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drchucktingle · 2 months

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Hello Dr Tingle! I wanted to ask you about that re: your post about how all your books are serious literature (hell yeah Love is real). How do you personally deal with the whole traditional publishing institution? It attracts a whole different level of coverage and it seems that they're very quick to try and box you and like turn you into a brand. Is it stiffling? Is it freeing? Does the attention help more people understand your trot? I don't know I've never been published but since you have experience in both traditional and self publishing I'm interested in knowing how that's feeling for you

well this is a pretty complex question with lots of different trots but i will try my best to answer. lets start with WHO I AM as buckaroo name of chuck

what i create has a very strong voice and my way is pretty recognizable. while buckaroos do not know what most authors look like, i REALLY stand out in a dang crowd with a big pink bag on my head. if you see 50 random author photos and mine is mixed in and then you ask 'which photo do you remember the most?' it is probably gonna be chuck. i also have a VERY UNIQUE STORY with what i create and my artistic sensibilities, not a lot of buds are out there making trans mothman erotica along with their big five traditional publishing bestsellers (SIDENOTE preorder BURY YOUR GAYS)

now if you were going to take 'CHUCK TINGLE' to a marketing department they would FALL OVER BACKWARDS IN THEIR DANG CHAIR with excitement. it is hard to think of an author with a stronger BRAND than i already have in the sense of 'instantly recognizable trot and specific unique style'. even in answering this you can tell that i dont even TALK like other dang authors.

what i am getting at is this: i am VERY VERY LUCKY because my existence just so happens to equate to what a company would see as GOOD BRANDING. it is not intentional on my part, it is just the hand of fate i guess. im out here expressing myself in a FULL ON WAY that is PRETTY DANG STRANGE TO SOME and it just so happens to work as mainstream branding too

on paper you might think 'what the heck no way chuck tingle will fly as a mainstream trot' but honestly the main thread of this timeline can be surprising sometimes. ive been saying the key ingredient for years and i will say it again: LOVE AND SINCERITY RESONATE. when you make art with this fuel, the timeline will feel it. when you stand up tall and shout with your whole chest THIS IS MY WAY AND I LOVE MYSELF. I AM THE WORLDS GREATEST AUTHOR TAKE IT OR LEAVE IT, the timeline will listen

so all that said, i do not mind the idea of myself as 'brand' because i am not CHANGING myself to create this effect. what some might see as 'brand' i just see as another part of my art. i have always believed that art is THE WHOLE EXPERIENCE not just the painting but what is outside of the frame. WHO I AM is just as important as the books i write, and interacting with my way is a whole MULTIMEDIA experience that INCLUDES YOU TOO. it is the feeling when your friend shows you your first tingler cover, or the feeling when you realize that i am not playing a character. this is ALL a part of the tingleverse and it is all a part of my honest raw expression as a queer and neurodivergent buckaroo.

YOU ARE PART OF THIS ART TOO

it is my nature of have a PUNK ROCK trot. always has been. but to me that does not mean just angrily going against everything for the sake of going against everything. for me, this punk rock trot means fighting to EXPRESS MYSELF IN THE MOST HONEST AND PURE FORM POSSIBLE and to create the art that i want to make without any boundaries

somehow i have threaded the needle in this really interesting once-in-a-dang-lifetime kind of way. my pure punk rock self as an OUTERSIDER ARTIST just so happens to resonate with this larger system of brand and traditional publishing and popular culture. i COULD reject this, but rejecting it would be LESS HONEST.

this is just who i am. i LIKE pop culture. i LIKE joy. i LIKE dressing in all pink and wearing my custom suits. I LIKE PROVING LOVE IS REAL WHAT THE HECK ELSE EVEN IS THERE? i love being a queer outsider artist and using my small voice to shout at the big bad devils and i like that every time i shout a few more of you buckaroos join the chorus and together we are just getting louder and louder and louder and WHO KNOWS what comes next for us all trotting together.

when i post something like 'WHAT A GREAT DAY TO PROVE LOVE' it is not me sitting here in a bad mood thinkin 'well i gotta make todays post to keep up with my brand'. i am ACTUALLY FEELING THAT FEELING and i actually believe it with every fiber of my being. honestly, half the time i post about the beauty of this timeline i am probably over here literally crying tears of joy (chuck is an emotional bud i get riled over the joy of existence A LOT)

and heres the best part of this trot: because i really have this punk rock way it makes me very powerful. others can pretend not to care about success and brand and all that but I REALLY DO NO CARE. i would write tinglers whether buds were reading them or not, this is just my natural state, and that makes me incredibly strong. if some big corporation says 'YOU MUST DO THIS' and i dont want to do it i just say 'no thanks'. it is not some big debate about my career or anything like that because I REALLY DO NOT CARE IN THE SLIGHTEST. i care about the art

because of this, my relationship with my GIANT TRADITIONAL PUBLISHING MACHINE is great. we trot like equals and we get along really well. i tell them exactly what i want to do and they let me do it. i really do not have to answer to anyone and they deserve a huge amount of credit for respecting me in this way.

and heres the thing, THEY ALSO HAVE SOME GREAT IDEAS

SPECIFICALLY my imprint of NIGHTFIRE is very dang cool. yes, they are the head of a giant hydra of a BIG FIVE PUBLISHER, but nightfire is SO DANG ART-FOCUSED

there is no right or wrong way to be an artist, and my path is not the only one, but i can tell you what WORKS FOR ME. this is the advice i would give myself, and buckaroos can take it or leave it

here it is: never beg the big book publisher, or record label, or movie studio to pay attention to you

do not let it become a lotto ticket in your brain. do not think that you are some weak little creature and maybe if you trot just right they will scoop you up and take care of you. do not go to their door begging to be let in

LET THEM COME TO YOUR DOOR

create something so incredible and beautiful and honest and powerful and unique and important that they would be foolish to miss out. create a community or a system or a timeline or a world of imagination that thrives on its own and THEY SHOULD BE SO LUCKY TO BE A PART OF IT

then when you sit down at that board meeting it is not 'please brand me, ill do whatever you want'. instead, it is 'lets make a deal and see how much love we can prove together.'

now lets trot buckaroos

#buckaroo lifestyle #chuck tingle #tingleverse

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borninwinter81 · 5 months

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William Blake - an introduction for Good Omens fans

I have sent @neil-gaiman an ask regarding his feelings toward the poet/artist William Blake a couple of times, but no doubt due to the size of the poor man's inbox I haven't received a response. So I did a Google search to see if he's spoken about Blake before, and it did indeed come up with a fair few hits. I think you might enjoy seeing this Twitter post if you haven't already, the painting is from William Blake's illustrations to Paradise Lost.

