrates such innovations into client projects, empowering businesses to harness the full spectrum of AI’s creative capabilities.

The Emerging Role: The AI-Creative Professional

A new class of professionals is rising: AI-Creative Collaborators. These individuals blend domain expertise with AI fluency. They aren’t just using AI tools—they’re designing workflows where AI amplifies their creativity.

Skills required in the AI-Creative Era:

Prompt Engineering

Tool Integration Knowledge

Creative Direction & Storytelling

Critical Thinking + AI Literacy

At WideDev Solution, we encourage creative professionals to adapt to this hybrid future, providing training and consultancy for AI-integrated workflows.

SEO Insight: Why You Need to Care About This Trend

This article is written with SEO best practices in mind, and here’s why you should, too:

🔍 High-Search, Low-Competition Keywords used in this article:

AI-Augmented Creativity

AI Co-Creation Tools

Human-AI Collaboration in Design

AI in Writing and Music

Creative Workflows with AI

AI as Creative Partner

Future of Human-AI Creativity

Integrating these strategic keywords boosts search engine visibility while targeting users interested in future-ready creative processes.

High-Profile Endorsements of Human-AI Creativity

Let’s look at some global thought leaders who advocate for AI-enhanced creativity:

🗨️ “The best way to predict the future is to co-create it—with AI as your partner.” — Kevin Kelly, Founding Executive Editor of Wired

🗨️ “AI is a bicycle for the mind. Those who ride it faster will go further.” — Steve Jobs (referenced in modern AI thought leadership)

🗨️ “Creativity is not in conflict with AI. It is its most exciting frontier.” — Fei-Fei Li, AI expert and professor at Stanford University

These voices prove that AI-augmented creation is a path toward a more expressive, innovative future—not a threat to human talent.

Real-World Applications from WideDev Solution

At WideDev Solution, we help businesses and individuals integrate AI co-creation tools into their projects:

AI-Enhanced Content Marketing

Visual Content Automation for Social Media

AI-Powered Code Generation for SaaS Startups

Custom LLMs for Client-Specific Content

Want to become an AI-creative? Let us guide your journey.

Conclusion: A Creative Revolution, Not an AI Takeover

The future of creativity isn’t one where humans are replaced—it’s one where humans and machines co-create something neither could alone. The emerging trend of AI-Augmented Creativity is not just about productivity; it’s about possibility. It opens doors to new genres, new roles, and new industries.

Whether you’re a writer, a coder, a designer, or a marketer, the message is clear: Learn to collaborate with AI—or risk being left behind.

✅ Final Thought: Embrace AI as your creative partner, not a competitor. The tools are ready. Are you?

[shifansari]

The Rise of AI Tools for Review: Transforming How We Evaluate Digital Intelligence

In today's digitally powered world, AI tools review has emerged as a crucial domain shaping how we assess and implement artificial intelligence across industries. From marketing and content creation to business automation, the spectrum of AI tools is expanding at an exponential rate. At AI Experts Review, we understand the significance of general AI tools review and the evolving landscape of intelligent software. This article will delve deep into the rise of AI tools, examining how they redefine digital intelligence evaluation and impact various sectors.

Understanding the Surge in AI Tool Usage

The technological evolution has sparked the birth of numerous AI tools for digital marketers, content creators, analysts, and developers. As businesses aim for higher efficiency and lower costs, AI solutions are rapidly replacing traditional workflows. The demand for real-time insights, automated decision-making, and scalable systems has accelerated the integration of artificial intelligence into everyday operations.

Our extensive AI expert review reveals that organizations leveraging AI tools have experienced improved content performance, increased traffic, and faster turnaround times. This transformation is not only revolutionizing how companies work but also how we measure the effectiveness of these tools through comprehensive reviews.

Why AI Tools Review is Critical in 2025

With the AI market flooded with countless tools, from writing assistants to design generators and SEO analyzers, users face the challenge of choosing the most reliable and efficient solution. This is where an accurate AI tools review becomes indispensable.

We evaluate tools based on parameters like performance, usability, scalability, integration capabilities, and cost-effectiveness. Our general AI tools review process includes rigorous testing, user feedback collection, and feature comparison, helping users make informed decisions backed by real data.

Top AI Tools for Content Writing: A Deep Dive

One of the most dynamic areas in the AI landscape is content generation. With an increasing demand for high-quality, SEO-optimized content, AI tools for content writing have become vital for businesses and individuals alike. These tools offer:

Automated Blog Writing: Generating long-form, structured blog posts in minutes.

SEO Optimization: Embedding keywords, meta tags, and readability enhancements automatically.

Content Personalization: Adapting tone and structure to suit specific audiences or platforms.

