#Authors Publish

[roseworth]

i think theres this idea in the general public that the "best" fanfic gets turned into real books like 50 shades of grey. but the truth is that the best fanfic can never be published as an actual book because its intricately woven into the canon material so its inseparable even if you change the names

[that-butch-archivist]

"Lesbian Weddings" by Wendy Jill York

source: The Femme Mystique, edited by Lesléa Newman

[aquitainequeen]

Alarm bells being rung by Maureen Johnson on AI and the Big Publishers

[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!

[emeryleewho]

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

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

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

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

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

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

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

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

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

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

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

[nicosraf]

As per my last post, if yall arent aware — Cait Corrain, the author of the upcoming Crown of Starlight made a bunch of fake accounts on Goodreads to review-bomb other debut authors, almost entirely BIPOC, with 1 star while 5-starring her own book. She also added traditionally published debut authors to a list derogatorily labeling them as "self-published" hacks. She went after random books that are Greek mythology retellings, like her own is, and again targeted BIPOC authors. She even targeted my good friend RM Virtues, who is an indie author who writes queer Black Greek myth reimaginings.

Many of those she attacked were people who considered her a colleague and friend. She's tried to spin a lie about how she's being framed by someone from her Reylo fandom days, but Reylos have disproven that already.

Cait allegedly liked to brag about how her publisher treated her like royalty, and she had a massive Illumicrate deal. Her book was also getting favorable advanced reviews and had a beautiful cover, so she had nothing to be jealous of. She's potentially destroyed her career due to racism alone. Do not buy her book and do not support her.

Here is a thread if you want specifics and here is the 31-page doc of evidence.

[dearestgentlereaders]

trust fund baby colin bridgerton becoming the trophy husband of self-made ceo millionaire penelope featherington and then also getting her pregnant with a boy who becomes the heir to an entire estate and title, like damn he really is the nepo baby final boss.

[jesncin]

I love ur Lois so much!!! Lois has always reminded me of my mom and so seeing your version of Lois, one that faces similar uphill battle when it comes to work and how you can start sanding yourself down to try and get further, is amazing and touching. Can't wait to see more of this Lois, especially as she works up the ranks!

Thank you! I think that part of Lois (becoming less of yourself in order to move ahead in an industry, especially as a woman [of color]) is so underappreciated and should be explored way more.

[xiaq]

Pretty bold of you to put your AO3 handle in your Instagram bio. Especially when you’ve been writing there for 10+ years. I would never. lol.

Skill issue.

I have no guilt in my pleasures and no shame in my progress.

[high-quality-tiktoks]

🤷‍♂️publishing can’t ask us to write bestsellers for them on no money

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[that-butch-archivist]

"Dyke March 1994" by Morgan Gwenwald

source: The Wild Good: Lesbian Photographs & Writings on Love, edited by Beatrix Gates

[thebibliosphere]

I was already on a hair trigger today trying not to snap at a mutual for reblogging a "fuck authors who use Amazon" post, but, like, this shit is why some authors can only afford to use Amazon.

They don't have the $75+ to distribute through Ingram Spark. They don't have the $25 it takes to change your files if you need to update them after they've been accepted. They can't afford to take the cost of printing hit to their sales. They can't afford to lose an additional 40% of their income to retailer discounts.

And just so we're clear, Ingram isn't a vanity publisher. They're one of the largest print monopolies in the world. They're used by most mainstream traditional publishers and indie and self-pub authors alike. Amazon uses them when their print demand is too high.

My friend, whose work is published by Gollancz, is printed through Ingram, the same as mine. The difference is their publisher takes the hit for them. In theory. We won't get into dwindling advances here or how publishers are increasingly putting the onus of marketing and sales onto their authors or the fact that their editors can't afford rent or food while the executives get richer and richer.

So what do you do when the mainstream doesn't want you? What do you do when you're told if you can't keep up with the rat race, that you don't deserve to have your work published? What do you do if all you have is the ability to tell stories for a living, and no one wants you?

Well, you could die of starvation. I'm sure there are several people on here who'd be happy if that happened to me. (I know. Because they tell me. Often.) Or, you can shake hands with the devil, knowing it's a bum deal, knowing everything is fucked, but also knowing that every other aspect of this fucking industry is just as fucking bad.

There's no escape. It's relentless.

And you've got people out there posting things like, "Actually, I think authors who charge for their books are part of the problem."

And yeah, in an ideal world, I'd be making art for art's sake.

But we're not in that world. We're in the bad place, and you're actively making it worse. You're encouraging people to steal from people who are struggling just like you and calling it activism against billionaires or putting them in the same moral category as said billionaires as though we're not trapped in this system, same as you. Some of you are fellow fucking authors. And, like, my mind boggles at what it would take to stab a fellow creative in the back like that, but here we are.

Hell world.

[madi-konrad]

A DEMON'S NAME UPON YOUR LIPS

It is the curse of ADHD that, at least for me, I'm always running to the next project, and then the next, chasing the new shiny thing. And that has served me well in my creative endeavors, as much as it has stymied me. But I really do think that I caught something special in my first novel, A DEMON'S NAME UPON YOUR LIPS. And thanks to how my brain works, I rarely ever promote it! Which seems unfair for how much effort I put in, alongside my friends who patiently helped me edit it.

It's a sapphic romance between a (newly minted) Duke and the demon she summons. It's a fantasy which takes place in a secondary world loosely based on Victorian-era Europe, though without any of the queerphobic, or even sexist, hatred endemic to its real-world counterpart (or even to our modern day). It's fast paced, gay as fuck, and I poured my heart and soul into it.

I'd be honored if you picked it up; it's only $5.99. About the price of a Latte.

Grab it at the following places:

itch.io (PDF, ePub, and mobi all included!)

Kobo link (ePub version)

Apple Books, Smashwords, and a few others (ePub version)

Amazon (Kindle version)

Barnes and Noble (ePub)

Synopsis below the cut:

Lucia is a succubus, a demon with the power to shape the emotions and passions of mortals. Summoned often into the world of Melodia, she takes pride in upholding her demonic contracts to the best of her abilities. She likes to think she does her job well … though a string of recent failures say otherwise.

Talia, the recently elevated Duke of Fallmire, summons Lucia for a simple reason: to pose as her wife and fulfill marital obligations to the satisfaction of Parliament. All to say, just a few weeks of walking around the estate and playing nice with the neighbors before a conveniently tragic death. Quick and easy.

But immediately, Lucia smells blood in the water. Behind closed doors, the Duke plots vengeance upon those who killed her father—and the demon wants in. Revenge, after all, is much more fun … and more lucrative, to boot.

But can Lucia predict how hard she’d fall for the Duke? (Not a chance). And can the Duke find it in her vengeful heart to love?

Spice Level: lightly described nudity, fade-to-black sex.

64,000 words.