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derinwrites · 5 months

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How can I make money writing fiction?

I'm gonna be straight with you. There is no guarantee that you'll make enough as an independent writer to make it worth your time. You very well might -- I make a liveable wage as an independent writer -- but many don't. Most writers I know also have a job. And luck plays a big part in it.

If you're interested in going forward in spite of this, you have two main options for monetisation open to you, and you are going to have to pick one. I call them the sales model and the sponsorship model, and you are going to have to pick one.

The sales model involves writing stories and selling them to readers. You can put books up on Amazon or Smashwords, sell them direct from your own website, enlist the help of a traditional publisher to handle that for you and let them decide where to sell, whatever -- the point is that your money is made from the sale of books to readers. If you go with a traditional publisher, you're using this model (though they will give you some of the money ahead of time in the form of an advance). Most indie authors also use this model, publishing through draft2digital, Ingram Spark, direct through Amazon, whatever. I've never relied on the sales model and can't give you any advice on how to do this, but Tumblr is full of indie authors who probably can.

The sponsorship model involves soliciting small amounts of money from various readers over time. This is ideal for web serials, and it's what I use. I use Patreon, which is designed specifically for this purpose, but you can use other sites such as ko-fi. This model involves providing regular content for free, with bonuses for those who support you.

"Can't I do both? Sell books and have a Patreon?" You absolutely can! I know several indie authors with a Patreon. I sell my completed books as ebooks and will eventually sell them as paperbacks. But your time and attention is limited, and so is your audience's, and you're going to have to half-arse one of these in order to have enough arse to whole-arse the other. You're going to make a lo of decisions that benefit either the sponsorship model or the sales model, not both. So pick your primary income source early and commit.

I can only advise on writing web serials and using the sponsorship model, so I'll go ahead with that assumption. If you want to make a liveable wage doing this, not only will you need luck, you'll also need patience. This is not a fast way to build a career. at the end of my first year of doing this, I had one single patron, and they were a real-life friend of mine. When I reached an income of $100/month, I threw a little party for myself, I was so happy. It had taken such a long time and was so much work. I reached enough to cover rent/mortgage after I'd been doing this for more than four years. It's a long term sort of career.

Here are some general tips for succeeding in this industry, given by me, someone with no formal training in any of this who only vaguely knows what they're talking about:

Have a consistent update schedule and STICK TO IT

The #1 indicator for stable success in this industry (aside from luck, which we're discounting because you can't do much about that) is having a consistent update schedule. Your readers need to know when the next chapter is coming out, and it should be coming out regularly. Ideally, you should have no breaks or hiatuses -- if you're in a bus crash or something, that might be unavoidable, and your readers will understand if you tell them, but if you're stopping and starting a lot for trivial reasons, they WILL abandon you. You can't get away with that shit if you're not Andrew Hussie, and I'm pretty sure Andrew Hussie doesn't message me for career advice on Tumblr. If you find you need a lot of hiatuses to write fast enough then you're updating too often; change your schedule. A regular schedule is more important than a fast one (ideally it should be both, but if you have to pick between the two, pick regular).

2. Pay attention to your readership, listen to what they want from you

Your income is based on a pretty complicated support structure when you're using the sponsorship model. this model relies on people finding your story, liking your story, and continuing to find it valuable enough to keep paying you month after month. This means that your rewards for your sponsors should be things that they value and will continue to pay for ('knowing I'm supporting an artist whose work I enjoy' counts as a thing that they value, to my great surprise; there's a lot of people giving me money just for the sake of giving me money, so I can pay my mortgage and keep writing for them without needing a second job), but it also means supporting the entire network that attracts readers and keeps them having the best time they can with your story -- being part of a rewarding community. Because this is advice on making money, I'm going to roughly divide your readership into groups based on how they affect your bottom line:

sponsors. People giving you money directly. The importance of keeping this group happy should be obvious.

administration and community helpers -- discord moderators, IT people, guys who set up fan wikis, whoever's handling your mailing list if you have a mailing list. You can do this stuff yourself, or you can hire someone to do it, but if you're incredibly lucky and people enjoy being a part of your reader community, people will sometimes volunteer to do the work for free. If you are lucky enough to get such people, respect them. They are doing you a massive favour, and they're not doing it for you, but to maintain a place that they value, and you have to respect both of those things. My discord has just shy of 1,300 members and is moderated by volunteers. I'd peel my own face off if I had to moderate a community that large. If you've got people stepping up to do work for you, you need to respect them and you need to make sure that they continue to find that rewarding by doing what you can to make sure that the community they're maintaining is rewarding. Sometimes this means taking actions and sometimes this means staying the fuck out of the way. Depending on the circumstances.

fan artists. Once you have people drawing your characters, writing fanfic of your stories, whatever, treat these like fucking gold. Give them a space to do this, and more importantly, give them a space to do this without you in it. Fanworks are a symptom of engagement with your work, which is massively important. They are also a component of a healthy community, an avenue for readers to talk to each other and express themselves creatively to each other. Third, fanworks act as a bridge for new readers. When readers share their art on, say, Tumblr, it can intrigue new people and get them into the story. Your job in all of this is to give them the space to work, encourage them as required or invited (I reblog most TTOU fanart that I'm tagged in on Tumblr, for instance), and other than that, stay the fuck out of their way. These people are vital to the liveblood of your community, the continued engagement of your audience, and the interest of your sponsors. Some of the fan artists will be sponsors themselves; some won't be. Those who aren't sponsors are still massively valuable for their art.

speculators, conversers, theorists, livebloggers, and That Guy Who's Just Really Jazzed For The Next Chapter. Some people don't make art but just like to chat about your story. These people are a bedrock of the community that's supporting your sponsors and increasing your readership, and therefore are critical to your income stream. Give them a place to talk. Be nice to them when they talk to you. Sometimes, they'll ask you questions about the story, which you can choose to answer or not, however you feel is appropriate. They'll also want to chat about non-story-related stuff with each other, so make sure they have a place to do that, too.

that guy who never talks to you or comments on anything but linked your story to ten guys in his office who all read it now. Some of your supporters are completely invisible to you. You can't do anything for these people except continue to release the story and have a forum they can silently lurk on if they want to. But, y'know, they exist.

