#Author writing vs. Contract work

[thebibliosphere]

What are your thoughts on authors writing and posting fanfiction of their own work? Do you think being self published vs traditionally published makes a difference? I tried searching around about the topic before but found nothing conclusive, other than the statement, "if you're the owner of the work, you might as well make more money off of it," which doesn't sit right with me.

I mean, I'm quite (in)famously writing an AU fic of my own work (Sugar Vladdy) purely for fun and because Tumblr has a unique ability to pilot my lack of impulse control like the ADHD version of Ratatouille.

Numerous people have told me they'd buy Sugar Vladdy if I ever decided to make it into a proper book. Frankly, I'm not interested in that because my motives for writing Hunger Pangs vs. Sugar Vladdy were different.

Writing for profit vs writing for fandom occupy different spaces in my brain. They scratch different itches. Yes, I'm playing around with the same characters. But I'm sort of just treating it like enrichment in my enclosure. It lets my brain throw around all the ideas that wouldn't work for those characters within the canon universe but still likes to go, "Oh, but what if..."

Honestly. No idea how much of that is my ADHD or what, but that's the only way I can explain it. They're the same, but they're not. They're fun in different ways. And I can get away with it because I'm self-pub. I haven't sold the rights to anyone. The world and characters are mine. I can put my blorbos into situations if I want to.

Now, if I were trad-pub, there would probably be a lot of restrictions about what I can and cannot do surrounding my own characters because I've sold the rights for X amount of time. I couldn't just give things away. It might be considered a breach of contract if I did. It'd definitely be something I'd need to run by an agent first just to make sure.

As for not liking the "might as well make money off it" mindset, as a literal struggling writer who lives paycheck to paycheck, I'm not going to judge anyone who keeps their official work as for profit only. People deserve to be paid for their labor. If they/we want to create stuff away for free, that's up to us.

Would I personally find it stifling and joy-killing to only ever write for profit? Yes. But that's a me thing. Not a universal thing.

[wingsoverlagos]

Lewisohn vs. Shepherd

I'm still at work on the whole Kim Bennett thing, but here's a quick Lewisohn vs. post to spice things up. Actually, the book from which I was cross-referencing was due at the library, so I started work on this, quickly realized the source was also readily availble online, but decided to finish it anyway.

The source at hand is Jean Shepherd’s October 28th, 1964 interview with the Beatles, published in the February 1965 issue of Playboy. You can find a transcribed version here or a scanned copy here. It’s a great, quick read - seven pages sparkling with Beatles wit and a concerted effort by George to convince the interviewer he's in love with Ringo. Small tw for transphobia in the form of a tired pronoun joke at the expense of April Ashley.

Tune In pulls three quotes from Shepherd's interview. Two of them are below the cut - their are minor changes (one exceedingly minor) to those quotes, but the first quote I'll address is taken wildly out of context. It's not the most offensive distortion of history that Lewisohn has put forward, but its maddeningly blatant - and pointless.

Tune In 26-20 vs. Shepherd 1965, p.54

The quote of interest is highlighted in green, but I included the preceding paragraph because the context matters greatly here. The Beatles & Brian were down in the dumps, having struck out with every record company with any semblance of artistic merit. Lewisohn highlights that John and Paul in particular were down in the dumps, but that “their young friend George stayed optimistic. He rallied them, he showed them that while they might be thinking the worst, he was remaining hopeful.” His evidence for this is the quote highlighted in green, in which John says Brian and George knew they would make it big.

Well. Let’s check the source.

If you look at the quote, once again in green, it’s almost correct—Lewisohn drops “our manager”, but it’s close by Tune In’s standards. Take a look at what’s around the quote, and you’ll see it’s taken wildly out of context. John isn’t talking about George’s confidence in the Beatles ability to score a record contract in 1962; he is unambiguously referring to George’s confidence that the Beatles will succeed in America in 1964. And that confidence didn’t stem from “the Beatles’ mantra” that “Something’ll turn up”—George thought they’d be successful in the states because he was aware of their U.S. record sales.

The thing that gets me here is that it’s so unnecessary. As a historian writing for a general audience, the Beatles must be a dream: you have a core group of four complex, interesting, musically gifted people whose personal and artistic growth played out in the public eye, exhaustively documented. They were surrounded by a supporting cast of vibrant characters to root for or revile, who all played a role in a story brimming with friendship, romance, rivalry, wit, and tragedy. There's no reason to rewrite history for the Beatles - their story can be both factually correct and narratively compelling, yet Lewisohn joins a storied list of authors who have felt the need to gild the lily.

What does this add to the Beatles story? How does it benefit the narrative to portray George Harrison as a plucky kid from an afterschool special, cheering on his elders with unflagging optimism when things look bleak? It’s trite, and it’s fake. It's not the Beatles.

This isn’t the most earth-shattering act of historical revisionism Lewisohn has committed to print, but its brazenness is galling. In the introduction to Tune In, Lewisohn states, “I’ve wanted a history of deep-level inquiry where the information is tested accurate, and free of airbrushing, embellishment and guesswork, written with an open mind and even hands, one that unfolds lives and events in context and without hindsight, the way they occurred…” And yet we get this. He knowingly took this quote two years and a whole Atlantic Ocean out of context, and he had the audacity to tout his book as “tested accurate, and free of airbrushing, embellishment and guesswork.”

He's pissing on our feet and telling us it's raining, folks.

Tune In 29-4 vs. Shepherd 1965, p.56

An impressive number of little deletions and changes for such a small quote.

Tune In 33-1 vs. Shepherd 1965, p.54

This one almost isn’t worth mentioning. The only change is the emphasis removed from Ringo’s “them” in the original quote.

Sources:

Lewisohn M. 2013. The Beatles: All These Years Vol. 1: Tune In. New York (NY): Crown Archetype. [ebook]

Shepherd J. 1965 Feb. Playboy Interview: The Beatles. Playboy 12:51-60. Accessed online 2024 Mar. Available from: https://imgur.com/a/HY2Ji

[necronatural]

I may have followed you for BSDante but between ORV posting and getting me hooked on Shinozaki-kun...

I beg for your recommendations list because you have Taste.

baby all I read is historical romance. Read dungeon meshi and mob psycho 100 i guess

some good manga, no particular theme

The Summer Hikaru Died - READ THIS. Middle school summer love story BL crushed by psychological/cosmic horror

telework yobanashi - slice of life romance about a guy working from home getting to know his apartment neighbour

sensitive boy - shoujo romance about a boy trying to understand 'normal' after being sexually assaulted in middle school, with a variety of experiences with the concept of sex and relationships like a (seemingly?) aromantic woman and a (canonically) asexual classmate

I Was Summoned by Mistake, but I'm the Heroine - geni yuu has an entire manga cinematic universe about isekai girls and this is the first one. very pre-lightnovel-isekai storytelling style with post-lightnovel-isekai tropes.

A World Where Everything Definitely Becomes BL vs. The Man Who Definitely Doesn't Want To Be In A BL - for my eminent yaoi scholars

Heterogeneous Linguistics - dungeon meshi for languages. Linguist ventures to the land of Fantasy Monster Races where each has their own fascinating language and writing system and each have their own ways to communicate with other races, helping him slowly piece together how they communicate (with the help of his teacher's young half-wolfman daughter)

When a Cat Faces West - by the author of Mushishi so you know the vibes are good, a tiny investigation office for reality-bending incidents coloured by the people they happen to.

Double House - Simple story of a lesbian runaway and a trans woman bouncing off each other as they grapple with what it means to be a woman.

