#The One Thing Book Review for Productivity

[mermaidsirennikita]

The dichotomy between what's popular according to booktok (from what I've see) from the most blandest books imaginable to the most taboo erotica you can think of is kinda wild.

I think that what gets me with taboo books recommended by BookTok is that they're usually very poorly written. And if the writing is poor, you're not really getting the full "shock" value.

Like, when you read Sierra Simone's Thornchapel series, the scenes read as really intense because Sierra is an excellent writer. In contrast, a book like Hooked (that one dark romance~ modern Captain Hook book, a concept I was very open to and wanted to like, for the record) is very badly written. There's taboo content and a horrible hero, but like... It just reads juvenile.

I'm about 65% through A Kiss at Midnight by Anne Stuart, a historical romance that is QUITE dark, but the writing is frankly fabulous. Because Stuart can write, the darkness (which is not like, the corny "oh he's so bad he's in a motorcycle gang" torture sequence stuff--it's TRULY intense and pretty accurate for the era) is balanced out by emotional progression and honestly? A very dry, at times dark humor. If a lesser writer handled this plotline, it would just seem like shock factor after shock factor layered on just to get people talking. Very 2edgy4me.

And I'm gonna be really real here. Some fanfic authors are made to transition to actual published books. I think Ali Hazelwood writes a really solid contemporary romance. I really enjoyed You, Again by Kate Goldbeck, and that's based on a fic I actually read. The Hurricane Wars works as a book. (And mind you, let's not take away from the work the editors and authors did to rework fics into actual books here.)

Some fic authors are meant to stay fic authors and to excel at that. I personally think that one of the reasons why we have so many blaaand romance novels right now is that a) some of them are written by less-equipped fic authors trying to write real books and b) some of the authors have read less actual books than they have fics.

There are some tensely plotted, exciting fics out there. But personally? I think the standout nature of those fics--fics like Manacled, which... I think.... is not.... for me. However, bland it is not lol--makes people think that is the NORM for fic, when it's not. The norm for fic, and what I think a lot of more casual fic consumers and people who read more fic than they do books (compared to a lot of romance readers who turn to fic to supplement their reading habits) is very plotless slice of life stuff.

And that's not meant to be derogatory. It works, especially when you're writing about characters a lot of people know and love and are PROGRAMMED to know and love. Even if it's AU and they're basically other people, if you're writing a modern, sedate romcom about Katniss and Peeta and she mentions going to archery classes and Peeta being a baker, people are like aawwwww and they enjoy the nicely written scenes that are just people being people.

That.... ultimately creates a bland story when you're writing a book about original characters nobody has a preexisting investment in.

[aroaessidhe]

2023 reads // twitter thread    

Into the Midnight Void

part two of a chaotic fantasy duology

our unhinged lesbians try to survive and take power in a gory world of dark magic where water is running out, after more is revealed about the world they live in

i don’t believe in the glorification of murder but i do believe in the empowerment of women

[emberwhite]

Not everyone likes my book, and I'm OK with that. There are many classic children's books some people just don't like because of their message or how they portray it, but I love them because they offer something a little different.

I made something straight from the heart and took a big chance on it. It caters to no one and breaks many conventions you find in children's books. I wanted adults to be able to enjoy the story as well, so it's not afraid to get a little sad. There were a few children's book bloggers I had emailed who wouldn't review it because of that reason. And there were Read Aloud YouTube channels who wouldn't make a video on it because they didn't like the ending.

But there were also many people who absolutely loved the book. They got what I was trying to do, so I know there is an audience for this sort of thing. The more secluded you feel you are from society the better the chance you'll like it. This isn't the case for everyone but just a trend I noticed. Reviews on Amazon have been overwhelming positive, and hey, my mom liked it too. And the book has sold almost a 100 copies in its first month.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

But then again, I also get these drive-by reviews from window shoppers. This is just the reality of trying to do something a bit different with a kid's book. People absolutely judge a book by it's cover.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I know how to write things that are guaranteed to sell and make money, but this ain't one of them. Doing what is guaranteed to work gets boring after a couple of years. It's too safe. It's fulfilling work to make a product that people need but also empty at the same time.

This was a complete gamble. I have been publishing on Amazon for the last 8 years now, and I haven't felt this excited since I released my first book. And thinking back on it, that first book was also a bold gamble as well. And it sold very well. Maybe then, that's just the secret to success.

Anyways, the book is on Amazon. You can also find the full story and illustrations on YouTube for free as well. If you would like to support the book, a quick rating on Amazon or Goodreads is one of the best ways to do so.

[emeryleewho]

Saw a fun little conversation on Threads but I don't have a Threads account, so I couldn't reply directly, but I sure can talk about it here!

I've been wanting to get into this for awhile, so here we go! First and foremost, I wanna say that "Emmaskies" here is really hitting the nail on the head despite having "no insider info". I don't want this post to be read as me shitting on trad pub editors or authors because that is fundamentally not what's happening.

Second, I want to say that this reply from Aaron Aceves is also spot on:

There are a lot of reviewers who think "I didn't enjoy this" means "no one edited this because if someone edited it, they would have made it something I like". As I talk about nonstop on this account, that is not a legitimate critique. However, as Aaron also mentions, rushed books are a thing that also happens.

As an author with 2 trad pub novels and 2 trad pub anthologies (all with HarperCollins, the 2nd largest trad publisher in the country), let me tell you that if you think books seem less edited lately, you are not making that up! It's true! Obviously, there are still a sizeable number of books that are being edited well, but something I was talking about before is that you can't really know that from picking it up. Unlike where you can generally tell an indie book will be poorly edited if the cover art is unprofessional or there are typoes all over the cover copy, trad is broken up into different departments, so even if editorial was too overworked to get a decent edit letter churned out, that doesn't mean marketing will be weak.

One person said that some publishers put more money into marketing than editorial and that's why this is happening, but I fundamentally disagree because many of these books that are getting rushed out are not getting a whole lot by way of marketing either! And I will say that I think most authors are afraid to admit if their book was rushed out or poorly edited because they don't want to sabotage their books, but guess what? I'm fucking shameless. Café Con Lychee was a rush job! That book was poorly edited! And it shows! Where Meet Cute Diary got 3 drafts from me and my beta readers, another 2 drafts with me and my agent, and then another 2 drafts with me and my editor, Café Con Lychee got a *single* concrete edit round with my editor after I turned in what was essentially a first draft. I had *three weeks* to rewrite the book before we went to copy edits. And the thing is, this wasn't my fault. I knew the book needed more work, but I wasn't allowed more time with it. My editor was so overworked, she was emailing me my edit letter at 1am. The publisher didn't care if the book was good, and then they were upset that its sales weren't as high at MCD's, but bffr. A book that doesn't live up to its potential is not going to sell at the same rate as one that does!

And this may sound like a fluke, but it's not. I'm not naming names because this is a deeply personal thing to share, but I have heard from *many* authors who were not happy with their second books. Not because they didn't love the story but because they felt so rushed either with their initial drafts or their edits that they didn't feel like it lived up to their potential. I also know of authors who demanded extra time because they knew their books weren't there yet only to face big backlash from their publisher or agent.

I literally cannot stress to you enough that publisher's *do not give a fuck* about how good their products are. If they can trick you into buying a poorly edited book with an AI cover that they undercut the author for, that is *better* than wasting time and money paying authors and editors to put together a quality product. And that's before we get into the blatant abuse that happens at these publishers and why there have been mass exoduses from Big 5 publishers lately.

There's also a problem where publishers do not value their experienced staff. They're laying off so many skilled, dedicated, long-term committed editors like their work never meant anything. And as someone who did freelance sensitivity reading for the Big 5, I can tell you that the way they treat freelancers is *also* abysmal. I was almost always given half the time I asked for and paid at less than *half* of my general going rate. Authors publishing out of their own pockets could afford my rate, but apparently multi-billion dollar corporations couldn't. Copy edits and proofreads are often handled by freelancers, meaning these are people who aren't familiar with the author's voice and often give feedback that doesn't account for that, plus they're not people who are gonna be as invested in the book, even before the bad payment and ridiculous timelines.