If you want to focus on income then these are, roughly, the groups of people that you will need to listen to and accommodate for. You can generally just make sure they have space to do their thing, and if they want anything else, they'll tell you (yes, guys, paperbacks will be coming eventually). Many people will fit into multiple groups -- I have some sponsors that are in every single one of these groups except the last. Some will only be in one group. A healthy income rests on a healthy community which rests on accommodating these needs.

3. If you can manage it, try to make your story good.

It's also helpful for your story to be good. Economically, this is far less important than you'd think -- there are some people out there writing utter garbage and making a living doing it. Garbage by what standards? By whatever your standards are. Just think of the absolute laziest, emptiest, hackiest waste-of-bandwidth story you can imagine -- some guy is half-arsing that exact story and making three times what you'll ever make on Patreon doing it. And honestly? Good for him. If he's making that much then his readers are enjoying it, and that's what matters. Still, one critical component of making money as a writer is writing something that people actually want to read. And you can't trick them with web serials, because they don't pay in advance -- if they're bored, they'll just stop. So you have to make it worth their time, money and attention, and the simplest way to do that is to write a good story.

This hardly seems mentioning, since you were presumably planning to do that anyway. It's basic respect for your audience to give them something worth their time. Besides, if we're not interested in improving our craft and striving for our best, what are we even writing for? I'm sure I don't need to tell you to try to write a good story. The reason I list this is in fact the opposite -- don't let "I'm not a good enough writer" paralyse you. The world is full of someday-writers who endlessly fuss over and revise a single story because it's not good enough, it's not perfect, they're not Terry Pratchett yet. Neither was Terry Pratchett when his first books were published. If you're waiting to be good enough, you won't start. I didn't think Curse Words was good enough when I started releasing it -- I still don't. I started putting it out because I knew it was the only way I'd get myself to actually finish something. I don't think it's all that great, but you know what? An awful lot of people read it and really enjoyed it. And if I hadn't released it, I'd have been doing those people a disservice.

Also, it taught me a lot, and based on what I learned, Time to Orbit: Unknown is much better. If I'd never released Curse Words, if I hadn't seen how people read it and reacted to it and seen what worked and what didn't, then Time to Orbit: Unknown wouldn't be very good. And it certainly wouldn't be making me a living wage, because it was the years writing Curse Words that started building the momentum I have today.

And Time to Orbit: Unknown as it is today has some serious problems. Problems that I'm learning from. And the next book will be a lot better.

So that's basically my advice for making money in this industry. Be patient, be lucky, be consistent. Value your community; it's your lifeline, even the parts of it that don't directly pay you. And try to make your story as good as you can, but make that an activity you do, not a barrier to prevent you from starting.

Good luck.

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drchucktingle · 6 months

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

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

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

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

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

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

NOW LETS GET DOWN TO YOUR SPECIFIC QUESTION

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

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

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

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

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

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

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

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

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

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

preorder BURY YOUR GAYS here

#love is real #bury your gays #buckaroo lifestyle

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prokopetz · 2 years

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One of the more frequent anecdotes you'll hear from Dungeons & Dragons podcasters is that any time they switch to a system other than D&D, even for a one-off arc, they immediately experience a large drop in listenership – sometimes up to eighty percent! – only to see most of those listeners come back once they switch back to D&D.

What's interesting about this is that the greater part of D&D podcast listeners do not play Dungeons & Dragons. They might have a general idea of what the game's rules look like based on what they've been able to passively absorb from listening to the podcast, but they don't have regular groups, they don't own the rulebooks or maintain subscriptions to the e-book service, and many of them have never rolled a d20 in their lives.

How, then, do we account for that sudden drop in listenership? Why does which system a tabletop roleplaying podcast is using matter so much if most listeners neither know nor care about the rules?

The answer is, unfortunately, quite simple.

In many ways, advocacy for indie RPGs has never moved past Ron Edwards' infamous argument that playing Dungeons & Dragons causes actual, physical brain damage. Deep down, a lot of indie RPG advocacy seems to believe there's something sinister in the structure of D&D that's responsible for what they regard as its unaccountable popularity. You can see this in everything from the casual assumption that D&D players aren't "really" having fun (and all that's needed to convert them to other systems is to show them they've been tricked into falsely believing they're enjoying an objectively un-fun activity), to the rambling thinkpieces that talk about getting folks to try other games like they're liberating people from the fucking Matrix.

Yet we come back to the same problem: how can the mechanical structure of D&D be implicated for its culturally dominant position in the minds of those who've never picked up a twenty-sided die?

The truth is that Dungeons & Dragons enjoys cultural dominance, both within the hobby and elsewhere, because it's owned by the same multinational corporation that owns Monopoly and My Little Pony, and benefits from all the marketing strength its owner can bring to bear. The problem, in brief, is brand loyalty. The aforementioned podcasts lose listeners in droves whenever they give a non-D&D system a spin because all most of those departing listeners care about is whether the thing that they're listening to is called "Dungeons & Dragons". The structural particulars of the mechanics are irrelevant.

The bitter pill we've got to swallow as indie RPG authors is that we can't fix brand loyalty in tabletop RPGs by fucking around with the shape of the dice. There are lots of productive causes we can support to help address the problem, but they mostly have do to with intellectual property and antitrust regulations and such, which are areas where our finely honed ability to debate the correct way to pretend to be an elf is of very limited utility.

Like, I enjoy an abstruse argument about the ideology of dice-rolling as much as the next nerd, but let's not fool ourselves that we're speaking truth to power here. The gamer who just wants to roll dice to hit the dragon with their sword is not your enemy.

#gaming #tabletop roleplaying #tabletop rpgs #dungeons & dragons #d&d #hasbro #marketing #capitalism #violence mention #swearing

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golden-moony · 5 months

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king of my heart | smau

pairings: lando norris x fem!reader | pato o'ward x fem!reader

summary: y/n is an F1 content creator loved among the grid and the fans, and more than one person ships her with lando due to how close they've always been. but when y/n goes to her first IndyCar race, the last thing she expects is being involved in rumours with another mclaren driver.

warnings: love triangle? kinda.

author's note: i might turn this into a mini series but i'll see how it goes. btw english it's not my first language so if there's any grammatical error please let me know so i can fix it, ty🧡 now enjoy!

part 1 | part 2 | part 3 | part 4

------------------------------------------------------

yourusername posted to their story!