Yomi no Tsugai (Daemons of the Shadow Realm) - Arakawa Hiromu's new manga. Really good. I won't spoil anything besides the fact it's about several factions of people who can contract spirits with special abilities to fight vying to obtain the main character, who's auspicious birth heralds a vast potential power

[swordsandarms]

This is a reply in regards to this post, which highlights the high likelihood that, whether people are fine with the author's choices or not, RxL is written by him with romantic nuance as far as the text goes. @sahtinekryze

And I think this fandom really needs to have a honest analysis of the idea of "selfishness" in narrative choices such as this, which is that when it comes to how the whole "duty vs love" scenarios Martin writes, he does not actually writes it with some wide spectrum ranging from selfish to sacrificial. There are usually no other choices than the two.

Could one define the alleged choice of breaking a noble marriage contract that would have negative political influence at the least, had it been the best case scenario (which one would logically assume the two might have hoped for instead of very lots of people dying including themselves) as 'selfish', which in its very definition is doing something for one's self, though it may not be advantageous for others? Yes.

But as I said, Martin doesn't write a middle ground. There's that, or Lyanna marries an unwanted man and is hence forced to have a non-consensual relationship with him, and forced to carry children out of a noncon relationship, so that her male relatives can reap benefits of political power, as well as her groom through her womb. And as shows inspired by these books love to show us very graphic such cases (like Daenerys in GOT, or the storyline given to show!Sansa, or the changes for show!Alicent in HOTD), I am sure fans should have learnt better about the accusations usually thrown at Lyanna in fandom spaces in regards to being another woman marrying against her will in a society where a woman cannot say no, marital rape isn't recognised, and a husband is "just taking his rights": that "this is just being whiny". (There are many other examples in the books; the author is also not holding back on what unwanted or unsuitable marriages mean to women.)

Against the fanon idea that she is some wild, demanding, conceited girl, she doesn't rage, she doesn't bite. She has a tentative, soft spoken conversation with her brother about it and her reluctance in the matter, and is (nicely) dismissed.

Had she not (allegedly, while all is unconfirmed) fallen for the Crown Prince and he for her, there is no one else powerful enough to extract her from her situation (her male relatives having made up their own minds in the matter), nor anyone else to go from where she cannot be recovered by a powerful and connected family and fiance. No one else she could marry/sleep with that wouldn't be shut down and covered (as seen with Tyrion or Lysa) to preserve the higher price for which her womb can be bartered. Just no other viable choice that wasn't the other end of the scale: a woman being sacrificed by men, for men's uses.

As I said at the start, this is simply how Martin writes these conflicts of "mind and heart". He corners the characters. There is no light at the end of the tunnel that isn't also sort of "selfish" and "dumb" looking on the surface.

This can be applied to more such situations in the text-

Catelyn undoes the already precarious state of her son's campaign by releasing their most valuable captive. She has not even a guarantee that her 'selfish' act for love will work. But there are no options she's given. No one else cares to make it a priority to get her daughters back. The only other choice is to let it be and let 2 girls be sacrificed in marriages of ill intent to use their wombs and discard them, unsure if she will find anything left of them but Lannister named babies when this is over. It is "selfish". It is "dumb". Yet she's cornered.

Jon makes the decision to go fight Ramsay Bolton because he's run out of options and he's cornered. Arya is allegedly in the hands of the family that have viciously killed a number of Starks and taken Winterfell. She is 11 and allegedly married. He is made sick at the thought of what is being done to her. He's tried the "lesser" tactics of getting her rescued without being seen as trespassing the status quo of the NW publicly, by sending others for her. But it was always going to come to this. Ramsay guesses (or finds out) that his escaped bride would make it to the Wall. Keeping "peace" and "doing his duty" instead of "being selfish and dumb" is handing over "Arya" himself if she even makes it to appease the Lord of Winterfell, sacrificing a girl to an unwanted marriage meant to use her for her womb and discard her.

There are no actual choices when there is no actual scale in between "selfish and dumb" and the sacrifice of a girl (or, you know, 2,3, as many as Westeros would swallow as it did for millennia for this or that Lord or King to amass and keep power), whether they are Lannisters trying to get Winterfell, or Starks extinguishing the line of the Warg King.

[bimboficationblues]

what would you put on a political theory syllabus if you could

like an intro/survey course? so the conventional theory class in Anglo-American poli-phil goes roughly like this: Plato/Aristotle -> Machiavelli (if you fuck nasty) -> Hobbes/Locke/Rousseau -> J.S. Mill -> Marx (sometimes, and only with the disclaimer that this guy needs to lighten up!) -> omission of like 120 years of global thought, including the shifts wrought by two World Wars, postcolonialism, and 1968 -> Rawls. there's usually, but not consistently, some idiosyncratic liberal picks from the various omitted periods/regions based on whatever the academic in question is preoccupied with, or attempts (sometimes sincere, sometimes half-hearted) to add some diversity to the lineup, most typically some form of liberal-leaning writings on feminism or racism or occasionally postcolonialism.

I think this abridged history is like, okay but not great (Charles Mills' Decolonizing Political Philosophy is a great piece on why). it’s produced by a combination of both the discipline's narrow post-Rawls liberal paradigm, and the constraints of intro/survey courses, which aim for breadth rather than depth (which I think is generally reasonable at least on its face), so the trick I would want to pull off is making something that works within the latter constraint while not succumbing to the paradigm.

the question sort of demands interrogating what a theory class is for in the ideal sense, what it uniquely can offer (so, going beyond specific skills that can be developed in other ways, like learning to write, understand, critique, and respond to long-form argument, or the more cynical pipeline-to-labor stuff like credentialing).

I think some main goals would be 1) contextualizing your existence in the world as a political subject, 2) be able to pass an ideological Turing test, i.e. accurately represent the substance of different perspectives and worldviews such that you could "pass" for the authentic thing [so I would include writers/writings that I detest for KYE reasons], 3) increase your autonomy as a political agent and ability to recognize how these various concepts and systems underlie the fabric of our political language and practice and how you can apply them in reality in collaboration with others.

an extension of these goals, imo, is that political thought without a history is dead in the water - this is why I have kind of a hardline opposition to trying to learn political theory mostly through social media and why "leftist theory recs" on here usually drive me absolutely crazy. so any teaching of these readings would probably require a decent level of contextualization.

then there's a question of structure. my intro class was actually pretty enjoyable despite following the pattern described above, as my prof centered the class around different chapters of Plato's Republic, using each chapter as a jumping off point to talk about connections with a more modern political thinker while also incorporating some short fiction of Octavia Butler. cool stuff! I think organizing around theme is edifying. there's tradeoffs to doing chronological vs thematic organization of readings though, which I want to keep in mind

so with all that I think it would look roughly like this (though frankly my reach might be exceeding my grasp), and you could pretty much reorganize the readings to be chronological if you wanted:

"The Political"/Power: I think spending some time on "metapolitics" is important, like what politics is and what the function of political philosophy is. So start with some different perspectives on realism vs. idealism (the Republic, the Melian dialogue, The Prince) and sliding into competing definitions of politics as conflict vs consensus (the Arendt/Fanon and Schmitt/Benjamin "debates")

Authority: Hobbes/Rousseau/Hume on the social contract, the Crito/Thoreau/MLK on civil disobedience, ideally an anarchist of some stripe (would rather include Bakunin or Kropotkin but R.P. Wolff might be the more cohesive move)

Equality/Property: Locke's Second Treatise, Rousseau's Discourse on Inequality, The Communist Manifesto and/or Marx on primitive accumulation as an alternative genealogy of property/money, Nietzsche's Genealogy of Morality as illustrative of a reactionary/aristocratic perspective on equality (you could swap in Aristotle instead for a different take), Fanon in Black Skins White Masks

