#I need to put it on my ebook!

[poirot]

some book recs: the haunting of hill house, dr jekyll and mr hyde, the phantom of the opera, the turn of the screw, the yellow wallpaper, sharp objects, the girl on the train

thank you so much for the recommendations, anon <3 it‘s funny because I put ‚the haunting of hill house‘ on my ebook just a few days ago ahsjs haven’t started it yet though because I wasn‘t sure if it‘s too scary for me lol but I think I might read it next!! the phantom of the opera, sharp objects and the girl on the train are on my tbr list since forever, so I definitely should get to them! the other ones I already read (actually just read the yellow wallpaper last week ahsje) but again THANK you sm for the recommendations 💗

[elibeeline]

what hobbies are actually screen-free tho

[navramanan]

i post my read books on my insta story but i havent updated since ramadan cuz i took a sm break then. i've since then finished 4 books need to update my fans once i'm back in my dorm

[bikananjarrus]

brain genuinely feels like this trying to piece together all the high republic parallels

[boredymcbored]

I was perfectly fine not going back to read the prequel just cause it's been 10 years since I've read the books and I'm okay with leaving the story as is, but THIS... this post might have changed my mind.

Suzanne collins wrote a trilogy where a main media propaganda strategy was to market a horrific act of violence as a love story to distract ppl and then it got adapted into a box office breaking movie and ppl made it all about the love triangle. so then since they didn’t get the point the first time Suzanne collins wrote a prequel story about the main dictator and she makes it so that you as a reader want it to be a genuine love story so badly even tho it’s so very clearly not and instead feels extremely unsettling to make her point even more meta which then gets adapted into another box office breaking film and now ppl are making romantic snowbaird tik toks. do u think she’s gonna write another book that’s somehow even more blatant or just give up and start executing ppl? hard to say but I wouldn’t blame her for the second one

[subjectsix]

I don't know I'm not done talking about it. It's insane that I can't just uninstall Edge or Copilot. That websites require my phone number to sign up. That people share their contacts to find their friends on social media.

I wouldn't use an adblocker if ads were just banners on the side funding a website I enjoy using and want to support. Ads pop up invasively and fill my whole screen, I misclick and get warped away to another page just for trying to read an article or get a recipe.

Every app shouldn't be like every other app. Instagram didn't need reels and a shop. TikTok doesn't need a store. Instagram doesn't need to be connected to Facebook. I don't want my apps to do everything, I want a hub for a specific thing, and I'll go to that place accordingly.

I love discord, but so much information gets lost to it. I don't want to join to view things. I want to lurk on forums. I want to be a user who can log in and join a conversation by replying to a thread, even if that conversation was two days ago. I know discord has threads, it's not the same. I don't want to have to verify my account with a phone number. I understand safety and digital concerns, but I'm concerned about information like that with leaks everywhere, even with password managers.

I shouldn't have to pay subscriptions to use services and get locked out of old versions. My old disk copy of photoshop should work. I should want to upgrade eventually because I like photoshop and supporting the business. Adobe is a whole other can of worms here.

Streaming is so splintered across everything. Shows release so fast. Things don't get physical releases. I can't stream a movie I own digitally to friends because the share-screen blocks it, even though I own two digital copies, even though I own a physical copy.

I have an iPod, and I had to install a third party OS to easily put my music on it without having to tangle with iTunes. Spotify bricked hardware I purchased because they were unwillingly to upkeep it. They don't pay their artists. iTunes isn't even iTunes anymore and Apple struggles to upkeep it.

My TV shows me ads on the home screen. My dad lost access to eBook he purchased because they were digital and got revoked by the company distributing them. Hitman 1-3 only runs online most of the time. Flash died and is staying alive because people love it and made efforts to keep it up.

I have to click "not now" and can't click "no". I don't just get emails, they want to text me to purchase things online too. My windows start search bar searches online, not just my computer. Everything is blindly called an app now. Everything wants me to upload to the cloud. These are good tools! But why am I forced to use them! Why am I not allowed to own or control them?

No more!!!!! I love my iPod with so much storage and FLAC files. I love having all my fics on my harddrive. I love having USBs and backups. I love running scripts to gut suck stuff out of my Windows computer I don't want that spies on me. I love having forums. I love sending letters. I love neocities and webpages and webrings. I will not be scanning QR codes. Please hand me a physical menu. If I didn't need a smartphone for work I'd get a "dumb" phone so fast. I want things to have buttons. I want to use a mouse. I want replaceable batteries. I want the right to repair. I grew up online and I won't forget how it was!

[shibalatte]

wanna draw my dumbass stupid dogy fursona with house of leaves in their hands lookin like an idiot

[renthony]

I am begging people to use LibreOffice and personal storage devices like hard drives or USB sticks instead of relying 100% on Google Docs. LibreOffice is free and open-source, it saves files to your own computer, and it lets you save as many different file types. You can write in it, format ebooks in it, and do everything you might possibly need to do as a writer.

"Oh, but I'll lose my USB stick--" Fine, back things up in whatever cloud you use as a form of extra protection, but you should also try your absolute damnedest to also put them on some form of storage that isn't a cloud.

I know it's not accessible to everyone, but if you at all have the ability, don't rely on shit that lives on other people's computers. Especially with everything going on with AI theft and aggressive censorship of adult media. If you don't store your files on your own personal computer that you have control over, your files aren't fully yours, and they're at the whims of whoever owns the cloud.

