#i'm also a traditionally-published author

[avaantares]

Fanfiction Authors: HEADS UP

(Non-authors, please RB to signal boost to your author friends!)

An astute reader informed me this morning that one of my fics (Children of the Future Age) had been pirated and was being sold as a novel on Amazon:

(And they weren't even creative with their cover design. If you're going to pirate something that I spent a full year of my life writing, at least give me a pretty screenshot to brag about later. Seriously.)

I promptly filed a DMCA complaint to have it removed, but I checked out the company that put it up -- Plush Books -- and it looks like A LOT of their books are pirated fic. They are by no means the only ones doing this, either -- the fact that """publishers""" can download stories from AO3 in ebook format and then reupload them to Amazon in just a few clicks makes fic piracy a common problem. There are a whole host of reasons why letting this continue is bad -- including actual legal risk to fanfiction archives -- but basically:

IF YOU ARE A FANFIC AUTHOR WITH LONG AND/OR POPULAR WORKS, PLEASE CHECK AMAZON TO SEE IF YOUR STORIES HAVE BEEN PIRATED.

You can search for your fics by title, or by text from the description (which is often just copied wholesale from AO3 as well). If you find that someone has stolen your work and is selling it as their own, you can lodge a DMCA complaint (Amazon.com/USA site; other countries have different systems). If you haven't done this before, it's easy! Here's a tutorial:

HOW TO FILE A COPYRIGHT COMPLAINT FOR STOLEN WORK ON AMAZON.COM:

First, go to this form. You'll need to be signed into your Amazon account.

Select the radio buttons/dropdown options (shown below) to indicate that you are the legal Rights Owner, you have a copyright concern, and it is about a pirated product.

Enter the name of your story in the Name of Brand field.

In the Link to the Copyrighted Work box, enter a link to the story on AO3 or whatever site your work is posted on.

In the Additional Information box, explain that you are the author of the work and it is being sold without your permission. That's all you really need. If you want, you can include additional information that might be helpful in establishing the validity of your claim, but you don't have to go into great detail. You can simply write something like this:

I am the author of this work, which is being sold by [publisher] without my permission. I originally published this story in [date/year] on [name of site], and have provided a link to the original above. On request, I can provide documentation proving that I am the owner of the account that originally posted this story.

In the ASIN/ISBN-10 field, copy and paste the ID number from the pirated copy's URL. You'll find this ten-digit number in the Amazon URL after the word "product," as in the screenshot below. (If the URL extends beyond this number, you can ignore everything from the question mark on.) Once this number has been added, Amazon will pull the product information automatically and add it to the complaint form, so you can check the listing title and make sure it's correct.

Finally, add your contact information to the relevant fields, check the "I have read and accept the statements" box, and then click Submit. You should receive an email confirmation that Amazon has received the form.

Please share this information with your writer friends, keep an eye out for/report pirated works, and help us keep fanfiction free and legally protected!

NOTE: All of the above also applies to Amazon products featuring stolen artwork, etc., so fan artists should check too!

[performativezippers]

fanfic writer habits i've had to unlearn when trying to traditionally publish original work

a list in no particular order in case you're curious

starting sentences with "And"

so. many. one sentence. paragraphs. like, yeah, this is fun for The Drama but also...not how books work

using italics for emphasis--gotta use your WORDS, zippy

head hopping. rereading old fanfics i wrote, i'm like, WHOSE POV IS THIS?? HOW WOULD JANE KNOW MAURA THINKS THIS?? jesus christ keep your pov tight, zipperoni. i had to really learn this when i was revising my first book and my agent pointed it out.

Oh. Oh. some of these are good but too many are oh [failure]

Using scene breaks to skip through transitions instead of actually transitioning. this one i'm working on right now and it's haaaaaaard.

scene choreography. if someone is holding something, do they ever put it down? are they STILL HOLDING IT NOW, FIVE YEARS LATER?

overwriting vs using a lighter touch. "that's normal. that's casual. that's fine." sometimes that's great for emphasis, but if it was always just "that's casual. that's fine." the point comes across the same way, and doesn't hit you over the head with it as much.

introducing new characters and making them memorable, vivid, and not sucking up too much space when the reader doesn't recognize them (it's lena! i love her!)

pacing! things have to happen at specific times, the book needs to end at a specific time, the conflict needs to be sown here and explode there. making that all feel organic and honest for the characters while also conforming to the genre expectations that have very little flexibility (especially for a new author trying to convince publishers I know how to write books)

ending things at the right time. at first i wrote too far beyond the climax (classic fanfic problem) and then now i seem to have swung too far in the other direction and am ending too soon after it. but the good news is that my editor asked for an epilogue. you know what that means?? A WHOLE SHORT CHAPTER OF FLUFF Y'ALL!!!

Does this need to be a curse word or can it be a different word? i mean often it fucking needs to but not always!

Just cut out the word just almost all of the time even if it feels like it's just the right word; it will hurt just a little but you should just do it.

use as much sex as the plot needs. incorporate it into the plot. don't change the tone of the piece. make it stay in character and also be hot and also serve the narrative.

got questions? want examples? have thoughts? what other things have you caught yourself doing, or notice when you read through your old stuff?

[dduane]

BTW… re: Smut

... off my comment to this post the other day...

I'm an entertainer. Writing's a form of entertainment. (And not just for the readership: for me, too.) To be aroused by art one's experienced is (almost by definition) to be entertained, I'd say. If someone's jerking off to my erotica, then all I can do is lean back in the typing chair, smile a bit, and think, Good! I got the job done. :)

(...with the tags: #and no I'm not going to let on where the smut is#why would i deny anyone the delights of the search#and of being repeatedly mistaken#while possibly finding smut writers who're better at it than i am#:) ...)

...and then noting (with affectionate amusement) some responses:

Well, troops, better get busy filling in that bingo box. 😄

Also: I have to say (while stressing that I absolutely appreciate the humor behind "shocked, shocked, scandalized...") that the dissonance is, temporally speaking, a bit ill-founded. Because while I may be best known for the Young Wizards works these days... by no means did they come first. This did.

