#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

[mossflower]

yeah you need hobbies outside of media consumption or you’ll go insane. however if i spent an entire day reading books i would not go insane i would feel happy and fulfilled <3

[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

[faeriekit]

...I had a guy come in today asking about how to get his kids library cards. I told him. He asked me how hard it would be for them to get them, and I said that all it took was their presence and his government ID.

He told me about how nice the system was here, where it was so easy to get a card; he said that there was a beautiful public library in Beijing that was top of the line and everything, but that the only way to access it was if you were a high ranking government official or a top professor or something. Instead, our library "serves the reader." His kids will be able to take chapter books home at no cost. He'll even be able to get books in Chinese here so that his native language skills don't atrophy.

I didn't even really know what to say, so I told him how to ask us to buy books for him that we don't already have so that he can still read them at no extra cost. I don't know how to shore up what it must feel like to know that there are books out there you can't read; I've always grown up with a good library nearby. It reminded me of working in my old library, though, where families who spoke Spanish were startled to find out we took any government ID with a formal address in town— even foreign IDs— so that their kids could get access to all of our titles in all the languages we offered.

Ah. Anyway, I hope you check out a library book with this thought in mind. I checked out the first volume of YJ98 today with that thought in mind. I didn't have to pay anything. I put it on hold, and there it was.

Edit: for those who struggle with reading comprehension; no, this patron interaction is not meant to represent the status of the Chinese public library system at large nor the country of China itself; this was my response to a random Chinese immigrant dad's anecdotal concerns as he expressed them to me, because the whole breadth of concern I'm responsible for while on desk starts and ends at recommending which library services would fulfill his needs. If you think he misunderstood or was lying about the status of public libraries in China, that isn't something I'm charged to verify before writing my thoughts and feelings about the patron interactions I was exposed through throughout my day. Expecting anything else is absurd.

Edit edit: Also, your library may not actually use Libby as the distribution method for their ebook collection. The best way to find out about how to access your library's ebook collection is to call them directly.

[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.

[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!

[nominalnebula]

I cannot tell you how gut wrenching it is to go through the books you have after moving and realize that you got rid of whole sets that were formative to you because you "grew out of them"

I had to have nearly the whole of the redwall series 12, 15 years ago but I got rid of them. my hard copy of the unicorn chronicles? gone. fire bringer, sight, and fell by david clement-davies? gone. these books literally shaped me - I wrote my first stories inspired by the redwall series.

but 10 years ago we moved halfway across the country and I had to cull my book collection because I couldn't take everything with me and I cannot tell you how much of a gut punch it is to sit here 10 years later and realize those were the books I wanted to keep the most. and there's books I don't even remember the names of anymore, just a vague idea of what the series were, and I don't know if I can find them again.

goddamn I miss my books

[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—

[walks-the-ages]

OP deactivated, and some of the links were broken/marked unsafe by Firefox, so here's a new compilation post of Leslie Feinburg's (She/her, ze/hir) novels and essays on being transgender:

Stone Butch Blues official free source directly from Author's website:

Stone Butch Blues, backup on the webarchive:

Transgender Liberation: A movement whose time has come, on the web archive:

Transgender Warriors: Making History from Joan of Arc to Dennis Rodman, on the web archive:

Lavender and Red, PDF essay collection:

Drag King Dreams, on the web archive:

(Also, if anyone ever tells you that the protagonist of Stone Butch Blues ""ends up with a man""........ they're transmisogynistic jackass TERFs who are straight up lying)

Please also check out your local public libraries for these books and see if they carry them, to help support public libraries! If you have a library card already you can checkout Libby and Overdrive to see if your public library carries it as an ebook that you can checkout :)

EDIT: another not included on the orignal masterpost-- Trans Liberation: Beyond Pink or blue !

annnnnd in light of the web archive losing it's court case, here's a backup of both PDFs and generated epubs a friend made:

5/26/2023: hello! I am adding on yet another book of queer history, this time the autobiography of Karl Baer, a Jewish, intersex trans man who was born in 1884! Please signal boost this version, and remember to check the notes whenever this crosses your dash for any new updates :)

6/24/2023:

Two links to share!

Someone made an Epub version of Memoirs of a Man's Maiden Years, which you can find Here , as a more accessible version than a pdf of a scanned book if you're like me and need larger text size for reading--

And from another post I reblogged earlier today, I discovered the existence of "TransSisters: the Journal of Transsexual Feminism", which has 10 issues from 1993-1995, and includes multiple interviews with Leslie Feinburg and other queer feminists / activists of the 90s!

Here's a link to all 10 issues of TransSisters, plus a 1996 "look back at" by one of the writers after the journal ended, you can find all 10 issues on the Internet Archive Here !

------

8/28/2023:

"Bi Any Other Name: Bisexual People Speak Out", can be found on the web archive Here, for the 25th Anniversary Edition from 2015,

and also Here, for the original 1991 version.

Each of the above can be borrowed for one hour at a time as long as a copy is available :D

This is a living post that receives sporadic updates on the original, if you are seeing this on your dash, click Here to see the latest version of the post to make sure you're reblogging the most up to date one :)

------------

October, 25th 2023:

"I began to dawdle over breakfast during shift changes, asking both waitresses questions. After weeks of inquiries, they invited me to a demonstration, outside Kleinhan's Music Hall, protesting the Israeli war against Egypt and Syria. I was particularly interested in that protest. The state of Israel had been declared shortly before my birth. In Hebrew school I was taught "Palestine was a land without peo-ple, for a people without a land." That phrase haunted me as a child. I pictured ears with no one in them, and movies projected on screens in empty theaters. When I checked a map of that region of the Middle East in my school geography textbook, it was labeled Palestine, not Israel. Yet when I asked my grandmother who the Palestinians were, she told me there were no such people. The puzzle had been solved for me in my adolescence. I developed a strong friendship with a Lebanese teenager, who explained to me that the Palestinian people had been driven off their land by Zionist settlers, like the Native peoples in the United States. I studied and thought a great deal about all she told me. From that point on I staunchly opposed Zionist ideology and the occupation of Palestine. So I wanted to go to the protest. However, I feared the demonstration, no matter how justified, would be tainted by anti-Semitism. But I was so angered by the actions of the Israeli government and military, that I went to the event to check it out for myself. That evening, I arrived at Kleinhan's before the protest began. Cops in uniforms and plainclothes surrounded the music hall. I waited impatiently for the protesters to arrive. Suddenly, all the media swarmed down the street. I ran after them. Coming over the hill was a long column of people moving toward Kleinhan's. The woman who led the march and spoke to reporters proudly told them she was Jewish! Others held signs and banners aloft that read: "Arab Land for Arab People!" and "Smash Anti-Semitism!" Now those were two slogans I could get behind! I wanted to know who these people were and where they had been all my life! Hours later I followed the group back to their headquarters. Orange banners tacked up on the walls expressed solidarity with the Attica prisoners and the Vietnamese. One banner particularly haunted me. It read: Stop the War Against Black America, which made me realize that it wasn't just distant wars that needed opposing. Yet although I worked with two members of this organization, I felt nervous that night. These people were communists, Marxists! Yet I found it easy to get into discussions with them. I met waitresses, factory workers, secretaries, and truck drivers. And I decided they were some of the most principled people I had ever met..." Transgender Warriors (1996) Leslie Feinberg

[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.