It's not surprising that an author like Neil Gaiman might have an interest in Blake. A visionary from a young age, his imagination was such that he was surrounded by angels made visible in his mind's eye, and he interpreted these visions through poetry, painting and engraving, and self-printed and published many of his own works. This gave him complete freedom to say exactly what he wanted.

Though he had a passionate faith in God, he also had a deep distrust of the church as an institution, and disliked the use of religion as a means of control. This poem from "Songs of Experience" perhaps summarises his feelings best:

"I went to the Garden of Love,

And saw what I never had seen:

A Chapel was built in the midst,

Where I used to play on the green.

And the gates of this Chapel were shut,

And 'Thou shalt not' writ over the door;

So I turn'd to the Garden of Love,

That so many sweet flowers bore.

And I saw it was filled with graves,

And tomb-stones where flowers should be:

And Priests in black gowns, were walking their rounds,

And binding with briars, my joys & desires."

In his poetry there is often an incongruity with the generally accepted religious ideas of what is good and evil, Angel and Demon. In The Marriage of Heaven and Hell (there's a title that should make any GO fan sit up and pay attention) he tells us that "in the book of Job, Milton's Messiah is called Satan", signifying that he feels it is Lucifer/the devil who is the true Messiah of Paradise Lost.

He gives us The Voice of the Devil and Proverbs of Hell, and has Angels being transformed into Demons through enlightenment. He tells us that Jesus broke all of the 10 commandments, yet was still virtuous because he acted according to his own morality rather than rules.

The god-figure of his later works, Urizen, generally comes across as malevolent, seeking to bind and control, whilst Los, the Satan/Messiah figure represents freedom, imagination and creativity.

"Restraining desire" and acting contrary to your own nature seem to be the only real evils for Blake.

He expressed his faith through a love of the world and the beauty in it, summed up in this quote:

"When the Sun rises do you not see a round Disk of fire somewhat like a Guinea? O no no I see an innumerable company of the Heavenly host crying Holy Holy Holy is the Lord God Almighty".

He saw "God" in everything, in all the wonders we have around us, and considered writers/poets and religious prophets as essentially the same, since they both have a connection to the divine, and express it through stories.

It's quite ironic that probably his most famous poem, Jerusalem (the one that starts "and did those feet in ancient times walk upon England's mountains green"), was made into a very popular church hymn, yet it is supposed to be satirical in nature. The poem recounts the myth that Jesus may have visited England in his boyhood, and Blake is expressing his disbelief at that notion and the unworthiness of England.

Did I have a point to all this? Mostly to show my hand as a massive Blake nerd, but also to hopefully demonstrate that there's a lot of common ground between his ideas and those expressed in a show/book like Good Omens, and hopefully to inspire some of you who may not be familiar with Blake to seek him out. In particular I'd recommend The Marriage of Heaven and Hell to any and all.

EDIT: I should have thought to include this, here's Michael Sheen reading a Blake poem. I have the CD this is from, he reads several by Blake, as well as other poets I love ❤️ 😍

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#william blake #good omens #good omens book #good omens 2 #good omens s3 #neil gaiman #crowley #aziraphale #english literature #literature #poetry #go2 #good omens s2 #good omens season 2 #book omens #michael sheen #Youtube

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damonp304 · 11 months

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What To Expect Now | SummitPressPublishers

🌟After publishing with Summit Press, what will happen next? When will you receive royalty payments, what kind of additional support will you get? Watch this video, what to expect now by SummitPressPublishers, and get to know more about it.

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onlineselfbookpublishing · 2 years

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#self book publishing in india #book publishing in india #self publishing india #self book publishing #self publishing in india #self publishing company in india #best book publishing house in india #fiction

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rin-fukuroi · 4 months

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𝐅𝐚𝐢𝐫 𝐩𝐥𝐚𝐲 [𝐀𝐯𝐞𝐧𝐭𝐮𝐫𝐢𝐧𝐞]

Please do not translate or publish my works without my permission.

The originals of my works can be read here

Fandom: Honkai: Star Rail

Pairings: Aventurine x dealer!fem!reader

Warnings: gambling, sexual tension.

Note: English is not my native language, so I apologize if there are errors in the text qq I'm just starting my blog on Boosty, but I'll be glad if you support me with a subscription and read the full NSFW version of this work there. Soon there will be other works that will not be published on Tumblr.

▶• ılıılıılıılıılıılı. VIVIZ — MANIAC

You have long heard from other casino employees about a certain visitor, which comes here quite often, but you have never been lucky enough to meet him until today. The girls sighed languidly, referring to him as a handsome man, preparing to serve him the best drink, for which he would pay generously, and the men working in security only irritably noted that if he visited the institution today, they would only have more work. Then you didn't pay any attention to their words until one of the bar staff squealed with delight, energetically pointing at the blond man who entered the hall.

A dazzling smile, a light gait, but a sly look hidden behind gold glasses, gliding across the tables and the employees standing behind them before playfully sparkling violet-blue eyes rest on you. Your back straightens reflexively, and your fingers wrap around the back of your hand, and you nod in greeting when several men, led by a blond man, approach your poker table. You have been working in the field of gambling for several years, so you can easily notice expensive watches, chains and rings on his hands and a long earring in the ear of an elegant man in a hat, dressed in a black jacket with a fur collar, a turquoise shirt with a small but provocative neckline on the chest and white trousers with patent leather shoes. In total, all the clothes and trinkets of this person can be compared to the cost of your life. Winning will not matter to him, as losing will not greatly affect the quality of his life, which means he simply enjoys a sense of excitement and superiority, since, according to rumors, he plays very well.

«Well…»

— Oh? I haven't seen you before, — the blond man lowers his glasses on the bridge of his nose, smiling slyly at you as soon as you raise your head.