Justice: Plato, Rawls on distributive justice, Nussbaum on capabilities/global justice, Mills on the racial contract

Freedom: Mill's On Liberty, Marcuse's "Critique of Pure Tolerance," some chapters from Capital V1, "Throwing Like a Girl" by Young (plus maybe some Beauvoir/Wittig). work in Berlin and Pettit's competing ideas of liberty

then maybe end on Foucault writing in a broad mode about subjectivity OR Benjamin's "On the Concept of History" - either would be good for a kind of "call to action" that I like in a politics class

there are some concepts that might warrant their own segment (domination, violence, sovereignty, revolution, security, progress - I waffled on making "property" its own unit), but I'm trying to not go too crazy (and it's possible they could get folded into other concepts as corollaries). I'm also leaving out various authors that I do think merit inclusion (Adorno, Dewey, D&G, Lenin & Mao, Althusser, Davis, various contemporary writers), but I would probably follow the path of my Middle Eastern Politics professor - put supplemental/suggested readings in there for the freaks that like this stuff.

and finally I think the above is more tailored to be an introduction (if a somewhat sweeping one), you could take an alternative tack and construct "contemporary issues in political theory" (e.g. migration/refugees, climate, economic crisis, security state/surveillance) and I think that would also be a rewarding survey

[adventuresofspock]

An Evening with Neil

I had the absolute pleasure to spend the evening with some of the loveliest people while we listened to @neil-gaiman talk. The sense of community and helpfulness was remarkable. The Venice Performing Arts Center must have been near capacity.

The sort of plan was to answer audience questions and read from various works. Pictures at the end! Here’s how it went:

- What was the best piece of writing advice you’ve ever received? Read your contracts! Everything is open for negotiation, even the date at the top of the contract.

- How do you deal with criticism? Very badly 🤣

- READING: A Calendar of Tales: October (which just so happens to be one of my favorites.)

- Have you ever finished writing something and thought “this is special?” All of it! But yes, American Gods and Ocean at the End of the Lane felt different.

- Did you have the Sandman story arc completely planned out or did you wing it? Yes and yes.

- MY QUESTION!! First off, happy birthday! Can you offer some advice on when you feel you’ve done enough research to write on a topic vs getting sidelined by doing too much research? I have a lot of natural curiosity but it can work against me at times. I loved this answer and thank Neil again and again for giving it time.

- READING: Making A Chair (Poem)

- Who is your favorite Doctor? Patrick Troughton

- How do you keep going after criticism? “Try rejecting this!” And “Stop writing shit. Just write the good stuff.”

- Who are your favorite authors? Diana Wynne Jones, Ursula Le Guin, Peter Straub, Gene Wolfe, Dickens, Austen

- Did you ever have a book soundtrack to write to? Yes, all of them had soundtracks!

- READING: Watching From the Shadows (Poem)

- Have you ever dealt with imposter syndrome? Classic Neil/Neil story!

Waiting at the front of the line

Canvas totes they handed out

My signed book haul!

Neil, being authorly

My little drawing of Hazel’s tree (you can rake the leaves)

[literaticat]

How true do you think “no subbing to editors in August” is? My agent is holding off on subbing to some editors I REALLY want to sub to until late July at least, but I kind of want to ask to do it earlier…

Quick question: Did you read my lengthy answer from yesterday? Go do that.

Now, in that answer, I said that I PERSONALLY would not be keen to send a new submission to editors at the end of August.

Mid-July is not the end of August. The END of July is not the end of August. EARLY AUGUST is not even the end of August, though it's getting close to it!

Your agent wants to send "In Late July" -- you want them to send earlier than that. Hate to break it to you, but friend, but we are on the downside of July already. So I guess what you are saying is, your agent wants to send it sometime in the next two weeks and you want them to send it yesterday?

FWIW, in terms of timing, there is no difference between this coming week vs the week after (or the week after that, for that matter). There is zero benefit to be gained from sending earlier. It'll be fine either way. If it were actually going to be MID AUGUST, I might suggest just waiting until September -- but July? It's fine. (And yes, if timing WAS an issue, I would for sure suggest WAITING rather than PUSHING FOR EARLIER.)

Point being, your agent knows what their own schedule looks like and what publisher schedules look like. Trust that they know how to do their job. THEY REALLY WANT YOUR BOOK TO SELL.

...

OK, fine, I hear authors saying -- if it doesn't matter, why won't my agent do it RIGHT NOW???? Because I WANT THEM TO????!

Perhaps it would help to get a bit of a peek behind the curtain at the Agent side. (MY POV, obvs, I can't speak for YOUR agent, but they would likely resonate with some or all of this!)

From my perspective: For ME, sending submissions is actually not quite just "dash off an email and press send." It would take me a solid UNINTERRUPTED day (like, 8+ hours) to 1) make a proper submission list, cross-referencing it with every other submission to be sure I am not overwhelming any one editor, cross-referencing with the most updated info from our database, probably running it past my colleagues to see if they have any intel to add, 2) write a pitch, look over the ms for the umpteenth time, edit and rewrite the pitch, get second eyes on the pitch, write and fuss over the personalized emails, and then 3) quadruple check everything is right, and get them out. HOWEVER - I have never had an uninterrupted day.

Bear in mind that there are actually lots of other things I have to do which are arguably MORE important (or at least, more time-sensitive) than sending this ms out -- like anything to do with money, contracts, negotiations in progress, "book emergencies", etc. So, the time-sensitive things HAVE to come first. But OK, no problem, I can just break the 8 hours or so up into chunks over the course of a week.

So, let's say on Thursday I have a couple hours and can do that submission list Jenga (I don't want this ms to overlap editors with other projects, each author has their own submission history that needs to be taken into account, etc etc - it's complicated!). Then on Friday I have an hour and can do the first pass of the pitch letter -- over the weekend I can look over the ms again -- on Monday I can do whatever tweaks and fussing -- and then if I can finish that day, I'll schedule the emails to go out on Tuesday. GREAT. Done in under a week!

HOWEVER. I also do have other clients (sorry!) -- each of them ALSO thinks that their ms is the center of the universe. Which is fair!

But if it takes me the course of a week-ish to do one submission, and three (or six... or eight) people all desperately want me to send to editors RIGHT NOW -- and meanwhile time-sensitive things keep happening -- how would that work exactly? I can do two or three sort of "semi-simultaneously" -- like stagger them, work on multiple submission list researches at once, etc -- but it takes longer. It also makes the JENGA of it all more complicated.

I want to give each project its proper time in the sun! I WANT to spend time on this and do it carefully! WHY DON'T YOU WANT ME TO DO THAT? If I know that X is when I will have time for this, and you are like "NO, DO IT NOW" -- that would make me cry.

I probably should not have let you that deep into my brain, sorry.