A soft chuckle in the darkness. “Lorn, remember that first time we shared at your place?” “That was a long time ago.” “It seems that way.” “—and my father yelled up the stairs, ‘What are you dooooooooing?’ “—and you yelled back, ‘We’re fuckinnnnnnnnnnng!’” “—and it was quiet for so long—” “—and then he started laughing—” “Yeah.”

Granted, from the here-and-now POV of readers with access to the hot-'n'-spicy shipfic or PWP on AO3, this sort of thing (and the numerous other lights-often-off or dialogue-only sexytiems passages in the traditionally published Middle Kingdoms works) would be seen as pretty small beer: soft, non-edgy stuff. Yet in 1979 apparently there were those who found the sex and sexualities on display in The Door Into Fire arresting enough that the book got me nominated for the Astounding Award (for best new author in the field) two years in a row.

There's no question that the broadly inclusive tone set by the Middle Kingdoms books went on to affect and underlie the YW universe in very basic ways. (There've been some scholarly works written by academics who've picked up on this, so [much to my relief] this perception hasn't been just me imagining it.) But I'll grant you that those who don't know the MK novels wouldn't be in a position to make the connection. (shrug) This is just one of those things that comes of having a lot of fragmented readerships who don't know about each other... a side effect of having done a lot of different things during a career. I can also understand how not knowing about the MK works could leave people who know me only, or primarily, as someone writing for a younger readership, a little bit disoriented (or maybe concerned) when the issue of me writing openly sexual material rears its head. But that wouldn’t be a change of direction. It’d be, to some extent, more a return to form.

Anyway: I consider erotica—and its more casually-dressed (or undressed...) cousin, smut—to be perfectly legit forms of literary expression; ones that can soar to unexpected heights if you're willing to put in the work. The sexy-stuff-writing muscle requires periodic exercise if it's to remain viable and/or useful. So I exercise it. And being a 70-year-old person who sometimes creaks audibly when she walks has done absolutely nothing to decrease my interest in the subject—the brain being, after all, the biggest sex organ, and the one least vulnerable to the depredations of time. If anything, nearly fifty years of experience (and three and a half decades of marriage to @petermorwood) have added... let's just say nuance. 😏

Now this whole concept will doubtless horrify some of the "Eww, You're Too Old To Be Writing This Kind Of Thing, Go Get A (Home) Life" types. To which all I can say is, "...Well, good!" By and large, such folks are not my readers anyway. And as for any of them who are, and can't deal…? They need to understand that (pointing off to one side) those people over there—the various kinda-straight and pansexual and bisexual humans, and the gender-fluid fire elemental, and the otherly-gendered Dragon, and the mostly-gay ones enthusiastically shouting "We're fuckinnnng!" down the stairs—are Nita's and Kit's godparents. Without the members of that extremely mixed marriage and their increasingly extended family, there might be no Young Wizards series... not least because it was the splash made by the first of the Middle Kingdoms books that got the Errantryverse crowd in through a major publisher's door. And the series’s continued (modest but still noticeable) success through the second and third volumes kept the writing of new YW books going for a good long while.

...So. For those who may have had questions: HTH. 😀

(And now back to the unending search for a more graceful synonym for “testicles”.)

[mortalityplays]

Unfortunately the incredibly fragile fanfic writer with thin skin thing has crossed over into literature, particularly YA and genre literature, these days. Everyone is having a bad time and no one can stand constructive engagement with their work

there is a particular kind of person that falls in love with the concept of being a writer, but is absolutely unwilling to put any effort into seeing or treating it as a craft they need to actively master. they have always existed and will always exist, probably because it's much harder to see at a glance when a writer is full of shit than when someone makes terrible visual art.

traditionally you'd either find those people vanity publishing or wealthy/connected enough to publish through friends, family, old classmates etc. the people who didn't have access to those avenues (or who were too cowardly even to brush against the possibility of having someone read their work and think it was less than perfect) would stereotypically just work on their great novel forever and never let anybody read it.

the point I'm getting to is I think the larger and larger market share commanded by crybaby bad writers is reflective of the point we've reached in late capitalism. publishing companies have realised there's money to be made in doing marketing pump and dumps on writers who don't know or care enough about writing to spend more than maybe 2 years producing a finished manuscript, and who are so intensely horny for attention that they'll happily accept whatever conditions are put on them (we're looking for vampire enemies to lovers in a speculative future hunger games marriage tournament. also you have to promote it on tiktok and speak on a panel at this fan expo we sponsor, and give every other YA author in our stable a 5 star goodreads review. we will not be paying you for this). at the same time, people have been conditioned to see media consumption and audience affiliation as virtues and even skillsets. an infantilised media landscape combined with the proliferation of youtube media analysis hustle culture has primed an entire generation to believe that they're insightful, incisive, genre savvy wunderkinds whose bts-meet-the-winchesters fanfiction is actually the voice of a generation and DESERVES a three novel series and movie adaptation.

we're sick. we're not well.

[writingquestionsanswered]

Prompted by the anon who asked about becoming an author with little writing practice. What are your personal thoughts on writing with a goal to have a paycheck? Including a genuine interest in writing, of course. I've dabbled a little bit in writing, and I always wanted to be published, but I imagined this would happen later on in my life. I'm currently unemployed and have been ghosted and rejected everywhere for over a year now. I'm starting to get a little desperate, and I'm looking at publishing a book as the better option now... but I'm in no way practised enough to be thinking about that. What's your take on it?

The Realities of Making Money with Writing

I hate to be the bearer of bad news, but writing--in any capacity--is not a viable solution for when you're unemployed and need a paycheck. It's actually very hard to make a living as a writer, and that's even more true for inexperienced writers...

Writing in a paid position, such as a staff writer for a magazine or newspaper, is the most viable way to make money as a writer. However, paid writing positions are limited in number and highly competitive. You typically need to have the writing experience and credentials to qualify for the position, and if you don't, you're probably not getting a position that pays the bills.