— I'm sorry, sir, today I'm serving you, because the dealer who is more familiar to you is ill, but I assure you, this will not affect the quality of the time spent in our institution in any way, — you kindly answer with a calm expression on your face, which causes the blonde to chuckle softly.

— How official! Relax, honey, — the man leans lower, slightly tilting his head to one side, carefully watching how the expression on your face changes to a more tense one. — It's a pity that… Oh, what was her name? — the blonde pulls away, thinking for a second, trying to remember the name of your colleague, but in the end only sighs briefly, spreading his hands. — It doesn't matter. You've been brought up to date, that we're going to need a separate room, haven't you?

— Yes, sir. Please follow me.

An unpleasant person. It was clear from afar that it was better to stay as far away from him as possible. These vibes of nauseating self-confidence and narcissism definitely don't bode well, but you still humbly do your duty, pulling on a smile and letting the guests into the VIP-room. Usually this room is rented by companies of influential people whose names are so well known to everyone that such guests don't even bother to introduce themselves, because you always know who they are, but these men… You're seeing them for the first time.

Anyway, a job is a job.

— Have a seat, dear guests. Would you like to see the bar menu?

Men in suits silently take their seats, and only an energetic blonde immediately responds to the sound of your voice, standing in front of the last empty chair.

— We'll order the same as usual,— the stranger says sweetly, spreading into a frighteningly sweet smile that sends chills down my spine.

— I'm sorry, but I'm afraid I don't know…

— Oh, how could I forget! — the blond man clasps his hands in a gesture of apology. — Whiskey on the rocks.

His theatricality is a little annoying, but that's none of your business.

— As you wish, sir.

The female silhouette peeking out from behind the slightly open door and instantly disappearing after the blonde's words only made your task easier, allowing you not to even leave the room. It seems that this man is really very popular among girls, which, in principle, isn't surprising. A pretty face, a thick purse and a sugary voice, like a demeanor, are the pillars that support the classic image of a heartthrob in the eyes of any woman. It would be fascinating if you hadn't met such people before. This place is teeming with both men and women, sometimes even reasonably believing that the whole world belongs to them. Perhaps you would have bought into his charisma too, if you were as frivolous as a bar employee rushing into a room no more than five minutes after the order was placed.

— Thank you, dear. As always, you help out, otherwise my friends seem to be out of sorts today, — the blond man chuckles melodiously, looking at the other five guests. You can almost see in their stern looks the desire to strangle this talkative flatterer, and you can't help but chuckle to yourself.

— Anything for our beloved visitor! Have a nice game, — your friend blushes, smiling shyly before leaving the room, barely restraining a satisfied squeak.

You modestly clear your throat, drawing the attention of everyone at the table to yourself.

— Well, gentlemen, shall we begin?

You leave the button* in front of the blond man sitting first on your left hand. Early* is the most unfavorable position to start the game, but he should have known about it when he sat down here, or is it just an accident?

After the preflop*, while you were deftly shuffling the deck in your hands, someone had already started emptying their glass of whiskey, someone took out a pair of fragrant chocolate cigars. The blonde just watched carefully how skillfully you dealt the cards, not missing a single movement of your fingers. For a second, you even doubted that he didn't trust the new dealer, but every time you dared to look at him, his lips stretched into an even more sugary smile, and his eyes always found yours. Is he trying to get you into the same emotions as the silly waitresses? You wonder how soon he'll lose interest in your indifferent face?

The game went on quite calmly until three people remained at the table, including a smiling blond man.

— Ace of hearts, two of spades, jack of hearts, ten of clubs, two of hearts. The bets are made, you can open, — you say in a monotone voice, glancing at the cards on the table that turn over one by one.

«Street? Not bad…» — you stop looking at the blond's cards before you hear a thud on the table. After looking at the other hands it became clear that there is nothing on the table stronger than two pairs.

— Oh, don't get mad! We've just started, — the blond man raises his hands in an innocent gesture, chuckling softly, it seems, making the man opposite even angrier.

It seems that now you understand a little what the casino guards were so unhappy about, but the more games passed, the more sad the blonde's position became. The empty glasses were hastily replaced with newly filled ones with a new portion of whiskey, and the concentration of smoke in the small room became more and more suffocating, it seems, only exposing the undisguised glee of the men at the table, allowing themselves to mock the blonde, who was catastrophically unlucky today. A flush* against a royal flush, a pair against a square* and, in the end, his hand could only boast of the highest card*. What a disappointment.

— Here, order yourself one more whiskey, — one of the departing men casually tossed a couple of chips in front of the blond man sprawled on a chair, grinning hoarsely before staggering slightly out of the room after the other four, whose loud voices disappeared into the noise of the casino outside the door.

— Sure, — the man who remained at the table smiled gently at the departing acquaintance before taking a sip from his glass.

You wanted to say something, maybe even encourage him, but it's not your way to mind your own business, so you just silently gathered the cards from the table, about to ask the guest to leave the room, when suddenly he spoke first.

— That's not what you expected, is it? — you turn to the blond man, who is resting his head on his own palm. The same strange smile is still playing on his lips, even despite how much money he left at this institution today. He's really weird.

— I don't know what you mean. I don't know how you play, so I couldn't even try to predict the outcome of the game.

— Come on. You know how I play. That girl from the bar told you about me, didn't she?

Annoy.

— Even so, I'm not used to trust rumors, — you reply indifferently, carefully putting the cards back in the box.

— In that case, now you can conclude that I'm a lousy player? Oh, that would be unfortunate, because everyone has unlucky days.

— I don't think it's about luck, — you wanted to say that someone should just drink less and make less risky bets, but you restrained yourself, maintaining professionalism.

— Ho-oh? Then what is it? — the blond man perked up even more, waiting curiously for your answer.

— It is not appropriate for me to give advice to visitors, because my earnings, among other things, depend on them.

— That's how it is! So I was wrong when I decided that you weren't like the other girls looking at my wallet?

— It turns out that it is. But I'm looking at the wallets of every potentially profitable player for me, — you shrug your shoulders. — And now, if you'll excuse me, you should leave the room, since the game is over.

— How pragmatic, you remind me of someone I know, — the blond man, as if he hadn't heard your last words, gets up from his chair, coming closer. — So you don't believe in luck, huh?