[switch]

I'm trying to figure out Vlad's speech pattern, do you have any tips on writing his dialogue?

ohh yeah that's tough. i struggled with that for a while and i'm still not 100% sure how exactly i'd put it to words since i kinda just started feeling it out...

uh i think one thing that especially helped with vlad for me was really listening a lot to his voice acting and then just sort of... imagining how his particular deep and kind of slow-spoken and kingly cadence would translate to and sound in written dialogue... does that make sense...

i mean one, uh, 'nice' thing about vlad is that he doesn't have a lot of written dialogue. between his gameplay/my room lines, his interlude, the gray collar event, vegas, valentine, and halloween revival, plus his relatively sparse dialogue in apoc, you can basically look at... everything he's ever said in, like, a day for reference (heck i've got like a 10 minute video of every single line he says in the apoc anime). i will say that some of his early my room lines do have a bit of an odd feel to them, though...

uh, anyway, as for more specific tips... uhhh.... he tends to use more refined or formal or even old-fashioned-sounding language, but critically without sounding excessively flowery, either, as he's often also pretty direct and conveys authority in the way he talks at the same time. especially if he's giving some kind of speech, or talking about something before battle, or scolding someone (apoc and vegas). he says stuff like "fool," "unsightly," "end yourself", "i thank you/you have my gratitude" etc... when he does get more poetic or indirect is in higher bond levels where he starts alluding to things more than outright stating them (bond 5, bond 10, ascension 4), so that's also situational.

it's also sort of shown/implied that he lightens up a bit more when dealing with kids or teenagers in chaldea, and obviously the protagonist, but he really never feels casual even at his most relatively casual or happy state. when writing him i'd definitely recommend veering towards more formal language than you might think is necessary vs risking making it sound too casual, as i would say it sounds out a lot weirder fast when a vlad is accidentally written even a bit too casual than it does when he's written maybe a little excessively formal. he also doesn't seem to laugh a lot outside of brief "heh"s or "hehe"s or even the occasional "oho". he seems to go "hm" or "hmph" sometimes if he's contemplating things or not happy about something... maybe it was sort of a weird translation, but the end of his interlude 1 where he just outright says "sorry for forcing you to accompany me" instead of anything more... noble-sounding feels like kind of a rare big deal thing, for him.

a lot of fan translations outright write him into using "thee"s and "thou"s and "canst"s and such, or at least having him switch to talking like that in certain situations, which i do definitely think works contextually for him. he doesn't use contractions a lot of the time ("there is" "i am" "it is" "i shall", etc) but he does still use them sometimes, (there's multiple instances of "i've" and "i'll" peppered around at the least), so it's not a hard and fast rule- it seems to just be more dependent on who he's talking to and whether or not it works with the flow of that particular line of dialogue. he tends to address other people by titles of some kind rather than by name.

actually i do remember one time the way vlad talks was described to me as something like the way some kind of dark anime villain would talk. he talks like an anime villain who isn't actually a villain...

ugh does any of this make sense, i don't know, so much of this is situational.......

[tullipstudio-blog]

SELF-PUBLISHING VS TRADITIONAL PUBLISHING: WHICH ONE IS MORE PROFITABLE?

Self-publishing in children's books is the process of independently producing, distributing, and marketing a children's book without the involvement of a traditional publishing company. It allows authors and illustrators to retain creative control and a larger share of the royalties from their work, but it also requires them to take on many responsibilities typically handled by a publishing house.

1. Creating the Book: This involves writing the story, illustrating it (if you're also an illustrator), or working with an illustrator. The book should be professionally edited and designed to meet industry standards for quality.

2. Production: Self-published authors must handle the production of physical and digital copies of the book. This includes formatting the book for print or e-book publication, securing ISBNs (International Standard Book Numbers), and creating cover designs.

3. Distribution: Self-published authors can make their books available through online retailers, like Amazon, Barnes & Noble, and independent bookstores. Print-on-demand services, like CreateSpace and Ingram Spark, can be used to produce physical copies as they are ordered, reducing upfront costs and the need for inventory.

4. Marketing and Promotion:  Authors are responsible for promoting their books, including building a website or social media presence, organizing book launch events, and seeking reviews and media coverage. Marketing is a critical aspect of self-publishing, as it helps you reach your target audience.

5. Pricing and Royalties: Self-published authors have control over pricing their books and typically receive a higher percentage of royalties compared to traditional publishing. However, they are also responsible for covering production and marketing expenses.

6. Copyright and Legal Matters: Authors must handle copyright registration, contracts (if working with illustrators or collaborators), and other legal matters on their own or with the help of legal professionals.

7. Quality Control: Self-published authors must ensure the quality of their children’s books, from editing to printing, to compete with traditionally published works.

8. Financial Investment: While self-publishing can be more cost-effective than it used to be, there are still expenses involved, including editing, cover design, marketing, and distribution costs. Authors should be prepared for these financial commitments.

Self-publishing in children's books can be a rewarding way for authors to see their work in print and reach their intended audience. However, it requires dedication, a commitment to quality, and a willingness to learn about the publishing and marketing process or seek professional assistance when needed.

Traditional publishing in children's books refers to the traditional and established method of getting a children's book published through a traditional publishing house.

Here are the key elements of traditional publishing in the context of children's books:

1. Acquisition: The process typically begins with an author or illustrator submitting a manuscript or children's books proposal to a literary agent or directly to a publishing house. The publisher's editorial team reviews the submission for its potential to be published.

2. Editorial Process: If a manuscript is accepted, it goes through various stages of editing, which can include developmental editing, copyediting, and proofreading. The publisher may also provide feedback on the children's books content, structure, and suitability for the target audience.

3. Illustration: For children's picture books and some middle-grade and young adult novels, illustrations play a significant role. The publisher may hire an illustrator or work with the author/illustrator to ensure the visual elements align with the story.

4. Design and Layout: The children's books design and layout, including the cover and interior pages, are professionally created by the publisher's design team. The layout takes into consideration the age group and format of the children's book.

5. Production: The physical production of the children's books, including printing and binding, is managed by the publishing house. They handle the choice of paper, typefaces, and other production details.

6. Distribution: Traditional publishers have established distribution channels that allow the children's books to be made available to bookstores, libraries, and online retailers. They handle the logistics of getting the book into the hands of readers.

7. Marketing and Promotion: Traditional publishers typically have marketing and publicity teams that work to promote the book. This can include author book tours, advertising, social media campaigns, and other promotional activities.

8. Sales and Royalties: The publisher sells copies of the children's books, and the author receives royalties based on the sales. Royalty rates vary, but they are typically a percentage of the book's cover price.

9. Advance: Some authors receive an advance payment from the publisher against future royalties. This advance is typically paid upon signing the publishing contract and in installments.

Traditional publishing can offer authors and illustrators many benefits, including professional support in all aspects of book production and distribution. However, it often involves a competitive submission process, and the author or illustrator may have less control over certain aspects of the children's books content and design compared to self-publishing.

It's important to note that the landscape of publishing, including children's book publishing, has been evolving, and there are now various hybrid and alternative publishing models available to authors and illustrators, allowing for more flexibility and control over the publishing process.

Self-publishing and traditional publishing are two distinct routes for bringing a children's book to the market, and they have their own advantages and disadvantages.

Here's a breakdown of the key differences between the two:

1.     Control:

a.  Self-Publishing: Authors have full control over the content, design, and distribution of their children's books. They make all the decisions, including the cover design, formatting, and pricing.

b. Traditional Publishing: Traditional publishers have the final say on many aspects of the children's books, including the cover design, illustrations, and sometimes even the content. Authors have limited control over the final product.

2. Cost:

a. Self-Publishing: Authors bear the financial responsibility for the entire publishing process, including editing, cover design, and marketing. While this allows for more control, it can be expensive.

b. Traditional Publishing: The publisher covers the majority of the production costs, such as editing, cover design, and printing. However, authors typically receive lower royalties to compensate for this financial support.

3. Time:

a. Self-Publishing: The process can be relatively quick, allowing the author to set their own timeline. The children's books can be published within a few months.

b. Traditional Publishing: The traditional publishing process is typically slower due to the need for manuscript acquisitions, editing, and the production schedule of the publisher. It can take a year or more to see the children's books in print.

