#Truth about Traditional Publishing

[ranjith11]

Truth about Traditional Publishing | SummitPressPublishers

Traditional publishing refers to the conventional model of publishing books, where authors submit their manuscripts to established publishing houses for consideration and potential publication. In this process, the publishing house takes care of various aspects, including editing, cover design, printing, distribution, and marketing of the book.

[damonp304]

Truth about Traditional Publishing | SummitPressPublishers

Traditional publishing refers to the conventional model of publishing books, where authors submit their manuscripts to established publishing houses for consideration and potential publication. In this process, the publishing house takes care of various aspects, including editing, cover design, printing, distribution, and marketing of the book.

[monicascot]

Truth about Traditional Publishing | SummitPressPublishers

Traditional publishing refers to the conventional model of publishing books, where authors submit their manuscripts to established publishing houses for consideration and potential publication. In this process, the publishing house takes care of various aspects, including editing, cover design, printing, distribution, and marketing of the book.

[ghostzzy]

i do think im dragging my feet on cursedwip just a little because i wanna go back and revise things. rghggggg.

[fairuzfan]

I mentioned this before but the one thing I cannot stand is selfishness which is where a lot of zionist talking points come from even when they *are* advocating for "peace" and "coexistence" because it centers ISRAELI safety and only thinks of Palestinian safety as secondary and indecental to Israeli (ie: the only way Israelis get safety is if their Palestinian """"neighbors"""" get safety which is such a selfish way to view the imprisonment and oppression of Palestinians) but then again they publish literal thinkpieces about the guilt Israeli soldiers feel when they eat food left behind by starving Palestinians — who, again, are starving BECAUSE OF ISRAELIS WHO ARE THE OPPRESSORS — so there's no way mainstream Israeli society will ever make changes to their language they they carefully curate to not include Palestinians (Haaretz is a beautiful example of this — take a look at their editorial staff list) because they all feed into their own sense of self pity and self righteousness rather than actually uplifting the voices of the oppressed. But then PALESTINIANS are the ones in this scenario who are accused of bias because they advocate and fight for their stories to be heard. Israelis do not have to find alternative means to put out their stories — has it occurred to you why Palestinians have had to use SOCIAL MEDIA to share their stories rather than traditional networks? It's because no one gives us the time of day. So we developed our platform through social media, even on here where @el-shab-hussein has been documenting FOR YEARS the human rights abuses perpetuated by Israelis on Palestinians because we know that's how anyone learns the truth about Palestine. So when people are trying to take down tiktok specifically, it's sinophobia and also fueled in recent months by antiPalestinian sentiments.

Sudan is like this too — the news we get about Sudan are from people who are on the ground because they've largely been abandoned by human rights orgs and by news stations. We learn the most about Sudan from people like @/bsonblast and Ze on Twitter.

Then people like come on here and make fun of people who get their news from social media (which is code for "Palestinians," they always mean it as code for Palestinians) as if "professional" media takes anyone from the Global South seriously or gives them space to talk about their stories and when they DO, people say things like "hamas run media" or whatever lol like these people have never had to doubt what they see on public media before and it shows! No one takes you seriously when you say the words "islamofascist state" about Gaza when CNN publicly admits to having their content reviewed by the IOF! Hypocritical at best!

[haridraws]

Excuse the format (I made this for instagram since that's what the publisher wants, rip) but this is basically a shorter, easy-to-read version of the history section at the back of my new book.

(Part 2 || The book)

---

Disclaimer: I'm extremely not an expert, and this is only scratching the very surface of complex topics that are hard to simplify. I mostly made this to EXTREMELY rec these books and podcasts, and would urge you to go check them out if you're not familiar!!

This stuff might seem obvious to some of you, but let me tell you, I do NOT think it's widely known in the general UK population.

Imo a lot of the general (especially white) public think that the Windrush generation - Caribbean migrants brought in to help rebuild postwar Britain in the 50s - were the first Black communities in the UK. And yet there's deliberately not much focus on why the Caribbean has links with northern europe. HMMMM

(Britain loves, for example, to celebrate the abolition of slavery without mentioning WHAT CAME BEFORE IT - Britain being the biggest trader of enslaved people, with more than 1 million people enslaved in the British Caribbean. They literally just did it overseas.)

Telling the truth about history or British imperialism gets this massive manufactured backlash at the moment. There are so many ideas prevalent in UK politics - anti-Black, anti-refugee, anti-trans - based on going ‘back’ to some imaginary version of the past. Those are enabled by a long tradition of carving parts out of the historical record, and being selective about whose histories get told and preserved. Even though the book I was making is a fun rom-com, by the time I finished researching, I decided to make an illustrated history section at the back too (this is a mini version). My hope is that readers who haven’t come across these histories might get an introduction to them - and some pointers of what they could read next to get a clearer view of our past.

[mostlysignssomeportents]

Sandra Newman’s “Julia”

The first chapter of Orwell's Nineteen Eighty-Four has a fantastic joke that nearly everyone misses: when Julia, Winston Smith's love interest, is introduced, she has oily hands and a giant wrench, which she uses in her "mechanical job on one of the novel-writing machines":

https://gutenberg.net.au/ebooks01/0100021.txt

That line just kills me every time I re-read the book – Orwell, a novelist, writing a dystopian future in which novels are written by giant, clanking mechanisms. Later on, when Winston and Julia begin their illicit affair, we get more detail:

She could describe the whole process of composing a novel, from the general directive issued by the Planning Committee down to the final touching-up by the Rewrite Squad. But she was not interested in the finished product. She 'didn't much care for reading,' she said. Books were just a commodity that had to be produced, like jam or bootlaces.

I always assumed Orwell was subtweeting his publishers and editors here, and you can only imagine that the editor who asked Orwell to tweak the 1984 manuscript must have felt an uncomfortable parallel between their requests and the notional Planning Committee and Rewrite Squad at the Ministry of Truth.