So, anyway, 1. go easy on authors and editors when you can. Most of us have 0 say in being in this position and authors who are in breech of their contract by refusing to turn in a book on time can face major legal and financial ramifications. 2. Know that this isn't in your head. If you disagree with the choices a book makes, that's probably just a disagreement, but if you feel like it had so much potential but just *didn't reach it*, that's likely because the author didn't have time to revise it or the editor didn't have time to give the sort of thorough edits it needed. 3. READ INDIE!!! Find the indie authors putting in the work the Big 5's won't do and support them! Stop counting on exploitative mega-corporations to do work they have no intention of doing.

Finally, to all my readers who read Café Con Lychee and loved it, thank you. I love y'all, and I appreciate y'all, and I really wish I'd been given the chance to give y'all the book you deserved. I hope I can make it up to you in 2025.

[dduane]

I just received a copy of a book I've been very much looking forward to by a favorite author, but the quality of the book itself is... not great. Cheap paper, weak binding, even a weird illustration of the main character on the cover that I'm having trouble believing the author approved. Obviously, I don't want to leave a bad review on Amazon or GoodReads or anywhere, as I'm 100% certain the content is as excellent as her other work. But how can I best let the publisher (Baen) know I'm disappointed without threatening to never buy her books again? Because, well, if this is the only option, I'm gonna keep buying them even in my disappointment.

Well, the first thing I thought when I read this was "Wow, I'm really glad I don't have anything in print from Baen at the moment except a couple of anthologized short stories." :)

As for the rest of it, let's take it point by point.

Adding a cut here, because this will run a bit long. Caution: contains auctorial bitching and moaning, painful illustrations of cases in point, and brief advice on how to complain most effectively. (Also links to paintings of cats.)

Cheap paper: This has been an accurate complaint since well before COVID—and it's often been worse since, with supply chain issues also being involved. That said: one way publishers routinely save money on printing books, especially the bigger ones, is by going for thinner/cheaper paper. I remember one of our UK editors going on at great length and with huge annoyance—during one of those late-night convention-bar bitch sessions—over how the only way they could get some really good books published (because Upstairs insisted on reducing the per-copy production costs) was by reducing the paper quality to the point where you could nearly read through it. Sacrificing decent text size(s) also became part of this. Nobody in editorial was happy about the result: but there wasn't much they could do.

Bad bindings: Similar problem. Sewn bindings used to be a thing in paperbacks... but not any more: not for a good while, now. These days, it's all glue. Even hardcovers are showing up glued rather than sewn. Don't get me started. :/ (This is why I so treasure some of the oldest paperbacks I've acquired, which are actually sewn.)

Crap covers: I've had my share of these—though my share of some really good ones, too. And one of the endless frustrations of traditional publishing is that the writer routinely has little or even no influence over what the cover will look like... let alone how much will be spent on it, or (an often-related issue) how good the execution will be.

There are of course exceptions. If you're working at the, well, @neil-gaiman -esque level or similar in publishing, a lot more attention is going to be paid to your thoughts. You may even be able to get "cover veto" written into your contracts, so that if you disapprove, changes will get made. But without actual contractual stipulations, the writer has zero legal recourse or way to withhold approval. (And I bet even Neil has some horror stories.)

The normal workflow looks like this. After a book's purchased, its editor and the art director discuss what it's about and what the cover should look like. The art director then hires an artist and tells them what to do. After that, the artist executes their vision and gets paid. It is incredibly rare for a writer to have any significant input into this process. And as to whether or not they approve of the final result, well... the publisher mostly just shrugs and goes back to eyeing the bottom line, muttering "Who told them they get a vote?"

Now, I've been seriously lucky to occasionally be an exception in this regard. In particular, my editors at Harcourt (when Jane Yolen and Michael Stearns were editing Harcourt's Magic Carpet YA imprint) would ask me what I thought would be a good idea for the next Young Wizards cover, and I'd think about it a bit and send them back a paragraph or so about some core scene. They'd then talk to their art director, and after that send their notes and mine to Cliff Nielsen (who started doing the covers for the hardcover and mass-market paperback editions of the series in the mid-90s) or to Greg Swearingen (who was the artist on the digest-format editions). And the results, by and large, were pretty good. ...I also think affectionately of the UK artist Mick Posen, who insisted on seeing pictures of our cats before painting the covers for the Hodder editions of The Book of Night with Moon and On Her Majesty's Wizardly Service (the UK title for To Visit The Queen).

But this kind of treatment is a courtesy—not even vaguely suggested in the books' contracts, and very much the exception to the rule. And for every writer who's midlist, there are times when the luck runs out. For example: one time I wrote a book that was an AU-Earth-near-future fantasy police procedural, thematically pretty dark—dealing with issues of abuse of megacorporate power, institutionalized bigotry, and (explicitly) attempted genocide. And the cover, done by an artist who's a good friend and some of whose fabulous art hangs in our house, came out looking like this. It was... let's just say "not ideally representative."

So I was glad, when my local workflow allowed it, to recover the current, revised version of the book with something at least a little more apropos. But the original cover's not the artist's fault. He did what the art director told him... as a cover artist must do to get paid, and (ideally) to get hired again. At present, that's how the system works.

...So. You've got a badly-built and -presented book on your hands. How best to make your feelings known in some way that might make a difference down the line? (As you make it plain that you'll keep buying this author's books this way if you must.)

First of all: when (as part of my psych nursing training) we were taught how to complain most effectively, we were told that the first and most basic rule of the art is this:

Only Complain To Someone Who Can Actually Do Something About Your Problem

So I salute your desire not to waste your time taking the issue to the reviews on Amazon, or the pages of Goodreads... because they can't do anything. The odds that anyone from production at Baen is reading the comments there strike me as... well, not infinitesimally small, not being hit-by-a-meteorite-while-in-the-shopping-center-parking-lot small... but really low.

So: write to corporate.

In your place I would go online and rummage around a bit to find out who's on record as the publisher at Baen. I would then write them a letter on paper. And I would lay out the problem pretty much as you laid it out up at the top.

The tone I think I'd choose would be the more-in-sorrow-than-in-anger approach. I'd say, "I write to comment about your recently published book by [X Writer], whose work I love. I have to say, though, that I don't think the cover on [X Book] is terribly representative of the quality of the prose inside. And also, the construction and production quality of the book itself was a disappointment to me because [here spell out why].

"I'd really like to see [X. Writer's] books succeed with you, and I'd like to buy more of them without wondering whether I was going to be disappointed again. But if this is typical of how they're being produced, I'd also be concerned that the state of these books is setting up a situation in which the author's sales will be damaged, and you would stop publishing them... which would really be a shame. Whereas on the other hand, better production quality could keep previous purchasers coming back and buying, not only more books by this author, but books by others whom you publish."

This phrasing, as you'll have seen, walks a bit wide around the issue of your further purchases, while directing attention toward the bottom line... which will routinely be what the publisher's looking at from day to day. And—being, one has to hope, in possession of the wider picture as regards what's going on with their production costs—maybe they can actually do something about it.

Anyway, nothing ventured, nothing gained, yeah? It's worth a try. All you can do is hope for the best.

And finally: please know that I admire your commitment to the author: whoever she is, she's lucky to have you. It's a terrific thing to have readers who'll willing to spend the time to hunt you down, and who're willing not to judge a book by its cover. :)

[thatgirlie-diaries]

Things I do to take care of myself

Inspired by @theambitiouswoman

Hello girlies! On this blog I'm going to write down all the habits I do to take care of my self. These ones I have been practicing them since a long time and I know they maintain me healthy, happy, balanced and stress free. I hope I can inspire you to discover the habits that make you feel your best and start doing some of the things I do!