4. Distribution:

a. Self-Publishing: Authors need to handle distribution themselves, which often involves selling through online retailers, local bookstores, or at events. E-books can be distributed through various online platforms.

b. Traditional Publishing: Traditional publishers have established distribution networks and relationships with bookstores, making it easier to get the children's books into physical stores. They also handle the distribution of e-books.

5.  Marketing:

a. Self-Publishing: Authors are responsible for their book's marketing and promotion, which can be time-consuming. They may need to build their own audience and hire marketing services.

b. Traditional Publishing: Publishers have marketing departments to promote books, which can include author tours, advertising, and other promotional activities. However, even traditionally published authors often need to be involved in marketing efforts.

6. Credibility and Prestige:

a. Self-Publishing: Self-published authors may face challenges in gaining recognition and credibility, as there is no external validation of their work. However, this has been changing as self-publishing becomes more accepted.

b. Traditional Publishing: Being traditionally published can lend credibility and prestige to an author's work, as it implies that the manuscript has been vetted by professionals.

7.     Royalties:

a. Self-Publishing: Authors typically receive a higher percentage of royalties for each book sold, but they also bear the costs of production and marketing.

b. Traditional Publishing: Royalties are usually lower, but the publisher covers production and distribution costs.

The choice between self-publishing and traditional publishing for a children's book depends on an author's goals, resources, and preferences. Some authors may prefer the creative control and potential for higher royalties in self-publishing, while others may value the support and credibility offered by traditional publishers. Hybrid models and collaborative publishing options also exist, providing additional choices for authors.

[siddhundi]

Insurance Write for Us: Your Guide to Crafting High-Impact Guest Content

If you've come across the phrase "insurance write for us," you're already on the right track. Writing for insurance platforms offers a fantastic opportunity to showcase your expertise, expand your online presence, and reach a broader audience. Whether you’re an experienced insurance professional or a newcomer eager to establish yourself, crafting high-quality, insightful content can open doors to new possibilities. Sharing your knowledge through engaging articles helps you make a meaningful impact in the insurance niche, building trust and offering valuable insights that readers genuinely appreciate. This approach allows you to not only inform but also connect with an audience looking for reliable, relatable advice on insurance topics.

This guide will show you how to create content that stands out, covering everything from topic selection to impactful writing strategies. Embrace the chance to make a meaningful impact in the insurance niche with engaging, informative articles that readers will love.

 What is “Insurance Write for Us”?

Before we dive deep, let’s clarify what “insurance write for us” actually means. This term typically appears on websites that invite freelance writers or industry experts to contribute blog posts, articles, or guest content. It’s a call for knowledgeable voices to share their insights on various insurance topics.

Why Are Guest Posts Important in Insurance?

In the insurance world, guest posts offer a way to:

Share unique perspectives on complex topics

Build credibility and trust with readers

Connect with a broader audience and extend your influence

Create a helpful resource for those seeking answers to insurance questions

Why Should You Write for an Insurance Website?

So, what’s in it for you? Writing for an insurance website can open doors you hadn’t even considered!

Build Authority: Contributing to an established website allows you to establish yourself as an expert.

Network Expansion: Writing for industry blogs connects you to a professional network.

Audience Reach: Your work reaches a broader audience, allowing you to showcase your expertise.

Content Portfolio: Each post serves as a sample of your writing, helping you secure more gigs or projects.

Picking the Right Topics

When pitching ideas, remember: the topic matters! Selecting a subject that both captivates the audience and reflects the website’s tone is crucial. You want something that resonates, so think along these lines:

Trending insurance issues, like the rise in telehealth coverage or new insurance technology

Common policy misunderstandings, like deductible vs. premium

Essential tips for first-time buyers

Real-life insurance success stories

A well-chosen topic is your first step to making a strong impression!

Crafting Content That Stands Out

You’ve got your topic – now, how do you make it shine? Here are a few pointers to keep your article lively and engaging:

Keep it conversational: Speak directly to the reader, use contractions, and let your personality show.

Provide value: Make sure your content genuinely helps readers understand something about insurance.

Structure well: Use headings, bullet points, and numbered lists to break down complex ideas.

Be informative: Even if you’re writing informally, accurate information is key.

 What Types of Insurance Topics are Popular?

For the most impact, tailor your post to address specific insurance types. Some of the most popular topics include:

Health Insurance: Cover trends in health coverage, telemedicine, and mental health benefits.

Auto Insurance: Dive into policy add-ons, cost-saving tips, or state-specific requirements.

Life Insurance: Discuss policy types, benefits, and tips for selecting the right plan.

Home Insurance: Offer advice on bundling, types of home insurance, and coverage for disasters.

Each of these areas has unique challenges and questions. If you can address these directly, your content will resonate strongly with readers.

Writing for Different Audiences

Not all readers are insurance experts, so tailor your content accordingly. Here are a few different audience types you may want to keep in mind:

Casual Readers

These readers are curious but not super knowledgeable. Stick to simple language, use examples, and clarify any jargon. For instance, instead of “deductible,” explain it as “the amount you pay before your coverage kicks in.”

Industry Experts

For professionals in the field, don’t be afraid to use technical language and include data-driven insights. This audience values depth and precision, so be as thorough as possible.

Essential Tips for Formatting and Submitting Your Article

Once you’ve drafted your masterpiece, ensure it’s polished and ready for submission. Here’s a quick checklist:

Follow Formatting Guidelines: Most sites have specific guidelines on structure, font, and length.

Include Relevant Sources: If you reference stats or studies, link to reputable sources.

Avoid Self-Promotion: Websites want unbiased, informative content, not an ad for your business.

Proofread: A typo here or there might seem minor, but it can detract from your credibility.

 How to Pitch Your Idea

It’s pitch time! Crafting an attention-grabbing pitch is crucial, so keep these tips in mind:

Personalize It: Address the editor by name if you can find it, and mention specific articles on their site that you admire.

Present a Unique Idea: Let them know why your topic stands out and how it aligns with their site.

Be Concise: Editors are busy, so keep your email short and to the point.

Link to Samples: If you’ve written similar pieces, include links to showcase your work.

Conclusion

So, there you have it! Whether you're a seasoned insurance expert or just looking to share insights, “insurance write for us” is your golden ticket. With the right topic, style, and pitch, you can connect with a whole new audience, expand your reach, and build a reputation in the industry. By following these steps, your submission has every chance of standing out!

[daquanshell]

If You Start in the Morning

Yesterday I didn’t finish my blog post until the wee hours of the night, probably because I didn’t actually start writing until the night, so today we are going to start writing in the morning, take notes throughout the day, and then finish at night. This should give a more clear image of what a “Day in the Life” for me actually looks like at the moment.

The Morning usually starts with a prayer (the Shema) before looking for something to eat. Since moving on my own it’s been quite difficult to maintain adequate nutrition, due to my unusually high housing expenses, and while I shouldn’t have any problem qualifying for Financial Aid or the Supplemental Nutritional Assistance Program, the reality of it is that both of those are going to require a fairly massive amount of paperwork, and I haven’t really had the time to both gather all the prerequisite paperwork and submit it to the proper authorities.

Planning for Retirement

A few weeks ago, I verified my social security benefits as part of my own financial plan and by doing so, I was able to look back at my salaries over the course of my career.

Historically, a large portion of my income has been as a 1099 independent contractor (which is not taxed) but I usually also have a salaried job that pays enough to afford my living expenses, while the commissions from work allow me to afford my lifestyle. This has not changed whatsoever, although since moving to the financial services industry, the amount of money I can make has been bottlenecked for two reasons.