[caption 1; it's indycar weekend in Long Beach, babyyyy!] [caption 2; time for practice and snacks🌞]

patriciooward

liked by indycar, zbrownceo, yourusername, and 83,527 others!

patriciooward INDY500 colors and back in the streeetz🤩

user1 lookin' goooood🔥

arrowmclaren it'll look even better with confetti covering it😉 user2 admin knows a win is coming!! 💪

user3 Este es tu año, cabrón! VAMOOOOS 🇲🇽

user4 is it a requirement to be handsome to drive in mclaren? cause daaaamn

user5 same girl, same

yourusername black is the new papaya fr 🔥 can't wait for tomorrow!

patriciooward hopefully you'll be wearing #5 user6 OMG?!?!!!??? yourusername can't show favoritism! i'm a professional, sir patriciooward it can be our secret then 😉 user7 OH MY- HELLOOOOO? user8 landonorris come get your girl bro!!! user9 omfg mr o'ward i wasn't familiar with your game user10 y/n sweety, wrong mclaren driver landonorris 🤨 user11 she really said i want a mclaren, don't care which one😭 user12 and she's so real for that

user13 let's goooo Pato!! 🦆🧡

user14 y/n and pato's exchange?? NEW SHIP HAS ARRIVED!

user15 i feel like i'm betraying my roots but pato and y/n would be the it couple fr user16 SO TRUE user17 pato and lando deserve sooo much better.

user18 NOT LANDO REPLYING TO THE COMMENT 😂😂

user19 f1twt is about to have a blast with this one 🍿 user20 they already have #teampato and #teamlando hashtags going on 😭😭

yourusername posted to their story!

[caption 1; preparation for ✨qualy day✨] [caption 2; that's how you arrive in style]

yourusername

liked by pierregasly, alexanderrossi, shelovesformula1, and 76,088 others!

yourusername First IndyCar race ✅ can't explain how incredible this weekend was! I’ve had the pleasure of chatting to so many cool people, discovering so much about this series and meeting so many of you! 🧡 can't wait to show you everything soon 😘

user1 what a babeeeee 😍

frosenqvist so great to meet you! hope you come to another one again soon! 🏁

arrowmclaren we second this! user2 she's an indy girl now 😎 tkanaan especially after all the fun we had last night😜 yourusername oh i'll definitely come back for more races (and parties ofc🙊) user3 she's part of the family now! love to see it user4 mclaren team 🤝 us: being in love with y/n

user5 PATO INTERVIEW??!! WE WON

lissiemackintosh so happy to have met you!! 💖

yourusername can't wait to see u again 🥹 user6 MY FAVES 🤩🤩 user7 girls supporting girls 💞 user8 we need a colab!

landonorris y/n get out of there. That's not your family!

carlossainz55 y/n please hurry, the kid has missed you maxverstappen1 y/n please hurry, we can't stand him anymore maxfewtrell y/n please hurry, he gets whiny when you're not around alex_albon y/n please hurry, oscar is about to commit crime oscarpiastri that is correct, so please y/n hurry landonorris when i asked y'all to back me up, this is NOT what i meant 🙄 yourusername if it helps at all, i've miss you all 🫶 (except Lando) landonorris i hate y'all fr user9 this is the kind of content i pay my internet bill for 😂

user10 literal queen 👑

user11 she couldn't become lando's wag so now she goes to indy to try to find a man lol such a clout chaser

user12 girl stfu she's literally just doin her job user13 try not to sound so bitter next time 💋 user14 get a life, hater

user15 MOTHER IS MOTHERING

user16 i don't think we're talking enough about that last photo

user17 RIGHT?! Y/N X PATO LET'S GOO user18 nah y/n x lando >>>>>>>>

patooward Indy looks good on you 💯 i wonder who took that amazing first pic

yourusername credits to you, amateur😘 user19 you can't convince me they're not flirting user20 i truly don't know if i wanna be pato or y/n... i only know i'd hate to be lando rn 😭 user21 y/n and lando are the endgame user22 Y/N X PATO TILL THE END

landonorris posted to his story!

[caption; safe and sound where she belongs]

sooo.... y'all want part 2?

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renthony · 3 months

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A Quick Lesson in Royalty Payouts

I just made my 500th sale of The Queen of Cups! I'm genuinely thrilled, because that's a pretty huge milestone for my little fantasy story! I originally wrote it as part of a series of short stories inspired by tarot cards (hence the title), but it really took on a life of its own. The other stories are still sitting in a folder on my desktop.

The Queen of Cups is a $0.99 USD ebook, and while there is a paperback available, most of my sales are digital. I never planned to make a ton of money on this story, because it just wasn't realistic to assume I would. And I haven't.

These are screenshots from my Amazon dashboard (which is currently the only platform tQoC is available through, thanks to issues with other distributors):

I make an average royalty payout of $0.32 USD per sale. Most months, I don't make any money off this story, and when I do get a payout, it ranges from pennies to maybe a full dollar if I'm lucky. I once made $6 on a payment and was ecstatic.

Authors, especially indie/self-pub authors, are broke. Many have to work other jobs, cutting down on the energy available to write. I'm personally unable to work outside the house because I'm disabled, so I contribute to the household income largely via Patreon and desperate e-begging. I say often that I don't feel like a person, I feel like six side hustles in a trench coat.

Support your favorite small-time artists in whatever way you can. You need art in your life, and we need money to live. It's fuckin' brutal out here.