I first read 1984 in the early winter of, well, 1984, when I was thirteen years old. I was on a family trip that included as visit to my relatives in Leningrad, and the novel made a significant impact on me. I immediately connected it to the canon of dystopian science fiction that I was already avidly consuming, and to the geopolitics of a world that seemed on the brink of nuclear devastation. I also connected it to my own hopes for the nascent field of personal computing, which I'd gotten an early start on, when my father – then a computer science student – started bringing home dumb terminals and acoustic couplers from his university in the mid-1970s. Orwell crystallized my nascent horror at the oppressive uses of technology (such as the automated Mutually Assured Destruction nuclear systems that haunted my nightmares) and my dreams of the better worlds we could have with computers.

It's not an overstatement to say that the rest of my life has been about this tension. It's no coincidence that I wrote a series of "Little Brother" novels whose protagonist calls himself w1n5t0n:

https://craphound.com/littlebrother/Cory_Doctorow_-_Little_Brother.htm

I didn't stop with Orwell, of course. I wrote a whole series of widely read, award-winning stories with the same titles as famous sf tales, starting with "Anda's Game" ("Ender's Game"):

https://www.salon.com/2004/11/15/andas_game/

And "I, Robot":

https://craphound.com/overclocked/Cory_Doctorow_-_Overclocked_-_I_Robot.html

"The Martian Chronicles":

https://escapepod.org/2019/10/03/escape-pod-700-martian-chronicles-part-1/

"True Names":

https://archive.org/details/TrueNames

"The Man Who Sold the Moon":

https://memex.craphound.com/2015/05/22/the-man-who-sold-the-moon/

and "The Brave Little Toaster":

https://archive.org/details/Cory_Doctorow_Podcast_212

Writing stories about other stories that you hate or love or just can't get out of your head is a very old and important literary tradition. As EL Doctorow (no relation) writes in his essay "Genesis," the Hebrews stole their Genesis story from the Babylonians, rewriting it to their specifications:

https://www.penguinrandomhouse.com/books/41520/creationists-by-e-l-doctorow/

As my "famous title" stories and Little Brother books show, this work needn't be confined to antiquity. Modern copyright may be draconian, but it contains exceptions ("fair use" in the US, "fair dealing" in many other places) that allow for this kind of creative reworking. One of the most important fair use cases concerns The Wind Done Gone, Alice Randall's 2001 retelling of Margaret Mitchell's Gone With the Wind from the perspective of the enslaved characters, which was judged to be fair use after Mitchell's heirs tried to censor the book:

https://en.wikipedia.org/wiki/Suntrust_Bank_v._Houghton_Mifflin_Co.

In ruling for Randall, the Eleventh Circuit Court of Appeals emphasized that she had "fully employed those conscripted elements from Gone With the Wind to make war against it." Randall used several of Mitchell's most famous lines, "but vest[ed] them with a completely new significance":

https://law.justia.com/cases/federal/appellate-courts/F3/268/1257/608446/

The Wind Done Gone is an excellent book, and both its text and its legal controversy kept springing to mind as I read Sandra Newman's wonderful novel Julia, which retells 1984 from the perspective of Julia, she of the oily hands the novel-writing machine:

https://www.harpercollins.com/products/julia-sandra-newman?variant=41467936636962

Julia is the kind of fanfic that I love, in the tradition of both Wind Done gone and Rosenkrantz and Gildenstern Are Dead, in which a follow-on author takes on the original author's throwaway world-building with deadly seriousness, elucidating the weird implications and buried subtexts of all the stuff and people moving around in the wings and background of the original.

For Newman, the starting point here is Julia, an enigmatic lover who comes to Winston with all kinds of rebellious secrets – tradecraft for planning and executing dirty little assignations and acquiring black market goods. Julia embodies a common contradiction in the depiction of young women (she is some twenty years younger than Winston): on the one hand, she is a "native" of the world, while Winston is a late arrival, carrying around all his "oldthink" baggage that leaves him perennially baffled, terrified and angry; on the other hand, she's a naive "girl," who "doesn't much care for reading," and lacks the intellectual curiosity that propels Winston through the text.

This contradiction is the cleavage line that Newman drives her chisel into, fracturing Orwell's world in useful, fascinating, engrossing ways. For Winston, the world of 1984 is totalitarian: the Party knows all, controls all and misses nothing. To merely think a disloyal thought is to be doomed, because the omnipotent, omniscient, and omnicompetent Party will sense the thought and mark you for torture and "vaporization."

Orwell's readers experience all of 1984 through Winston's eyes and are encouraged to trust his assessment of his situation. But Newman brings in a second point of view, that of Julia, who is indeed far more worldly than Winston. But that's not because she's younger than him – it's because she's more provincial. Julia, we learn, grew up outside of the Home Counties, where the revolution was incomplete and where dissidents – like her parents – were sent into exile. Julia has experienced the periphery of the Party's power, the places where it is frayed and incomplete. For Julia, the Party may be ruthless and powerful, but it's hardly omnicompetent. Indeed, it's rather fumbling.

Which makes sense. After all, if we take Winston at his word and assume that every disloyal citizen of Oceania is arrested, tortured and murdered, where would that leave Oceania? Even Kim Jong Un can't murder everyone who hates him, or he'd get awfully lonely, and then awfully hungry.

Through Julia's eyes, we experience Oceania as a paranoid autocracy, corrupt and twitchy. We witness the obvious corollary of a culture of denunciation and arrest: the ruling Party of such an institution must be riddled with internecine struggle and backstabbing, to the point of paralyzed dysfunction. The Orwellian trick of switching from being at war with Eastasia to Eurasia and back again is actually driven by real military setbacks – not just faked battles designed to stir up patriotic fervor. The Party doesn't merely claim to be under assault from internal and external enemies – it actually is.