Working from Home

After the COVID-19 Pandemic, the vast majority of jobs went from meeting in the office and traveling to the field together, to meeting online and traveling to the field alone. I have never been a fan of this change and it can be cited as one the main reasons why I left the Consulting industry for more Customer Service Oriented roles, but even Customer Service roles can have you working from home if your job doesn’t require you to meet with clients face to face on a regular basis.

I really can’t stress enough how much I dislike working from home. It’s impossible to make real connections with your coworkers and very difficult to make good first impressions. Of my greatest strengths has become my professionalism: I can look and act the part on the front end while getting the results on the back end. I’ve demonstrated this multiple times throughout my career

Here’s a photo of my team when I worked at Entel Marketing, a small marketing and advertising firm located in Dallas, TX.

I got the job through a referral from my previous employer, which allowed me to do the same line of work I was doing previously but in a different environment, which was really what I was looking for at the time. Entel had a really frustrating way of paying out and accounting for contracts, and back then, my poor admin skills lead to poor money management, and even though I was making more money, my take-home didn’t increase much.

Salary vs. Commission

One of the biggest points of contention in my industry is the everlasting battle of Salary vs. Commission.

Right now, I have the best of both worlds, a decent salary (about $33k a year) and multiple business opportunities that allow me to scale my income into a much more comfortable territory.

One of the reasons I’m not particularly in a rush to re-enlist in the Marines is mostly because currently, I both have a significantly better living situation (My Apartment > The Barracks) and I even make a bit more money (about $8k a year more) while being significantly closer to my religious community, in addition to being able to freely practice my religion at home.

That being said, my recruiter said something that piqued my interest during our last meeting. He pretty much told me that, barring a commission to an officer, my best bet for reenlisting would be to qualify for BAH, which is a massive increase in pay.

Here are the numbers:

E-2 Annual Salary = $25,790

E-2 Annual Salary w/ BAH = $56,426

It gets even crazier if you become an officer:

O-1 Annual Salary = $45,914

O-1 Annual Salary w/ BAH = $93,689~

An O-1 with BAH makes almost four times the amount of an enlisted, member of a similar pay grade, which is kind of insane if you ask me.

Outside of the Military, my current employment is doing well. One of the Managers at a firm I work at recently encouraged me to strive for a leadership position, which would come with a healthy pay raise (about $37.5k, or a $4.5k increase) and more time in the office.

For the time being, I’ll shoot for that, while continuing to work on my baccalaureate and necessary business licenses.

I’d also like to publish more of my work. These blog posts have been super insightful, so I’ll probably continue to write them while expanding my writing to include more personal development, professional development, financial literacy, since those tend to be the highlights of my day to day anyway.

I’ll probably start tomorrow’s post with an income disclosure statement (similar to this one) before exploring more financial illustration and uniform guidelines.

In addition to that, I’ll hopefully be able to link everything together. It would be nice to see all of the work I do in one place, in addition to being able to refer to the links both in person and online.

I’m very happy with the way this post has turned out so I’ll end it with more anapodota:

If you start in the morning (you’ll be finished at night)

[victorianqueerarchive]

Hyding in the Closet: A Queer Argument for Jekyll's Homosexuality (post 2/5)

How drinking an impurely-made potion to separate one from oneself can be read as homosexuality.

For as long as I could remember, The Strange Case of Dr. Jekyll and Mr. Hyde has lived, fully rent-free, in my head. For anyone out of the loop, here's a brief summary, per the beloved BBC:

"Dr[.] Jekyll is a kind, well-respected and intelligent scientist who meddles with the darker side of science, as he wants to bring out his 'second' nature. He does this through transforming himself into Mr[.] Hyde - his evil alter ego who doesn't repent or accept responsibility for his evil crimes and ways. Jekyll tries to control his alter ego, Hyde, and for a while, Jekyll has the power. However, towards the end of the novel, Hyde takes over and this results in their deaths" (BBC).

Now, to be fair, this is all in brief, so take the summary with a grain of salt.

Now, it's time for the juicy details:

For well over a century, scholars have offered numerous readings of this novella, with some writing the story off as simply just good vs. evil, but also some arguing that Hyde is Jekyll's homosexual desires fitted into a gothic framework, and that Hyde is Jekyll's infatuation and object of desire. I, as a queer theorist, am obligated to believe this. For example, in Dr. Jekyll's Closet, queer theorist Elaine Showalter writes:

"Jekyll's apparent infatuation with Hyde reflects the late-nineteenth-century upper-middle-class eroticization of working-class men as the ideal homosexual objects." (pg. 7)

Also on pg. 7, Showalter writes the following about Jekyll's unbridled masculinity:

"The mirror [i.e., in Jekyll's cabinet] testifies not only to Jekyll's scandalously unmanly narcissism, but also to the sense of the mask and the Other that has made the mirror an obsessive symbol in homosexual literature." (pg. 7)"

Keeping these ideas in mind, I argue that Jekyll and Hyde is a queer story. Stevenson, the author of the novella, had questionable sexual desires and an undetermined sexuality, even if he was married to a woman. I also argue that Hyde is really what thoughts, feelings, and desires Jekyll wanted to keep down, hidden, and clandestine. He attempts to separate himself from himself and the result includes (but is not limited to) several murders, deaths, and suicides.

Hyde, to me, represents the cultural and societal opinions of homosexual desires in the Victorian era: a mysterious, freaky, and unwelcomed presence that seems to pervade any sphere it finds itself in. Showalter writes about the representation of Hyde on page nine, writing:

"Hyde is represented as apelike, pale, and inexpressibly deformed, echoing the imagery of syphilitic afflictions in nineteenth-century medical texts, and Utterson [i.e., the lawyer narrator] speculates that Jekyll may have contracted a disease from Hyde..." (pg. 9)

Now, I'm not saying anything, but this reads to me as being an absolutely uncanny description of homoerotic acts taking place within Jekyll and Hyde's living quarters.

Jekyll remarks to Utterson on page 20 of my copy:

"...[T]his is a private matter [i.e., the relationship b/w Jekyll and Hyde], and I beg of you to let it sleep." (20)

This indicates to me that there is a peculiar relationship or dynamic between Jekyll and Hyde, and that, even if it is just a surface-level peculiarity, it still is specifically strange.

However, we can really see where this text can be read in a different light, in even myriads of lights or perspectives, and I genuinely do not think there is a definitive way to read any text. With that being said, I find it important that we do consider this possibility that Jekyll and Hyde were either lovers, a part of one another, or some other tangential relation pattern seen as deviant in the Victorian era.

Feel free to comment your opinions, and also feel free to like, reblog, or share to other websites. On the docket next is the relationship between Lizzie and Laura in Christina Rosetti's Goblin Market and how this story can be read as a lesbian allegory.

Below the cut: citations!

Showalter, Elaine. “Dr. Jekyll’s Closet.” Sexual Anarchy: Gender and Culture at the Fin de Siècle, Virago Press, 2010, pp. 105–27.

Stevenson, Robert Louis, and Robert Mighall. The Strange Case of Dr Jekyll and Mr Hyde and Other Stories. Penguin Books, 2003.

[sanchezrovicmariusc]

"Minsan May Isang Put*"

Mike Portes

Mike portes is a bonified and certified with biological children and the common heterosexual marriage contract,mike portes is the publisher of minsan may isang put* and "ganap sa babae",his piece is published along side of general santos,Dr. Cesar candri,gawad kalingas tong meloto and many moee,his piece also woj the film grant included in indie story "ganap sa babae".