(If I happen to be one of your favorite small-time artists, there's a page on my website with info on how to help. <3)

#original post

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molsno · 3 months

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oh, you're afab transfem? that's cool, do you have a lot of transfem friends? do you casually hang out with them a lot? are you in any communities that are predominantly transfem? do you comfort other transfems when they get hurt or abused? do you offer them whatever help you're able to give?

do you listen to indie transfem musicians? yeah yeah yeah we all know who laura jane grace is, she's cool and all but what about any who are more niche than that? do you know any transfems who play music, even just for fun? do you support them?

do you read books written by transfems, about transfems, for transfems? do you notice transfem themes in the books you read, even by authors who might not be openly transfem? have you read any transfeminist theory? can you define transmisogyny correctly?

do you play games made by transfems? have you scoured digital storefronts looking for any games, no matter how small, no matter how obscure, that are about transfems just so you can play games made for someone like you?

do you even talk to other transfems? do you listen to us? do you respect our feelings, even if you personally disagree with us?

no? then why are you even calling yourself transfem? you're just a fucking poser

#txt

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genericpuff · 10 months

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All That Glitters is Not Feminism - An Analysis of LO's Brand of "Feminism" and What Remains of its Fanbase (The Twist)

Alright y'all, I've been waiting a hot minute to talk about this because I wanted to see how it fully panned out before saying anything about it. And it's not even specifically about LO, but I do think it's very adjacent to it in a way that I'm sure you'll be shocked to hear. Much of it speaks to how we prop up white writers even at the expense of POC.

This is 'the twist' attached to my first post that I made just a couple hours ago that concerns an entirely other topic but I feel ties into this subject very well.

If you haven't heard, there's this author who recently fucked around in the Del Rey publishing scene.

Her name is Cait Corrain.

In the original tweet calling this person out, names were not dropped, but it was made very clear that what Cait did was unacceptable behavior.

You can read the entire thread that started it all from Xiran here:

There's also a GREAT recap thread from one of the affected authors, Bethany Baptiste:

I want to make it clear that Cait Corrain isn't just a debut author.

Cait Corrain is - or now, was (foreshadowing is a literary device that-) - a debut author who had an agent, a publishing deal with Del Rey (an imprint of Random House which is a MAJOR publisher) and even an upcoming Illumicrate deal - meaning, her book was going to be packaged in a monthly loot crate subscription shipped directly to people's doors, quite possibly one of the best marketing deals a debut author could ever get, usually unheard of in this industry. All the pre-reviews were strong and positive.

Cait's book was literally set up for success. All she had to do was sit back, relax, and watch the fruits of her labors roll in. She had written the book. It was ready for release. The hard part was technically over.

But I guess the racism brainrot got to her because as it turns out, since April - for EIGHT MONTHS - she's been making alternate accounts on GoodReads to review bomb the indie and debut works of her friends and peers, most of whom were POC and did not have the same opportunities set up for them as she did. There are loads of receipts to back this up that you can find in those above threads ^^^

To say that this is appalling is an understatement. This was an intentional and deliberate act of racism by a white queer writer who claimed to be "jealous" - of what, I can't imagine - so much so that she deliberately sabotaged her peers, people who had supported her and her book.

And then when she got caught? She doubled down on it and claimed it was a "friend", also an alternate account she made up.

The exchange between her and this made-up person is actually the funniest shit out of this entire thing, it's so poorly written and as soon as people noticed the time stamps were out of order, that was when it truly cemented her newfound clown status.

"oooooh he's standing right behind me, isn't he?" energy right here LMAO

yes keep expositing cait, that's really selling the "this is a genuine conversation that really happened with a real person" bit 🤡

Anyways, it became abundantly clear that Cait was just going to continue to dig her heels in over something she caused.

This has been a hot topic in the UnpopularLO Discord, not just because of how crazy of a situation it is that we had to talk about it - and we have people within the community who work in the literature and media sector - but because we noticed one very telling thing in the list of series that she had review bombed in her very own personal act of wrath.

You see, Cait made one fundamental mistake that led to her undoing - she didn't just review bomb the works of her peers, she positively reviewed her own book and others.

What's her book about though?

It's an Ariadne x Dionysus retelling set in space.

It's literally another "modern retelling" of Greek myth.

And wouldn't you know it, guess who else created a modern retelling of Greek myth that she included in her positive review raiding while she was sabotaging the work of her actual peers?

Now, I think it goes without saying that what I'm about to say should be taken with MOUNTAINS of salt, I'm sure a lot of you are reading the headline and going, "Ugh, really? You're gonna make this about LO? Could you give it a rest already???"

I need you to understand, with the current state of Rachel's fanbase and 'modern' Greek myth literature as a whole, at this point Lore Olympus - and the works that are literally inspired by it such as A Touch of Darkness - has basically become the shopping cart litmus test of basic decency. It's like when someone says they like Harry Potter - you can't take it automatically at good faith anymore, because there isn't a whole lot separating someone who simply liked Harry Potter as a kid and still rewatches the movies from time to time from someone who fully supports the politics and agenda of J.K. Rowling. No, not everyone who still watches the movies or reads the books fondly is a TERF by default, but it's justifiably a reason for suspicion when the consequences are often too dire to risk.

There's this thing that's been happening in the LO fanbase that I frankly saw coming, but has really recently started to hit its peak. It's what I call the "Kanye Effect", where the comic has become so absurd and backwards in its misogyny and white feminism that the only people who seem to be left supporting LO are the people who are legitimate white feminists and misogynists - because all the normal level-headed people fell off the comic ages ago (or transitioned into the critical side of the community).

I mentioned it in my last post, but it bears repeating - Rachel's fanbase has literally been shipping Hera, a victim of abuse, with her abuser, Kronos. I'm really hoping a lot of them realize how fucked up that is now that Hera herself has called it what it is - abuse - within the comic, but I also can't count on the LO fanbase picking up on that or even noticing it with how quickly people swipe through it each week, it's very apparent at this point that most of LO's readers don't know how to chew their food and don't pay attention when Persephone and Hades aren't onscreen.

But I'm digressing. Or am I? We're talking about Crown of Starlight after all. The debut Dionysus x Ariadne sci-fi/fantasy romance that was quite literally advertised using Lore Olympus as its baseline-

This. This is what the ongoing cultural erasure and white feminist uwu-fication of Greek myth is doing to the literary zeitgeist surrounding Greek myth as a whole. This is why we criticize Lore Olympus and works like it that are created by disingenuous people who only seek to use the assets of Greek myth material as a way to shoot themselves up into fame and stardom. This is why we demand better standards in the literature and webcomic industry, so that people like Rachel and Cait can't use their privileges to quite literally erase the source material that they used to make themselves famous in the first place.