The man leans slightly forward, looking into your eyes from under the half-lowered glasses on the bridge of his nose. The expensive sweet fragrance of the perfume instantly cuts into your nostrils, and you take a small step back.

— It's absurdly to rely only on luck in poker. That's all I wanted to say.

— Hm-m … — the blond man pretends to think. — You're right. Then what about roulette?

— Even roulette has its own patterns, but if we don't go into details, of course, this game revolves exclusively around chance.

— Great! Then can we play? — the man turns towards the roulette table, which has apparently not been used for a long time, in the corner of the room.

— I'm afraid my shift is already over… — you frown, even before you finish, he interrupts you.

— Oh, I was so catastrophically unlucky today that I just want to win back at least another game, otherwise I won't be able to sleep peacefully tonight… Are you really that heartless?

— You can use the services of a croupier and play roulette in the hall.

— It would be sad, because I already liked you, — the blonde smiles, looking into your eyes again.

— If you're trying to flirt with me like that, then I'm in a hurry to upset you — it won't work, — you reply irritably, about to leave, when suddenly a weak grip on your wrist stops you.

— I'm sad to hear that, but what if I make a bet?

You turn around, batting your eyelashes in puzzlement when you meet the sharp gaze of a man's violet-blue eyes.

— You can't play roulette without betting, what's the point of all this?

— Let's say… if my bet plays out, you owe me a kiss, what do you say?

You almost boil with anger, looking at this personification of self-confidence standing in front of you.

— I'm not going to play your games, let go of my hand.

The attempt to pull back your hand was unsuccessful, on the contrary, only forcing the blond to pull you closer.

— It seems that luck isn't on my side today, so if I lose, I'll just leave.

The desire to just slap him in the face is almost impossible to ignore, but you wouldn't be working here if you weren't a gambling person too. Your lips stretch into an arrogant smile as you approach the blond man's face, slightly squinting your eyes.

— In that case, on what number* will you put it on?

The blond man's eyebrows rise, after which a ringing laugh is heard in the room.

— I knew you could entertain me! — the man lets go of your hand, but does not take a step away from you before saying softly. — I'm betting on zero.

«He's crazy!»

You almost laughed at how crazy his bet turned out to be, but it sounds like he's already agreed to leave you alone, so you just smiled, silently retreating to the corner of the dimly lit room. The table has indeed not been used for a long time, having already become covered with a layer of dust, but you take a small ball, gently rolling it in your hand before turning towards the blond man who remains standing at the poker table. He doesn't seem to care at all that he's going to lose now, and the smile doesn't leave his face for a second. It will be all the sweeter to see how the expression on his face will change when he loses.

— Your bet is accepted, — you say loudly before spinning the roulette wheel by throwing a ball at it.

The man doesn't even look at the spinning roulette wheel, instead watching your eyes follow the ball as it slides across the sectors.

12, 35, 3, 26, and finally….

— It can't be… — you whisper, eyes wide open and just looking at how the ball stopped at zero.

— Ho-oh? What's is it? Judging by your reaction, did I win? — the blond man grins, slowly removing his hat from his head and leaving the hat on the edge of the poker table.

This can't be happening. Betting on numbers is always a huge risk, because the chance that the ball will stop at the chosen one is incredibly small. Was he… really just lucky?

You purse your lips, summoning all the self-control you have to turn to the man with an indifferent expression on your face.

— That's right, congratulations on winning, sir.

— M-m… it's not just a win, you remember the conditions, right? — the blond man says playfully, slowly walking towards you, until finally he towers over you, elegantly ripping the glasses off his face.

«This jerk has probably been rehearsing this for years…»

— I didn't have to accept such bets at all, — you mutter irritably.

— I understand your disappointment, but still, you accepted it. Be kind enough to hand me my prize, — you look into the extraordinarily beautiful eyes of a man, trying your best to deny how really attractive he looks without glasses and a hat.

— Ahem… okay. But can I at least get your name? I wouldn't want to kiss a complete stranger.

— Huh? So you don't know who I am? How cute, — the blond man squints, breaking into a smile. — You can call me Aventurine. And you… — the man hooks the badge on your chest with the tip of his finger. — Y/N.

Where have all your old composure gone? They probably got lost somewhere in the midst of this madness, which for some reason you signed up for, following your own excitement. Self-confidence is just as much your enemy as Aventurine, only in this case he is elated with victory, and you are trying to collect your thoughts in order to fulfill the conditions of the game he started.

— Excuse me… — you mumble awkwardly before pressing your lips to the man's cheek, leaving as quick a kiss as possible to hastily turn away, hiding the blush that has appeared on your face.

— Hey! And what was that? — Aventurine says in disappointment, touching the place of your kiss with the tips of his black-gloved fingers.

— You asked for a kiss, but didn't specify which one, — you try to sound confident, but still mentally berate yourself for not being able to look into his eyes right now.

— Oh… — the blond man sighs heavily, pulling away and approaching the roulette table. — I'm not satisfied with such a victory. Let's do it again.

— Huh?! — you cry out indignantly, looking at the back of the impudent man rolling the ball around the zero sector. — I shouldn't be here at all, and neither should you!

— I'm betting on zero again.

You freeze, raising an eyebrow when you turn to Aventurine.

— You're going to lose.

— Maybe, — the man shrugs, turning to face you and leaning on the edge of the table. — But if the bet plays out again, you'll give me a real long kiss.

— I'm not going to waste my time on this madness. The chances of hitting zero a second time are so small that it's easier for you to just leave this room right now, since it's simply impossible to play this bet.

— Let it be so. You don't lose anything if you're so sure of my defeat, do you? Besides, didn't you say that you don't give advice to the players?

It annoys you how logical his words sound. But what's even more annoying is that you really doubt it. It's just not possible. You have to show this arrogant idiot his place.

— Okay, — and here you go back to the roulette table again. — But if you lose, you will never return to this casino again.

Aventurine's purple eyes widen before flashing a gambling spark.

— And you know how to make the game more interesting, — the man grins, picking up the ball from the table, carefully leaving it in your hand. — I agree.