My habits

Have a morning and night routine to follow

Sleep 8 hours on a consistent schedule

Eat at least one fruit a day, along three healthy meals and drink enough water

Pray when I wake up

Do yoga in the morning and meditate at night

Do my skincare 2 times daily (morning and night)

Have an "everything shower" 2x times per week

Listen to positive affirmations in the morning

Dress up pretty every time I'm going out

Listen a podcast daily

Read one chapter of a book daily

Dedicate one hour for introspective journaling and healing yoga + meditation 2xtimes per week

Use less than 4 hours my phone (15 minutes max on every social media app)

Unfollow any account that doesn't make me feel good with myself or consume content that doesn't inspire me

Study a language 30 minutes - 1 hour 3x times per week

Spend time with my loved ones during the week

Write down a journal entry before sleep

Be productive and focus on my tasks to be free the more time possible

Make a daily to-do list

Maintain my personal space clean

Take my daily supplements after breakfast

Look from time to time my vision boards

Dedicate time to prepare my meals and make lunch for university (instead of spending)

Keep track of my financial movementes

Focus on living in the present and be carefree about life

Smile, be kind and maintain the calm with people

On my free time do things I love ( like blogging, gaming, watch YT, etc)

Be mindful of all the sensorial stimulation (use less screens and earphones)

Respect when my body needs to rest

Have a optimistic mindset that works in my favor

Play with and take care of my pets (my happy pills)

Have a "Sunday reset" routine dedicated to deep cleaning, laundry, weekly review and planning, self-care, etc

See you on the next blog! 𑄽𑄺ྀ

[tuckerwooley]

today, @thepeoplesjoker finally sees a theatrical release, starting in NYC and spreading like wildfire to theaters across the country and almost certainly beyond. here are some non-spoilery screenshots of my scene!

i’m honored to have been asked to be a small part of this film; i animated a scene right in the middle of the movie in 2021 while i was finishing my senior year of college, as well as matte paintings used as backgrounds throughout - and recently i got to animate the logo, designed by @michaeldeforgecomics!

all movies take a herculean collaborative effort to get made, but the people’s joker has been supported by the good will of so many people just to get seen. @veradrew22 and @brilerose have made THE true trans comic book movie, equal parts funny, thrilling, emotional, and reflective of modernity. it’s been one of the most artistically rewarding experiences of my life, and i’m beyond excited for y’all to finally see it. i’m obviously biased, but this is my favorite movie, and it would be even if i didn’t work on it. she’s finally free and getting her due, and i couldn’t be happier!

if you somehow want more of me waxing poetic about TPJ, check out the review i did on my letterboxd. and to see other people do it instead, peruse one of the fuckmillion articles that have been out in major publications throughout the production; it’s been in indiewire, variety, the hollywood reporter, polygon, @brokenpencilmag, even the goddamn new york times! that’s wild. the whole thing is wild.

do yourself a favor and see this movie; it represents the possibilities of embracing outsider art, and of a world where IP law is less “for narcs, by narcs.”

[artist-ellen]

Young Rhaenyra

It's happening! At least a year after Season 1 is relevant I'm finally starting the House of the Dragon series. Like before I'm probably going to just do the ladies, men's fashion in the show has it's weird moments but it isn't my field of interest/expertise so I'll burn out pretty fast if I have to draw that many pants.

We're starting from the beginning with Rhaenyra's yellow dress. The idea of the dress is fine... but the choice of fabric and finishings really undercut her status and character. Supposedly there was a fabric shortage when the show was starting which affected the costuming decisions but I am going to have opinions on how the final product looks. It's understandable for example if a student ran into technical difficulties, but it doesn't mean a lower quality end result wouldn't affect their grade. Anyway there are a LOT of costumes in the series that bewilder me. Especially with the amount of costumes that resemble Spirit Halloween purchases, the fabric often looks too thin or cheap, the appliqués are sometimes painful... and the world-building through clothing makes no sense (watch Sumalee Eaton on clock app for a professional's review with more detail).

Speaking of world building one of the reasons I put this design challenge off for so long was that in my first ASOIAF redesigns I referenced clothing and fashion across different time periods. So when HotD is set ~200 years before ASOIAF... the answer of when/what to base things off of gets real complicated. While keeping up with the reactions to HotD as it aired I came across Sumalee Eaton’s review of the costumes and they recommended that the show lean into its Byzantine inspiration. Every once in the a while the show will have a costume that references a sort of kokoshnik or mantle...but then sabotages itself with either unlined fabric or some haute couture thing.

This is getting too ramble-y, sorry. This is her yellow dress if it leaned into Byzantine fashion, if it reveled in the wealth of the Targaryens with gems and jewelry that are worn with their everyday wear. It's casual, the shape feels appropriately young and unserious but royal all the same. (And before anyone worries this is not an April fools joke, I really am doing a Season 1 redesign series)

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram, tiktok or check out my coloring book available now \ („• ֊ •„) /

https://linktr.ee/ellen.artistic

[mostlysignssomeportents]

Google reneged on the monopolistic bargain

I'm on tour with my new novel The Bezzle! Catch me TONIGHT in SALT LAKE CITY (Feb 21, Weller Book Works) and TOMORROW in SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA, Seattle, Portland, Phoenix and more!

A funny thing happened on the way to the enshittocene: Google – which astonished the world when it reinvented search, blowing Altavista and Yahoo out of the water with a search tool that seemed magic – suddenly turned into a pile of shit.

Google's search results are terrible. The top of the page is dominated by spam, scams, and ads. A surprising number of those ads are scams. Sometimes, these are high-stakes scams played out by well-resourced adversaries who stand to make a fortune by tricking Google:

https://www.nbcnews.com/tech/tech-news/phone-numbers-airlines-listed-google-directed-scammers-rcna94766

But often these scams are perpetrated by petty grifters who are making a couple bucks at this. These aren't hyper-resourced, sophisticated attackers. They're the SEO equivalent of script kiddies, and they're running circles around Google:

https://pluralistic.net/2023/02/24/passive-income/#swiss-cheese-security

Google search is empirically worsening. The SEO industry spends every hour that god sends trying to figure out how to sleaze their way to the top of the search results, and even if Google defeats 99% of these attempts, the 1% that squeak through end up dominating the results page for any consequential query:

https://downloads.webis.de/publications/papers/bevendorff_2024a.pdf

Google insists that this isn't true, and if it is true, it's not their fault because the bad guys out there are so numerous, dedicated and inventive that Google can't help but be overwhelmed by them:

https://searchengineland.com/is-google-search-getting-worse-389658

It wasn't supposed to be this way. Google has long maintained that its scale is the only thing that keeps us safe from the scammers and spammers who would otherwise overwhelm any lesser-resourced defender. That's why it was so imperative that they pursue such aggressive growth, buying up hundreds of companies and integrating their products with search so that every mobile device, every ad, every video, every website, had one of Google's tendrils in it.

This is the argument that Google's defenders have put forward in their messaging on the long-overdue antitrust case against Google, where we learned that Google is spending $26b/year to make sure you never try another search engine:

https://www.bloomberg.com/news/articles/2023-10-27/google-paid-26-3-billion-to-be-default-search-engine-in-2021

Google, we were told, had achieved such intense scale that the normal laws of commercial and technological physics no longer applied. Take security: it's an iron law that "there is no security in obscurity." A system that is only secure when its adversaries don't understand how it works is not a secure system. As Bruce Schneier says, "anyone can design a security system that they themselves can't break. That doesn't mean it works – just that it works for people stupider than them."

And yet, Google operates one of the world's most consequential security system – The Algorithm (TM) – in total secrecy. We're not allowed to know how Google's ranking system works, what its criteria are, or even when it changes: "If we told you that, the spammers would win."

Well, they kept it a secret, and the spammers won anyway.