If anything, Cait's actions didn't just affect the people she negatively review bombed, or the people she was affiliated with, but also the people she positively reviewed. While I don't support what Rachel creates, she wasn't the only one who Cait went out of her way to review positively from her alt accounts, there were many others as evident in the Google Doc - but all this really does is tarnish the legitimacy of these books and their ratings by artificially jacking up their numbers that are advertised to others.

Making Greek myth fanfiction or fun creative retellings was never the problem, but it's now being sabotaged alongside so many other genres and mediums by toxic white individuals who can't even keep themselves from committing hate crimes, let alone create something purely for entertainment that's transparent in its illegitimacy, lest it destroy the illusion that these people are qualified to speak over those whose voices are being stifled, often by these very same people. Many of these writers get caught and are still allowed to continue what they're doing - that was certainly what we feared with Cait.

Until today.

It was revealed today that Cait's book will no longer be featured in the Illumicrate May 2024 box.

Del Rey has dropped Crown of Starlight from their publishing schedule.

Daphne Press will be hopefully following suit.

And, most telling of all, Cait's own agent has severed ties with her.

For anyone not familiar with the inner workings of the publishing industry, Cait has essentially been blacklisted. Without an agent or a publishing house, she'll have to entirely rely on her own resources through self-publishing. Unless she manages to sneak her way back in under an alias (which I wouldn't put it past her to try) she no longer has access to the mainstream publishing industry that was already guaranteed for her before she let her 'jealousy' get the better of her.

Her career was already made for her. She had a red carpet laid out for her debut. Her book was getting good pre-reviews and she had quite literally nothing keeping her from her success. The best thing she could have done was nothing. Somewhere in her head, she made up a threat that didn't exist, and sealed her fate in acting on it, a self-fulfilling prophecy.

I think in these situations such as with Cait Corrain, Rachel Smythe, and - also recently and relevant - James Somerton, we need to become increasingly aware of how white voices are still overpowering POC voices, not just in their actions, but in the opportunities they're given over others which they then use to further stifle the voices of those they feel "threatened" by or feel entitled to speak over. While neither James nor Rachel have used sock puppet accounts to "take out the competition" (at least as far as we know lmao) James did quite literally steal the words and voices of queer writers who were deserving of their time in the spotlight, and Rachel's work is being quoted as "rewriting Greek myth" as if its blatant gentrification and appropriation should be marketed as some sort of positive.

It's all too common for these deeply-rooted prejudices to rear their ugly heads and for the people who carry them to act out in this way while justifying it as "jealousy" or "a mistake". This isn't jealousy. This isn't a mistake. This isn't someone "starting drama". This is genuine, targeted hate, with the intention of snuffing out the voices of others who should be empowered, not silenced.

All that time and effort, and for what? Racism and petty jealousy? It just goes to show, it doesn't matter how many opportunities you're given, how high up on the ladder you already are - it won't fix the deeply-rooted insecurity and racial pettiness that spurs people on to do such horrible things.

I've spent enough of my time and words today talking about Cait, and James, and Rachel. So to end this off, I want to join in with all the others who have highlighted the books that were review-bombed by Cait, and help in uplifting them so they can have successful debuts. I'll be pre-ordering a few of them, so I'll be happy to make dedicated posts for them in the future after they release. Please consider purchasing them for yourself if you want some new reading material <3

The Poisons We Drink by Bethany Baptiste:

So Let Them Burn by Kamilah Cole:

To Gaze Upon Wicked Gods by Molly X Chang:

Mistress of Lies by K.M. Enright

Voyage of the Damned by Frances White:

(I'm sure there are plenty others so if I missed any here, please let me know so I can add them here and check out their books!)

If there's any silver lining to this, I hope that it makes people aware of the media they consume and who it's being created by. I hope it makes people more willing to seek out the books that aren't getting the same opportunities as Cait Corrain and Rachel Smythe. I hope it's a wake-up call to the industry that matters like this need to be taken seriously and that POC writers are still being silenced under their own noses. And most of all, I hope it's a reminder that we shouldn't even need at this point that this behavior is not okay, no matter what level a person climbs to - that just because someone is part of one minority doesn't mean they're not capable of sabotaging another. It sucks that that has to be said, it sucks that despite these groups being so intersectional there are still people within them who submit to their deeply-rooted insecurities and find ways to feel threatened that they use to justify hateful behavior.

Having a platform is a privilege. It should never be weaponized against your own peers or those who you simply feel "threatened" by for no reason beyond your own imposter syndrome or doubts or internal struggles. Because as much as you may feel like you've earned where you are, that never gives you the right to weaponize your opportunities against others who were never given those same opportunities in the first place. "Feminism" is not using your power to crush "other women". "Progressiveness" is not exclusive to the progress that only benefits you.

I wish only the best to those who were affected by the actions of Cait Corrain. You deserve to be heard and seen and appreciated for the work you do and the abuse you've had to tolerate. I look forward to your debuts in 2024 <3

#cait corrain #support POC writers #crown of starlight #the poisons we drink #so let them burn #the voyage of the damned #mistress of lies #say isn't it funny how all the debut books cait tried to sabotage accurately describe her and her actions LOL #that's what we call irony #debut authors 2024 #booktok #webtoon critical #lore olympus critical #anti lore olympus

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ariaste · 4 months

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I'm super excited for your new book, quick question though... I recently saw something about an author not getting much $ from amazon because of the way revenue/profit was allocated when the book was on sale. What are the best 3 ways to buy your book in terms of revenue for you? I'm assuming Amazon isn't great? What about B&N? small local book stores? From the link you shared? A different method?

That is an AWESOME question and extremely thoughtful! I will give the short answer and the long answer. Short answer for RUNNING CLOSE TO THE WIND specifically:

Buy the hardback from Allstora (GREAT) or my Bookshop.org affiliate store (still good) or Barnes & Noble (I won't get any extra money, but it's good for other reasons, see below) or your local indie bookstore (we love supporting small businesses)

Buy the ebook from wherever is best for you! Right now I make pretty much the same amount of money regardless of platform.