Learn where your files are stored and how to access them. Get into the habit of backing up your files to your own personal storage. Even if you're not up for intense tech research and you don't care about how the computer actually works, please stop letting your art live in corporate clouds.

[bookwyrminspiration]

y’all I have like 70 pages left and I do not have the next book on hand at ALL. girl help I’m gonna fucking lose it

[theres-whump-in-that-nebula]

I love books, and this basement is a true treasure-trove… [peaceful flute and piano] I am the globglobGABglab—

[mostlysignssomeportents]

I assure you, an AI didn’t write a terrible “George Carlin” routine

There are only TWO MORE DAYS left in the Kickstarter for the audiobook of The Bezzle, the sequel to Red Team Blues, narrated by @wilwheaton! You can pre-order the audiobook and ebook, DRM free, as well as the hardcover, signed or unsigned. There's also bundles with Red Team Blues in ebook, audio or paperback.

On Hallowe'en 1974, Ronald Clark O'Bryan murdered his son with poisoned candy. He needed the insurance money, and he knew that Halloween poisonings were rampant, so he figured he'd get away with it. He was wrong:

https://en.wikipedia.org/wiki/Ronald_Clark_O%27Bryan

The stories of Hallowe'en poisonings were just that – stories. No one was poisoning kids on Hallowe'en – except this monstrous murderer, who mistook rampant scare stories for truth and assumed (incorrectly) that his murder would blend in with the crowd.

Last week, the dudes behind the "comedy" podcast Dudesy released a "George Carlin" comedy special that they claimed had been created, holus bolus, by an AI trained on the comedian's routines. This was a lie. After the Carlin estate sued, the dudes admitted that they had written the (remarkably unfunny) "comedy" special:

https://arstechnica.com/ai/2024/01/george-carlins-heirs-sue-comedy-podcast-over-ai-generated-impression/

As I've written, we're nowhere near the point where an AI can do your job, but we're well past the point where your boss can be suckered into firing you and replacing you with a bot that fails at doing your job:

https://pluralistic.net/2024/01/15/passive-income-brainworms/#four-hour-work-week

AI systems can do some remarkable party tricks, but there's a huge difference between producing a plausible sentence and a good one. After the initial rush of astonishment, the stench of botshit becomes unmistakable:

https://www.theguardian.com/commentisfree/2024/jan/03/botshit-generative-ai-imminent-threat-democracy

Some of this botshit comes from people who are sold a bill of goods: they're convinced that they can make a George Carlin special without any human intervention and when the bot fails, they manufacture their own botshit, assuming they must be bad at prompting the AI.

This is an old technology story: I had a friend who was contracted to livestream a Canadian awards show in the earliest days of the web. They booked in multiple ISDN lines from Bell Canada and set up an impressive Mbone encoding station on the wings of the stage. Only one problem: the ISDNs flaked (this was a common problem with ISDNs!). There was no way to livecast the show.

Nevertheless, my friend's boss's ordered him to go on pretending to livestream the show. They made a big deal of it, with all kinds of cool visualizers showing the progress of this futuristic marvel, which the cameras frequently lingered on, accompanied by overheated narration from the show's hosts.

The weirdest part? The next day, my friend – and many others – heard from satisfied viewers who boasted about how amazing it had been to watch this show on their computers, rather than their TVs. Remember: there had been no stream. These people had just assumed that the problem was on their end – that they had failed to correctly install and configure the multiple browser plugins required. Not wanting to admit their technical incompetence, they instead boasted about how great the show had been. It was the Emperor's New Livestream.

Perhaps that's what happened to the Dudesy bros. But there's another possibility: maybe they were captured by their own imaginations. In "Genesis," an essay in the 2007 collection The Creationists, EL Doctorow (no relation) describes how the ancient Babylonians were so poleaxed by the strange wonder of the story they made up about the origin of the universe that they assumed that it must be true. They themselves weren't nearly imaginative enough to have come up with this super-cool tale, so God must have put it in their minds:

https://pluralistic.net/2023/04/29/gedankenexperimentwahn/#high-on-your-own-supply

That seems to have been what happened to the Air Force colonel who falsely claimed that a "rogue AI-powered drone" had spontaneously evolved the strategy of killing its operator as a way of clearing the obstacle to its main objective, which was killing the enemy:

https://pluralistic.net/2023/06/04/ayyyyyy-eyeeeee/

This never happened. It was – in the chagrined colonel's words – a "thought experiment." In other words, this guy – who is the USAF's Chief of AI Test and Operations – was so excited about his own made up story that he forgot it wasn't true and told a whole conference-room full of people that it had actually happened.

Maybe that's what happened with the George Carlinbot 3000: the Dudesy dudes fell in love with their own vision for a fully automated luxury Carlinbot and forgot that they had made it up, so they just cheated, assuming they would eventually be able to make a fully operational Battle Carlinbot.

That's basically the Theranos story: a teenaged "entrepreneur" was convinced that she was just about to produce a seemingly impossible, revolutionary diagnostic machine, so she faked its results, abetted by investors, customers and others who wanted to believe:

https://en.wikipedia.org/wiki/Theranos

The thing about stories of AI miracles is that they are peddled by both AI's boosters and its critics. For boosters, the value of these tall tales is obvious: if normies can be convinced that AI is capable of performing miracles, they'll invest in it. They'll even integrate it into their product offerings and then quietly hire legions of humans to pick up the botshit it leaves behind. These abettors can be relied upon to keep the defects in these products a secret, because they'll assume that they've committed an operator error. After all, everyone knows that AI can do anything, so if it's not performing for them, the problem must exist between the keyboard and the chair.