A viral post by Housefresh – who review air purifiers – describes how Google's algorithmic failures, which send the worst sites to the top of the heap, have made it impossible for high-quality review sites to compete:

https://housefresh.com/david-vs-digital-goliaths/

You've doubtless encountered these bad review sites. Search for "Best ______ 2024" and the results are a series of near-identical lists, strewn with Amazon affiliate links. Google has endlessly tinkered with its guidelines and algorithmic weights for review sites, and none of it has made a difference. For example, when Google instituted a policy that reviewers should "discuss the benefits and drawbacks of something, based on your own original research," sites that had previously regurgitated the same lists of the same top ten Amazon bestsellers "peppered their pages with references to a ‘rigorous testing process,’ their ‘lab team,’ subject matter experts ‘they collaborated with,’ and complicated methodologies that seem impressive at a cursory look."

But these grandiose claims – like the 67 air purifiers supposedly tested in Better Homes and Gardens's Des Moines lab – result in zero in-depth reviews and no published data. Moreover, these claims to rigorous testing materialized within a few days of Google changing its search ranking and said that high rankings would be reserved for sites that did testing.

Most damning of all is how the Better Homes and Gardens top air purifiers perform in comparison to the – extensively documented – tests performed by Housefresh: "plagued by high-priced and underperforming units, Amazon bestsellers with dubious origins (that also underperform), and even subpar devices from companies that market their products with phrases like ‘the Tesla of air purifiers.’"

One of the top ranked items on BH&G comes from Molekule, a company that filed for bankruptcy after being sued for false advertising. The model BH&G chose was ranked "the worst air purifier tested" by Wirecutter and "not living up to the hype" by Consumer Reports. Either BH&G's rigorous testing process is a fiction that they infused their site with in response to a Google policy change, or BH&G absolutely sucks at rigorous testing.

BH&G's competitors commit the same sins – literally, the exact same sins. Real Simple's reviews list the same photographer and the photos seem to have been taken in the same place. They also list the same person as their "expert." Real Simple has the same corporate parent as BH&G: Dotdash Meredith. As Housefresh shows, there's a lot of Dotdash Meredith review photos that seem to have been taken in the same place, by the same person.

But the competitors of these magazines are no better. Buzzfeed lists 22 air purifiers, including that crapgadget from Molekule. Their "methodology" is to include screenshots of Amazon reviews.

A lot of the top ranked sites for air purifiers are once-great magazines that have been bought and enshittified by private equity giants, like Popular Science, which began as a magazine in 1872 and became a shambling zombie in 2023, after its PE owners North Equity LLC decided its googlejuice was worth more than its integrity and turned it into a metastatic chumbox of shitty affiliate-link SEO-bait. As Housefresh points out, the marketing team that runs PopSci makes a lot of hay out of the 150 years of trust that went into the magazine, but the actual reviews are thin anaecdotes, unbacked by even the pretense of empiricism (oh, and they loooove Molekule).

Some of the biggest, most powerful, most trusted publications in the world have a side-hustle in quietly producing SEO-friendly "10 Best ___________ of 2024" lists: Rolling Stone, Forbes, US News and Report, CNN, New York Magazine, CNN, CNET, Tom's Guide, and more.

Google literally has one job: to detect this kind of thing and crush it. The deal we made with Google was, "You monopolize search and use your monopoly rents to ensure that we never, ever try another search engine. In return, you will somehow distinguish between low-effort, useless nonsense and good information. You promised us that if you got to be the unelected, permanent overlord of all information access, you would 'organize the world's information and make it universally accessible and useful.'"

They broke the deal.

Companies like CNET used to do real, rigorous product reviews. As Housefresh points out, CNET once bought an entire smart home and used it to test products. Then Red Ventures bought CNET and bet that they could sell the house, switch to vibes-based reviewing, and that Google wouldn't even notice. They were right.

https://www.cnet.com/home/smart-home/welcome-to-the-cnet-smart-home/

Google downranks sites that spend money and time on reviews like Housefresh and GearLab, and crams botshittened content mills like BH&G into our eyeballs instead.

In 1558, Thomas Gresham coined (ahem) Gresham's Law: "Bad money drives out good." When counterfeit money circulates in the economy, anyone who gets a dodgy coin spends it as quickly as they can, because the longer you hold it, the greater the likelihood that someone will detect the fraud and the coin will become worthless. Run this system long enough and all the money in circulation is funny money.

An internet run by Google has its own Gresham's Law: bad sites drive out good. It's not just that BH&G can "test" products at a fraction of the cost of Housefresh – through the simple expedient of doing inadequate tests or no tests at all – so they can put a lot more content up that Housefresh. But that alone wouldn't let them drive Housefresh off the front page of Google's search results. For that, BH&G has to mobilize some of their savings from the no test/bad test lab to do real rigorous science: science in defeating Google's security-through-obscurity system, which lets them command the front page despite publishing worse-than-useless nonsense.

Google has lost the spam wars. In response to the plague of botshit clogging Google search results, the company has invested in…making more botshit:

https://pluralistic.net/2023/02/16/tweedledumber/#easily-spooked

Last year, Google did a $70b stock buyback. They also laid off 12,000 staffers (whose salaries could have been funded for 27 years by that stock buyback). They just laid off thousands more employees.

That wasn't the deal. The deal was that Google would get a monopoly, and they would spend their monopoly rents to be so good that you could just click "I'm feeling lucky" and be teleported to the very best response to your query. A company that can't figure out the difference between a scam like Better Homes and Gardens and a rigorous review site like Housefresh should be pouring every spare dime it brings in into fixing this problem. Not buying default search status on every platform so that we never try another search engine: they should be fixing their shit.

When Google admits that it's losing the war to these kack-handed spam-farmers, that's frustrating. When they light $26b/year on fire making sure you don't ever get to try anything else, that's very frustrating. When they vaporize seventy billion dollars on financial engineering and shoot one in ten engineers, that's outrageous.

Google's scale has transcended the laws of business physics: they can sell an ever-degrading product and command an ever-greater share of our economy, even as their incompetence dooms any decent, honest venture to obscurity while providing fertile ground – and endless temptation – for scammers.

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/2024/02/21/im-feeling-unlucky/#not-up-to-the-task

[writingquestionsanswered]

Hi. I'm the person who asked for help with the enemy of the week type thing. I was wondering if you could explain the different types of writting? (fanfic, novella, all that stuff)

Different Types of Writing and Stories

By Word Count: *

Drabble: 100 word story Micro Fiction: 50 to 500 words Flash Fiction: 2000 words or fewer Short Story: 1000 to 10,000 words Novelette: 7,500 to 20,000 words Novella: 20,000 to 50,000 words Novel: 50,000 to 120,000 words Epic Novel: 120,000 words or more * (estimates vary)

By Type:

Poetry: literature using figurative language and crafted verse Fan-Fiction: fiction written by fans of existing canon material *** Diary/Journal: personal account of life experiences Travelogue: personal account of one's travel experiences Fiction: prose literature describing imaginary events and people Non-Fiction: prose literature about factual events/subjects/people Creative Non-Fiction: creative writing used in non-fiction narrative Play: a script for a story to be performed on stage Screenplay: TV/movie script including acting and scene directions Technical Writing: professionally written technical information Critical Writing: personal reviews of a product like film/food/book Expository Writing: provides facts and research about a given topic

By Fiction Genre: Fantasy Sci-Fi Adventure Thriller Romance Historical Fiction Contemporary Children's Fiction Dystopian Mystery Horror Paranormal

*** fan-fiction can be any word count/genre

By Non-Fiction Genre: Memoir Humor Travel Self-Help History How-To Motivational Humor Personal Development Cookbook Art Family & Relationships

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[mareastrorum]

These are just initial thoughts, and perhaps I’ll learn something that changes my mind on it, but I’m glad to see Critical Role making the leap to their own subscription service with Beacon.

As a lead in: I’m an attorney that has some background in IP law, though it isn’t what I practice currently. I’ve kept in contact with several active practitioners, particularly those that represent small-time creators either in their own independent practice or via nonprofits. I do not have an extensive Rolodex of IP peers, nor do I spend the money to keep up on IP CLEs. I’m just someone who used to know a ton because I did heavy research and work in that space, and that hasn’t been the case for years.