Julia is also perfectly positioned to uncover the vast blank spots in Winston's supposed intellectual curiosity, all the questions he doesn't ask – about her, about the Party, and about the world. I love this trope and used it myself, in Attack Surface, the third "Little Brother" book, which is told from the point of view of Marcus's frenemy Masha:

https://us.macmillan.com/books/9781250757531/attacksurface

Through Julia, we come to understand the seemingly omniscient, omnipotent Party as fumbling sadists. The Thought Police are like MI5, an Island of Misfit Toys where the paranoid, the stupid, the vicious and the thuggish come together to ruin the lives of thousands, in such a chaotic and pointless manner that their victims find themselves spinning devastatingly clever explanations for their behavior:

https://www.bbc.co.uk/blogs/adamcurtis/entries/3662a707-0af9-3149-963f-47bea720b460

And, as with Nineteen Eighty-Four, Julia is a first-rate novel, expertly plotted, with fantastic, nail-biting suspense and many smart turns and clever phrases. Newman is doing Orwell, and, at times, outdoing him. In her hands, Orwell – like Winston – is revealed as a kind of overly credulous romantic who can't believe that anyone as obviously stupid and deranged as the state's representatives could be kicking his ass so very thoroughly.

This was, in many ways, the defining trauma and problem of Orwell's life, from his origin story, in which he is shot through the throat by a fascist: sniper during the Spanish Civil War:

https://www.rjgeib.com/thoughts/soldiers/george-orwell-shot.html

To his final days, when he developed a foolish crush on a British state spy and tried to impress her by turning his erstwhile comrades in to her:

https://en.wikipedia.org/wiki/Orwell%27s_list

Newman's feminist retelling of Orwell is as much about puncturing the myth of male competence as it is about revealing the inner life, agency, and personhood of swooning love-interests. As someone who loves Orwell – but not unconditionally – I was moved, impressed, and delighted by Julia.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

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/2024/09/28/novel-writing-machines/#fanfic

[yazthebookish]

Maybe I'll spoil you guys and talk about Gwynriel and ACOTAR5 and anything related to it overall. I recently finished my HOFAS reread and have some fresh thoughts. I'll let my thoughts guide me and some of these points I've already addressed in my insta stories yesterday. I just rather share a lengthy post here since I'll only tag under #gwynriel.

I often see arguments about how Gwyn and Azriel can't move the plot forward because the series is centered on the Archeron sisters.

First, that's not true because Sarah is following what she called "a traditional romance route". She's following the same patterns of Nalini Singh, Kresley Cole, and Lisa Kleypas where they publish multiple books in the same series following different couples.

This is fitting for a series like ACOTAR because it's romance-centered. And Sarah have already said that each couple is getting one book and there will likely be more books beyond ACOTAR6.

Saying that doesn't dismiss the importance of the sisters to the story, Feyre already has a trilogy centered on her. The spin-off just follows different characters including the sisters.

I won't try hard to convince people on this because I've already posted almost everything Sarah said about the spin-off series and what's it's about. So if the next book is not centered on an Archeron sister, that's for Sarah to bamboozle the fandom with.

One thing that stuck out to me is when I compared the ending of ACOSF with the scene of Bryce giving Nesta Gwydion and seeming like she left Nesta with a new quest.

First, this is what the text says, and this is Chapter 80, the very last chapter in ACOSF:

Succeeding in the Blood Rite didn't mean the training stopped. No, after she and her friends told Cassian and Azriel most of the details of their ordeal, the two commanders had compiled a long list of mistakes that the three of them had made that needed to be corrected, and the others wanted to learn from them, too. So they would keep training, until they were all well and truly Valkyries. Gwyn, despite the Rite, had returned to living in the library.

1. The Valkyries are not yet a unit.

2. SJM only and specifically highlighted that Gwyn, despite the Rite, returned to living in the library. It was like "hey, remember all the talk Gwyn did about wanting to leave the library after two years? Yeah that's on hold a bit but keep that in mind". She didnt even add Emerie or the other priestesses to that sentence.

With Nesta being left with Gwydion to find out why the 8-pointed star was tattooed on her, I don't think the next book will start with "hey Elain take this sword and deal with it". Who are Nesta's main companions now? Gwyn and Emerie.

I'll be back to the Valkyries but let's just talk about Azriel for a bit.

It is so painfully obvious to me that Azriel is being handed the Illyrian plot on a golden platter. How big or small of a plot it is depends on SJM, but it's important based on the fact that she fleshed out the Illyrian's origins and tied them to the crossover AND making Truth-teller the knife of Enalius.

That is a big deal for an Illyrian like Azriel.

And I quote my friend Lacie on this, it is very poetic for Azriel to be the owner of the knife that originally belonged to the person who freed his own people from the Daglan's clutches, perhaps because he saw his people are more than just slaves to the Daglan—how powerful would it be for Azriel, who loathes his own people, to parallel Enalius.

And for years some people were against Azriel dealing with this plot because he shouldn't make peace with his "abusers", its true his own family and some Illyrians failed him but he is condemning an entire population. Good people like Emerie and Balthazar. Even Rhys's mother, who had valid reasons to hate her people especially as a female, still made sure to make Rhysand connect with his Illyrian heritage and he even goes on to say that his mother didn't forget what they did to her but still loved her people.

If both Cassian and Rhysand (and by extension the author) continue to flag Azriel's hatred of the Illyrians as an issue—then it is a damn big issue for it to be addressed repeatedly.

Okay so to address my final point about Gwyn and Azriel and how they can move the plot forward.

Now I didn't detail out much about what the next book will deal with because that's another post (and I already have a post on that).

All of our theories and predictions are based on information that is available to us. Saying Azriel and Gwyn cannot move the plot forward does not make any sense because the central plot is tied to multiple characters, Archeron or not.