This will be the craziest bet anyone has ever made in the entire existence of this casino. And it only fuels your interest too. You spin the wheel in anticipation by throwing the ball. Your heart is pounding in your chest, as if your own life is at stake. It's been a long time since you've experienced such adrenaline, no matter how absurd what's happening, because it's worth it to win…

— Ha-ha! It seems that today is really my day, — Aventurine grins as the ball slowly rolls and stops at sector zero. Again. — The money I lost in poker was worth spending all my luck on such a tempting prize.

Impossible. He just did the impossible. What were the chances? The mind is so devastated by shock that you can't even approximate the probability, just silently looking at the green sector in amazement.

— You're not… cheating, are you? — you're almost whispering, without opening your eyes from the little ball.

— What cruel accusations! How, tell me, could I cheat at roulette? — the man clicks his tongue in frustration, slowly wrapping his arm around your waist before pulling your body towards his. — If these are just assumptions without any evidence, I think it's time to start awarding the second prize.

The lips open, releasing a soft sigh into the air. You feel the warmth emanating from his body, the smell that his nauseatingly expensive clothes exude, and you feel his measured breathing on the skin of your face when Aventurine bends down, almost touching his lips to yours and freezes.

— I'll make it easier for you this time, — the blond whispers, letting his warm breath caress the delicate skin of your lips.

— What do you mean?.. — the only thing you managed to say right before Aventurine's lips covered yours.

Long fingers dive into your hair, forcing you to tilt your head back, and he deepens the kiss, insistently making his way with his tongue through your lips, which are not too resisting. A soft moan dissolves in Aventurine's mouth, and your fingers desperately cling to the fabric of the shirt on the man's chest, but still you respond to the kiss, allowing your tongue to stick out a little further, slowly waltzing in tandem with his. The shock was instantly replaced by a mixture of embarrassment and a flutter in his chest. It seemed that this kiss lasted forever, so harmonious, gentle, but passionate, as if you have known each other for so long that Aventurine doesn't need much effort to make you melt in his hands, which you allow to touch your body.

Lips gasp for air as soon as Aventurine pulls away, looking at your flushed, relaxed face, which isn't touched by the former cold indifference with which you looked at him all evening.

It's a strange feeling. From the very beginning, when you saw this man, the only thought that you would never in your life become infatuated with just his presence somewhere nearby was ingrained in your head, now fighting for supremacy with the unwillingness that he would let you go. You shouldn't give in to this.

You gently press on Aventurine's chest, shuddering as soon as you feel his warm skin under your fingertips, noticing that you touched this very seductive neckline.

— Is that all? I have to go… — you say softly, trying to get out of Aventurine's hands, but he's not even going to let go of your waist or your cheek, to which his palm is still pressed.

— Really? Well, then I won't hold you back, — the blond man grins, still continuing to prevent your imaginary escape.

— Then let me go. I gave away your winnings and I don't owe you anything else.

— Yes, you did, — the man whispers, gently stroking your cheek with a thumb in a leather glove.

You look at each other without saying a word and freeze like statues. The muffled sounds of slot machines, clinking glasses and laughter come from the hall outside the door, breaking the silence that hangs between the two of you, but you can't hear anything else except your own rapid heartbeat throbbing in your ears. A strange warmth spreads in your chest, gradually sinking down, and a heavy weakness settles in your legs, which doesn't allow you to move from your place.

«What are you doing, Y/N?», — you ask yourself one last time before you swear unintelligibly under your breath, grabbing Aventurine's shirt in order to involve the man in the kiss again. Greedy, careless, but you needed it. The blonde's palm shamelessly moves to your buttocks, covered with black trousers, gently squeezing the elastic flesh, and your fingers slowly slip under the neckline in the shape of an inverted heart, caressing the heated skin of Aventurine's chest.

— W-wait… — you suddenly break off the kiss, breathing heavily and looking at the purple irises covered with long eyelashes.

— What's is it? I won't complain that the dealer is harassing me if you're worried about it, — Aventurine grins, forcing the expression on your face to change to the old irritation.

— This is wrong. I don't have to…

— I don't care about the rules, — the man tilts his head to one side, smiling playfully. — I'm betting on black.

— What? — you ask discouraged, watching the man's fingers hastily undoing the buttons of your white shirt.

— If I win, now you'll be my prize, — Aventurine winks at you before opening the cotton fabric on your chest, noticing you are wearing a black lace bra. — Tsk-tsk, how unlucky you are today. I won again.

✧ ✧ ✧

The button is a special chip marked "D", transmitted clockwise and identifying the dealer (in this case, the dealer is an employee of the casino, so the button only determines who will bet first).

The early position is the player's place at the poker table, located immediately behind the dealer.

Preflop is the initial stage of the poker game, which includes the distribution of cards and the first bets, including blinds.

A straight is a combination of a sequence of five cards.

A hand is a combination of two cards in the player's hands.

A flash combination of five cards of the same suit.

Royal flush is the strongest combination of cards from 10 to ace of the same suit.

A pair is a combination of two cards of the same value (for example, two aces).

A square is a combination of five cards of the same value (for example, four aces).

The highest card is the card of the highest value of all lying on the table.

In roulette, it is possible to bet on one color, on even and odd numbers, and so on, including you can bet on a specific number, which is quite risky due to the reduced chances that such a bet will play, but the winnings from it are multiplied by 35.

#headcanons #hsr #hsr x reader #honkai:star rail #honkai:star rail x reader #hsr drabbles #aventurine #aventurine x reader #aventurine x you #aventurine smut #hsr smut #honkai star rail smut #hsr x you

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slavghoul · 8 months

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Interview from Sweden Rock Magazine 10/2023

Hi, hi. There is an interview with Tobias in SRM’s newest issue, but it’s in the subscribers only section, so I thought I’d translate/share since I guess not many people will be able to get their hands on it. It is about Prequelle and it’s part of SRM’s „200 best Swedish hard rock albums of all time” series. Prequelle placed #68. The other albums may have scored higher, but for now we don’t know the whole list. Either way, enjoy. Very insightful.