So here’s my thoughts a bit on the IP angle:

The primary reason I’m happy to see this leap is that CR is taking active steps to keep control over its IP. It’s a boring thing to most people, but when I start paying attention to a specific creator (authors, directors, companies, etc.), I tend to be very attentive to how they use their IP. How freely do they license their marks to partner with other creators to make merch? How often do they allow others to make adaptations or derivatives of their copyrights? What is the quality of those products? What is the supply chain like? Are those third parties objectionable in some way? Were the other parties faithful to the original works or marks? Was this a cash grab or an earnest effort to make something worth the price tag?

Honestly, I like how CR run their business. They have a history of tapping fans and fellow small businesses when making new merch or spinoffs. They embrace the culture of fan-made derivative works, both by featuring fanart/cosplay and by sharing their success. Do you know how rare it is for a company to pay fan artists for their already-made and freely posted work and then sell books of it? Let me be clear: CR bought a limited license from each artist so they could print and sell each work in a physical book, then paid the cost of publishing that book with no guarantee that CR would make that money back, let alone profit. I have a copy of the collector’s edition art books: they’re actually very well made and the packaging definitely cost a pretty penny. That’s not a rainmaker idea, that’s genuinely risking financial loss to sell something people could access for free if they wanted to.

The art books aren’t a one-off either. Darrington Press is CR’s separate LLC for tabletop games. (It’s good business practice to split off companies that handle products in different industries.) CR has also made shows based on those games, and the Candela Obscura series has quite a dedicated audience. Everything about Candela belongs to them: the game itself, the rule book, all the art in the book, the web series based on the game, and merch. It’s so successful that they invested in scheduling a live show for Candela later this month. That’s HUGE.

Contrast that with the distribution of Campaign 1 and the first 19 episodes of Campaign 2. CR cannot host those videos themselves; Geek & Sundry still exists and still holds what I presume to be distribution rights (but I don’t have the contract to review). So G&S gets to host those videos on YouTube and reaps the advertising. I can’t speak to whatever share CR gets from that, but considering that CR is locked out of hosting their own copies of those videos, I doubt it’s much, if any, revenue. (If you’re wondering why CR just didn’t buy those rights back, I ask: what incentive does G&S have to sell something that’s making them money for no cost?)

Knowing that background about G&S, I was wary of CR choosing Amazon to host and distribute The Legend of Vox Machina. Originally, TLOVM was not the plan; CR had a kickstarter for an animated special based on C1. It was only because they blew past the goal that CR was able to make an entire season. The reasonable assumption is that choosing Amazon had to have secured CR additional funding for future seasons of the show, which seems evident from how quickly season 2 was announced, Mighty Nein Animated is also going to be a thing, and that season 3 of TLVOM is scheduled for fall 2024. CR had the option of just doing 1 season and keeping it purely in their control, but going with Amazon meant they could animate more of their works. Animation is expensive. I cannot stress enough how doubtful I am that CR would have been able to afford this many episodes and both campaigns if they had not gone this route. As wary as I was in the start, it paid off, and it’s going well—so far. Hopefully CR doesn’t regret that decision if Amazon tries something sleazy. But, as before, we don’t have the contracts and can’t know how secure CR’s position is if any dispute came up.

CR also partnered with Dark Horse Comics to make Vox Machina comics and Might Nein Origins comics. What’s especially surprising is that each of the cast had a hand in writing the MNO comics for their characters, with Matt listed for multiple. That isn’t very common with comic adaptations. Often times, IP owners let comic companies go ham with minimal oversight. Being listed as one of the authors comes with IP rights that have to be negotiated. That means that Dark Horse had to talk with CR about whether that warrants more or less revenue going to which party in exchange for that—or, alternatively, whether the comic gets made at all. That’s a ballsy move. You think people can just demand to write the comics that a publishing company is going to pay to print? Pffft. CR wanted some creative control, and that is a big ask. However, Dark Horse still has the distribution rights, both digitally and for physical copies. You couldn’t buy the comics from CR until they came out with the library edition, a book bound compilation of 4/8 comics. But the publisher is still Dark Horse; CR is just allowed to sell the book directly from their own site as well.

Contrast that with the novels about CR characters. CR partnered with Penguin Random House to publish novels about Vex and Vax (Kith & Kin), Lucien (The Nine Eyes of Lucien), and Laudna (What Doesn’t Break). Liam and Laura were vocal about having some say in K&K, whereas Madeline Roux said in an interview that she had full control over TNEOL. Both of those novels were narrated with CR voices, but narrating a book doesn’t come with IP rights, it just brings in a paycheck. There’s a lot less IP control in there compared to the comics, but this isn’t abnormal for book publishing. To be blunt, I doubt PRH would have agreed to publish the novels if anyone from CR had been a co-author or had heavy oversight over the author or the editing. I don’t think PRH even considered that as an option. Either an author that has already managed to sell X number of copies or nothing. Creative control over a book a huge ask, asks come with reduced revenue, and switching to books from a web series is already a leap. The fact that Laura and Liam had any say is surprising, really.

That was a long meandering tour of what we’ve seen CR do with its IP. The reason I bring up each of these things is that navigating the way to protect an IP in this space is rife with challenges. Different types of IP warrant different strategies because of the cost involved in creating each medium and the challenges placed by industries that have already sprung up around them. Any time that a third party is tapped to create an IP, it’s usually because they already have the funds and resources to create the work, and CR has to negotiate for revenue, creative control, distribution, and—the big one—who gets to be the owner. These are not easy, quick, or fun conversations, and CR is always going to be the smaller company at the table.

Knowing that, I’m not surprised or worried that CR is creating its own independent subscription service with Beacon. It tells me that they’re being careful with their IP whenever they can. A subscription service means they don’t have to trade away distribution rights or give up ad revenue to a third party. They’re in this for a long term investment, and that requires solid income not tied to third parties that can definitely outspend them in litigation in the event of a dispute. A subscription for bonus content is one of many parts in a diverse revenue stream.

(All that said, this isn’t meant to criticize creators that cant afford to do this type of thing. It took 9 years for CR to get to the point where Beacon is financially feasible and a desirable business decision. They have enough ongoing, popular content to warrant paying for a subscription, and they’ve built sufficient trust with their audience that more will be added. That takes time and an awful lot of money.)

As a final note, I take this step as a sign that CR definitely intends to stick around. This isn’t a move people make when they plan on ending the business after the current campaign. I’m glad to see CR is taking steps to secure their foundation and keep making new content.

I’m sure people will chime in on other issues (cost, content exclusivity, etc.), but I hope my perspective gives an idea of why this sort of thing is good for business generally and why it would be good for CR.

[chaotic-archaeologist]

so back in 2005-2007 I was an anthropology major, I was told that matriarchies never existed. at the time my professor said that it was kinda sexist that anthropology thought that way. so I wonder if anything has changed since then. I'm not talking about the weird mother goddess cult that hippy 2 wave feminist wanted but like, people who say they are like the muoso (I'm sorry if I spelt that wrong), and other groups. I've heard several native Americans from varrying nation that said their culture was matriarchal, and if modern anthropologist are taught that the experts on society are the people in that society, why do/did anthropologist decided a matriarchal society was impossible. I know this could take a long time to answer so if it's too long for you maybe just some helpful links to an article if you know of one.

So the answer—as always, with anthropology—is complicated.

Saying that XYZ never happened is difficult, given that all it takes is one positive instance to disprove the statement. Yes, there certainly have been (and still are) matriarchal societies. (Please also keep in mind that matriarchal societies aren't inherently better that patriarchal societies based on that one trait alone.)

If I had to guess, what you were told was the product of several theological whiplashes in anthropological theory. And you are indeed correct: some of it has to do with Second Wave Feminism. Archaeology and anthropology have been unfortunately late to the ballgame, and feminism is one of those topics.