If SJM wants to make a character move the next book's plot forward, she can do it because she's in control of the story. She's in control of the narrative. She's in control of the characters.

The characters are puppets and this is an unfinished story. If some characters would add more value and make for a more interesting story before the others, she can decide on that. If she wants to make Eris the protagonist of the next book, she can easily do that whether the fandom wants it or not.

Let me give you an example of minor characters that pushed the plot forward and became main characters: Yrene Towers and the Hind. These kind of arguments could've been used for them in HOEAB or HOSAB and Pre-TOD. Before HOSAB/HOFAS and TOD, could we have predicted that they would have played a crucial role before those books? Not likely because they had minimal appearances and were not part of the main cast. This is what I'm talking about.

You can't know how a character will contribute to a story until you see how it all unfolds. We can make guesses on the information we have which is why I believe three characters are likely to join the main cast: Gwyn, Emerie, and Eris.

Why is it so easy to accept that Emerie might be sharing a book with an original character like Mor but it's hard to comprehend the fact that Gwyn could also share a book with Azriel? Because Emerie showed up in ACOFAS? To me that's not really a strong argument based on Sarah's writing and what we have in the books, she doesn't really pick based on who showed up the earliest. Here's a good example: Hypaxia, who showed up earlier, didn't even get her own chapters but the Hind did.

And there's one argument I recall about how I need to rely on Nesta to have a plot focused on Gwyn or the Valkyries in the next book. Nesta's arc is clearly not over based on HOFAS, but does that mean she's getting a POV? Not necessarily. I don't think she is. Gwyn is the perfect candidate for us to see what's going on with Nesta post-HOFAS and how they all deal with the Valkyries and whatever Sarah will set up with them.

There is this whole Valkyrie/Illyrian conflict that could be triggered as a result of the Blood Rite, with Ramiel definitely being an important location to explore in the next book, we also have the Pegasi and the Prison and the implications of the crossover. It makes sense to have an Illyrian and a Valkyrie POV to deal with some plots in the next book.

"Gwyn contributes to nothing" we can't know until the book is out. How sure are we that maybe SJM won't connect her to the crossover by making her mysterious father a Worldwalker? Or Prince of Hel? Or an Asteri? Maybe I'm right maybe I'm wrong.

"But Koschei! And the Human Queens!" Koschei will always be a background player pulling on the strings until the final book as it's obvious he is the big bad in the series, unless someone even worse is revealed. But no one is dismissing Koschei or the Human Queens messing around.

Literally what's the point of the story or the fun elements of surprises or plot twists if you need Sarah to list down everything that the next books will deal with. That's not how a story develops to me. I don't need to know everything in advance to just know how it will go. That's like knowing spoilers early on and checking off with each book what happened and what didn't happen. I feel like it's close to how a lot of readers were disappointed with not having enough ACOTAR in HOFAS, because Sarah implied half of the book would be set in Prythian. So by the time the book came out and it wasn't that, people were vocal about it.

In my opinion, SJM set a good foundation for Gwyn's arc to build up on in ACOSF and her arc is not over. We won't get mentions of her still carrying the guilt of her sister's death or not leaving the library after she said she's sick of being there for two years without us seeing resolution for that. She wouldn't be in Azriel's bonus chapter if she is not involved with him.

To conclude, my reread still affirms to me that the next book with an Azriel/Gwyn book. Azriel is clearly being set in the forefront.

[dalekowrites]

Hi lovelies! ♥

I'm an author of traditional and interactive fiction, and I'm currently working on two projects in ChoiceScript. One is a science-based apocalyptic horror, while the other is a romantic drama set in Naples, Italy. This blog will mostly be about my works in progress!

I have, however, already published a short introspective drama in ChoiceScript, which can be found here.

I will soon set up a page for each of them on here, but in the meantime, here is a brief introduction:

After Dark

While the heavy industry is more active than ever, the effects of global warming are evident, with higher temperatures, dying bees, and animals acting weird. After Dark is a scientifically accurate apocalyptic horror. You’re tired of zombies rising from the ground for no reason? You don’t believe in ghosts? Glittering vampires aren’t for you? Then you have to try one of the three different stories that unfold in After Dark. When a global pandemic starts to transform people into dangerous monsters, which path will you choose? Will you fight for humanity? Will you stay for your family? Or will you run away in search of a better future?

The In-Between

You’re an introverted college student, studying modern languages at a famous university based in Naples. You live a seemingly ordinary life with your parent and younger sibling, as no one knows the truth about your past side business—a dark, illegal one. You thought you had finally escaped that world, but when your younger sibling falls seriously ill, your only hope is your wealthy ex-lover: an attractive mobster, charming and dangerous in equal parts...

Tell me, which one appeals to you most? 😁

[drdemonprince]

i was on NPR talking about Autism shit two weeks ago, and i have the book sales figures from that week and that national media appearance had.... absolutely zero relationship to sales. on the typical week these days, 1,400 to 1,500 copies of Unmasking Autism will sell. The week that I was on NPR there was a slight dip; only about 1,300 books were sold.

i have done a lot of press for my books. For Laziness Does Not Exist I did easily a 100 damn podcasts and radio shows and newspapers and excerpts in magazines. none of it corresponded to a noticeable bump in sales. the biggest "get" my publicist found for my latest book was the Glennon Doyle show, a booking she and her team celebrated and then spent months clamboring excitedly for... it, too, had no obvious relationship to sales.