Remember to recommend it to your local library in hardback, ebook, and audiobook form. (I still make money when libraries buy my books, and libraries help new readers discover my books)

For readers outside of America: You should be able to get it everywhere, and buying it from any retailer is great! I recommend a local indie bookstore.

Longer answer for all of my books:

Right, so I do both indie publishing and traditional publishing, so this is where things get weird:

Allstora is amazing for authors. For physical copies of my books, I get between 10% and 40% of the sale price on top of the royalties i get from my publisher. It is sincerely a game-changer. Buying my books from from my Bookshop.org store, linked above, is also pretty good -- it gets me a little boost of 10% of the profits of any books you buy through my affiliate link. Pretty cool. Buying books from Barnes & Noble is good for different reasons, because while I do not get any extra money beyond my royalties, B&N is very good at reporting their preorder numbers to my publisher, which is useful data for them to know for things like how much of a marketing budget to give my books. As for buying from indie bookstores, that speaks for itself: They are the backbone of our literary society and supporting them is just a morally good thing to do. (For international readers looking to get the hardbacks: Whichever retailer you usually use is great! There's no clear frontrunner right now that gives me more benefit than any other)

For ebooks of my traditionally published books (A Conspiracy of Truths, A Choir of Lies, Finding Faeries, A Taste of Gold and Iron, and now Running Close to the wind), again, buying them anywhere is currently fine. I hear Allstora might be working on getting ebook functionality in the future, in which case that will become the answer :) For ebooks of my self-published works, however, get them from my Patreon shop. I walk away with about $8 off an $8.99 sale. It's incredibly good.

Again, recommending my books to your local library (there's usually an online form on their website) is hugely helpful because that's FREE for you and STILL MONEY for me! :D And libraries are awesome, so.

You can also sign up for my newsletter or join my Discord server to get notifications of special events when you can buy autographed books directly from me! This gets me even more money than Allstora, but I only run these events a couple times a year for special occasions.

THANK YOU SO MUCH for asking this question! I hope this helped!

#books #authors #publishing #booklr #running close to the wind #alexandra rowland

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writingwithfolklore · 4 months

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5 Things about working in a (small) publishing house that surprised me

My experiences definitely aren’t true of the entire industry. I work in a very small, very local publishing house as a marketing assistant, and I’m certain that you’d have a much different experience at Penguin Random House, or even another small house on the other side of the country. That being said, here’s five things that really surprised me about what I’ve seen from the industry so far…

1. Very few of the people who work in publishing are writers

Okay this was one of the biggest surprises but also kind of makes sense? Publishing is a lot about the business side of things—numbers and marketing strategies and event planning, etc. People who are talented in design and accounting and other essential pieces to book publishing aren’t necessarily good at or practiced writers, and not all people who love reading also love writing!

I guess this surprised me so much because I’ve never been a reader without being a writer, but we often actually rely on the author’s writing on their own works (summaries, bios, etc.) to populate the backs of books and other marketing. Including me, there are three writers in my entire office.

2. Big booksellers (think Indigo) release yearly cover palettes for book covers

When we’re deciding the colours for a book cover, one thing that goes into that consideration is actually the different palettes Indigo releases! They have different palettes for different sections they update every year. I imagine it’s to fit a certain look for their shelves for new releases, but it’s not something I had ever really thought about, or thought that they would care about!

3. On that topic—publishing houses don’t sell to readers

My first day in marketing, my manager told me, “you’d think we’re selling to readers” I did think that. She said, “we’re actually selling to bookstores and libraries, they sell to readers.” How the money works is booksellers buy our books to put on their shelf. Everything they don’t sell, they’re allowed to trade back for credit, so we want them to buy big upfront, and then sell big to readers. Every book they send back is inventory we can’t get rid of and a “free” book for them down the line, so we don’t want books to come back!

If you want to support authors and your favourite publishing houses, buy from local bookstores who can’t afford to keep underselling books on their shelves for as long as say Indigo. If you really want to support authors, check out their books from libraries (yes really). Libraries are great because they buy books from publishing houses and can use the same one book to get into the hands of several readers, (in Canada) authors get a small amount every time a book is checked out (up to a certain amount so that the library’s entire budget doesn’t go to one book/author). Often, an author’s largest cheque is from libraries.

Unfortunately in the States authors don’t get the same boon, but still supporting your local libraries is just as good as supporting your local indie bookstores!

4. Soo many people look at covers, and soo much goes into creating them

I’m not really a designer, so I’m certain this wouldn’t surprise those of you who actually do graphic design, but they seriously look at every single detail and how it will benefit or hurt the sales. The placement of blurbs, choice of fonts, colours, subtitles, even the placement of raindrops for a rainy background, everything is discussed and tested and tried several different ways. So yes, DO judge a book by its cover, we work so hard on making covers perfect for the audience we’re trying to reach.

5. Publishing houses don’t necessarily have in-house editors, publicity, or other roles

I had always assumed that every publishing house had its own editors and publicists and what not. That’s probably true for the bigger ones, but if you’re being published by a smaller one (which you may be for your debut) you may be working with freelance editors and publicists who work somewhat with your publishing house and also with others as well. We have one in-house publicist, and no editors!

I wouldn’t turn down a publishing house just because they use freelancers (our freelancers are amazing!) but it’s important that they’re upfront about it. Huge red flag if they say they have in-house editors and they don’t actually—I would pass on a publishing house that lies to you.

Any other questions you have about the industry I’ll try to answer!