Basically, for a long time anthropology was dominated by rich white dudes who believed that men were the center of all anthropological innovations ever (more or less, this is the simplified version). Then in the 80s/90s, Second Wave feminists managed to break into the discipline and the stance went from everything is patriarchal to everything is matriarchal.

"Whoa," said the male anthropologists who were feeling Threatened™ "we don't like that at all." Which results in a second over-correction back to the insistence that there was nothing matriarchal. If I had to guess, this is the general series of events that found its way into your classroom in the mid 00s.

If you fancy a deep dive into a good example of early feminist anthropology, check out The Gender of the Gift: Problems with Women and Problems with Society in Melanesia by Marilyn Strathern (first published in 1988). Or, if you're not inclined to read the whole thing, just read the very last five pages titled Comparison. Or you can read a review of the book from shortly after it first came out.

Other anthropologists are encouraged to chime in, and especially tell me if I've said something wrong.

-Reid

[am-i-the-asshole-official]

WIBTA if I left a bad review on a book I haven’t purchased?

(📚📖 to find later)

I’m an audiobook narrator professionally. I do most of my work via independent contracting with a production company. NOTE: they are NOT a publishing house. They do not provide editors/betas/etc for the text, they focus on turning (usually self published) books into audiobooks and marketing those audiobooks.

Most of the books I record with them are great, and I have a lot of fun reading good books! But…some of the books I’ve read for them have been. REALLY. REALLY. bad. Like I personally would have stopped reading within the first few pages bad if it wasn’t literally my job to read the words out loud.

I’m currently reading a book for them that makes me want to tear my hair out. The writing is boring, badly paced, and repetitive. None of the characters are likeable, and the relationships are shallow, the combat is boring, there are no stakes, etc etc. To give you an idea, the main character is the type of kid who on the playground would insist he had a mega super invincibility shield so you couldn’t touch him, but he also had a mega super invincibility shield breaking sword if you decided you wanted a shield too. And the narrative REWARDS HIM for acting that way.

I’ve never left a review on any of the books I’ve narrated before, but this one…i am seriously considering writing a review to try and warn people away from this book.

A few things to consider, though:

1: i am not being paid royalty share from the book, i get a flat rate based on the number of hours in the final audiobook. But as far as I know, the author only starts making money from producing this audiobook once the production company makes back the money they paid me for making it.

2: i would review anonymously/under a fake name and only on the book product page, not the product page for the audiobook version.

3: if an audiobook does not sell, then it is most likely I will not be obligated to continue recording the rest of the series (and it IS a series. At least three books are out as of now. I am currently slated to record them all, provided the audiobook sells decently)

4: the book currently has ~250 reviews already, and a 4.7/5 rating (how???? get some fucking standards), so it’s not like I’m leaving a 1 star review on something that only has 6 reviews.

I don’t think that one bad review would tank the whole series, but I do feel like leaving bad reviews on a product I didn’t even buy might be a dick move, especially if the author’s pay for this book relies on it selling well. But on the other hand, his book sucks and people should know that.

I wouldn’t be leaving a “0 stars: this sucks” review, I’d want to make it comprehensive and detailed. But I’d also feel bad about that because I’m sure the author reads his reviews, and even though his book sucks shit, i don’t want to like…make someone lose their passion to write? But ALSO if you’re making people pay $16 for the book and/or $40 for the audiobook, maybe the book should be fucking good? Idk.

So, tumblr, WIBTA?

[wol-fica]

[ℝ𝔼ℂℍ𝔸ℤ𝔸𝕄𝔼]-ℙ𝕣𝕒𝕚𝕤𝕚𝕟𝕘-

parings - jennaortega x fem!reader

summary - jenna loves to praise you, and you love to do anything she asks. unfortunately, a guy tried to get in between that…

warnings - m e n, oral sex, fingering, anal sex, sixty-nine, praising, r being a downright simp

an - hey guys !

—————

Do you ever dream up such a surreal thing that could never happen, but it surprisingly does?

Some people beg for unrealistic expectations, like a fancy new car, or a shiny rollex with your initials engraved in gold. Sometimes you get those things, most times you don’t; it’s a heavy ‘what if’.

You were one of those people, dreaming of the impossible and wishing for the utmost crazy things. But unlike others, you didn’t crave a new car or a fancy wrist watch; no, you wanted someone. 

See, you loved to be involved with movies and celebrities, tracking down what films they work on and all that jazz. You ranged from smaller, upcoming actors  like Tom Blythe, to bigger faces like Millie Bobby Brown. It was so fascinating to you, being that you valued cinematography and everything that comes with it, so your appreciation for the faces behind the wonderful characters that you love so much need the same attention. 

Naturally, crushes did form on certain actresses; how could you not fall for such an attractive person? You had such a heavy crush on Jenna Ortega, forming from her performance in The Fallout; she was just so beautiful to you. You would have little fantasies, picturing yourself dating her and just having a blast, it was perfect.

Now somehow, you actually met Jenna. It was completely an accident; you were working your normal shift at the library and she happened to stop by looking for some books. To say that you were awestruck was an understatement, but you didn’t want to make her feel uncomfortable in any way so you opted to control your fangirling and stay cool when she came up to purchase the novels she chose.

To your complete and utter surprise, Jenna asked for your socials. She claimed you were ‘good looking and charming’ and she wanted to become friends of the sort. The two of you chatted in instagram dm’s constantly, until you sent your number one day and then Jenna asked you out about a month later. 

Fast forward to now, two and a half years later on the set of a movie that Jenna was acting in. She had (informally) posted you as her personal assistant, meaning you had to listen to whatever she said and asked for with no complaints, not like you would anyways.

“Excuse me! Coming through!” You shouted, running past some crew workers while holding a cup of coffee and a pastry. 

Jenna had asked you to get her some food, claiming that she was a bit peckish, and if you were quick she might share some with you. To say that you sprinted was true, harnessing your inner highschool track legs to be as fast as possible so you could deliver what she wanted.

With a shove and a slight “omph” from shouldering a door open, you hurried into the big production room. Cameras were everywhere, with large lights and wires connecting all around the large set piece. People were hurrying about, actors and their makeup teams rushing to add some last touches before they started rolling.

Jenna was sitting in her chair, a script in her hands while she lazily flipped through to review some lines. As you neared her, she looked up to meet your eyes, a smile crossing her face at the sight of you.

“I got the goods!” You said breathlessly, holding up the items.

“Did you get what I asked for?” Jenna asked, taking the pastry bag to look inside.

“Yep! A white mocha iced latte with one pump raspberry and some strawberry purée cold foam, and a unicorn cake pop!” You said enthusiastically, proud that you remembered her favorite order.

“Good girl.” Jenna praised, pulling you down by your collar so she could kiss your cheek, “I’ll let you have some when we finish this scene.”

You nodded, a blush covering your face at the subtle comment she slid in. Jenna would do that often; whenever you did something good or did what she asked, she would either say “Good girl” or “That’s my girl, just what I asked for”. It gets your brain to short circuit and your stomach to churn pleasantly everytime.

“You can sit in my chair while I work, I don’t think anyone will mind.” She said, sipping her drink with a satisfied hum as she stood up, “Tastes perfect darling.”

You smiled, doing a little fist pump for being so damn good at pleasing your girlfriend. After settling into her chair, you took out your phone to scroll through instagram. Beside you, Jenna was chatting to the director about little things they could do to make the scene better. You heard something about a line delivery, but a funny reel caught your attention and you zoned out for the rest of her conversation. 

“Baby.” Jenna’s voice called to you after a while, causing you to quickly look up.

“Yeah?” You said, eyes on her as you gave her your full attention, “Do you need something?”

Her eyes softened, her hand coming up to cup your face. The pad of her thumb brushed across your skin, rubbing gentle circles on your cheek bone.

“No, I just wanted to let you know we are on a three hour break.” 

You smiled, nodding happily, “Do you want to go to your trailer? Or for a walk? I can grab your hiking shoes!”