„Do you think that "Prequelle" is Ghost's worst album?” Now that’s an unusual opening question. Especially when the interview is about an album that Sweden Rock Magazine's writers and qualified Swedish hard rock musicians (including Tobias Forge) have voted as one of the 200 best Swedish hard rock albums of all time. The question wasn’t planned, but comes spontaneously, as a reaction to the first thing Tobias Forge says when we sit down on opposite sofas in the record company office. I'm here for a two-part interview, partly about the EP "Phantomime" (published in #6 2023), partly about "Prequelle". Neither record companies, artists, voters, nor even our writers who conduct interviews for this series of articles have any idea what placement an album has received. Interviews are often done well in advance and we simply don't want placements to leak and become public long before publication.

No Ghost album has ever been on the list before. The idea is actually to end the day with the "Prequelle" talk, but when Tobias Forge suddenly starts with a funny little comment that this album is probably the one that those who have voted think is Ghost's worst or least popular album, I just have to take the opportunity to ask the question: Do you think that "Prequelle" is Ghost's worst album?

No, absolutely not, he says and laughs. If I'm going to be completely pragmatic, I'd say: "How many songs do we actually play from that record?" There are songs that work damn well live and sit where they should. So it's a pretty strong album.

But is this what you are basing it on? "Prequelle" was released after Ghost had become really big so it can't be compared to "Opus Eponymous" and "Infestissumam" which you don't play many songs from. I mean, no matter what kind of record you had released when "Prequelle" came out, you would still have played many songs from it and they would have worked precisely because Ghost's songs nowadays are moulded more to the arena format.

I don't know how to answer that, it's difficult. If the album had been different, it would have been. If I'm going to talk somehow both artistically and practically, I know that for every record we have become exponentially bigger. "Prequelle" was definitely no exception, but it also took us a big step forward and upwards and we became bigger and broader. To the extent that when we introduce old songs in the live set, you notice that there are elements on albums one and two that make some songs more difficult to play. Not technically, we can play the songs, but they don't work in quite the same way as the later songs, which means that there is a slight favouritism.

I asked the original question about whether you think it's Ghost's worst album only because you directly said that this means it's the least popular one.

I'm just so full of myself I assumed all the other albums are also in the top 200, which may actually be incorrect. This might be the best album and the others aren't even there, haha.

It wasn't long after "Prequelle" was released that you were self-critical of the album in interviews, saying that it was too ballad-heavy and a bit too soft. I haven't noticed that before, you being so self-critical shortly after the release.

Yes, but I still feel that way. If, as an artist, I am only going to look at the work with the criticism that one can feel towards one's own work, I think that if things had been different or if I had more time, I might have wished that I had managed to get maybe two more hard songs. Maybe one more hard song would have fit on the album and another harder song might have phased out one of the ballads. Now five years after the album came out, I know that the two ballads ("Pro Memoria" and "Life Eternal"), which I may not think are bad, are one too many. But I know that many of the people who like the band like both of them, so it's kind of a useless argument.

Who sets the length of an album? Have you set a limit, that it can't be longer than this and have no more songs than that?

No, but it must fit on an LP disc and there is a physical limit. I think the absolute pain threshold is 46 minutes and that's 23 minutes on each side. Now maybe Mikkey Dee (co-owner of Spinroad Vinyl Factory) will raise his hand here: "But I can make it longer!" And it's maybe 48 minutes, I don't know, but I do know that when a disc starts getting so full that you start getting close to the sticker, it starts to sound bad. Especially nowadays, because recordings today are so very maximalist in scope. It's one thing if you record 60s music with drums, a guitar and bass where the sound is cleaner and finer or if you play acoustic stuff with just vocals. Bob Dylan records could have eight songs on each side and it worked all the way through. But this kind of fairly compact music doesn't work well. Not only am I a militant vinyl advocate, I think we should respect the fact that most artists don't manage to create more than 45 minutes of good music on a regular basis. A lot of famous double records are not that good. I don't think the Rolling Stones "Exile On Main St" is very good. It might as well have been on one disc. And if I'm actually going to turn it into something completely mundane, I'd say that I think it's irresponsible to sit and make records with twelve songs if it results in the record being 63 minutes long and you automatically have to make a double record. It's pretty wasteful.

When you said that it's irresponsible, I thought you were going to say that it's irresponsible to print a double vinyl because of the environmental destruction that it entails.

Of course, if we're going to be completely straightforward and not do anything that harms nature, we shouldn't even release any records, so I say this with reservation. But with that in mind and for the sake of art, I think more people should embrace the actual given format that has been the most prevalent in rock history. There is a reason why a film is usually one hour and 30 minutes. You can’t take any more. There's a certain dramaturgical structure and there’s a certain comfort in it. Then the CDs came along they screwed that up, and suddenly there weren't two sides anymore but it started one way and ended another. Now that the CD is no longer important and we've gone back to vinyl, creators should follow suit and start embracing the physical rules.

Are there songs that have been rounded off just because you thought „I have to round off here, because if I continue, it won't fit on the vinyl disc"?

We actually had that problem on the last album. „Watcher In The Sky” ended the A-side and the outro is much longer on the CD and digitally. Two minutes longer I think. Much, much, much longer. It's long, noisy and has all these dives. It's a very chaotic soundscape. You get the feeling that it goes on and on, and on the vinyl it's just the beginning of an outro and then it drops almost immediately. I think that was a huge mistake.

So the overall sound quality was more important than vinyl buyers getting everything? Because you could have pressed the vinyl and it would have fit, but you would have had to compromise the sound quality.

Yes, exactly. You can get the song to just keep going until the vinyl simply runs out. Then it just starts spinning in the middle, depending on what kind of record player you have. But the problem then, if you want to anticipate events at a creative stage, is that people today buy and listen to vinyl records and are sensitive. It's quite common for people to complain that the record is broken. I don't just mean our records, but people complain a lot about the presses. If you make ten songs, it's therefore stupid to have a too thick soundscape towards the end of song number five and song number ten. If you want to be really good and old school, that's where you put a piano ballad because it's an easier sound to handle so far into the record. This is what I think about when I make records. But clearly sometimes I miscalculate.

This must cut right through the record collector Tobias Forge's whole body and soul, that "Watcher In The Sky” is shortened by two minutes on the vinyl of all versions.