Unmasking Autism became a bestseller because some other guy made a tiktok about it, and then a bunch of tiktokkers made videos about it too. all on their own. without any prodding from me, or any relationship to me. it was completely organic, passionate, and sincere, and rooted in the book's true merits and usefulness to other people, and that's why it inspired lots of sales. and continues to more than a year and a half later. all the press I did for Unmasking Autism prior to the release of that tiktok did relatively far less. NPR, Goop, the LA Times, Lit Hub, Jacobin, Huffpo, the New York Times, the Financial Times, MSNBC, Business Insider. Didn't matter. at least not much. so why do i bother?

publishers really ride your ass trying to make you give lots of interviews and show up for lots of events but it's all based on the worship of traditional media and magical thinking that it will somehow convert listeners into buyers. and that's just not how it works. the truth is 95% of books never sell more than 5,000 copies, and most people don't buy books or read them. i love reading but i dont think this is itself some terrible loss, as most books are padded-out commodities made for sale more than a work of true artistic passion or scholarly merit, and sometimes listening to a 90 minute interview with an author tells you the bulk of what you need to know.

it's freeing to know that the effort i put into getting my books out into the world have almost zero relationship to the books' success. marketing just does not work. it's a relief. unmasking autism did fabulously because it's actually both good and useful. laziness has had a long life span because it speaks to real problems in people's lives and gives them a message they are desperate to hear. but no amount of thirsty ass online shilling will make somebody realize that and it's maddening to try. you just gotta focus on doing good work, work that you enjoy making or need to make and that you feel good about, let things flop if theyre gonna flop, and keep on living your life.

which is all good news because i really do hate a lot of these fucking interviews. how can i stomach being on npr or in the atlantic or whatever these days given how complicit nearly all major media outlets are in justifying this genocide. like who fuckin cares about them, who wants their approval. who needs it. it's of no value

[sarahreesbrennan]

Quick Evil Note

To all my wicked darlings, I have now received rather a lot of messages asking me about the influences of Long Live Evil. And I wish to get messages about LLE and truly appreciate the ones I do get! And I wish to answer them. But answers about influences are tricky.

The book has been out in the US for a little over two weeks, and it’s going so well so far, I couldn’t be more delighted and appreciative about its reception.

But also I’ve been informed (not asked) that two of my characters are obviously somehow both Harry Potter and Draco Malfoy of Harry Potter, and Wei Wuxian and Lan Wangji of Grandmaster of Demonic Cultivation. (Very puzzling as I don’t think these pairings - and one isn’t a pair - have much in common with each other or with mine. Vague hostility against a vaguely academic backdrop for a bit? For the record… in the book everyone is an adult and I don’t even have any academic backdrops to be vaguely hostile in front of…) This hasn’t happened to me in a long time, because I haven’t had an original novel out in a long time due to illness, and it is upsetting to always be discussed differently than writers who didn’t openly link their real names to their fan identity.

I have very different feelings and new appreciation for fandom than I once had. It’s been amazing to see and meet people who have stuck with me for decades. People are generally way more open and affectionate to and within fandom than they once were. Love matters to me a good deal more than hate. But getting death threats in your early 20s for excitedly telling your Internet friends you were going to publish a book does mark the psyche, and so does having your characters dismissed as other people’s characters.

And we can say there is nothing wrong with fanfiction or writing fanfiction and there isn’t! Fanfiction is great and can be genius. Terry Pratchett wrote Jane Austen fanfiction, and didn’t (and shouldn’t) have people saying Captain Wentworth = Captain Vimes. Still, when a TV show is discussed as ‘like fanfiction’ or when Diana Gabaldon said she didn’t like fanfiction and many said ‘YOU write fanfiction’ it isn’t intended in any kind spirit, even when it’s fannish folk saying it. And it’s just generally odd to have everyone call your apple a tomato, and has had professional consequences for me in the past.

However! All the asks I’ve received have been very kind, and I do want to answer them. I do want to talk about my influences because they are manifold and because I actually think it’s important to always talk about influences. I don’t believe stories exist in isolation - we tell tales in a rich tradition, and also a story doesn’t come alive to me all the way until it’s heard or read.

Long Live Evil is a love letter to fandom: it’s chock full of references to many many stories I’ve loved, to fairytales, myths and legend and Internet memes and epic fantasy and meta. My acknowledgements are endless partly for this reason. I do owe a great debt to many portal fantasies and archetypes and musicals and jokes about genre and plays through the ages, though I do think of my characters as themselves and nobody else.

I was frankly tempted to go ‘Yes I stole EVERYTHING! Bwhahaha!’ But while I am thoroughly enjoying and finding great freedom in my villain era, I do want to talk sincerely to you all as well, especially when asked sincerely interested questions.

But I’m a little scared to do so and have people say ‘AHA! Now we know what it’s fanfiction of’ (it’s happened before) or ignore me and go ‘we know the truth!’ (it’s happened before) and to feel like I’ve injured my book. Long Live Evil means more to me than any other and I really want to get talking about it right, and make sure it has the best reception I can give it.

So. Questions on all Evil topics very very welcome but answers to influence questions may come slowly. Bear with me. I am working on this!

[ranjith11]

Truth about Traditional Publishing | SummitPressPublishers

Traditional publishing refers to the conventional model of publishing books, where authors submit their manuscripts to established publishing houses for consideration and potential publication. In this process, the publishing house takes care of various aspects, including editing, cover design, printing, distribution, and marketing of the book.

[drnikolatesla]

The Anniversary of Nikola Tesla's Death

January 7th marks the anniversary of Nikola Tesla's death, who passed away on this date 81 years ago in 1943. He died in poverty, but his achievements, along with his hope and dreams for the future, place him among the greatest scientific icons in human history.

January 7th in the Orthodox Christian Christmas calendar also marks the date when the birth of Jesus Christ is celebrated. It aligns with the Julian calendar, and for Orthodox Christians, this date is significant as the day to commemorate the nativity of Jesus, similar to December 25th in the Gregorian calendar used by Western Christianity. The choice of the date is rooted in historical and calendar differences between the Eastern and Western Christian traditions.