The literart pieice of the author works are "minsan may isang put*" it was the first printed in writings 8 his first solo authored book is "the dove files", the titles of his literary pieces are,"the dove files", "minsan may isang put*",writings8.

The symbolic in the poem is the 3 foreigners who symbolizes as the spaniards,americans and japanese these 3 foreigners abused pilipinas,how ever the metamorphic in this poem is that pilipinas discusses her work as a prostitute because she compare herself to a prostitue the literal in this poem is her son's working abroad and forgets her and those children who stayed beside he, we all know that filipinos often work abroad and forgets his or her own country just because of the salary that they get in abroad.

The authors relationship with the main character is that she narrates the history on how philippines is abuser bt this 3 foreigners,the center of the attention is pilipinas,the relationship of the author between the atmospehere of the poem is that she states the problems in the philippines like poverty,hunger and abused,mike portes states the history on how spain,america,japan played philippines around and tortured many Filipinos.

The plot of this poem is from the moment she was played and abused by foreigners and from the moment she escaped from them and still gets back from this foreigner who she experiened comfortable life.

It is maximum because from the moment she was abused from tge time she awas coming back for the foreigner is uses or it evokes emotions.

Interval because it states personal experience of the author and shows the interval hardships of the authors personal experience thats whtmy it it "interval".

The conflict in this story it shows how spaniards,americans and japanese mens abuse pilipinas is also shows a lot of social injustices that pilipinas experienced the abuse of these foreigners and it also shows the different kinds of economicak issues luke poverty,hunger. The woman in the story have the problems of poverty,hunger. The conflict of this story is man vs society because in the story pilipinas and her one big problem the foreigners shows that the focus of this story is man vs society.

This stort is real because the story is all about the history on how this foreigners abuse philippines and how they mistreat filipinos.

Pilipinas the women in the story or the main character who experienced a lot of mistreatments and hardships as a mother of her childrens and was misfortunate of her prostitute life was portrayed by the author as a strong mother who faced a lot of jugdments from her neighbors but still stand even if she was jugde by her so called "neighbors".

Pilipinas is the main character on the other hand the secondary characters are the foreigners and her neighbors her childrens these secondart characters are the protagonist of this story and the antagonist is pilipinas.

This stort takes us from the history but mainly focuses in pilipinas who experienced a lot of hardships and jugdements the antagonist they make her feel that she is disguisting and a lower form of human.

The theme of this story is that this story takes us where pilipinas is the main character who's prostitute the story takes us in the history because these 3 foreigners symbolizes spain,america and japan the story shows us how theses three foreigners raped and abuse pilipinas.

The author wants to tell us that pilipinas is abuseby these 3 foreigners and it also shows us the economic problems and differenf social injustices and violated human rights the author sends his message to the filipinos abroad that we should not forget our country as a Filipino we should love our country.

#21stcentury

#critical essay

[journalsofcreation]

The Vast Truth in the Writer's Strike: A Glimpse into Media and Public Portrayal

The Sag-AFTRA strikes, alongside the Writer's Guild, opened up a world of endless questions that were exposed to the public: What really happens behind media? Author: A. Published: November 1st, 2023.

The first question I want to address head on is the most prevalent one, the main cause for the strikes: Wages. Labor conditions for the union has not been ideal. Actors and writers are facing loss of income, deserved revenue, and rights to property.

The main concern with wages are from streaming. Streaming is the overall death to the mainstream writer. When the Netflix Corporation distributes one-hit-wonder seasons, the lack of reliability for these writers and actors is scathing. The wishy-washy unbalanced system Netflix disguises as, "loss in revenue from streaming services", is just an overall excuse to bide time against the employees. The streaming system sets up a course of failure amongst the media industry, as the only ones to currently gain from it are CEO's of big production companies.

Currently, media consumption is at an all time high. David Lautner, For the L.A. Times, has constructed an article that highlights the increase in media consumption, in contrast to the lack of increase in wages for employees of media productions. (Writers, actors, etc. are what I mainly reference from this. Of course, support staff and production crew is essential in the conversation as well).

Media consumption, according to Lautner, is at staggering average of 9.3 hours a week on scripted movies and television series. 9.3 hours is a huge consideration when the average American works a 9-5, may have a family, and could be financially burdened. Time for entertainment would be drastically increased you would think, but the numbers are steadily increasing.

Though the wages aren't adding up to the amount of media consumption being consumed in the United State today, there is considerable support for unions between varying political parties. Solidarity is an important element in support and aid to the strikes.

Of course, politics will have a say in everything to do with media or academia. Denise Petski of Deadline administered a Gallup poll that showcases a resounding 67% support of the union strikes. But, there is a drop from the 71% support from a year ago. While 4% is not considerable currently, it is important to recognize the steady decrease in union support, especially among media.

Let's discern an important factor:

The Writer's Emotion vs. Media Production.

The Writer's Emotion is not to be contained or taken advantage of. In 2007, the Hollywood Writer's Strike cost the L.A. Economy 2.1$ Billion Dollars. If the strikes can range in severity for months upon months with no relenting, why don't production companies adhere to demands?

Writers are worried about: wages (residual pay, streaming revenue), artificial intelligence interference in media production, and abuse of contract length and terms ("Mini-rooms").

The Writer's Emotion can be heavily utilized to further the accomplishment of the strikes. Miranda Banks and David Hesmondhalgh of the University of California Press conclude that the writing strikes should have heavy emphasis on labor reform.

The "mini-rooms" I listed above, are commonly taken advantage of by big corporations. "Mini-rooms" are used like regular writings rooms' but instead they consist of fewer writers, less pay, and non-guaranteed employment to the production team. Banks & David address concerns like these,

“The collective action and bargaining offered by unions are crucial in providing a means of limiting the problematic working conditions that, as a number of researchers have shown, are apparent in much media work, in spite of easy and flawed assumptions that the media industries provide high-quality or “easy” jobs.” (267).

Support of the strikes consisted in solidarity to The Writer's Emotion.

While support for the strikes has been present in varying political climates and media representation, addressing other arguments is key to a fair portrayal.

Currently, the other arguments consists of:

It's not possible to increase wages with the decline of viewership and revenue in broadcast networks. (From production companies).

Wage increase / increase in labor conditions is unfair right now as thousands of jobs are being laid off through big production companies like Disney and Warner Bros

Two differing arguments. One directly from a primary source, and one from an economic displacement concern. While production companies argue that the increase in wages are illegitimate to strive for, companies like Disney (Annual revenue of 82.7$ Billion in 2022) and Warner Bros (Annual revenue of roughly 34$ Billion in 2022) have more than enough gross income to increase wages statistically.

Though, the argument that wage increase and increase in labor conditions is unfair considering thousands of many lower-level jobs are being laid off is a conscious argument. Considering economic climate, it is dire to address the job loss in the production world before reconciling lost wages and better labor conditions.

Corporations like Disney had a global lay-off of around 7,000 people in 2022, which represents 3.2% of Disney's global employee headcount.

These cuts are amid the Writer's Strikes. Production companies are harming their employees overall by punishing them for the strikes. While media employees take to the picket line for strikes, the companies annual budgets are getting reduced and fixed by mass employee lay-off.

It's important to stay aware of employee lay-off while the strikes are continuously occurring non-stop.

While loss of income is happening to both sides of the employee specter, blogs are actually harming the portrayal of the strikes, as well.

Click-bait lines and titles are harming the right voices to bring awareness to the conversation of the strikes.

Here's a sample title:

Dan Selcke writes in FanSided, “Arrow star Stephen Amell disapproves of the actors strike, but…supports the union?"