Well... I don't toss and turn and wake up in the middle of the night thinking about it anymore. But when it happened, I was livid. Luckily it was just an outro. It would have been worse if it had continued with some kind of narrative into the next song. Now I can't remember in my head how long "Prequelle" is, but if I'd had to go back in time and just re-construct it, the re-construction wouldn't have had much to do with the existing material, I would have just wanted to add a scene. And it's not a scene that's missing, it's just for the sake of balance. It became asymmetrical in a way that bothers me a bit.

You've talked about this before, but it was before "Prequelle" that you really started to talk a lot about how you were thinking about what kind of new songs might suit the live show. Can you get stuck in that mindset, thinking more about what songs are needed live right now rather than creating an album that will last 30 years?

Hmm... (long pause)... The reason I'm sitting here thinking is because I'm trying to come up with examples of other bands that I think might have gone through something similar. I’m looking for examples to the answer I'm about to formulate and that is that: yes, I think there comes a point in the career when most bands make a record because they simply feel they need to… Because what we're talking about is that when you go from playing in small smoky clubs in front of an already inveterate audience that already understands the perhaps a little more chewy expression, that experience can change if you start playing in front of a larger and especially a different type of audience. When a different type of audience comes and you play in a different format, you discover that this song doesn't work very well, it doesn't sound very good and it's difficult to get the sound right. Then there's usually a record or two or three during your career when this transition happens where you start filling in with songs that work better live. Look at Piece of mind", "Powerslave" and "Somewhere in time". There's a reason why Iron Maiden didn't play a lot of the first two albums there and then, because it was easier to play the new songs. You get to that point somewhere in your career and it's very difficult to say when it is - there's no given rule and there are artists who continue to release relevant records and have an amazing ability to release new records and just play the whole new record. Well, now Iron Maiden does that and tests their audience a little bit in that way, but then they will always compensate by doing like a "best of" set the following year so everything is forgiven. Now we're in the middle of the "Impera" period here and have a very strong set, but I'm starting to feel that now that I'm about to start writing a new album, it feels like it's not really on my agenda to write three more albums that will change the live setlist ten years ahead. I think we already have the blueprint for what is Ghost's setlist, especially if you include the entire catalogue. After a while, each new record you make becomes a little less important. It's really hard to know when that point comes, but the truth is that new records don't matter in the same way. Slayer didn't have to release "Divine Intervention”. They definitely didn't have to release "Diabolus In Musica". I didn't care about it and I just wanted to hear the old stuff. If they had just come up and played "Reign In Blood" I would have been soooo happy. And that's the way it is with most bands. Nobody would be sad if the Rolling Stones came up and didn't play anything from "Emotional Rescue". And that's just the way it is. In the future, I can see a scenario where there is probably a basis to possibly build up an alternative setlist. There are so many songs that we do not play and that I have nothing against - I love them too! But it would almost be easier to build up a completely alternative setlist and run a show with only the odd songs. There are so many songs now. There's no reason not to build on that. But when I want to make a new record, it's irresponsible for me not to consider that there might have to be some songs that are a bit more direct. But it doesn't hurt me if we have more songs that we don't play live. I don't know if this answers your question...

I would actually like to ask exactly the same question again, because I wonder if you yourself feel that you get stuck during the making of the record. You said that you would have liked to include another hard song because "Prequelle" doesn't have the balance that you would have liked to have in retrospect.

Exactly, but the explanation for that has more to do with my mental capacity there and then. I simply couldn't cope. I felt that I had probably maxed out… It was probably about as much as I could do that year. That's the simple explanation. To get another song that would have fit and that would have fulfilled this requirement that I now in retrospect would have wished I had, it would have required something that I did not have there and then. The only thing that could have made it easier is if I had more time. It is difficult to reason about it, you see.

I was in the studio for a few days during the recording and it's one of the few times in all these years that I've done interviews where someone has started crying during an interview. It was quite obvious that everything that had happened with the split of the band affected you.

Yes. Of course. It did.

Is "Prequelle" a difficult album to listen to for you? Can you sit and listen to it all the way through?

Well, at the moment I have to do that from time to time, and listen to all the records, because we're just about to start rehearsing again and then I sometimes have to go back and just listen to the record to go: "Fuck, is that really how I sing?" Especially when we start rehearsing, I can be a bit like: "Damn, who changed this bit?” Then I usually sit down and it hits me: "Oh, it's me who has changed my song!" You simply do that over the years, you start singing it in a slightly different way. So sometimes I have to go back and listen, but it’s more practical. I don't think it's fun to listen them. I do it until they are finished. I listen over and over and over again and really try to listen with all the imaginary ears and all the imaginary perspectives you can have. "How would I have listened to this if I had heard it from this perspective?" Just to get as "objective" a perspective as I can until I'm satisfied, but then it's like „No, I don't want to hear this anymore". But I have to say that I think "Prequelle" is a very tolerable disc despite everything that interfered with the process. Therapeutically, it works quite well considering that we are still playing at least half of the album. For every artist there are songs that you want to play, and there are songs that you don’t want to play because they feel too personal. I don't feel that way about this one, it's more like: "Ah hell, they're part of the setlist and people like it and it sounds good. So that's what we're doing."

On a personal level, was Tom Dalgety the perfect producer for you, the way you were feeling at the time? Tom feels like the kindest, sweetest producer you can meet. He wasn't the kind of producer who pushed you very much, it was more of a nice atmosphere between you.

Yes, really, and it would have been different if Klas Åhlund, who is more confrontational, had been in the room. Now Klas and I are great mates, so it would certainly have been very therapeutic also, but it would have been a different process. If an artist comes in who is in such bad shape that they can't make a record, or a band where the main songwriter has just left them, then a Bob Ezrin goes in and says: "If you don't make the record, I'll make the record myself.” And he goes and makes Kiss "Destroyer" or Alice Cooper records. I'm not saying they didn't make them, just that you hear that Bob Ezrin made "Beth". It's a type of producer that's very different from a lot of other producers who maybe act a little bit more like buddies and cheerleaders and make the atmosphere good. Bob Ezrin doesn't care so much about the atmosphere in the room. Klas is somewhere in between, I would say. Given the condition I was in during "Prequelle", the result could probably have been different if Klas had come in. Ironically, there was actually talk of him doing it, but he didn't have the time and we'll never know how it would have turned out. I only know that it would have been different, but right there and then Tom was fantastic. I know that a lot of bands like to work with him because he is technically brilliant. He's really good at those typical sounds that people like: cool drums, guitar, bass, tone and clarity. He is also very "happy go lucky", a nice guy who sits and jokes all the time. Even if he has a bad day, it doesn't affect anyone else, which is convenient.