Traditional publishing is not a great goal if you're looking for a paycheck. Not only does it typically take years of writing, querying, and rejection before you get a publishing deal (if ever), once you get that deal it's not the cash cow you may think it is. First, advances for debut authors can be as low as a few thousand dollars and are rarely above $10k. While that may sound like a ton of money, especially when you're unemployed, remember you're paying taxes on that, so what you actually get to keep is significantly less. Then, whatever that amount is will be broken into two to four equal payments. So you're either getting a few grand that has to last you six months or so, or you're getting about $1500 that has to last you a few months or so. In today's economy, neither amount goes very far. It'd be like having a job where you make $500 a month. You'd likely do better with a job at a fast food place. And once you get a book deal, it's going to be at least a year before your book is published and for sale, so it's going to be a while before you're seeing royalties. Even then, most books (even traditionally published ones), don't sell enough copies for the author to make a living wage. Most authors who're able to make a living wage either have a wildly popular book or a backlog of reasonably popular books. Debut authors don't usually make much money.

Self-Publishing is a terrible goal if you're looking for a paycheck. First, self-publishing a book that sells well requires most people to invest a little in their book. Professional cover art, professional editing, and advertising are just a few of the places where self-published authors routinely invest in their own books. While it's possible to self-publish a book for free, you really have to know what you're doing in order to pull it off successfully. Self-published books are hard enough to sell with professional covers, excellent editing, and paid advertising. You won't get far with an amateur cover, bad editing, and inadequate advertising and promo. Self-publishing is also not something you should be considering if you describe yourself as someone who has "dabbled in writing" and "not practiced enough to think about publishing." Self-publishing is a serious industry composed primarily of serious authors who have put in the time, effort, and practice to hone their craft and create quality books. Every time someone half-asses a book in hopes of a windfall, it damages the collective reputation of serious self-published authors.

Furthermore: even if you are an experienced writer who writes an AMAZING professionally edited book with a gorgeous cover, and you put a ton of effort and money into marketing your book, you are still probably not going to make enough on one book to pay the bills. The way to make money via self-publishing is by writing a volume of great books that sell well so you can make money on your backlog. Many authors also do things to diversify their revenue stream, such as offering courses, workbooks, critique and editing services, etc., but these are not things inexperienced writers should be offering.

So, if you're someone who has "dabbled in writing" and are looking for a way to pay the bills right now, writing isn't it.

Instead, you need to look for another job right now and keep writing in your spare time. Read a lot of books, write a lot of stories and novels that will never be published. Hone your craft. Then, when you've got a lot of stories under your belt and have critique partners and beta readers swooning over your fiction--then you can self-publish your debut novel or try querying again. Just remember that, even then--even when you've put in the time to hone your craft--neither traditional publishing or self-publishing is guaranteed to be a windfall that pays the bills. Most authors have a day job.

Best of luck on your journey! ♥

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[mittensmorgul]

which books used to be destiel fics?

hi there! there's a lot! Some I know about, like this list *which was posted in 2013* so obviously there are many more now.

There's also a number of writers who have written destiel fic and then gone on to successful traditional publishing careers (or who already had successful publishing careers and also wrote some destiel fic). I'm not sure how many of them would like to be publicly included on a list like this, though... but if you ask me off anon i will be happy to rec some of those authors and their published works (and... i do actually rec their works, in my "you should be reading" tag when they cross my tumblr dash, so that might be a good place to start).

if any destiel authors would like to rec their traditionally published works, they can reply here too! I'd just like to make sure authors are comfortable being listed like that before taking that liberty.

[atalienart]

People are scary stupid. (I'm gonna mention SA so don't read if it might upset you. It's about stories and stuff.)

So I browse insta, like one does and I get adds for books. I check Polish authors and sometimes they are on wattpad. Many of those writers have their wattpad stories published traditionally, mainly romances and erotica. I'm a curious cat, I want to see what kind of stories are published. It's mostly mafia romances and millionaire/girl stories. I find these stories extremely repetitive and boring, they also have characters that I very much don't enjoy but whatever. I read a few chapters of a story by such a wattpad author who has some of their other stuff already published. And wow. You know, I don't care what people write about, if I can't stomach it I just won't read it, that's fine. But wtf is wrong with a person who clearly writes rape and then in the comments (responding to someone saying "hey, you described rape") says that they don't see it as rape, didn't write the scene as rape, that it's a matter of how you look at it, that it's "dubious" because the character eventually "likes it" (literally the character is running away from the "love interest", is begging him to stop, pushes him away, but she's held down and then well... she just gives up because he's stronger; afterwards she's crying; she doesn't even like him, he just practically bought her). And the author tries to convince everyone readers will like the guy eventually because he will change and he has a tragic backstory™ (the girl left him or something -_-). Btw, it wasn't the first time he forced himself on a girl, oh no, he just now feels bad because this new girl is somehow ⋆｡°✩speshul⋆｡°✩. Idk what sits in those people's brains. It's like saying, no no, she didn't kill the guy, she just shot him and he tripped and fell of the window. She's heard him screaming all the way down, he'd been alive until the pavement hit him, therefore she's not a killer. This is absolutely ridiculous. And I know dark romances, the guy love interest is usually the most deranged, disgusting, evil macho man to exist. He uses and abuses the girl in every possible way. And some people enjoy reading those things I guess. But saying that what you wrote is not what you wrote because you enjoy it is just wrong. Or if your intention, as a writer, was something else, think if you actually managed to get your idea across. Sometimes what you try to communicate doesn't read like that (I know, I've been there) and you need to change things. But if you really think your character isn't a rapist because he's handsome and broken™, and the girl love interest will eventually fall for him, then yikes. Hope no one hurt you irl and that you don't hurt anyone either with this way of thinking.

Sorry, I just had to rant.