But this would only take AI so far. It's one thing to hear implausible stories of AI's triumph from the people invested in it – but what about when AI's critics repeat those stories? If your boss thinks an AI can do your job, and AI critics are all running around with their hair on fire, shouting about the coming AI jobpocalypse, then maybe the AI really can do your job?

https://locusmag.com/2020/07/cory-doctorow-full-employment/

There's a name for this kind of criticism: "criti-hype," coined by Lee Vinsel, who points to many reasons for its persistence, including the fact that it constitutes an "academic business-model":

https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5

That's four reasons for AI hype:

to win investors and customers;

to cover customers' and users' embarrassment when the AI doesn't perform;

AI dreamers so high on their own supply that they can't tell truth from fantasy;

A business-model for doomsayers who form an unholy alliance with AI companies by parroting their silliest hype in warning form.

But there's a fifth motivation for criti-hype: to simplify otherwise tedious and complex situations. As Jamie Zawinski writes, this is the motivation behind the obvious lie that the "autonomous cars" on the streets of San Francisco have no driver:

https://www.jwz.org/blog/2024/01/driverless-cars-always-have-a-driver/

GM's Cruise division was forced to shutter its SF operations after one of its "self-driving" cars dragged an injured pedestrian for 20 feet:

https://www.wired.com/story/cruise-robotaxi-self-driving-permit-revoked-california/

One of the widely discussed revelations in the wake of the incident was that Cruise employed 1.5 skilled technical remote overseers for every one of its "self-driving" cars. In other words, they had replaced a single low-waged cab driver with 1.5 higher-paid remote operators.

As Zawinski writes, SFPD is well aware that there's a human being (or more than one human being) responsible for every one of these cars – someone who is formally at fault when the cars injure people or damage property. Nevertheless, SFPD and SFMTA maintain that these cars can't be cited for moving violations because "no one is driving them."

But figuring out who which person is responsible for a moving violation is "complicated and annoying to deal with," so the fiction persists.

(Zawinski notes that even when these people are held responsible, they're a "moral crumple zone" for the company that decided to enroll whole cities in nonconsensual murderbot experiments.)

Automation hype has always involved hidden humans. The most famous of these was the "mechanical Turk" hoax: a supposed chess-playing robot that was just a puppet operated by a concealed human operator wedged awkwardly into its carapace.

This pattern repeats itself through the ages. Thomas Jefferson "replaced his slaves" with dumbwaiters – but of course, dumbwaiters don't replace slaves, they hide slaves:

https://www.stuartmcmillen.com/blog/behind-the-dumbwaiter/

The modern Mechanical Turk – a division of Amazon that employs low-waged "clickworkers," many of them overseas – modernizes the dumbwaiter by hiding low-waged workforces behind a veneer of automation. The MTurk is an abstract "cloud" of human intelligence (the tasks MTurks perform are called "HITs," which stands for "Human Intelligence Tasks").

This is such a truism that techies in India joke that "AI" stands for "absent Indians." Or, to use Jathan Sadowski's wonderful term: "Potemkin AI":

https://reallifemag.com/potemkin-ai/

This Potemkin AI is everywhere you look. When Tesla unveiled its humanoid robot Optimus, they made a big flashy show of it, promising a $20,000 automaton was just on the horizon. They failed to mention that Optimus was just a person in a robot suit:

https://www.siliconrepublic.com/machines/elon-musk-tesla-robot-optimus-ai

Likewise with the famous demo of a "full self-driving" Tesla, which turned out to be a canned fake:

https://www.reuters.com/technology/tesla-video-promoting-self-driving-was-staged-engineer-testifies-2023-01-17/

The most shocking and terrifying and enraging AI demos keep turning out to be "Just A Guy" (in Molly White's excellent parlance):

https://twitter.com/molly0xFFF/status/1751670561606971895

And yet, we keep falling for it. It's no wonder, really: criti-hype rewards so many different people in so many different ways that it truly offers something for everyone.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

Back the Kickstarter for the audiobook of The Bezzle here!

Image:

Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

--

Ross Breadmore (modified) https://www.flickr.com/photos/rossbreadmore/5169298162/

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

[derinwrites]

How can I make money writing fiction?

I'm gonna be straight with you. There is no guarantee that you'll make enough as an independent writer to make it worth your time. You very well might -- I make a liveable wage as an independent writer -- but many don't. Most writers I know also have a job. And luck plays a big part in it.

If you're interested in going forward in spite of this, you have two main options for monetisation open to you, and you are going to have to pick one. I call them the sales model and the sponsorship model, and you are going to have to pick one.

The sales model involves writing stories and selling them to readers. You can put books up on Amazon or Smashwords, sell them direct from your own website, enlist the help of a traditional publisher to handle that for you and let them decide where to sell, whatever -- the point is that your money is made from the sale of books to readers. If you go with a traditional publisher, you're using this model (though they will give you some of the money ahead of time in the form of an advance). Most indie authors also use this model, publishing through draft2digital, Ingram Spark, direct through Amazon, whatever. I've never relied on the sales model and can't give you any advice on how to do this, but Tumblr is full of indie authors who probably can.