#writing #creative writing #writing community #writers #screenwriting #writing inspiration #books #filmmaking #film #writing advice #publishing industry #publishing #traditional publishing #trad publishing #publishing house

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thebibliosphere · 1 year

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I saw your post about ingram, and out of curiosity, is there some advantage to going through the whole self-publishing thing with retailers when you're just starting out? like I mean the way that fandom zines work is that they don't even bother going through ingram or amazon or whatever. they just set up a social media site (usually twitter) to gain followers, open preorders (usually 1-2 months in length) to generate the costs of printing upfront, and then sell anywhere from a few dozen to several hundred copies of their books (usually artbooks, but anthologies exist too). I've seen some zines generate over a thousand orders. they're kind of like pop-up shops, except for books. maybe the sales numbers aren't so impressive to a real author, but the profit generated is typically waaaay more than the $75+ apparently needed for Ingram Spark, so I still feel like new authors could benefit from this method too, especially if they just need some start-up cash to eventually move to ingram if they want to for subsequent runs of their book. I think authors would also have to set aside some of the pre-order money to buy an ISBN number to have printed on their book, and I'm not really sure what other differences there are, but I just wanted to ask about it in case there's some huge disadvantage I'm missing!

So, popup zines work well for some people, and I know some authors who kickstart their work successfully. But for a lot, it's just not feasible as a long-term stratedy. Or even as a means to get off the ground.

Fanzines succeed primarily because an existing fanbase is willing and ready to throw money at something they love. They’ve got a favorite writer or artist they want to support. Supporting all the others is just a happy by-product. They also take a HUGE amount of short-term but intense planning that just doesn’t always jive with how some of us work.

I, for one, would never offer to organize a fanzine. I’ll take part in them as a creator, but I’d rather throw myself off a cliff than subject myself to wrangling that many people and dealing with the legal logistics.

When it comes to authors doing anthologies, it'svery much the same. The success of the funding often hinges on having other big-name authors involved whose existing fans will prop up the project. Or having a huge marketing budget.

Most self-pub authors have zero marketing budget. I’m one of them, and I’m under no illusions that my work would not be as popular and self-sustaining as it is if I didn’t have a large Tumblr blog.

When I thank Tumblr in my forewards, I am utterly sincere. Tumblr brought fandom levels of enthusiasm to an unknown work and broke the Amazon algorithm so hard, that Amazon thought I was bot sniping my way to multiple #1 spots and froze my sales rankings.

That’s not the norm. And while I could probably kickstart my own work as an indie creator, that’s because I’ve put literal decades into building up a readership. I’ve been doing this since I was 16 and realized people thought I was funny. I didn’t know what to do with it or if I’d ever actually write anything, but it meant the groundwork was already there (thank you, past-me). I basically fell upward into my success by virtue of never being able to shut the fuck up and wanting to make people laugh. Clown instincts too strong.

New or first-time authors trying to sell their work without that will find it infinitely harder.

All of that aside, even if an unknown author somehow gets lucky and manages to fund their work, there’s still the question of shipping and distribution logistics. Are you shipping everything yourself? Better hope you’re able-bodied and have the time for it. (for reference, it took me months to ship out 300 patreon hardbacks because of my disabilites. It damaged my back and hands. I couldn’t type for several weeks after I was done.)

Are you going to sell primarily at conventions? Better hope you’re able-bodied, have the time and don’t have cripling anxiety about being in large groups...

Also, will selling a dozen to a few thousand copies in one burst be sustainable in the long run as a career? Not for me. Doing things via Ingram and Amazon means I earn a steady trickle of sales for the rest of my life provided the platforms remain and so long as I keep working and can generate interest in the series, not just when I have funds to pay for physical copies to sell. The one-time (in theory) cost of $75 to distribute through Ingram gets paid off pretty quick that way. And it doesn't require the same logistics as doing the popup/crowdfund.

Ultimately, it comes down to what you are capable of but also the type of work you’re doing. If you’ve got an extended network of fellow creatives who will back you or you’ve got a large following elsewhere, doing it like a popup might work for you.

If you’re an exhausted burnout who can’t fathom the short but intense amount of organization that sort of thing requires, not to mention doing it over and over and over... Ehhhhh. No thank you.

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mostlysignssomeportents · 2 years

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Kickstarting the Red Team Blues audiobook, which Amazon won't sell (read by Wil Wheaton!)

Red Team Blues is my next novel, a post-cyberpunk anti-finance finance thriller; it’s a major title for my publishers Tor Books and Head of Zeus, and it’s swept the trade press with starred reviews all ‘round. Despite all that, Audible will not sell the audiobook. In fact, Audible won’t sell any of my audiobooks. Instead, I have to independently produce them and sell them through Kickstarter:

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

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/2023/03/21/anti-finance-finance-thriller/#marty-hench

Audible is Amazon’s monopoly audiobook platform. It has a death-grip on the audiobook market, commanding more than 90% of genre audiobook sales, and every single one of those audiobooks is sold with Amazon’s DRM on it. That means that you can’t break up with Amazon without throwing away those audiobooks. Under the 1998 Digital Millennium Copyright Act, I can’t give you a tool to convert my own copyrighted audiobooks to a non-Amazon format. Doing so is a felony carrying a five year prison sentence and a $500,000 fine for an act that in no way infringes anyone’s copyright! Indeed, merely infringing copyright is much less illegal than removing Amazon’s mandatory DRM from my own books!

I’ve got amazing publishers who support my crusade against DRM, but they’re not charities. If they can’t sell my audiobooks on the platform that represents 90% of the market, they’re not going to make audio editions at all. Instead, I make my own audiobooks, using brilliant voice actors like Amber Benson and @neil-gaiman, and I sell them everywhere except Audible.

Doing this isn’t cheap: I’m paying for an incredible studio (Skyboat Media), a world-class director (Gabrielle de Cuir), top-notch sound editing and mastering, and, of course, killer narrators. And while indie audiobook platforms like Libro.fm and downpour.com are amazing, the brutal fees extracted by Apple and Google on app sales means that users have to jump through a thousand hoops to shop with indie stores. Most audiobook listeners don’t even know that these stores exist: if a title isn’t available on Audible, they assume no audiobook exists.