“No need for that, we’ll hang out in the break room.” She said, tapping your leg as a silent command to follow her, “There is lunch in there as well.”

You stood up, stretching and cracking your back with a sigh. Jenna’s hand patted your stomach, her nails scratching your skin through your hoodie before she walked away with you hot on her tail. You both made your way into the room, Jenna heading to set her stuff down while you went straight for the donuts.

“Hungry much?” She asked with a laugh, watching as you stuffed a maple glazed donut into your mouth.

“Mphmmmm.” You moaned softly, relishing the taste of the sweet treat. 

“Chew with your mouth closed, don’t you have manners?” Jenna said, coming over to you with a napkin. 

“Omf curse I do.” You said, your words muffled by the donut in your mouth.

She raised her eyebrows, pulling back from wiping your mouth to give you a look that said ‘for real?’. She shook her head when you shrugged your shoulders, reaching up to finish wiping your mouth off. 

“Always so messy.” She noted after throwing the napkin away, “You need a portable pack of Kleenex or something.”

“I usually have one in my backpack.” 

Jenna hummed and nodded, picking up a plate to put some salad on. While she added her toppings, the sound of a door opening caught your attention. Turning your body towards the door, your eyes widened at the sight of who was walking in.

It was Mason, one of Jenna’s co-actors. He was around her age, maybe a little older, with a sturdy build and charming face. Almost everyone loved him, since he was claimed to be so charming and handsome, and loads of girls have unbreakable crushes on him. You used to think he was a great guy, until he started flirting with Jenna and giving you dirty looks every time he saw you. 

Soon you picked up on the fact that he had a thing for your girlfriend, and clearly disliked you for getting to her before he did. He always shot flirtatious comments towards her and constantly made sure he was around her at work so he could talk to her, and that unfortunately made you super uncomfortable and upset about the situation.

You have never been a confrontational person, and when anyone ever disliked you or was angry, you would just duck your head and nod in submission. Jenna usually defended you, knowing that you had a tendency to just take the blunt of the aggression, but for some odd reason she never noticed how Mason treated you. 

“Jeeeenna!” Mason dragged out, a charming smile on his face as he heard towards her, “What’s up?”

“Nothing much, how are you?” She said, setting her salad down to give him her attention.

He held his arms out, signaling he wanted a hug, and leaned in to wrap his arms around her waist. His hand went a little too low for your liking, his fingertips brushing way too close to her bottom, but Jenna pulled back before he could go any farther. Your eyes narrowed in jealousy, but not a word was uttered from your lips.

“I’m great.” He said, his hands still on her arms, “Care if I join you for lunch?” 

Jenna shrugged and nodded, gesturing to the seat next to her. You watched as they both sat down, letting out an irritated puff of air when Mason sneakily scooted his chair closer. Their conversation blurred while you stared, unease bubbling up in your stomach. The way he would so subtly touch her, whether brushing his hand on hers or rubbing their knees together; it made you mad. Your emotions were begging to be let out, scratching at your throat to just go off on him, but your anxiety held you back; yet again, you were afraid. 

The thing that was irking you the most was how Jenna responded to him. Her body language was open towards him, her focus and attention almost fully on him. She was smiling, nodding and laughing at mostly everything he said. It was like she completely forgot of your existence and that made your heart ache. With a sigh, you grabbed your phone and moved to leave the room. 

“Y/N?” Jenna called to you, making you turn to meet her confused gaze, “Where are you going?”

“Gonna get some air.” You said, eyes cast down away from Mason’s condescending smirk, “Just text me if you need something.” 

With that, you exited, and Jenna didn't miss the sense of urgency in your step. A pang of hurt came from her heart, a small frown of sadness coming to her face. 

“Anyways…” Mason said, gaining her attention back, “I’ve been meaning to ask you a question.”

“What is it?” Jenna asked, her eyes locked on the door in case you came back in.

“I was wondering if you wanted to grab dinner?” He asked in a hopeful tone, “A date at Providence?”

She finally turned to him, disbelief all over her face. As she stared at him, it suddenly clicked in her mind why you so abruptly left. You were insecure and upset, over the fact that Mason was flirting with her and she was doing nothing to stop it.

“No thanks. I have a girlfriend.” Jenna said, standing up to toss the rest of her salad and pursue you.

“But-.”

“Don’t, I’m not interested.” She interrupted, grabbing her bag and hurrying out of the room. 

She speed-walked down the hallway, eyes peering into every open door in search of you. Each time she looked for you, but didn’t see you, the feeling of dread filled up more and more. She almost gave up after about ten minutes, that was until she found you sitting outside.

You were curled up against the wall, your knees tucked into your chest while your chin rested on your arms. Jenna approached slowly, sliding down beside the wall to sit beside you. She stayed silent for a moment, staring up into the sky while listening to you breathe.

“I’m sorry.” Jenna said after a while, turning her face to you, “I didn’t mean to upset you.”

“It’s fine.” You mumbled, your hair blowing in the wind while you spoke.

She pursed her lips, feeling like your response was not how you actually felt. She tracked your features, searching your eyes and finding a trace of unease inside your irises. 

“Pretty girl,” Jenna tried again, bumping her foot against yours, “Can you look at me?”

You turned your head, meeting the brown eyes that you fell so hard for. She smiled at you, her hand reaching out to interlace her fingers with your own. Her thumb rubbed your skin, warmth cascading throughout your body from the gentle gesture. 

“I want you to know,” She said, her voice full of confidence, “That no one will ever deter my love from you.” 

You couldn’t help but crack a smile, a small blush coating your cheeks at her words. Jenna giggled softly at your reaction, pulling her hand from yours to cup your cheek.

“I adore you; some stupid guy will never change that.” She murmured softly, her eyes flickering to your lips; a request.

You made the first move, unraveling your knees from your chest to push yourself towards her. She met you halfway, sighing through her nose when her lips pressed into yours. She tasted like vanilla cookies, her scent overwhelming you while you kissed her. 

Your hands went up and around her neck, hers sliding down to your waist to pull herself into your lap. She leaned into you, breaking the kiss for a breath before diving right back in. Her lips slotted into yours, her body weight pushing you against the wall while you both made out. 

“You’re beautiful.” She said between kisses, “My perfect girl.”

“Jenna-.” You started but she cut you off with a kiss.

“My good girl.” She purred, sliding her hands under your shirt to feel your skin, “My trailer is about five minutes away.” 

You nodded furiously, following her closely when she stood up. Her hand grasped yours, fingers intertwined as she pulled you along the gravel path towards the trailers. The walk took less than five minutes, equaling to three since Jenna decided to do a bit of a jog.

Once she unlocked the door and pulled you inside, she pushed you up against the wall, kicking the door shut. Her lips found yours again, her hands pulling your face down to hers to be as close as possible. The feeling of her tongue prodding at your lips set you ablaze, a moan slipping from your mouth while her warm muscle explored you. 

“Bedroom. Now.” Jenna said breathlessly, trying to tug you in the direction of her bed.

You complied, falling onto the mattress. Your clothes were practically ripped off of you, with Jenna somehow undressing herself before you even laid down on your back. She straddled your lap, her hands running along your naked body.

“I think we should try something different.” She mumbled to herself, turning around in your lap.

You opened your mouth to ask what she was up to, but was immediately shut down when she slid down so her mouth was directly above your heat. Her legs went back, knees on either side of your face; sixty-nine position, one she has been talking about doing for months on end. 

A puff of air hitting your clit made you shiver, your eyes falling shut when you felt her fingers drag through your already drenched folds. After a bit of rubbing and messing around, Jenna pushed her fingers in about an inch; a test to see if you were okay to keep going. You whimpered, your legs automatically opening wider for her to easily penetrate you. 

“I’m expecting you to do something back there.” She said sternly, still slowly pushing her fingers into you, “I don’t want to wait.”