The sponsorship model involves soliciting small amounts of money from various readers over time. This is ideal for web serials, and it's what I use. I use Patreon, which is designed specifically for this purpose, but you can use other sites such as ko-fi. This model involves providing regular content for free, with bonuses for those who support you.

"Can't I do both? Sell books and have a Patreon?" You absolutely can! I know several indie authors with a Patreon. I sell my completed books as ebooks and will eventually sell them as paperbacks. But your time and attention is limited, and so is your audience's, and you're going to have to half-arse one of these in order to have enough arse to whole-arse the other. You're going to make a lo of decisions that benefit either the sponsorship model or the sales model, not both. So pick your primary income source early and commit.

I can only advise on writing web serials and using the sponsorship model, so I'll go ahead with that assumption. If you want to make a liveable wage doing this, not only will you need luck, you'll also need patience. This is not a fast way to build a career. at the end of my first year of doing this, I had one single patron, and they were a real-life friend of mine. When I reached an income of $100/month, I threw a little party for myself, I was so happy. It had taken such a long time and was so much work. I reached enough to cover rent/mortgage after I'd been doing this for more than four years. It's a long term sort of career.

Here are some general tips for succeeding in this industry, given by me, someone with no formal training in any of this who only vaguely knows what they're talking about:

Have a consistent update schedule and STICK TO IT

The #1 indicator for stable success in this industry (aside from luck, which we're discounting because you can't do much about that) is having a consistent update schedule. Your readers need to know when the next chapter is coming out, and it should be coming out regularly. Ideally, you should have no breaks or hiatuses -- if you're in a bus crash or something, that might be unavoidable, and your readers will understand if you tell them, but if you're stopping and starting a lot for trivial reasons, they WILL abandon you. You can't get away with that shit if you're not Andrew Hussie, and I'm pretty sure Andrew Hussie doesn't message me for career advice on Tumblr. If you find you need a lot of hiatuses to write fast enough then you're updating too often; change your schedule. A regular schedule is more important than a fast one (ideally it should be both, but if you have to pick between the two, pick regular).

2. Pay attention to your readership, listen to what they want from you

Your income is based on a pretty complicated support structure when you're using the sponsorship model. this model relies on people finding your story, liking your story, and continuing to find it valuable enough to keep paying you month after month. This means that your rewards for your sponsors should be things that they value and will continue to pay for ('knowing I'm supporting an artist whose work I enjoy' counts as a thing that they value, to my great surprise; there's a lot of people giving me money just for the sake of giving me money, so I can pay my mortgage and keep writing for them without needing a second job), but it also means supporting the entire network that attracts readers and keeps them having the best time they can with your story -- being part of a rewarding community. Because this is advice on making money, I'm going to roughly divide your readership into groups based on how they affect your bottom line:

sponsors. People giving you money directly. The importance of keeping this group happy should be obvious.

administration and community helpers -- discord moderators, IT people, guys who set up fan wikis, whoever's handling your mailing list if you have a mailing list. You can do this stuff yourself, or you can hire someone to do it, but if you're incredibly lucky and people enjoy being a part of your reader community, people will sometimes volunteer to do the work for free. If you are lucky enough to get such people, respect them. They are doing you a massive favour, and they're not doing it for you, but to maintain a place that they value, and you have to respect both of those things. My discord has just shy of 1,300 members and is moderated by volunteers. I'd peel my own face off if I had to moderate a community that large. If you've got people stepping up to do work for you, you need to respect them and you need to make sure that they continue to find that rewarding by doing what you can to make sure that the community they're maintaining is rewarding. Sometimes this means taking actions and sometimes this means staying the fuck out of the way. Depending on the circumstances.

fan artists. Once you have people drawing your characters, writing fanfic of your stories, whatever, treat these like fucking gold. Give them a space to do this, and more importantly, give them a space to do this without you in it. Fanworks are a symptom of engagement with your work, which is massively important. They are also a component of a healthy community, an avenue for readers to talk to each other and express themselves creatively to each other. Third, fanworks act as a bridge for new readers. When readers share their art on, say, Tumblr, it can intrigue new people and get them into the story. Your job in all of this is to give them the space to work, encourage them as required or invited (I reblog most TTOU fanart that I'm tagged in on Tumblr, for instance), and other than that, stay the fuck out of their way. These people are vital to the liveblood of your community, the continued engagement of your audience, and the interest of your sponsors. Some of the fan artists will be sponsors themselves; some won't be. Those who aren't sponsors are still massively valuable for their art.

speculators, conversers, theorists, livebloggers, and That Guy Who's Just Really Jazzed For The Next Chapter. Some people don't make art but just like to chat about your story. These people are a bedrock of the community that's supporting your sponsors and increasing your readership, and therefore are critical to your income stream. Give them a place to talk. Be nice to them when they talk to you. Sometimes, they'll ask you questions about the story, which you can choose to answer or not, however you feel is appropriate. They'll also want to chat about non-story-related stuff with each other, so make sure they have a place to do that, too.

that guy who never talks to you or comments on anything but linked your story to ten guys in his office who all read it now. Some of your supporters are completely invisible to you. You can't do anything for these people except continue to release the story and have a forum they can silently lurk on if they want to. But, y'know, they exist.

If you want to focus on income then these are, roughly, the groups of people that you will need to listen to and accommodate for. You can generally just make sure they have space to do their thing, and if they want anything else, they'll tell you (yes, guys, paperbacks will be coming eventually). Many people will fit into multiple groups -- I have some sponsors that are in every single one of these groups except the last. Some will only be in one group. A healthy income rests on a healthy community which rests on accommodating these needs.