That’s where Kickstarter comes in: twice now, I’ve crowdfunded presales of my audiobooks through KS, and these campaigns were astoundingly successful, smashing records and selling thousands of audiobooks. These campaigns didn’t just pay my bills (especially during lockdown, when our household income plunged), but they also showed other authors that it was possible to evade Amazon’s monopoly chokepoint and sell books that aren’t sticky-traps for Audible’s walled garden/prison:

https://www.publishersweekly.com/pw/by-topic/columns-and-blogs/cory-doctorow/article/90282-we-wrote-a-book-about-why-audible-won-t-sell-our-book-and-snuck-it-onto-audible.html

And today, I’m launching the Kickstarter for Red Team Blues, and even by the standards of my previous efforts, I think this one’s gonna be incredible.

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

For starters, there’s the narrator: @wilwheaton, whose work on my previous books is outstanding, hands-down my favorite (don’t tell my other narrators! They’re great too!):

https://wilwheaton.net/

Beyond Wil’s narration, there’s the subject matter. The hero of Red Team Blues is a hard-charging forensic accountant who’s untangled every Silicon Valley finance scam since he fell in love with spreadsheets as as a MIT freshman, dropped out, got his CPA ticket, and moved west. Now, at the age of 67, Marty Hench is ready to retire, but a dear old friend — a legendary cryptographer — drags him back for one last job — locating the stolen keys to the backdoor he foolishly hid in a cryptocurrency that’s worth more than a billion dollars.

That’s the starting gun for a “grabby next-Tuesday thriller” that sees Marty in between three-letter agencies and international crime syndicates, all of whom view digital technology as a carrier medium for scams, violence and predation. Marty’s final adventure involves dodgy banks, crooked crypto, and complicit officials in a fallen paradise where computers’ libertory promise has been sucked dry by billionaire vampires.

It’s a pretty contemporary story, in other words.

I wrote this one before SVB, before Sam Bankman0Fried and FTX — just like I wrote Little Brother before Snowden’s revelations. It’s not that I’m prescient — fortune-telling is a fatalist’s delusion — it’s that these phenomena are just the most spectacular, most recent examples in a long string of ghastly and increasingly dire scandals.

Red Team Blues blasted out of my fingertips in six weeks flat, during lockdown, when technology was simultaneously a lifeline, connecting us to one another during our enforced isolation; and a tool of predatory control, as bossware turned our “work from home” into “live at work.”

The last time I wrote a book that quickly, it was Little Brother, and, as with Little Brother, Red Team Blues is a way of working out my own anxieties and hopes for technology on the page, in story.

These books tap into a nerve. I knew I had something special in my hands when, the night after I finished the first draft, I rolled over at 2AM to find my wife sitting up in bed, reading.

“What are you doing?” I asked.

“I had to find out how it ended,” she answered.

The next day, my editor sent me a four-line email:

That. Was. A! Fucking! Ride! Whoa!

Within a week, he’d bought Red Team Blues…and two sequels. I finished writing the second of these on Monday, and all three are coming out in the next 22 months. It’s gonna be a wild ride.

Kickstarter backers can get the usual goodies: DRM-free audiobooks and ebooks, hardcovers (including signed and personalized copies), and three very special, very limited-run goodies.

First, there’s naming rights for characters in the sequels — I’m selling three of these; they’re a form of cheap (or at least, reasonably priced) literary immortality for you or a loved one. The sequels are a lot of fun — they go in reverse chronology, and the next one is The Bezzle, out in Feb 2024, a book about prison-tech scams, crooked LA County Sheriff’s Deputy gangs, and real-estate scumbags turned techbros.

The third book is Picks and Shovels (Jan 2025), and it’s Marty’s first adventure after he comes west to San Francisco and ends up working for the bad guys, an affinity scam PC company called “Three Wise Men” that’s run by a Mormon bishop, a Catholic priest and an orthodox rabbi who fleece their faithful with proprietary, underpowered computers and peripherals, and front for some very bad, very violent money-men.

Next, there’s three Marty Hench short story commissions: the Hench stories are machines for turning opaque finance scams into technothrillers. While finance bros use MEGO (“my eyes glaze over”) as a weapon to bore their marks into submission, I use the same performative complexity as the engines of taut detective stories. Commissioning a Hench story lets you turn your favorite MEGO scam into a science fiction story, which I’ll then shop to fiction websites (every story I’ve written for the past 20 years has sold, though in the event that one of these doesn’t, I’ll put it up under a CC license).

Finally, there’s a super-ultra-limited deluxe hardcover edition — and I do mean limited, just four copies! These leather-bound editions have Will Staehle’s fantastic graphic motif embossed in their covers, and the type design legend John D Berry is laying out the pages so that there’s space for a hidden cavity. Nestled in that cavity is a hand-bound early draft edition of The Bezzle, the sequel to Red Team Blues. The binding is being done by the fantastic book-artist John DeMerritt. Each copy’s endpapers will feature a custom cryptographic puzzle created especially for it by the cryptographer Bruce Schneier.

I often hear from readers who want to thank me for the work I do, from the free podcast I’ve put out since 2006 to the free, CC BY columns I’ve written for Pluralistic for the past three years. There is no better way to thank me than to back this Kickstarter and encourage your friends to do the same:

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

Preselling a ton of audiobooks, ebooks, and print books is a huge boost to the book on its launch — incomparable, really. Invaluable.

What’s more, helping me find a viable way to produce popular, widely heard audiobooks without submitting to Amazon’s DRM lock-in sets an example for other creators and publishers: we have a hell of a collective action problem to solve, but if we could coordinate a response to Audible demanding the right to decide whether our work should have their DRM, it would force Audible to treat all of us — creators, publishers and listeners — more fairly.

I’ll be heading out on tour to the US, Canada, the UK and Germany once the book is out. I’m really looking forward to as many backers in person as I can! Thank you for your support over these many long years — and for your support on this Kickstarter.

Today (Mar 22), I’m doing a remote talk for the Institute for the Future’s “Changing the Register” series.

[Image ID: A graphic showing a phone playing the Red Team Blues audiobok, along with a quote from Booklist, 'Jam-packed with cutting-edge ideas about cybersecurity and crypto. Another winner from an sf wizard.']

#pluralistic #wil wheaton #drm #chokepoint capitalism #Monopoly #audible #amazon #audiobooks #sf #science fiction #post cyberpunk #cyberpunk #technothrillers #thrillers #heists #cryptocurrency #red team blues #marty hench #kickstarter

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