[derinthescarletpescatarian]

Hi Derin,

I’m a relatively inexperienced writer (my only publication is in a school magazine lol), and I was hoping I could ask for advice, if it’s not too much of a hassle?

It feels weird being a writer in a time where there’s so many ways to publish work, and I’m having a hard time choosing between the stable but competitive traditional publishing routes and the independence of self-publishing. As an established writer, what works for you? Is independent publishing more of a struggle? Or does it create less stress from the lack of bureaucracy surrounding the publication?

Thank you.

I've never tried traditional publishing so I can't accurately compare the two for you, but I have to ask... why on earth would you think that trad publishing is in any way *stable*? Trad publishing does have many advantages, mostly in terms of publishers having existing networks to get your books into the hands of libraries and stores and soforth (it's best to ask a trad pub author about those, it's not my area), but stability is absolutely not one of those advantages. Trad authors are dropped all the time. It's a long journey fraught with obstacles to even get the book released.

For me, the choice was easy because I didn't consider things in terms of trad vs. indie, I considered income models. The two major avenues of earning money in this field are via book sales or via 'salary'. Trad or indie publishing fits the first; making your money primarily through book sales (traditional publishing is nice here because you get an advance as well as the sales connections of the publisher and use of their editors etc., indie publishing is nice because it's faster and you keep more of the money since you're doing it all yourself). A model relying directly on sales is inherently unstable --you might earn more in the long run, but aside from your advance, it's really hard to predict how much you're getting month to month.

I chose a salary model, via Patreon, for the stability. I want to be able to predict my income, and while it does fluctuate (people subscribe and unsubscribe all the time), it doesn't fluctuate nearly as much. Patreon also tends to be a 'rolling weight'; patrons who join usually stick around for awhile, meaning that once I've acquired a patron, they increase my income for several months, often years, rather than a single sale. This also means that I can release the stories for free to people who can't afford to, or don't want to, pay me.

Independent publishing is no struggle for me whatsoever, because I use the patreon model. This means that I don't have to do most of the marketing and organisation stuff that someone trying to sell books has to do. The big issue is still marketing, but if you can get a critical mass of readers, readers who will help you by making fanart and memes and getting their friends into your work, your main job is to write the best story you can and never miss any updates. I do know that indie publishing via the book sale model can be extremely challenging, which is why some people choose trad publishing instead (which is also extremely challenging but people who know what they are doing are involved with you). If does sound like your goal is to sell books though, judging by how the question is posed, in which case I'm the wrong person to ask, because I am not in the business of selling books. A previous work of mine (Curse Words) is available for sale as an ebook, but the core of my income is via Patreon, which is an entirely different business structure.

Do any indie or traditionally published authors who rely on book sales have advice?

[haveyoureadthistransbook]

Hello I'm joining the Have You Read/Watched/Listened to polls, but this time about trans books ❤️.

Submissions are open. Books already submitted can be found here.

My bookshop Affiliate Link can be found here if you'd like to buy any books mentioned in the polls and support my own book buying.

Further Information under the cut:

First I want to define what I consider a trans book for this poll: Any book with a main transgender character or a strong transgender focus. The character doesn't need to be the only main character or their story about transitioning, but the character has to be canon transgender (on page & textually heavily implied are both acceptable). Transgender here includes any non-cis identities and I will accept questioning and unlabeled characters. The author doesnt need to be transgender (or out), but if I know the book is marketed as ownvoices I will tag it as such, as it might be interesting for some people.

All genres are welcome. I personally mainly read horror, fantasy and sci-fi, so I would love recommendations in other genres. I will also include memoirs and non-fiction books.

Traditionally published and self published books are all welcome, but for self published books I would appreciate a link for where to find it and find a summary & cover picture.

You are allowed to give your personal opinions in the tags and replies, but don't be bigoted or start fighting in the notes please or I will block you.

For now I appreciate any and all feedback on how to best run this as I'm just starting out. I already accept submissions!

[olderthannetfic]

Semi on topic with the recent Xiran Jay Zhao anon, but: I'm so fucking tired of traditionally published authors who use their platforms to do nothing but whine about shit.

It's literally all of them, at this point.

There's always something bad happening, there's always some murder they must bring awareness to, there's always some cause everybody is ignoring but them, because they are the good guys and if you're a good guy you will retweet/like/reblog too! And don't forget to buy their new book, a coming of age story between a conventionally attractive American middle class girl who is so teeny tiny whoony she fears the huge cock of her conventionally attractive American middle class boyfriend will never fit in her perfectly bald pussy! If you don't, you're siding with the bad guys, and they'll post about how their sales dropped because they're such active activists, but don't you worry: this won't deter them from "fighting"!

And I get that right now this form of slackactivism mixed with product shilling is the norm, but goddamn. Does no one on the marketing teams of these publishing houses see how jarring and, quite frankly, tone-deaf it is?

--

TBH a lot of non-author people on social media also sound like this.

[brandyllyn]

I had drinks tonight in New York City next to a pair of very drunk men who were also very nice and chatty. They bought me a drink and asked what I did for a living and rather than explain that I'm a copywriter/ sometimes attorney/management consultant who is waiting for a job in the federal government I just said "writer."

And so of course it turns out that these two fuckers are both traditionally published non-fiction writers. They have appeared on nationally syndicated TV shows talking about their books.

And now they want to talk to me about my books.

You have not known true awkwardness until two highly successful authors want to talk to you about your journey self-publishing polyamorous romance.

[roslynwrites]

you’re such an incredible writer, so i only imagine u read extensively too. i’ve noticed ur ao3 bookmarks are empty, but i’d love to get a list of your favorite titles whether it’s zutara, other fandom or traditionally published works.

I do indeed read a lot. The past few years I have read much less fanfic and have focused on original stuff, but I have actually been able to read a few fics in recent times because my brain didn't want to write, I did have a bit of Zutara burnout I think so no Zutara recs here (yet).