3. If you can manage it, try to make your story good.

It's also helpful for your story to be good. Economically, this is far less important than you'd think -- there are some people out there writing utter garbage and making a living doing it. Garbage by what standards? By whatever your standards are. Just think of the absolute laziest, emptiest, hackiest waste-of-bandwidth story you can imagine -- some guy is half-arsing that exact story and making three times what you'll ever make on Patreon doing it. And honestly? Good for him. If he's making that much then his readers are enjoying it, and that's what matters. Still, one critical component of making money as a writer is writing something that people actually want to read. And you can't trick them with web serials, because they don't pay in advance -- if they're bored, they'll just stop. So you have to make it worth their time, money and attention, and the simplest way to do that is to write a good story.

This hardly seems mentioning, since you were presumably planning to do that anyway. It's basic respect for your audience to give them something worth their time. Besides, if we're not interested in improving our craft and striving for our best, what are we even writing for? I'm sure I don't need to tell you to try to write a good story. The reason I list this is in fact the opposite -- don't let "I'm not a good enough writer" paralyse you. The world is full of someday-writers who endlessly fuss over and revise a single story because it's not good enough, it's not perfect, they're not Terry Pratchett yet. Neither was Terry Pratchett when his first books were published. If you're waiting to be good enough, you won't start. I didn't think Curse Words was good enough when I started releasing it -- I still don't. I started putting it out because I knew it was the only way I'd get myself to actually finish something. I don't think it's all that great, but you know what? An awful lot of people read it and really enjoyed it. And if I hadn't released it, I'd have been doing those people a disservice.

Also, it taught me a lot, and based on what I learned, Time to Orbit: Unknown is much better. If I'd never released Curse Words, if I hadn't seen how people read it and reacted to it and seen what worked and what didn't, then Time to Orbit: Unknown wouldn't be very good. And it certainly wouldn't be making me a living wage, because it was the years writing Curse Words that started building the momentum I have today.

And Time to Orbit: Unknown as it is today has some serious problems. Problems that I'm learning from. And the next book will be a lot better.

So that's basically my advice for making money in this industry. Be patient, be lucky, be consistent. Value your community; it's your lifeline, even the parts of it that don't directly pay you. And try to make your story as good as you can, but make that an activity you do, not a barrier to prevent you from starting.

Good luck.

[lilyprettyremy]

How to Get Out of a Reading Slump:

Let’s be real—reading slumps happen to the best of us. One day you’re devouring novels like snacks, and the next, the thought of picking up a book feels like climbing a mountain. But don’t worry, this isn’t permanent! Here’s how you can reignite your love for reading with practical advice (and a little personal touch).

1. Start Small and Easy

Sometimes, the thought of diving into a big, heavy novel can feel overwhelming. Instead, reach for something light, fun, or even familiar. What Worked for Me: When I hit a slump, I re-read my favorite childhood book. The nostalgia pulled me in, and before I knew it, I was back in the reading groove.

Try This:

A novella, poetry collection, or short story.

A feel-good romance or an easy thriller that keeps you hooked.

2. Switch Formats

Who says reading has to be on paper? Shake things up with audiobooks, eBooks, or graphic novels. Sometimes, a new format is all you need to make stories exciting again. What I Loved: Listening to an audiobook while walking felt like having a friend tell me a story. It’s low-pressure and immersive.

Try This:

Download an audiobook for your commute or chores.

Explore comics or manga—they’re visually engaging and quick to finish.

3. Create a Cozy Reading Ritual

Make reading feel like a treat, not a task. Set the scene: grab a warm drink, snuggle up in a cozy blanket, and turn reading into a moment of self-care. What Helps Me: I light a candle, sip some tea, and read for just 15 minutes. Even if I don’t feel like continuing, I’ve created a moment of peace for myself.

4. Ditch the Guilt

If a book isn’t grabbing your attention, it’s okay to put it down! Life’s too short to force yourself through something you’re not enjoying. What I Do: I keep a “second chance” stack of books I didn’t finish but might come back to later. It takes the pressure off and lets me move on guilt-free.

Pro Tip: Give yourself permission to stop at any time. The right book will find you when you’re ready.

5. Set the Mood with Your TBR

Sometimes a slump happens because you’re not in the mood for what you’ve been reading. Change it up with books that match your current vibe. My Recent Trick: When I wanted cozy, wintery vibes, I picked up a snow-filled mystery, and it fit the season perfectly. It felt like I was part of the story.

Try This:

If it’s cold, go for a winter romance or mystery.

Feeling adventurous? Pick up a fast-paced fantasy.

6. Buddy Up

Reading doesn’t have to be a solo activity. Share the experience with someone who loves books as much as you do. What Worked for Me: My friend and I read the same book and texted each other our reactions. It made the whole process so much fun, and we got to geek out together.

Pro Tip: Join a book club, even if it’s online! Goodreads or apps like Fable make it easy to connect with other readers.

7. Take the Pressure Off

Sometimes, we fall into slumps because we set unrealistic expectations for ourselves. Forget about reading “x” number of books or finishing by a certain date—just read what you love. My Perspective: I stopped tracking my reading goals for a while and focused on enjoying the stories. That shift in mindset made all the difference.

8. Revisit Your Why

Ask yourself: Why do you love reading? Is it the escape, the knowledge, the way stories make you feel? Reconnecting with that "why" can reignite your passion. 💡 What I Remind Myself: Reading isn’t a chore—it’s a gift. When I focus on that, it stops feeling like something I “should” do and starts feeling like something I want to do.