Let me compare it to when a writer contacts me after an interview and says "that was such a nice interview". For me, "nice" is not something positive in such a work situation and the result is often better when there is a little friction.

Mmm, and that is more Klas. There is more friction and more confrontation. And I was much better equipped for that at "Meliora" and later at "Impera". I felt better and was simply stronger. There wasn't the same survival instinct as on "Prequelle". If I think back, not about how the album turned out and how I have to live with it, but if I think back to the situation I was in, I was very anxious all the time. Even though I'm happy with the result, I wouldn't want to go through the recording again, even though Tom was great. Because it's hard to work when you're under attack. I realised that now when I made "Impera", when it was no longer like that. You are much more comfortable, it doesn't feel the same, you are more mature, you make better decisions, you are more controlled or dare to be uncontrolled. When things are this serious, you can end up in a freeze mode. Maybe that's also why there wasn't another song. The song that I miss doesn't exist because I simply squeezed out everything I had. If I had been in a different emotional state, I might have been more comfortable working out something at the last second from bits and pieces. But I felt that I really just wanted to get it done, deliver it, get back out on tour and start over again.

When you described being more mature during "Impera" you sounded like a 70-year-old, kind of like all the Aerosmith-like bands that have been fighting all their lives and now that they're in their 70s they say "we're soooo mature,” haha.

I think with all artists, especially when they're required to work in a group, there are many recordings that have been a collision with a wall because you're expected to function in a context all the time, whatever and whenever. But you do change and from one year to a few years down the line there can be a huge difference in a person's drive, hunger and priorities in life. Whether you have the same band structure as I do or whether you play in Metallica, people come in one state and they may end up in another, because you have different priorities at different times. It's unfortunately against the whole rock myth. I think that's the biggest problem for bands and businesses, that you always have this idea that if you just get to a certain stage - not just monetarily or career-wise, but you get to a certain stage of fun - then we've reached the status quo. But that is never the case! Never! There’s always something. Even in the best moments when everything is working, the band is awesome, everyone is working well, the crew is awesome, everyone is laughing, it's just a party all the time mentally, you have the world's best tour manager, everything is flowing and the tickets are selling, there will always be someone who doesn't like it and then has to break away and want to do their thing because it's no longer fun. It's usually somewhere in the lead-up to a stage where it's interesting and then once you've achieved it, it all becomes a bit boring. Just like in a relationship some people may eventually think, "well, that's a bit boring, I have to go out and do something else".

Since I was in the studio when you were laying down guitars on "Witch Image", my heart beats a little extra for that song and I thought it would be a great live song, but you've barely played it (at the time of writing it's Ghost's forty-fourth most played song live).

We did it during the "Prequelle" tour, or "A Pale Tour Named Death" as it was called. Then we did quite a few "an evening with" concerts, for better or worse. The advantage was that if you were a big fan of the band we actually played a lot of songs and actually a lot of the first albums, like "Idolatrine" - or "Witch Image". We did a set, a break and then a whole other set. That was a bit of a taste of what I was talking about earlier: doing a slightly larger set and then a slightly smaller one. You just shouldn't do it on the same night because it gets a bit stale. We played for two hours and 30 minutes or something and that wasn’t a good idea, haha. At least we did "Witch Image", but it has fallen behind a bit and it doesn't mean that we will never play it again, just that we don't do it right now. What I've been happy about is that there has been a feeling for the records that we've made recently, "Prequelle" and "Impera", that people still want to hear the new stuff. We haven't gotten to that stage that I talked about earlier when it doesn't matter anymore. Then it's very fun to try to find a new way to perform the songs, not technically, but suddenly a song like "Witch Image" might fulfill a very nice purpose between a completely new song and another song.

Let me speculate: in 30 years, I think "Rats" will be considered the great hard rock song, "Dance Macabre" the great hit and "Life Eternal" the great ballad. What do you think? Will this in the future be seen as the three big songs of the album?

Yes, that makes sense, I think. I understand that an instrumental song automatically ends up in the wake of a "best of" collection, in the sense that you do one in 30 years. I realise it's not a hit but the instrumental "Miasma" is a big part of our live show. It's strong and feels like such a keeper. Now we don't play "Life Eternal" very often actually, but it was very well received. For some reason people like to get married to it, I don’t know why, hehe. It's nice but it's also a bit like U2’s „I still haven't found what I'm looking for" and you don't use that one at a wedding. But people like it and I guess interpret it differently to me. It’s also a song that I don't think is fun to play live.

And why not?

Because I find it hard to play ballads. Physically, they don't feel the same as rock songs. I miss the "dunka dunka". Now everyone who plays music today knows what I mean - sorry, readers who don't play music - and it's that there's a small problem with having in-ear monitors. This means that you have to reach a certain frequency of beats in order to feel the music, unlike when you played at clubs with only a guitar amp behind you. You felt every single note you made and it just went through your body. Nowadays, I think it's sometimes hard when you play slow songs, because you have to trust that it sounds good, whereas when you play a rock song, you feel that it sounds good.

Does it also apply to "He Is” which is such a huge ballad, not least live?

Well, just the intro and then it gets going quite quickly and suddenly becomes a hard and rather fast-paced song. The classic ballad concept has always been that you play so-called edge beats to make it sound soft, while "He Is” is actually a rather hard-played song considering that it is a ballad. Once the drums come in – boom, boom – it's got AC/DC bite to it. It has a rock feel to it that "Life Eternal" doesn't really have. As I said, I don't think that "Life Eternal" is a lot of fun to perform, but that doesn't mean that it isn't quite good to listen to. It’s just that when I play "Dance Macabre" or "Mummy Dust" I feel that I can express myself physically more in line with what the text says and what it means.

#the band ghost #tobias forge #interview #prequelle era

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copperbadge · 11 months

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

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

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

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

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

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

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

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

....wait, what?

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

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

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

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

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

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

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

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

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

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

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

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

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