But if you, like me, enjoy some Dramione, then, for starters:

anything by phlox (Slowly Toward Desire is my favorite)

Amateur Cartography by worksofstone

A Darker Blue by skitter (legitimately cannot believe this fic didn't blow up, one of the best Dramione fics I've read and that fandom has a ton of good shit, so like. wow. skitter also has a Zutara! I have not yet read but it's on my list and I'm already sure I will love it)

Lights Out by Phoebe

I used to read every pairing under the sun in HP but as I said, haven't read as much fic lately, but two others are Blood & Gold (a Tomione, by the legendary ObsidianPen) and The Wilderness (Luna/Ginny) by speechwriter. If you try nothing else on this list, try The Wilderness. That fic is high art. It blew my entire goddamn mind, my god. I also highly recommend anything by PacificRimbaud (esp. the Paneville)

*cracks knuckles* now for some original stuff:

The Liveship Trilogy by Robin Hobb altered my brain chemistry

Scholomance Trilogy by Naomi Novik. I mean, okay, I worship Naomi generally, so I was shocked to discover it took me a while to get into these. Read the first, thought 'meh', came back to it again later, liked it better, second and third proceeded to BLOW me away

NK Jemisin's Broken Earth trilogy. In case you want a nice dose of a darker twist on Earthbending and an exploration of prejudice.

Juniper & Thorne by Ava Reid for your Gothic horror needs

Lost Boy and Alice, both by Christina Henry. Dark fairy tale retellings, so you know I'm there. She does them so well.

The Burning series by Evan Winter. It has dragons and a dual-sword wielding badass, in case you need those itches scratched

If you want some good published romance (I tend to like fanfic for pure romance stories tbh so I'm usually pickier here) that has some fanfic vibes, I enjoyed Act Your Age, Eve Brown by Talia Hibbert

If you want dark Zutara vibes, my go-to rec and one of my favorite series is The Poppy War trilogy (I will never get over #rinezha)

I wouldn't say I adore The Legendborn Cycle series, but I still like it, you can tell the author has roots in the fan/fanfic scene I think, and again, I think it has some Zutara vibes. Tracy Deonn 100% had to have been inspired by Zuko for her character Sel, I'm convinced. And her take on the Arthurian legend is really unique and creative.

[strangebiology]

Myths about Traditional Publishing

Now that I'm in the book-writing world I see a LOT of anti-trad publishing posts. They usually have some nonsense in them so I'm going to address these myths/misrepresentations.

I’m NOT trying to say everyone should trad publish. In fact, I actually suggest people without significant writing experience not write a book at all until they get experience. You asked. If you want to write something faster without any editors and you're okay with doing a lot more work per sale, or if you haven't published anything shorter than a book, I DO recommend self-publishing to you (or, re-thinking why you want to write a book.) Just make sure you’re making your choice without influence from misinfo! 

🚫 “Traditional Publishing means less money because your royalty is less!”

✅Your royalty is less but every one of these anti-trad posts misses the very important financial reality that traditional publishers sell your book widely, meaning more sales without work on your end, and more importantly: the ADVANCE! Yes, trad writers get money before a single book sells! On average most traditionally published books make WAY more than self, even though there are very rare stories of financial success among the portion of self-published authors who are very talented and hard-working.

🚫 “The advance doesn’t count because you have to pay it back!”

✅BS. Money DOES NOT flow from the writer to the publisher in trad pub. Not even if you sell zero books. As the royalties come in, they initially start flowing to refill the advance that the publisher lost, and they go to the writer once that is refilled. The writer is happy because they already have their advance, which has already gone to paying off their debts or into an index fund or the downpayment on a house so they don’t have to throw away money renting, so they’re in a much better financial situation than with no advance. There is no downside to getting guaranteed money earlier. 

The only way you’d have to pay it back is like any job: if I pay you to fix my roof and you don’t do it, the contract is broken and I am legally entitled to my money back. Hopefully, you already knew that. 

🚫 “The advance doesn’t count because you get it in installments and you have to pay some to your agent and taxes exist!” 

✅The second part of that is true, but so what? With a $50k advance and an agent, you keep $42,500 minus taxes. That’s $21,250 on signing and $21,250 on completion. (And yes, there are different installment patterns, different advances etc.) With self-publishing, you get $0 and then $0 forever until your book starts selling. If your advance is small that’s unfortunate but remember self-publishing advances are $0. Zero dollars is much less than $42,500. Zero is less than $1. Self-publishers also go into actual debt to pay for editors, printers, and marketing, so you could easily start with negative money.

🚫 “Traditional publishing sucks because they expect you to do all your own marketing!”

✅Huh? Whatever expectations are happening in the heart of my publisher are none of my business or concern. Marketing on my end is not in my contract and I doubt it’s in the majority of trad contracts. I’ll definitely promote my book as much as I can but I’m sure as heck not going to spend 40 hours a week doing it or getting a degree in marketing unless I'm getting paid. 

However, the publisher employs professional book marketers and they are the ones incentivized to sell the first [insert advance dollar amount] worth of books. 

Also, who do you think markets your self-published book? The Marketing Fairy? 

🚫 “You have to write the whole book first.”

✅Yes with fiction, usually. Unless they trust you because of your track record, and you have a good pitch and part of the book written (like the first three chapters.) With nonfiction, generally, you don't need to have written much of that, maybe one chapter and lots of articles. They might require more if you're writing a memoir, especially if you don't have writing experience. They want to know you can do it.

🚫 “Traditional publishing is just a lottery!”

✅I mean there are elements of luck, what’s in fashion, privilege etc. just like in all fields, especially creative ones. But most of the reason people get trad contracts is hard work, experience, a good concept, proof of successful writing and publishing (including non-books!), caring about what the readers want, etc.  

Most people who I talk to who tried and failed to traditionally publish had no published writing of any sort. Most who succeed at trad publishing had plenty, as well as a lot of expertise in that area. Like, a degree and/or years of experience in that field, not "I listened to a few podcasts on it."

🚫 “Actually a smaller advance is better.”