9. Explore a Different Genre

If you’ve been stuck in the same genre, it might be time for a change. Trying something new can surprise you and pull you right back in. My Experiment: I went from contemporary fiction to fantasy and felt like I’d rediscovered the magic of reading all over again.

Pro Tip: Ask for recommendations in genres you don’t usually explore!

10. Go Easy on Yourself

At the end of the day, slumps happen. Don’t stress about it—it’s just a phase. The books will always be there when you’re ready. My Advice: Take it slow, experiment, and most importantly, enjoy the journey. Sometimes, stepping away from reading for a little while can also recharge your love for it.

Getting out of a reading slump is all about finding what sparks your interest again—whether it’s a cozy atmosphere, a gripping audiobook, or a change of genres. Be patient with yourself, and remember, it’s not about the number of books you read but the joy you find in them. So go ahead, grab that book, and take it one page at a time. You’ve got this!

[disasterofastory]

New things (Brahms Heelshire x Reader)

New things // Brahms Heelshire Masterlist Brahms Heelshire x Reader Kinktober 2023 - 7/14 Warnings: facesitting

Summary: Brahms finds interesting things on the internet.

The air is thick and heavy in the bathroom. Your reflection in the mirror is obscure because of the steam. Small water drops run down the surface, holding onto the bottom until they land on the edge of the sink. Your nostrils are filled with the scent of your shampoo and lotions. Honey and something else you picked out from the shelf without looking. Your hair is still wet, and the towel around you is soft and warm.

"I still don't understand why you didn't join me," you speak up when stepping into your room, you meet the view of Brahms sitting on the edge of your bed. Your laptop is on his lap. The bright screen illuminates his features, highlighting the rough marks on his face. When he doesn't look at you, you continue with a small frown. "If you continue like this, I have to set screen time for you." Still nothing. "Brahms? Are you okay?" Now you start to worry.

Ever since you have an internet connection, you try to teach Brahms about it as much as you can without overwhelming him. It's fun and sad at the same time. This is the closest he has gotten to the real world in many years. There are things he doesn't understand and things that fascinate him. He already made you order an ebook reader, and you added a few clothes, too you think would look good on him.

"Nothing," he replies after a while, putting away your laptop to focus his attention on you. His eyes rake over your body with appreciation. Yeah, you don't believe him. "What is it, Brahms?" "I saw something on the internet, and I want to try it with you." You are surprised. "Okay," you reply carefully. "What did you see?" "I want you to sit on my face." Now you are shocked. "And where did you see that?" Even the thought of you sitting on his face is enough to make you excited, but the blush appearing on his cheeks makes you even more impatient for what happens next. "Does it matter?" Brahms asks, scowling and pouting. "No," you reply with a sigh. You decide to leave the subject at least for now, so you can enjoy your night with Brahms without him getting upset. "So," you grin down at him when you step between his legs. Your fingers rake through his hair, grabbing a few curls to make him look at you. You can feel his warm hands on the back of your legs as he slips up and up under the white towel still covering your body. "Do you have a plan or…?" Without a word, he stands up, towering over you and placing his hand at the back of your neck to pull you into a quick kiss. Brahms nibbles on your bottom lip, biting the soft flesh before pushing his tongue into your mouth. He tastes like tea. "Take it off," you murmur against his lips, tugging on his shirt. The moment his chest is bare in front of you, your hands find their way to his abs and the soft hair that covers his body. You love touching and caressing him almost as much as he loves being under your hands. "Take it off," Brahms repeats your words, but even before his quiet command can register in your mind, the towel is already on the ground, leaving you gasping and bare in front of his hungry gaze. His attention falls onto your breasts for a second, seemingly fighting with himself before turning around and laying down in the middle of the bed. It's so robotic that you almost laugh. Okay, you need to talk with him about vibes and romantic settings before strutting into the middle of everything, but it can wait.

"Okay," you breathe out, climbing next to him and noticing his erection already tenting his pajama pants. "Sit on my face, Y/N," he says again, lifting his head to look at you. "Did you hear about patience before?" You ask him without wanting an answer. "Help me." Brahms reaches out for your hand, helping you balance until you kneel above his face. It's new for you, too. You are surprised that after everything you did with Brahms, there is still something that makes you almost shy.

Before you can adjust yourself better, he already lifts his head again. His tongue stretches into your warmth, sliding over your slit for a quick taste. The tip of his tongue swipes your clit repeatedly, flicking and teasing. "I said sit," he grunts angrily, grabbing your thighs harder to tug you onto his face entirely. A shriek escapes your lips and echoes off the walls at the sudden movement. He groans something into your pussy when you try to shift your weight off his mouth, and he doesn't let you. His fingers dig into your flesh.

Fuck.