Coincidentally, this date also marks Nikola Tesla's last diary entry in his "Colorado Springs Notes." Apart from the usual description of photographs, Tesla writes about experiments he intends to carry out on his return from Colorado Springs. He qualifies the experiments to date as satisfactory, considering that his aim in Colorado was "to perfect the apparatus and make general observations." The apparatus, which he was then envisaging for future experiments, was to be an improved oscillator which would enable better results than any he had so far obtained. This improved oscillator would become his Magnifying Transmitter. It was meant to transmit signals via telephony, and most importantly power to any part on the globe, regardless of distance, providing the world with cheap and clean energy.

On January 7th, 1905, Nikola tesla would also publish an article titled, “The Transmission of Electrical Energy Without Wires As a Means for Furthering Peace.“ The article discusses Tesla's idea of transmitting electrical energy wirelessly as a means to advance global peace. Tesla believed that this technology could enhance accessibility to resources, fostering cooperation and harmony among nations. His vision was centered on using scientific advancements for the betterment of humanity and international relations.

Even though it has been 81 years since his death, the legacy of Nikola Tesla continues to live on in his achievements which are almost beyond calculation, and are a major integral part of the entire world as we know it. Today, we honor this great genius. We celebrate his extraordinary life, his triumph which is our triumph, a victory to everyone on earth. We celebrate his many contributions to our livelihood, and his visions of the future that we have yet to realize.

“Let the future tell the truth and evaluate each one according to his work and accomplishments. The present is theirs; the future, for which I really worked, is mine.”

–Nikola Tesla

[monicascot]

Truth about Traditional Publishing | SummitPressPublishers

Traditional publishing refers to the conventional model of publishing books, where authors submit their manuscripts to established publishing houses for consideration and potential publication. In this process, the publishing house takes care of various aspects, including editing, cover design, printing, distribution, and marketing of the book.

[pankekesito]

Rust Cohle's tattoos - A mini-essay on their possible meaning

Hi, this is probably my longest post, I may have to split it into two parts due to the length but I will try to see that everything can be compacted into one post.

DISCLAIMER!

This mini essay is done purely as a hobby by a die-hard True Detective fan, none of this is actually 100% confirmed (other than the interview part of ‘The Last Magazine’). While this is as logical and accurate a research as possible, it's just a hypothesis of what Rust Cohle's tattoos seen in the series could mean; if you don't think it's reasonable, that's fine. All opinions are valid as long as they are made on the basis of respect!

Without more to say, I hope you find this Mini Essay interesting and fun, I made it with all my love for you (and obviously because of my love for Rust); I would like to know your opinions about it, even if they are not the same as me! (I will leave a section in my profile to give you the sources used in the research in case you want to know more about the arguments to support my opinion).

An apology if something is not fully understood, English is not my first language ⸜❤︎⸝

And remember, ⥁‘Time is a flat circle’⥀

Rust Cohle has two tattoos which are a bird of unknown species on his right forearm and an unidentified symbol on his chest; right where the heart is located.

Focusing on the forearm tattoo, thanks to a short interview in “The Last Magazine” published on May 10, 2016; Josh Lord who is a renowned tattoo artist who has worked to perform various tattoos in the entertainment world along with Joji Fukunaga who directed the first season of the series mentioned that they wanted the tattoos presented in this one to have the same detailed realism that is reflected in the audiovisual product. For the case of Rust Cohle initially in Pizzolatto's original script his tattoo would consist of a pair of flaming dice. Personally I'm glad to know that this didn't happen because while they tried to give him that wild and dangerous meaning, Rust doesn't believe in the randomness of fate and every action he takes he does it consciously, carrying in him the responsibility for his actions and not granting it to fate. Josh and Fukunaga had something clear and that is that the tattoos would go from being a decorative element to a characterization, a symbolic element of the souls and the truth of the guts of the characters.

For this very reason they chose to draw on Cohle's undercover past as a member of a criminal motorcycle gang, whose emblem was originally intended to be a raven. Subsequent revisions turned the gang into the “Iron Crusaders” where very aptly the tattoos of its members refer to anvils, bones, engine parts, demons, weapons, etc. Something important to note is that the vision of the Iron Crusaders is dark, mysterious, funereal and gloomy (as all its operation within the series), the initial idea where the raven would be its emblem makes sense because in general the raven is associated with death because they are scavengers, predators and for some civilizations they embody death and the underworld.

But while the terrain where the Iron Crusaders unfold has a close relationship with the first and best known negative view (symbolically speaking) of ravens, its positive meaning has more to do with Rust Cohle's behavior and reason. The raven can also be a powerful animal totem, a protector and spiritual guide, a shape-shifter, a messenger and the symbol of transformation. In its benevolent symbolism, it represents giving up on the human world in search of wisdom, as well as being a cunning and intelligent animal capable of adapting and embracing change. In the Scandinavian tradition, the raven is a sacred and wise figure that brings virtues of “reflection” and “memory” while in Native American tribes, ravens are revered for their intelligence and spiritual importance. They are considered messengers of the spiritual world, possessors of universal wisdom and protectors against evil forces. It is also said that in Norse mythology there were two ravens that always accompanied the god Odin, whose names were Hugin and Munin. Hugin represented the power of thought and Munin represented memory and intuition; every time the sun rose both were sent to earth in search of information and every night at sunset they returned to Odin's palace and whispered all the news and events of which they had learned on their visit to planet earth.

A fact that may not be so relevant (and most probably I am just adding it to be interesting) is that there is a constellation called Corvus having four points in its constellation that make it to be, which is related to the raven (it is all due to a Greek myth). I like to think that this has a lot to do with Rust's tattoo because of the position of his tattoo (more properly speaking the wings) with the resemblance to the graphic references usually used for the raven of the constellation Corvus and the close relationship it has with the universe and the cosmic. Also the four points of the constellation remind me of the four stages of Rust Cohle seen during the series (1995, Crash Comeback, 2002, 2012).