Noteworthy AI content tools include advanced language models capable of mimicking human writing with remarkable accuracy. Their ability to learn from input and evolve over time makes them essential assets for any digital content strategy.

AI Content Tools Comparison: Finding the Best Fit

Choosing the right AI tool requires a thorough AI content tools comparison. Each platform has unique features tailored to specific tasks. For example:

Jasper AI excels at long-form storytelling and brand voice mimicry.

Copy.ai is great for short-form content like ads and social media posts.

Writesonic combines SEO features with fast generation for marketing use cases.

Sudowrite appeals to creative writers and fiction authors.

In our comparative analyses, we assess tools based on writing style, factual accuracy, editing features, and export capabilities. Our AI tools review ensures users invest in software that aligns with their workflow and content goals.

The Role of AI Tools in Digital Marketing

Digital marketers have embraced AI as a powerful ally in campaign planning, execution, and analysis. The benefits of AI tools for digital marketers include:

Automated Audience Segmentation: AI categorizes users based on behavior and engagement.

Predictive Analytics: Tools forecast trends and consumer actions.

AI-Powered Ad Copy: Generates tailored content that resonates with target audiences.

Performance Tracking: AI continuously monitors and optimizes ad performance in real time.

By integrating AI, marketers save time, reduce costs, and achieve better ROI. At AI Experts Review, our coverage of such tools highlights real-world results and case studies that underscore their effectiveness.

AI Expert Review: A Data-Driven Approach

Our AI expert review methodology is grounded in transparency, accuracy, and relevance. We adopt a data-centric approach that involves:

Hands-On Testing: We test tools across multiple scenarios and use cases.

Feature-by-Feature Breakdown: Each function is dissected and evaluated on utility and performance.

User Feedback Aggregation: Insights from actual users enhance our objectivity.

Continuous Updates: As AI tools evolve, so do our reviews.

This approach ensures our readers receive the most current and relevant insights to guide their choices.

Evaluating AI Tools Beyond Hype

While many tools are marketed with bold claims, not all deliver consistent results. Our role is to cut through the marketing noise and provide real, unbiased assessments. Through a consistent AI tools review framework, we analyze elements like:

Speed & Responsiveness

Accuracy of Outputs

Ease of Use

Integration with Other Software

Pricing & Support Options

Tools that rank high on these factors are featured prominently in our editor’s picks and expert lists.

Future Trends in AI Tools Review

As AI continues to mature, we foresee several trends that will shape the future of AI tools review:

Niche-Specific AI Tools: Industry-focused solutions tailored for healthcare, education, finance, etc.

Multimodal AI Tools: Combining text, image, and voice for more comprehensive outputs.

Collaborative AI Platforms: Tools designed to work in tandem with teams for shared productivity.

Ethical AI Auditing: Ensuring fairness, transparency, and compliance in tool operation.

We’re committed to staying ahead of these trends and providing our readers with pioneering insights as they happen.

Conclusion: Empowering Smarter Choices Through AI Tools Review

As artificial intelligence embeds itself deeper into our digital fabric, the need for reliable AI tools review grows stronger. Whether you're a marketer, content creator, business owner, or tech enthusiast, knowing which tools perform best can significantly impact your success.

At AI Experts Review, our mission is to provide clear, in-depth, and actionable reviews that empower you to navigate the AI ecosystem with confidence. From general AI tools review to AI content tools comparison, we cover it all with the rigor and depth that modern users demand.

[worrywrite]

Okay, I think it's important we address some of this. Because 1) nothing wrong with fanfic. It's not lesser writing just because it can't be for money. 2) it's not actual fanfic. Pride & Prejudice (the original novel) is public domain, and so doesn't have any copyright protection. The characters and story of the original novel can be used, with some caveats that I don't have the time to double check, pretty much however anyone wants.

3) technically, by definition of the terms and service you agree to when you use OpenAI software, the "author" of any text is the user but the owner of that text is OpenAI (the company) unless you have paid to use a special service that has adapted the GPT model to a specific piece of software like Sudowrite. So, unless the legal framework around OpenAI and chatbot driven writing has changed, she does (or at the very least is presumed to) actually have the legal ownership of the text produced and can consider herself to be the author in the same way that you can pay a ghostwriter to write a text and that you outline and are considered the author of.

4) Best selling isn't actually in quotations as far as truthfulness here. I checked her Amazon author page, and at one point at least one of her works was on the "best sellers" list on Amazon KDP for the "historical" category. It is far from the achievement one might expect, but again, not false. And she's been writing these sorts of books for about 10 years now, she's bound to have had at least some success at some point in her career.