He licks on your clit back and forth before sealing his lips around the sensitive bud to suck the soul out of you. Your body trembles and jerks at the sudden pleasure. Your hands reach out for the wooden headrest to hold onto something. "Brahms!" You cry out his name in shock when you feel his teeth nibble on you before soothing the slight sting with his tongue. "More, baby," you tell him desperately. "Give me more." Brahms feasts on your pussy, letting your juices soak his face and beard. He rubs your clit, opens your folds, and pokes your hole before swiping his tongue all over your slit. Meanwhile, your hips start to rock down on his mouth. You grind against his face, chasing your pleasure. His hands go back to your ass, gripping your cheeks to push you a bit forward until he can plunge his tongue into your dripping channel. You are warm and wet around him. His senses are full of your taste and scent. "Can you even breathe?" You gasp out, ready to move away, but he holds you down. A muffled grunt is your only answer, and the vibration of his deep voice strikes through your body. Your head falls back, and black dots dance and swirl in front of your eyes. His tongue works in and out of your pussy, gulping down everything you can give him. He pushes into you as deep as possible. In and out. In and out. "Brahms!" You scream his name again. One of your hands goes down between your legs to rub on your clit. The burning coil in your stomach flares through your veins and makes your limbs numb and heavy. "You're doing so good," you tell him, still grinding.

Brahms's cock still throbs in his pants, wanting your mouth or tits, but the man's attention is entirely elsewhere. He wants you to cum on his face, into his mouth. He wants to drown in your nectar until he knows nothing but you and only you.

You can feel your climax building inside of you with rapid speed. It trembles through your spine and roots in your belly.

"I will- I will-" You don't even have enough time to warn him. Your walls flutter around his tongue, and your clit throbs under your fingertips. You moan and whine above him. Your voice mixes with his grunts and groans under you. Your hips twitch and rock until every energy leaves your body.

Brahms laps on your pussy hurriedly, wanting your taste on his tongue before you move to the bed next to him.

And you look beautiful when you fall onto your bottom. A thin layer of sweat shines on your skin, and your bottom lip is swollen and red from biting it almost the whole time. Pride stretches in his chest as he watches you try to clear your mind. Your gaze is unfocused and glassy.

You need long minutes to calm down and notice the dark, wet spot on his pants. Your lips twitch into a taunting smirk even though you are still panting. "Oh," you coo. "My good boy cum in his pants?" He blushes again. His face and beard glint with your wetness smeared all over him. "Do you want me to clean you up?" You offer, already reaching down under the waistband of his pajama. "Please," he whispers, pushing his hips against your hand.

Maybe letting Brahms explore the internet some more is not a bad idea after all.

[derinthescarletpescatarian]

Hey Derin, can I ask you a question or two about publishing? (If no, close your eyes for the next bit and click near where you remember the delete button was.)

I'm writing something with the dream of publishing it one day and I'm considering all avenues at this stage. What led you to publishing serially online? What are the pros of your experience doing that?

Asking you because I was looking over your site earlier today and thinking about how comfortable a place the internet feels - less of a big step than traditional publishing, or even putting out a whole story at once for self-publishing.

I've never pursued trad publishing and have no plans to ever do so, it was immediately obvious that it wasn't for me, so I can't give you like, comparisons. I only even got into indie publishing because my readers were demanding ebooks and paperbacks so I just shrugged and got them made. Sometimes I get asked trad vs. indie publishing questions that I do not have the experience to answer.

This question, though, I can answer. I didn't sit down and go "how should I publish these? Online, or through a trad publisher, or what?" I approached web serial writing directly as a career without considering publishing my writing as books at all; that was never on the radar until the readers wanted them. And the reason I started writing a web serial was simple -- it was a hobby that suited my lifestyle.

I'd written serial fiction before; fanfiction, some r/hfy stuff, just whatever I felt like, and I had a serious problem experienced by many casual writers -- I tended not to finish stuff. The stuff that had never made it to the web was even worse; I had so many novels in progress on my hard drive that I'd gotten to the end of the first act of, before moving onto a new idea. I needed something to do with my time (I'd moved back to my hometown to spend time with my dying grandfather and was unemployed) and posting a web serial with a strict schedule and a patreon seemed like the best way to force myself to actually finish my stories. If a handful of people were giving me a couple of buck a month, I wouldn't be able to just drift off to something else; I'd have to finish the story.

And it worked. I got a new job and wrote Curse Words on my off weeks, then that job ended and my Patreon was paying my new mortgage and suddenly this was just kind of my job now. And then enough people were asking for ebooks and paperbacks that I had to figure out how to make those happen. And this is kind of my life now I guess.

In terms of pros I would say:

Low barrier to entry/small steps of progression: You can just start publishing on a website for free whenever you want. You can make your own website for free and publish on that (I did). It takes five minutes or less to learn how to do and you don't need to buy anything. Your time commitment is mostly Writing The Story, which is presumably what you want to be spending your time on anyway. If you do it for 2 months and decide you hate it? You can stop. No harm, no foul.

No boss: You're beholden to your patrons and nobody else. You can write whatever the fuck you want, wherever the fuck you want, however often you want. The only deadline is the schedule that you yourself set, and you can set it to suit your lifestyle.

Payment model: The patreon/ko-fi sponsorship model is vastly superior, in my opinion, to making money via book sales. There's too many factors involved to really say if you make more or less money on Patreon, but what it has is predictability. Patrons come and go, but slowly. I can predict my monthly income from my supporters to within a hundred dollars or so. This is a massive advantage when you have bills to pay. Book sales surge unpredictably, and while you can bank on things like advances if you go the trad publishing route, these are few and far between.

Time: There are minimal delays in web serial publishing. No waiting months or years at a time for your book to chew through the machinery of a publisher, no long delays as your agent works or contracts are negotiated. Indie publishing is faster but still has far more delays than web serial publishing; most notably, you have to write the entire book first, often with little idea of how well it's going to perform. I don't do well with waiting periods or having to coordinate timing with others, so web serial publishing works best for me.