Now we can't overlook the fact that the Celts held ravens in high esteem, associating them with battles and the Celtic Goddess of war and destruction (Morrigan). Ravens were seen as protectors and warriors, embodying the qualities of intelligence and strategic thinking. The raven's ability to shape-shift, attributed to Morrigan, further emphasizes its transformative nature. All of the above meanings attributed to ravens provided by various cultures, whether with a positive or negative focus curiously fit perfectly well with the ideology of our armored detective Rust Cohle. Rust is surrounded by silent anxiety, tragedy, death, chaos and pain. He himself struggles even with internal battles, his demons from the past. Yet he has a strong mentality, he uses his reason to adapt to even the most unsafe territories even if it means changing shape (like Crash). The fact that he more than likely made the decision to get the tattoo during his infiltration as Crash when he was in the narcotics department is reasonable as he was like a predator within the gang, a shape-shifting scavenger trying to get answers as he shrewdly roamed the rubble of human evil. The raven was his way of remembering his purpose and no wonder, Rust is very skilled with manual tasks. His hands allow him to do his work properly; watching them constantly do the dirty work and hide or reveal the ashes when necessary makes him evoke his intention in this world and how ephemeral it is on the earthly plane. It is not for nothing that the raven is on his forearm, showing his bones as a sign that death will always be with him until his last breath.

To focus on his last tattoo (and the most intriguing in my opinion) we must go back to Celtic culture. As we have seen throughout the series, symbols and religions (beliefs of something beyond comprehension) are always present because they touch the most sensitive parts of human beings. Their constant search for belonging and the meaning of life. In Celtic culture runes are used as signs, talismans, symbols and runic alphabets. Basically runes are a writing system that was used in Scandinavia and parts of Northern Europe from the Iron Age to the Middle Ages. Although it is not known exactly who invented runes, it is believed that they emerged sometime around the 1st century AD. Specifically “Rune” means secret. Runes are magical instruments of power, carriers of secrets and wisdom. There are several types of runes with vast meanings however in my research I found four runes which I will use to support my hypothesis about the possible meaning of Cohle's chest tattoo. First we must be certain that the tattoo on the chest of Rust does NOT exist as such in the Futhark Runes, or in any other compilation of symbolism so we can say that this symbol is a composite symbol; referring to the fact that although it is based on the Celtic runes, it has NO direct relationship, nor systematically objective. We can notice it even more thanks to the inverted cross of the tattoo (soon we will return to this point).

Talking about the possible runes used for the composition of the tattoo we have:

•Rune Thurisaz ᚦ

Meaning: Door. Reflection. New options. Magical use: Regeneration. Concentration. Override negativity. Meditation. New beginnings. When you need luck and control of any circumstance. Protection and defense. Neutralize enemies or opposition.

•Rune Raidho ᚱ

Meaning: Wheel. Travel. Communication. Help in taking risks. Self-healing. Magical use: Changes. Protection. Transformation. Justice according to good. Safe and comfortable travel.

•Rune Wunjo ᚹ

Meaning: Joy. Comfort. Harmony. Security. Tranquility. Magical use: Triumph. Motivation. Recognition. Achievement of goal. Success in travel. Luck in love or work.

•Rune Berkana ᛒ

Meaning: Growth. Awakening. Rebirth. Development of creativity. Magical use: Healing. Wholeness. Clarity. Motherhood. Self-realization. Fertility. When seeing the runes presented we can relate them with Rust Cohle because they present several descriptive concepts that define him; but to my point of view, of those presented the rune more linked (and similar to his tattoo) is the rune Raidho.

Throughout the series we can see the entire journey Cohle goes through both through the Lange case that is presented to him, as well as his growth individually. His journey in general has been dangerous, putting him in a vulnerable state but never fully achieving it, having Rust in a cathartic state of progression where although the road was arduous, it always ends with him having a safe process of introspection. This path was just like a wheel where he repeated over and over again aspects of his life that he had already lived (Time is a flat circle) but thanks to communication these repetitive aspects had a significant change. The clearest example of this is his relationship with Marty Hart; in the series they had a partnership that while solid was undeniably chaotic. Marty did not want to listen to Rust and Cohle could not stop spouting his pessimistic ideology until the issue related to Maggie happened which made them separate. It wasn't until 2012 that Rust swallowed his depressing verbiage in order to talk to Marty and he, took his time to listen to Cohle and support him in his plan. Changing their relationship and the situation through communication. Precisely to this, both were able to give the due justice that the case deserved and finally Rust was able to be a little warmer with himself, finally accepting the past that haunted him and taking the first step to self-healing.

Of course, the Raidho rune and the symbol on Rust's chest are not the same because as I mentioned earlier, Cohle's tattoo is (probably) a composite symbol but the resemblance both physically of the rune and allegorically to the detective's ideology is something worth mentioning. Rustin Cohle's first step in understanding his pain and being able to allow himself to open up honestly and vulnerably with someone as he did with Marty was to be humble about his feelings. Humility was an important factor in this, as well as dealing humanely with his penance given by the past. These two issues are ideological characteristics given in the Christian symbol of the inverted cross of St. Peter. According to tradition, Peter asked to be crucified upside down because he did not consider himself worthy of dying in the same way as his master, Jesus of Nazareth. However, in other contexts the inverted cross is often used as a symbol of atheism, humanism and occultism. This is also notoriously seen in Rust's philosophy as we know that the belief in something greater than the human being which governs the commandments of humanity seems ridiculous to him. A simple stoic belief to alleviate the rottenness of reality. That is why perhaps that rune was transformed according to Rust's philosophy (which makes sense, Josh Lord does not do work without tying up loose ends; much less from the hand of Joji Fukunaga).

While we don't have an exact answer about the meaning of the tattoos of our endearing and cold-hearted detective, I like the idea of trying to unravel the hidden meanings among the symbols that physically characterize his personality, trying to investigate as logically and clearly as possible the probable exact representations of Rust's philosophy embodied in his skin. I believe that the series is so well designed that even the smallest details count and that's why I took the time to try to dig into the secrets of what Rust's tattoos want to tell us.