The real problem here is the legal framework around using chatbots to produce a substantial amount of the framework of the fiction being sold. See, unlike hiring a ghostwriter (who will be beholden to and require the structural framework of the text from the "author"), an AI does the writing and the narrative development while the "author" only keeps the program in line when it goes a little off the rails. It is disingenuous, but it does still fall under that ghostwriting exception. Secondly, and the thing I really personally think affects the writing space more than anything else, is the quality of the work. AI is about as reliable as a room full of chimps and typewriters, but it just moves at about 1000x speed as the chimps. It still produces really low quality and inconsistent writing (believe me I have been testing it for months now). And if West is doing the entire writing process as fast as she claims then she is putting out some truly weak prose. And weak prose lowers the bar for writing quality overall and interrupts the pay standards for writers.

“Author of 25+ best-selling Pride & Prejudice variations”

Yeah, no.

[kammartinez]

By Elizabeth Minkel

In the early weeks of 2023, as worry about ChatGPT and other artificial intelligence tools was ratcheting up dramatically in the public conversation, a tweet passed through the many interlocking corners of Book Twitter. “Imagine if every Book is converted into an Animated Book and made 10x more engaging,” it read. “AI will do this. Huge opportunity here to disrupt Kindle and Audible.”

The tweet’s author, Gaurav Munjal, cofounded Unacademy, which bills itself as “India’s largest learning platform”—and within the edtech context, where digitally animated books can be effective teaching tools, his suggestion might read a certain way. But to a broader audience, the sweeping proclamation that AI will make “every” book “10x more engaging” seemed absurd, a solution in search of a problem, and one predicated on the idea that people who choose to read narrative prose (instead of, say, watching a film or playing a game) were somehow bored or not engaged with their unanimated tomes. As those who shared the tweet observed, it seems like a lot of book industry “disruptors” just don’t like reading.

Munjal is one of many tech entrepreneurs to ping the book world’s radar—and raise its collective hackles—in recent months. Many were hawking AI “solutions” they promised would transform the act of writing, the most derided among them Sudowrite’s Story Engine (dubbed in a relatively ambivalent review by The Verge’s Adi Robertson as “the AI novel-writing tool everyone hates”). Story Engine raised frustrations by treating writers as an afterthought and, by its very existence, suggesting that the problems it was trying to bypass weren’t integral to the act of writing itself.

Last month, Justine Moore, a partner at Andreessen Horowitz, provided a sort of bookend to Munjal’s “AI-animated books” proposal. “The three largest fanfic sites—[Archive of Our Own], Fanfiction.net, and Wattpad—get 3 billion-plus annual visits in the US alone,” she wrote. “Imagine how much bigger this market could be if you could chat with characters vs. reading static stories?” The thread was likely a reference to Character.ai, a startup that lets users chat with fictional heroes and villains; Andreessen Horowitz led a $150 million funding round for the company in March. The comment also came after the revelation that large language models (LLMs) may have scraped fanfiction writers’ work—which is largely written and shared for free—causing an (understandable) uproar in many fan communities.

Setting aside the fact that fandom role-playing has been a popular practice for decades, Moore’s statements felt like a distillation of tech’s tortured relationship with narrative prose. There are many kinds of fanfiction—including an entire subgenre in which “you” are a character in the story. But those are still stories, sentences deliberately written and arranged in a way that lets you lose yourself in an authored narrative. “Imagine having such a fundamental misunderstanding of the appeal of reading fanfiction—let alone reading fiction more broadly,” I wrote in response to her thread. What’s so wrong with people enjoying reading plain old words on a page?

The tech world has long been convinced that it understands the desires of readers better than they do themselves. For years, VCs have promised to upend books and the structures around their creation and consumption. Some came from within the publishing industry, but like their counterparts “disrupting” other sectors, including film and TV, many more did not. And for the most part, despite tech’s sometimes drastic (and often negative) effects on other industries, book- and reading-related startups failed to alter much at all. People are still buying books—in fact, they’re buying more than ever. Pandemic lockdowns brought a perhaps unsurprising boom in sales, and even though numbers slipped as restrictions lifted, print sales were still nearly 12 percent higher in 2022 than they were in 2019, and sales of audio books continue to increase dramatically year over year.

One reason books haven’t been particularly disruptable might be that many of the people looking to “fix” things couldn’t actually articulate what was broken—whether through their failure to see the real problems facing the industry (namely, Amazon’s stranglehold), or their insistence that books are not particularly enjoyable as a medium. “It’s that arrogance, to come into a community you know nothing about, that you might have studied as you study for an MBA, and think that you can revolutionize anything,” says writer and longtime book-industry observer Maris Kreizman. “There were so many false problems that tech guys created that we didn’t actually have.”