Marketability: Web serials have a far smaller audience than books, but they're also easier to market to that audience. For one thing, they're usually free, and it's a lot easier to convince someone to try a free story instead of buying one. For another, their one-chapter-at-a-time nature feels like less of a commitment and less intimidating to some people, even though they are traditionally much longer than books tend to be. Also, their chapter-by-chapter nature allows speculation and jokes and fanart and stuff to be spread while the story is still going, which is great marketing, especially when readers end up talking about it far longer than they would talk about a book (because they're reading it chapter-by-chapter for far longer).

But the biggest advantage in marketability is what I call 'rolling weight enthusiasm'.

When you're pushing a cart or something, it takes a lot of effort to get started, but once you're cruising at a consistent speed, you can rely on momentum to do half the work for you. You can build more and more speed with the same effort, because a rolling weight is maintaining that momentum. Writing a web serial is a lot like that; the consistent release schedule means that if you can get people invested, it's much easier to keep them invested, because they're waiting a very short period of time (a few days to a week, depending on your release schedule) to get more of the story. If you're releasing books, there might be more than a year between releases; you can keep a dedicated audience interested for that long, but it's much harder to hold onto the casual readers. There are so, so many book series that I've only read half of because at some point a new book was released and I didn't notice. If you write and publish books, you have to do a big part of the marketing all over again to let people know that the next one is out. Web serials don't have this problem. When's the next chapter out? soon enough that the previous chapter is still fresh in your mind. soon enough that you probably don't have time to finish the fanart this one made you think of.

Immediate feedback: Another great thing about web serials is that you can watch the audience reaction in real time. Not only that but, unlike with a book that people read all at once, you get very detailed feedback specific to each chapter. I don't mean people telling you about the story; reader suggestions and 'constructive criticism' is almost universally useless and can generally be thrown out. If you trust somebody's writing and editing skills enough to take feedback from them, you should ask that person directly; random readers are unlikely to be experts and unlikely to have accurate advice.

Instead, watch them discuss it amongst themselves. What did they get right away, and what are they confused about? what did they react most strongly to; is the dominant emotional reaction to the various characters vaguely in line with what you intended? Check the theories; how well are they predicting future events? (If everyone is guessing the Big Twist, then you need to put more effort into selling it so that it's not a let down; the less surprising a twist is, the better the writing has to be to pull it off. But if nobody is guessing the Big Twist, then you have insufficiently foreshadowed it. You're looking for a very high population of readers being accurate about the information they're expected to have gleaned, and a small population being accurate about twists and stuff, and you want that small population to grow as they get closer to the twist.) Checking these reactions can give you a better idea of what you need to emphasise, clarify, or foreshadow in the text.

[leeldridgeauthor]

“I took the two ends and pulled them around her, twisting it the way I’d seen done.

“Is this too tight?” I asked when necessary. She always said no. It wrapped over her shoulders and around her middle, up between her breasts until I was satisfied. I then used the tie to her robe to bind her hands.

The ropes looked exquisite against her body. “How do you feel?” I asked.

“I’d always liked to be in control,” she said. “But allowing myself to let go with you makes me feel…free.”

I brought her lips to mine. “Good. I want to be that for you.”

I lifted her and brought her to the mirror I had in the corner. I turned her around, holding her hands above her head. “See how sexy you look?” I asked, needing her to see what I saw.

“I see how sexy you are,” she sassed.

I landed a hand on her aşş, and she yelped. “Seemed you needed a spanking.”

art by @cheesomancer

A Yulean Sisters Guide to Getting Married is a 𝓢𝓹𝓲𝓬𝔂, cozy, romantasy monster romance, available in Paperback, ebook, and KU!!

⚔️ fake engagement

⚔️ size difference

⚔️ swordplay as 𝐹𝑜𝓇𝑒𝓅𝓁𝒶𝓎

⚔️ 𝐵𝑜𝓃𝒹𝒶𝑔𝑒

⚔️ grumpy/grumpy

‧˚₊꒷꒦︶︶︶︶︶ 𝐵𝓁𝓊𝓇𝒷︶︶︶︶︶꒦꒷‧₊˚⊹

A fake engagement unites them…but is it enough to save them?


SORCHA

I’ve fought tooth and nail to enter the ranks of knighthood. I deserve to be there. But as a princess, the only place I’m allowed is the training yard.

That is until our enemy, Grand Clarak Zarios of Valcor, shows up with an opportunity to save the entire nation from someone in his court trying to dethrone him. It's just what I need to prove my worth.

The catch…I need to pretend to be his intended mate to do it. It begins to seem impossible, especially with new court rules to follow and a grumpy minotaur as a partner.

But this is my one chance, and I won’t let anything stand in my way.

ZARIOS

Everyday it feels as if all I’m doing is putting out fires. Between push back from my own people to traitors in my kingdom, it feels as though everyone is keen to see me fall.

It feels hopeless until I meet Sorcha Yulean, second in line for the throne. With her by my side, fake intended or not, I see the light at the end of the tunnel.

This is my last chance to save my kingdom, and my crown, nothing can get in the way.
Not even my budding feelings for the princess.

A Yulean Sister’s Guide to Getting Married is a fantasy monster romance between a stubborn princess who wishes to be a knight and a grumpy minotaur finding love in a fake arrangement. This book is a standalone and does not need to be read in order! This book is spicy, low-angst, with a well deserved HEA!