✅Absolutely not. This is an insidious nonsense rumor akin to “a smaller salary is better” and I wonder if publishers started that rumor to financially abuse their writers or if writers spread it because hate themselves and each other. I’ve heard all the justifications, they make no financial sense, if you hate money give it to me.

The only reason to take a smaller advance would be the same as the reason to take a smaller salary: if the publisher makes up for it with something else that's worth it.

Interestingly, I'm told bigger advances sell out faster, because they attract attention behind the scenes, from reviewers, booksellers, etc.

🚫 “Even an advance of 100k isn't that much when you split it into four payments over 2 years. Better to get regular royalties. Not like $100k is enough to quit your day job.” ✅$100k split into four payments over 2 years is WAY more than the $0 self-publishing gets you before sales. Even $200/month for 40 YEARS is less than 100k, and that's without the time value of money or inflation. And, remember, trad published books get royalties too, the only difference is the first [insert advance here] is GUARANTEED, and after that, fewer dollars per book sold. If you make $100k per book and don't spend too much time per book, that can very easily BE your day job and you CAN certainly quit your other one to pursue that. But no one said anything about assuming selling one $100k is enough for the rest of your life. That would be an absurdly irresponsible mindset. Just because trad publishing doesn't guarantee anything crazy like one book financially supporting you forever, doesn't mean it's worse financially. What a weird, irrelevant straw man.

🚫 “But if you don't sell out your advance, the publisher drops you!"

✅Misleading. First, what is the time frame of this accusation? Your book is not going to sell $50k worth in a week, most likely. Second, what do you mean by "drop?" The publisher does not do anything bad to the author as they are waiting and hoping for sales. They continue to sell and work with the book, they do not yeet it or burn it or un-publish it.

What does happen is your publisher will consider your past success when deciding whether to sign another book contract and how much to give you for your next advance. If your last book sold $100k in a month, but your advance was $101k, then yes, they have lost money so far. But the prospects of your writing are fantastic, and they are likely to sign you again. There is more than one month in their lives.

If your book did not perform well--say it sold $5k in 5 years--then that ONE publishing company isn't going to sign you again. Duh? Then you have like 99,999 other publishing companies to look at. Or you could self-publish. Is that a problem? How are the pro-self-publishing people so scared of self-publishing? Or you could just not write more books, you tried it once, you can decide that's enough, especially if you aren't happy with how it turned out. Don't we all have more than one goal in life? Didn't you want to get into fishing or dancing or insurance sales too?

🚫 “Getting a book contract is my retirement plan!"

✅(I realize most of this post seems pro-trad but yes, we need some reality check.) A trad contract is as good as it does--and as good as the author is. Same with self-publishing. Maybe you could make a lot of money at it, but I ask, what is your experience? How do you know your book is so amazing? You know some of the most financially successful writers still put out TONS of books, right? Because it's a job.

🚫 “Nobody earns a living from this."

✅Well. No, some people do earn livings from book writing, at least temporarily. A single book isn't going to sustain you forever, like I said, but it could potentially sustain you for the time it takes to write it, and even longer maybe, if you and your publisher are good enough. The next year will pass whether you're working on a book or you're working in insurance sales or at Starbucks; so you must consider your values, skills, opportunity cost, the money you get from each, and whatever else matters to you when deciding which to do. You can pitch a publisher and say "no, that's not enough money" when they offer you a contract, if you want.

At the end of the day, trad publishing is a business. No publishing company owes you anything except what is in the contract they signed. Not working with the same place twice isn't going to kill you. Getting rejected is part of the game--you didn't get into every college you applied to, did you? You don't get every award or every job you apply to, you don't cry when you open the Pepsi bottle and it says "try again." But if you don't treat writing like a job, if your publisher sucks, or you think it's a get-rich-quick scheme that requires no skills, craft, or ambition, then you will fail miserably and regret the whole thing.

[dduane]

I've been following the fanfic & author discussion and I definitely see the issue with fanfic based on your own work. However, I'm curious how that doesn't extend to, well, everything else. If an author reads a coffeeshop AU based on their works and then writes something similar into a book, how is that different from reading a coffeeshop AU from a completely different media and then writing something similar with the names changed to their characters?

At the fanfic level, for me, it does extend to everything else. Let me tease this out a bit for you.

All writers distill their output at least partly from huge amounts of data, fed into their storymaking systems over (routinely) decades of time. When that input comes along in the form of traditionally "published" material—books or films or comics or whatever—I’d expect there to be an inherent understanding that what one publishes or films may (if you're lucky) wind up in the public consciousness. And thereafter—assimilated and, ideally, much changed and individualized—it may also end up in the work of people who create in the same general way you do.

Where traditionally published materials that I've internalized are involved, I've paid for them (or libraries or similar institutions have paid for them for me). Money''s changed hands, confirming (as it were) the contract between the creators and me. After that, what I make of Paradise Lost or Perelandra is my business.

And my business, both generally and specifically, is subversion. It's a rare work in any genre that doesn't afterwards leave me wondering "But how about if this was done completely differently...?" I.e., "What if a prince rescued a prince?" "What if you don't need a school to learn magic, because the universe teaches you?" And so on. ...The only hard and fast rule I have about this process is one that Heinlein handed me: "Sure, file the serial numbers off that idea and make something else of it. But you have to leave it different, and ideally better, than when you found it. If you're going to be the magpie who makes off with a pretty shiny thing, you must bring back something bigger and shinier in return."

So that's how that operation goes, when I'm dealing with what we might consider mainstream/tradpub works.

But fanfic operates under different rules. No money changes hands (because no money may). Fic writing is founded in a gift economy. And for me, to steal a gift or steal from a gift-giver is vile.

So, per the original question: For me, the primary difference between the two kinds of fics you're positing above is that in the first case, the fic's author and I are (creatively speaking) in a relationship... even if (strictly speaking) it's a nonconsensual one. I therefore feel a responsibility to protect their work from me by not allowing myself into situations where I might, however accidentally, borrow from it. And I also feel a responsibility to protect myself from possible adverse consequences of having seen their work. Safest way to ensure that protection on both sides? Not to see their work.