If you made it this far, thank you so much for taking the time to read this mini-essay! It was really fun to do, I think that while I'm not sure what his tattoos really mean; I was able to better understand Rust in different and meaningful ways. I hope someday we can know for sure what they mean (although part of me doesn't want to, because that would take the fun out of it). I'd really appreciate it if you could leave a like if you found it informative or entertaining, comment on what you thought, if you have any other theories of its possible meaning or reblog this mini-essay so more people interested in True Detective could see it! A kiss to whoever reads this and I hope the Yellow King never finds you! 💛

[fixyourwritinghabits]

So I want to write a novel, and I outline my story and write out everything that happens in the outline and I get to the end and it's... Between 20,000 and 40,000 words, usually. Like I can tell a complete story but I have a hard time getting it to the length of a publishable novel, and it keeps happening with different stories I write. Do you have any advice for making a story longer without making it feel like I'm just adding stuff to make it longer?

While I think you have a workable length for a first draft, I can see where your problems lay. Let's tackle what your intended goal is first.

Industry standard (set by traditional publishing) for novels is the following:

Adult novels - 80,000 to 100,000 word count. Many will fall between that range. Sci-Fi and Fantasy novels tend to run higher, but you'll notice Romance, Mystery, and Crime tend to run tighter, closer to 80k. Literary novels (Contemporary and Historical Fiction) can swing up and down that word length. Door-stopper books of 200k can be found, of course, but that's the opposite of what we're dealing with.

YA Novels - Contemporary tends to stick to a tight 80k, but publishing tends to seek longer fantasy novels, sticking to the adult standard of 10k.

Middle Grade (8-11ish year old readers) - 30,000 to 60,000. Most publishers want something in the middle, as MG readers are constantly stretching their reading capabilities.

These are generalizations that are subject to change, of course, but they're good guides to follow when editing. Let's say you want to aim for an adult novel, which means you want to at least double your 40k length. While looking over your work, consider the following:

Does your main character have enough problems?

If your story can be resolved within the 40k mark, you may need to add more complications to their journey. Does their external problem (the outside issues they're dealing with, like losing a job or battling a sentient typhoon) adequately line up with resolving their internal problem (dealing with unresolved guilt, confronting a fatal flaw about themselves, apologizing to that sentient typhoon for leaving them at the altar, etc).

Save The Cat also talks about the Shard of Glass or Unresolved Wound, a deeply internal problem the protagonist has to confront about themselves in order to solve the main problem of the novel. Deepening your character's issues can buff up the need for more words to resolve them. (Not every story has the character 'fix' this issue - many novels are about characters failing to do just that, that unresolved flaw finally dooming them in the end.)

Subplots, Sidequests, and McGuffins

Subplots are their to enrich your novel with elements that contribute to the overall journey. Besides the main problem your protagonist is facing, what else is going on in their life? Do they need to confess a crush to a friend? Is their struggle to control their magical powers tied to a traumatic childhood? Does learning the truth about their family history force them to reflect on their own behavior? A subplot should weave back into strengthening the main story while adding more elements to make it more interesting. It's not as hard as it sounds - the more you think about your character's internal problem, the more you realize they'll need to confess their feelings, confront their mother, or more to resolve that final issue.

By sidequests, I'm leaning into the fantasy element of storytelling, but you'll find this pops up in a lot of stories. A chance encounter in a mystery can provide an essential clue, or stopping to aid someone could lead to a character-revealing moment. Remember, this isn't filler - you're expanding the overall plot by leaning into your world-building to establish essential knowledge about your world, introducing minor characters that can act as aids or obstacles to a problem, or starting an action scene that changes the trajectory of the novel.

A MacGiffin is an object, device, or event necessary to the plot and the motivation of the characters, but typically unimportant or irrelevant in itself. Usually, the MacGuffin is revealed early on, and becomes less important once the storyline is set in motion. You'll see a lot of despairing comments about them, because they often can be used poorly. But MacGiffins are often essential parts of storytelling, a quest that leads your characters astray from what they should actually be doing (and in turn learning about themselves and the problem they need to face instead).

Your character spends half the novel trying to find the missing crown, only to discover it's been fake the whole time. That whole first half of the novel was a waste of time... or was it? By having your characters fixate on the wrong solution, you're exploring what Save the Cat calls "Doing Things The Wrong Way" where the real answer is in digging deep down, confronting that internal problem, and setting down the right path at last. This is where the mid-novel twist of the king being the villain all along, the dragon they're meant to slay for killing the villagers turns out to be a card-carrying vegan. The easy answer isn't the solution, and it's taking the hard path that gets things done.

For Example...

In Jedediah Berry's genre-bending mystery novel The Manual of Detection, the main character is pulled into finding the missing detective he used to write the case files for. As with any good mystery, there's a lot of good side quests - going to a bar only to run into villains that need confronting later, a one-sided rivalry with another detective ends up solving a problem later, etc. A subplot starting the novel where the protagonist goes out of his way to encounter someone at a coffee shop turns out to be an essential character connection later, and the MacGiffin - the Manual of Detection itself - turns out to be more important because of what it lacks.

In Jeff Smith's graphic novel series Bone, in the beginning, the main characters remain blissfully unaware of the true danger hunting them or the secrets of those around them. But the villains too are unknowingly pursuing a MacGuffin, leading to a series of events that will bring about a massive clash - and a confrontation of truths that will lead to the final solution.

And Finally, Maybe It's Not a Novel

I do want to say this might all not be what you need, because your true calling could be to write novellas - a length that varies between 20k to 40k. A shorter story is just as good as a lengthier one. There's a steady market for novellas of multiple genres, so it could be a good thing to look into if this feels like where your writing should be.