Your eyes snapped open, immediately directing your attention to the task at hand. You gently pushed her thighs farther apart, your thumbs coming up to spread her folds open. Carefully, you pulled her onto your mouth, your tongue licking and prodding her entrance as you tasted her wetness. She moaned softly, her movements unwavering while she still fingered you. 

You whined in pleasure when she wrapped her lips around your clit, arousal flowing through your veins. Between the two of you, Jenna was definitely more experienced with sex. You loved to be of assistance to her however you could, being labeled as a “service top”, what your friend called it. 

You pushed your tongue inside of her hole, relishing in the way she moaned around your clit. You thrusted back and forth, filling her up with each push inside of her. The feeling of something spongy on your tongue made you giddy, focusing your assault on massaging that sensitive spot. 

Jenna pulled back from you to give a guttural moan, her fingers finding a faster pace to match your tongue. You could feel your orgasm rising quite quickly, and you knew Jenna’s was close behind from her velvety walls tightening on you.

You came first, your body seizing and mind going blank for a moment. Jenna stroked you through it, her other hand rubbing your thigh while you calmed down. Soon though, she followed you suit, her thighs squeezing your head as she released on your tongue. A cute little noise exited her throat, sort of a moan and an exhale; either way it was adorable. 

“Oh…” Jenna sighed, her fingers twitching inside of you.

“You good?” You asked, knowing she could either want more or be completely burnt out, “Need anything?”

She pulled her hand away from your legs, rolling over and moving until she was sat up beside you. Her eyes met yours, brown irises burrowing into your soul as she analyzed you. Her shoulders slumped slightly as she stared at you, desire pooling in her pupils.

“God…” She said, her hand reaching out to affectionately stroke your thigh, “I want you to sit on my face.”

“J-Jenna!” You stuttered, your face going red in shock.

“Please?” She asked, leaning over so she could peck your lips, “I wanna make you scream my name.”

You’re not sure when you said yes, or when Jenna flipped you both over, or when she got you sat up and over her mouth, but either way she had you where she wanted you. 

Your hands gripped the headboard, trying to not lean all of your weight onto her head in fear of hurting her, but one pull from Jenna and you were done for. She guided your hips down, her tongue licking lazily between your folds. 

A whimper exited your mouth, which turned into a satisfied moan when she finally pushed herself inside of you. The stretch felt nice, and the sensual rubbing she was doing to your thighs was pleasing to you. 

“Oh Jenna!” You moaned out, throwing your head back at the feeling of her tongue finding your sweet spot. 

One of your hands went down to wind into her hair, while her hand slid up to your chest to pinch your nipples. She groped and pulled at you, pumping her tongue in and out of you at a fast pace. Your hips started to rock back and forth, small whines slipping out everytime her teeth caught your clit. 

“Fuck…” You whispered, your eyes rolling from the pleasure between your thighs, “I…I’m close…”

Jenna hummed beneath you, causing you to cry out, and proceeded to pull your thighs farther apart and press her fingers against your other hole. She rubbed for a moment, before gently pushing two inside of you. 

The attention was too much, being that her tongue was inside of you, her fingers were inside of you, and your breasts were being squeezed so pleasantly that you practically broke down on top of her. A guttural moan erupted from your throat, your orgasm crashing down hard. Jenna helped you through it, licking and pumping until you had to push yourself off of her due to overstimulation. 

“You okay?” She asked after you settled yourself into her side, your arm lazily slinging over her waist.

“Mhm.” You nodded, burying your face into her neck for comfort. 

“You did good, pretty girl.” She praised, kissing your temple before grabbing a towel off of the side table to wipe her face with, “I’m impressed with how you ate me out earlier.”

“Don’t underestimate me, idiot.” You joked, patting her stomach, “I’m not that vanilla anymore.”

Jenna laughed, pulling you closer to her chest. She threw her blanket over the two of you, snuggling into you and intertwining her legs with yours. 

“Don’t we have to be back soon?” You asked sleepily, fighting to keep your eyes open, “They need you.”

“We have two and a half hours.” Jenna murmured, tucking her head under your chin, “And I need you right now.”

“But-.”

“Shhh.” She whispered, kissing your neck, “Just hold me.”

And hold her you did.

————————

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[dduane]

The Young Wizards series turns 40!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thank you, again and always!

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

[no-where-new-hero]

omg I need your thoughts on the terminally o line author culture bc ngl it makes my eye TWITCH, there are authors I deliberately avoid even tho I've heard their stuff is good bc they're like that 🙈

HHHHH oh good lord, okay, from how I see it, there are two angles on this, both aggravating and sad: the official decree one and the spontaneous ecosystem one.

The officious one is that the nature of publishing nowadays demands an author have an online presence. You need Twitter/X. You need to let every potential reader know your book is coming out. You need engagement through reviews and pre-orders incentives (if you buy now you’ll get a special keychain!!) and word of mouth assurances from your peers that yes your book is as cool as you say it is. You need a newsletter with links (more buying! more voting on lists that are simply popularity contests!) and promises you’re still working on the next thing, don’t forget about me in the morass of everyone else doing the same thing. You need an Instagram and TikTok now to post pretty pictures and videos because one or two authors made it big off this kind of promotion and now everyone thinks it’s the ticket to the bestseller list (sadly, it seems to be working). You need an OnlyFans (a joke but I do recall a twt spat that was a joke/not joke about how rupi kaur will always be more beautiful than her critics and people who took issue with the conflation of beauty with talent). At the end of all this, you’re basically an influencer, a content creator creating content for the content you should be focusing on creating, the finished novel. And the novel itself seems to be disappearing behind the masks used to promote it (fanfic-style tropes, moodboards, playlists, memes) until I now no longer trust the book that I’ll pick up to have any resemblance to the enticements that brought me here. I’ve seen an author or two complain about the stress all this self-promotion generates, but it’s become such an entrenched part of the industry, I think people just accept it. And thus spend too much time online hoping that if they tweet just a little more, produce just one more reel, maybe that’ll be the difference between a sale and no sale.

The other side of this, distinct but obviously connected, is the ecosystem created by this panic of being perpetually visible coupled with the fact that so many of the new authors came of age during the rise of internet fandom culture. That opinionated community mindset that blurs the line between anonymity and friendship is the lens they bring to their own work. I mean, it makes sense I suppose—if you love yelling about characters and words, why wouldn’t you do that once you start to produce your own? This really came home to me hearing about that reviewbombgate “scandal” and how people involved were in reylo circles and that was used to provide receipts. You’re interacting with your readers and peers about your intimate work but they are also all strangers. They will not always give you the benefit of the doubt, and now—as opposed to the past when maybe the worst that could happen was a handful of bad reviews in newspapers—you will either be tagged in hate reviews, sub-tweeted, explicitly called out, demanded to atone for your sins. It’s no longer the morality of consumption but the morality of production. Of course, the easy answer is just log-off, touch some grass. But that can work only when you and everyone else are separated by anonymous accounts or when you have no platform to maintain. As an author trying to make your livelihood from this, suddenly it’s do or die. We’re in a strange moment of authorship bringing the Internet’s echo-chamber and claustrophobic into the real world (this is a lie: publishing now is no longer the real world. But it looks like it) and thus you can kind of no longer escape things.

Will the average reader who isn’t aware of all these machinations care about reviewbombgate? Would a reader browsing at Target think about the controversies around Lightlark? Very likely not. But the impression I’m getting more and more is that the average reader isn’t the one buying all the books. Or shall we say—a bestseller’s status relies on bookstore stock. Bookstore stock is only huge when they know a book will be a good investment. They’ll only know a book is a good investment if it and its author has street cred based on booktokkers, bookstagram, bloggers and reviewers (have you noticed how many books out these last maybe 1-3 years have these kinds of accounts thanked in the acknowledgments? Yeah), and THESE are also chronically online people who will Know. And decide the cast of fate.

Honestly, @batrachised, I see why you avoid these kinds of writers, though I wonder how long it’ll be before the disease becomes epidemic.