When you have artificial-intelligence writing mock-scripts, streaming-service revenue death, click-for-attention money-grab blog posts, production companies letting off employees at the hands of union utilization, and wages being kept away like Pandora's Box, what is there to do?

In quite honesty, the only thing there is to do, is to keep striking.

Shocker, but it's concise. Striking is bringing media attention. Good or bad, publicity is publicity. While strikes continue, they're sectioning off production companies from the actors and writers. The guilds are dedicating time and ferociously demanding attention and resolution. With the witnessing of media production decrease at the hands of streaming, let the strikes continue.

Let the strikes continue in the name of creativity, media production, and in support of The Writer's Emotion.

"The ability of writers to imagine what is not the self, to familiarize the strange and mystify the familiar, is the test of their power." -Toni Morrison.

Works Cited: Embedded in the underlined portions within the text.

[jazeejae]

Writing Fan Fiction vs A Biography same principles.

Writing a book is a creative and challenging process that requires dedication, organization, and persistence. The specific steps can vary depending on the author's approach and the type of book they want to write. Here's a general outline of the process:

Idea Generation:

Outline and Planning:

Research (if applicable):

Writing the First Draft:

Revision and Editing:

Feedback and Beta Readers: Consider sharing your revised draft with trusted friends, family, or writing groups for feedback. Constructive criticism can help you identify weak areas and make necessary improvements.

Second and Subsequent Drafts: Based on the feedback received, make further revisions to your manuscript. You may go through multiple drafts to refine your book and make it the best it can be.

Professional Editing:.

Book Cover and Design: While working on your manuscript, start thinking about the book cover and overall design. A visually appealing cover can make a significant difference in attracting readers.

Publishing:

Marketing and Promotion: Regardless of how you publish, marketing your book is crucial. Develop a marketing plan, use social media, author websites, book signings, and other promotional strategies to reach your target audience.

Launch and Beyond: Release your book and celebrate your achievement. Continue promoting your book and engaging with readers. Keep writing, as the more books you publish, the more visibility you gain.

When writing fan fiction or biography whether it is Individual or Group: 

Whether a biography or fanfiction, subject, or group needs to approve the draft of the book depends on the specific circumstances, legal considerations, and ethical practices. Here are some key factors to consider:

Privacy and Consent: In many jurisdictions, authors are required to obtain permission from individuals or their representatives before publishing personal information about them. This is to protect the subjects' privacy rights. It is essential to consider privacy laws and regulations in your country or region.

Copyright and Intellectual Property: If the biography includes copyrighted materials such as photographs, artworks, or writings, you need to obtain the necessary permissions from the copyright holders before using them in your book.

Defamation and Libel Laws: Authors must be cautious not to publish false or damaging information about individuals that could harm their reputation. If the book contains potentially defamatory content, it's advisable to consult a legal expert to minimize legal risks.

Public Figures vs. Private Individuals: The rules regarding biographies can differ when writing about public figures (celebrities, politicians, etc.) as opposed to private individuals. Public figures have a higher threshold to prove defamation due to the expectation of their lives being subject to public scrutiny.

Ethical Considerations: Even if you have legal permissions, it's essential to consider the ethical implications of publishing personal information, especially sensitive or private details. Respect the privacy and dignity of the biography subjects while providing an accurate and balanced portrayal.

Collaborative Biographies: In some cases, the subject of the biography may actively collaborate with the author, providing interviews, insights, and feedback on the draft. In such instances, it is common for the subject or their representatives to have some level of approval over the content.

It is highly advisable to seek legal advice and consult with the biography subjects or their representatives to ensure you are following the appropriate legal and ethical guidelines. Having clear written agreements and permissions can help protect both the author and the subjects involved in the biography. This is especially important when dealing with sensitive or potentially contentious material.

BTS holds global fame and is associated with a contract under BigHit Music. However, it's important to note that BTS is not bound by contracts with individuals who create fan fiction about them. Even if BTS were to engage in writing fan fiction, they would require consent and approval from both BigHit and HYBE. Legal regulations in South Korea and the United States prohibit such activities, with one notable legal concern being defamation.

Writing fanfiction about real people without their explicit consent can be a complex ethical issue. It's important to consider the potential implications and consequences of such actions. Here are a few points to keep in mind:

Privacy and Consent: People have a right to their privacy, and creating fictional stories about them without their permission can infringe upon that privacy. Consent is crucial when using someone's likeness or identity in creative works.

Respect and Boundaries: It's essential to respect the boundaries of real individuals. Writing fanfiction about them without consent might be seen as disrespectful or invasive, especially if the content is not in line with their values or preferences.

Potential Harm: Depending on the content and portrayal, fanfiction can potentially cause harm or distress to the people being depicted. It's important to be sensitive to how your writing might affect them or their reputation.

Legal Implications: In some cases, creating fanfiction about real people without their consent could potentially lead to legal issues, particularly if the content is defamatory, invasive, or harmful.

Empathy and Perspective: Try to put yourself in the shoes of the people you're writing about. How would you feel if someone wrote fictional stories about you without your consent? Consider their feelings and perspectives.

Creative Freedom: While creative expression is important, it's also important to find a balance between creative freedom and ethical responsibility. You can explore your creativity without infringing on the rights and feelings of real individuals.

Fictionalization: If you're determined to create fanfiction involving real people, consider heavily fictionalizing the characters and situations to the point where they are clearly distinct from the real individuals they are inspired by. This can help mitigate some of the ethical concerns.

In general, it's a good practice to seek explicit permission from the individuals you're writing about before proceeding with fanfiction. If that's not possible, it might be best to focus your creativity on original characters and stories that won't potentially harm or infringe upon the rights of real people. Always prioritize respect, empathy, and ethical considerations when engaging in creative endeavors.

[literaticat]

Do you generally prefer to get multi book deals? What are the pros and cons VS selling one book?

It totally depends on the situation.

Some contracts are pretty much always multi-book deals. Chapter book series, for example -- those books come out quite quickly, sometimes even simultaneously, and the publisher often/always signs on multiple at a time for that reason, because more have to be underway before book 1 has even released.

In the case of non-series books, if the author KNOWS what book 2 will be (like it is a sequel or another story set in this world, or the author already has an outline for another standalone or something), and the editor is already on board with that from the jump, I'm fine with a two-book deal if it makes sense for that project.

In the case where an editor is offering a random open contract for book 2 just to like, "sweeten the deal" -- and the author does NOT have ideas for another book -- unless there's a compelling reason, I'd probably suggest a one book deal.

Pros of One Book Deals: If the first book is highly successful, you will get more money for the next book. You will not have the pressure of an open contract. If you don't end up liking the experience and don't want to work with that editor/publisher again, you can shop the next book elsewhere.

Cons of One Book Deals: If the first book tanks, you might get the same amount or LESS money for the next book. If the editor doesn't want the next book, you have to shop it elsewhere.

Pros of Two (or Multi-Book) Deals: (non-series, because as already discussed, planned series are often multi book): You know you already sold another book, which is nice. You get more money up front. Some authors thrive with the pressure of a deadline.

Cons of Two (or Multi-Book) Deals: You are stuck, even if you are not happy with how the first book went. If you HAVEN'T agreed in advance what the next book will be, that can be a weird situation where you and the editor are not in agreement, you are trying idea after idea, and you feel trapped and pressured. Some authors react very badly under pressure, and unfortunately, they don't usually know that until it's happening.*

(* These cons are actually significantly worse in reality than they sound with me just writing it down, which is why I would personally advise opting for a one-book unless you KNOW that the editor will be on board with whatever Book 2 turns out to be and/or you KNOW you will do great under pressure.)