In the second case, let's say we've got a coffeeshop AU where, oh, I don't know, Bert is a barista and Ernie is a regular customer. (And Big Bird is the manager, and Cookie Monster is—no no, let's STOP this now...) Here it's safe to say that my relationship with either the IP owner* or the fic writer is likely to be nil. The writer doesn't know about me, or (I'm sure) care. They've put their stuff out there on AO3 or wherever for their own reasons, and at least theoretically for others' entertainment. So I'm at liberty to take it as such.

Which is all very well on the face of it. But if I caught myself inserting business from that Bert/Ernie AU fic into something of mine, what I'd consider the right thing for me to do would be to discard that whole line of thought and start over... because this is material sourced in a gift economy, and to me it feels wrong to use a gift this way.

And stressing this point: I'd do that once I'd caught myself. Because as I mentioned at the start of this, all writers pick up and digest concepts and situations that then go "into the pot", as Tolkien said, and get lost over time in the general melange of flavor. If I don't catch myself, and then the flavor of the original gets submerged in the overall taste of the soup to the point where I can't ID it... that could get troublesome. And if I later realize what's happened, it'll pain me no end.

This is why I do not want to see Young Wizards fanfic at all. The chance always exists that if I do look at any of it, I might accidentally internalize it and pop it out, however changed, years later... and would thereby have abused my relationship with the fic writer. (And yes, ever though they would by definition be in that relationship with me nonconsensually, that would not make it right, or all right, for me to do the same thing back to them.) In this regard, I'd sooner be safe than sorry... because being sorry about something you've written is a very sad, bitter place to be.

...Maybe all the above will strike some people as unusually rigorous. (shrug) That doesn't bother me; not least because they don't have to live inside my head, and I do. My creative life doesn't have a billion rules, but this is one that seems obvious to me, and which I do my best not to violate. It's not all about legal exposure. It's about trying to do right.

HTH.

*It's surprising how many potential scenarios I had to throw out just now because I am in relationships with the IP owners, or have been. Pity. The Cap/Bucky one would have been fun...) :)

[melanielocke]

Book recommendations: queer adult fantasy romance

This is a relatively new genre. Before, pretty much all YA fantasy books are heavy on the romance, but that's becoming more popular in adult, creating fantasy romance as a genre. I read mostly queer fantasy romance. Unfortunately, there aren't many traditionally published ones yet, I think the top rowin the left picture is all of them (if there are any I didn't know of, please let met know). I've excluded sci-fi romance for this post (which is why Winter's Orbit isn't here).

In indie books, I think there are some more, but I'm not super familiar with the indie market. The bottom three in the left picture are all indie books that also come in paperback (many are ebook only and I don't have an ereader). Most of these books I have talked about before but not all of them.

A Taste of Gold and Iron by Alexandra Rowland

This is a prince/bodyguard romance set in a kingdom inspired by the Ottoman empire. Kadou is the queen's younger brother, and after a mistake puts him in a bad situation with his sister and the body father of her child, he has to help her uncover a conspiracy to do with forged money.

He gets a new bodyguard, which in this case has both the task of being a guard and being a personal attendant. Evemer hates Kadou at first. He's very duty bound and thinks Kadou does not take his duties as prince seriously.

But they will have to trust each other if they want to get to the bottom of that forged money conspiracy.

Evemer is a very stoic guy. He doesn't talk much. He can go entire days only saying 'Yes, my prince' 'no, my prince' or simply 'my prince' when he tries to convey he is annoyed or disagrees.

Kadou has very well written anxiety, and deals with this in numerous ways, including at first drinking far too much wine to dull his fears. Evemer is at first very judgemental, but over time he comes to understand Kadou better.

There's lots of discussion of ethics in this book, partially to establish how a relationship between them could happen without there being a power imbalance because of it.

Also by this author: several self published books, in 2024 comes their next trad published book, Running Close to the Wind, which is a queer pirate book pitches as Our Flag Means Death x Six of Crows

A Marvellous Light & a Restless Truth by Freya Marske I've already talked about several time

And yet I'm going to do it again. I love the each book features a different couple structure and I'd love to see this more often. It's a great way to have many different major characters but also give all of them their moment to shine and have properly development instead of trying to balance three romances in the same book.

The overarching plot in the trilogy has to do with the conspiracy Robin and Edwin begin to uncover in the first book, something that threatens all magicians of england.

A Marvellous Light features a himbo x librarian m/m couple. They're the softest, sweetest couple of the three in the trilogy to be sure, and I'm planning to reread soon.

A Restless Truth features a sapphic rake x wallflower couple. They're both very chaotic, and I love Maud's energy, as well as the whole sexual awakening arc she has in here, which is so funny.

The third as of yet unpublished book is a Power Unbound, featuring a couple that I think is grump x sunshine but in a asshole x asshole way and it sounds like it's going to be amazing so definitely keep an eye out for that one coming November.

A Strange and Stubborn Endurance by Foz Meadows

This is one I don't think I've talked about before. Before reading this, definitely check the content warnings. There's a pretty graphic rape scene very early in the book, as well as several moments of suicidal ideation. That said, this is a healing story, and the character this happens to is doing a lot better when the story ends.

Vel is a prince who ends up in an arranged marriage to a noble girl from a different kingdom. When his preference for men is revealed in a pretty awful way, his family is ready to disown him. But the envoy of his betrothed's family had a better idea, marry his former intended's brother instead.

But before Vel arrives at the castle of his betrothed, he is attacked and nearly killed by assassins who clearly do not want his marriage to take place.

When attacks keep happening after Vel and Cae have gotten married, they will have to rely on each other to figure out what's going.

I love queer arranged marriages in stories, like in Winter's Orbit, so I was super excited when I first found out about this book. This book ends with everything wrapped up, but there is a sequel coming out this December. Unfortunately, that's still pretty far away, but there has been a cover reveal and blurb. The sequel will feature the same main characters.