Take, for example, the long string of pitches for a “Netflix for books”—ideas that retrofitted Netflix’s original DVDs-by-mail model for a different medium under the presumption that readers would pay to borrow books when the public library was right there. Publisher’s Weekly keeps a database of book startups that now numbers more than 1,300; many of them are marked “Closed,” alongside a graveyard of broken URLs. There were plenty of practical ideas—targeting specific demographics or genres or pegged to more technical aspects, like metadata or production workflows. But many more proposed ways to alter books themselves—most of which made zero sense to people who actually enjoy reading.

“I don’t think they’re coming to that with a love of fiction or an understanding of why people read fiction,” Kreizman says. “If they were, they wouldn’t make these suggestions that nobody wants.”

The “10x more engaging” crowd has come in waves over the past two decades, washed ashore via broader tech trends, like social media, tablets, virtual reality, NFTs, and AI. These tech enthusiasts promised a vast, untapped market full of people just waiting for technology to make books more “fun” and delivered pronouncements with a grifting sort of energy that urged you to seize on the newest trend while it was hot—even as everyone could see that previous hyped ventures had not, in fact, utterly transformed the way people read. Interactive books could have sound effects or music that hits at certain story beats. NFTs could let readers “own” a character. AI could allow readers to endlessly generate their own books, or to eschew—to borrow one particular framing—“static stories” entirely and put themselves directly into a fictional world.

AI isn’t remotely a new player in the book world. Electronic literature artists and scholars have worked with various forms of virtual and artificial intelligence for decades, and National Novel Generation Month, a collaborative challenge modeled after NaNoWriMo, has been around since 2013. Even now, as much of the book world loudly rejects AI-powered writing tools, some authors are still experimenting, with a wide range of results. But these bespoke, usually one-off projects are a far cry from the tech industry’s proposals to revolutionize reading at scale—not least because the projects were never intended to replace traditional books.

“A lot of interactive storytelling has gone on for a very long time,” says Jeremy Douglass, an assistant professor of English at the University of California, Santa Barbara, citing everything from his early career work on hypertext fiction to the class he’ll teach next year on the long history of the pop-up book to centuries-old marginalia like the footnote and the concordance. “These fields are almost always very old, they’re almost always talked about as if they’re brand-new, and there haven’t really been a lot of moments of inventing a new modality.”

To VC claims that AI will totally alter books, Douglass takes what he calls a “yes, and” stance. “What people are actually doing is creating a new medium. They’re not actually replacing the novel; they created a new thing that was like the novel but different, and the old forms carried on. I’m still listening to the radio, despite the film and game industries’ efforts.”

Tech entrepreneurs rarely pitch “yes, and” ideas. In their view, new technologies will improve on—and eventually supplant—what exists now. For all of his interest in the many forms of interactive fiction, Douglass doubts that most books would benefit from an AI treatment.

“There are extremely pleasurable aesthetic systems that aren’t intentional,” he says. “But how often when I’m reading The Autobiography of Malcolm X or The Joy of Cooking do I think, ‘If only a chatbot could augment this on the fly’? And it’s partly the fact that some communication is deeply intentional, and that’s part of the pleasure. It’s handcrafted, it’s specific, there’s a vision.”

That isn’t to say that Douglass thinks there’s zero appetite for AI in literature—but it’s “probably a very small slice of the pie. So when you say ‘all books’? Almost certainly not. For the same reason that we’re not reading 100 percent pop-up books, or watching all of our books on YouTube, or anything else you can imagine. People are doing that too, but it’s extra.”

The exact size of that small pie slice remains to be seen, as does the general public’s appetite for instant novels, or chatting with characters, or hitting a button that will animate any book in your digital library. But those desires will likely need to come from readers themselves—not from the top down. “If you just give the tools to everybody, which is happening in spite of venture capital, as well as because of it, people will figure out what they want it for—and it’s usually not what the inventors and the investors think,” Douglass says. “It’s not even in their top-10 list of guesses, most of the time. It’s incredibly specific to the person and genre.”

The recent history of publishing has plenty of examples in which digital tools let people create things we couldn’t have predicted in the analog days: the massive range of extremely niche self-published romance, for example, or the structural variation and formal innovation within the almost entirely online world of fanfiction.

But when the tech industry approaches readers with ways to “fix” what isn’t broken, their proposals will always ring hollow—and right now, plain old reading still works for huge numbers of people, many of whom pick up books because they want to escape and not be the main character for a while. “That’s a good thing,” Kreizman says. And as AI true believers sweep through with promises that this technology will change everything, it helps to remember just how many disruptors have come and gone. “In the meantime, tech bros will still find VCs to wine and dine and spend more money on bullshit,” Kreizman predicts. But for the rest of us? We’ll just keep on reading.