Then to the indie books

Prince of the Sorrows and Lord of Silver Ashes

These are the first two books in the Rowan Blood series, which the author intends to be an eight book series in total. But since it's an indie series and the author is a pretty fast writer, they come pretty fast after one another. The first one came out last March, and the second one October, and the author released a different book this February. The next book in this series is schedule for late spring somewhere.

This series is set in a fae world, with a parallel historical human world we don't see much of.

Saffron is a beantighe, which is a human servant who is raised in the fae world after his parents made a deal with the fae. His patron sends all these children back to the human world once they become too old, but Saffron wants nothing more to stay in the fae world. To do that, he'll need an academic endorsement from a fae so he can stay and study.

When he accidentally finds out the true name of prince Cylvan, the two strike a deal, Saffron will help him find a way to remove the power on his true name, and Cylvan will give Saffron an endorsement. The only problem is, Saffron has no clue what he's doing and barely taught himself to read.

In the meantime, beantighes are getting killed one after another by a mysterious person known as "the wolf" and it will be up to Saffron to stop the killer, because no one else will.

The first book ends on a cliffhanger, but the second is a bit more wrapped up so I'm not sure what's going to happen in the next book since there will definitely be more. Fortunately, the wait is not super long, but the release date and covers are released much later than for trad publishing

Last is the Fox & the Dryad by Kellen Graves

This book is set in the same world as the Rowan Blood series, but it is a standalone in the modern time period.

Briar is a ballet dancer, and while he enchants many people on the stage, he cannot get the attention of the one person they really want to notice them. So they strike a deal with a fae lady, if he can perform one perfect dance she'll make him the most enchanting thing on two legs. Of course, a dance is never perfect and now he's stuck dancing for the fae lady whenever she asks him too, despite him getting worn out and injured from it.

Malric is the son of said fae lady and used to be a dancer himself. All his siblings are artists and their mother abuses their talents to entertain people at her revels, all at their cost. Malric left, but he finds out his mother struck a deal with Briar, who is now his replacement. Malric wants to rescue Briar, and tries to help him posing as his new dance teacher in the human world as well as a mysterious masked fey lord at the revels. But then he starts developing feelings for Briar, and he has to ask himself if what he's doing is really helping him.

This book takes place a lot more in the human world than the main Rowan Blood series, which ballet playing a big role which I think was done really well. Briar is a masc enby and uses he/they pronouns, and use alters through the book. I think this is the author's best book so far and if you're not looking to get invested in a long unfinished series yet I would try this one first and maybe start Rowan Blood afterwards.

I'll probably do trans characters next as the Wicked Bargain has arrived and I'll start reading it tomorrow

@alastaircarstairsdefenselawyer @life-through-the-eyes-of @astriefer @justanormaldemon @ipromiseiwillwrite @a-dream-dirty-and-bruised @amchara @all-for-the-fanfiction @imsoftforthomastair @ddepressedbookworm @queenlilith43 @wagner-fell @cant-think-of-anything @laylax13s @tessherongraystairs @boredfangirl16 @artist-in-soul @beyondlifebeyonddeath @ikissedsmithparker

[thecaffeinebookwarrior]

Tbh I'm at a point where I think everyone should write whatever they want forever and we shouldn't worry about Mary Sues. Who cares, let's have fun in the sandbox

I agree, everyone should write what they want! It is ultimately an act of passion, and everyone has total creative liberty over what they produce.

However, not all writing is intended to be interacted with the same way.

A work of fanfiction or an original story that someone shares for free is different, for example, than a book you have to buy or a film you have to pay to watch. The purpose of reviews for products are not just to support the author, but to guide other prospective readers and viewers about how they'll spend their money and time.

As an author, there's also a difference between a hobbyist and a professional. I'm both! I write for fun, and I've published writing for money. I also have an MFA in Creative Writing.

I would consider it rude if someone offered unsolicited criticism of writing or art I made available for free, but when a paying publisher accepts my stories, I expect them to offer edits to make it as good as it can be for the consumption of the public.

Similarly, if I were in a critique session with my MFA peers, I'd be annoyed if they told me to just have fun without offering any other feedback. As you can see, the context changes whether writing is appropriate to criticize, and whether criticisms should be expected.

Hollywood studios should also be held to an especially high standard, I think, because of the amount of money that is channeled into funding their films, and the amount of money they charge from the public.

Now, about the term Mary Sue.

Many already know that "Mary Sue" is a satirical term, originating in a parody fanfiction from a Star Trek fan magazine, and I don't think it was ever meant to be treated as a serious literary criticism. There's also a male equivalent - the Gary Stu - but it's seldom used, and the term remains disproportionately geared towards female characters.

I don't dislike characters because they're "Mary Sues," I dislike characters because they're poorly written. And I have a pet peeve when a portion of the internet reactively claims a character is well-written simply to defend them from accusations of being a Mary Sue.

Again, this is usually in regards to big budget Hollywood movies or shows, like Captain Marvel, the 2016 Ghostbusters, She-Hulk, or what have you. The criticisms against these movies were often bad, and came from misogynistic viewpoints - but that doesn't mean these movies and shows are good. And I would have been doing myself a disservice if I overlooked their flaws simply because misogynists also didn't like them.

I think Hollywood studios often hide behind superficially strong female characters to shield themselves from criticism, and avoid having to write female characters who are actually original, complex, and interesting.

(Again, this is all just my opinion. Anyone is welcome to like the above properties! I like tons of things that could be considered questionable.)

So, to conclude: yes, everyone deserves to have fun with writing! It is usually inappropriate and rude to offer unsolicited criticism of art that is available for free. But Hollywood films and traditionally published writing that we pay money to access are not the same as free art that's shared only for passion and fun.

And last but not least, calling a character a Mary Sue is usually a stupid criticism, but not every character who is accused of being a Mary Sue is a good character!

Just my thoughts on the matter, which I'm obviously more than eager to babble about for a good half hour.