#my most popular post on this webbed site

[smackdownhotel]

OK but if that ain’t a Mood I don’t know what is.

(Happy 8/1, everybody!)

[ekingston]

SO HERE IS THE WHOLE STORY (SO FAR).

I am on my knees begging you to reblog this post and to stop reblogging the original ones I sent out yesterday. This is the complete account with all the most recent info; the other one is just sending people down senselessly panicked avenues that no longer lead anywhere.

IN SHORT

Cliff Weitzman, CEO of Speechify and (aspiring?) voice actor, used AI to scrape thousands of popular, finished works off AO3 to list them on his own for-profit website and in his attached app. He did this without getting any kind of permission from the authors of said work or informing AO3. Obviously.

When fandom at large was made aware of his theft and started pushing back, Weitzman issued a non-apology on the original social media posts—using 

his dyslexia; 

his intent to implement a tip-system for the plagiarized authors; and 

a sudden willingness to take down the work of every author who saw my original social media posts and emailed him individually with a ‘valid’ claim,

as reasons we should allow him to continue monetizing fanwork for his own financial gain.

When we less-than-kindly refused, he took down his ‘apologies’ as well as his website (allegedly—it’s possible that our complaints to his web host, the deluge of emails he received or the unanticipated traffic brought it down, since there wasn’t any sort of official statement made about it), and when it came back up several hours later, all of the work formerly listed in the fan fiction category was no longer there. 

THE TAKEAWAYS

1. Cliff Weitzman (aka Ofek Weitzman) is a scumbag with no qualms about taking fanwork without permission, feeding it to AI and monetizing it for his own financial gain; 

2. Fandom can really get things done when it wants to, and 

3. Our fanworks appear to be hidden, but they’re NOT DELETED from Weitzman’s servers, and independently published, original works are still listed without the authors' permission. We need to hold this man responsible for his theft, keep an eye on both his current and future endeavors, and take action immediately when he crosses the line again. 

THE TIMELINE, THE DETAILS, THE SCREENSHOTS (behind the cut)

Sunday night, December 22nd 2024, I noticed an influx in visitors to my fic You & Me & Holiday Wine. When I searched the title online, hoping to find out where they came from, a new listing popped up (third one down, no less):

This listing is still up today, by the way, though now when you follow the link to word-stream, it just brings you to the main site. (Also, to be clear, this was not the cause for the influx of traffic to my fic; word-stream did not link back to the original work anywhere.)

I followed the link to word-stream, where to my horror Y&M&HW was listed in its entirety—though, beyond the first half of the first chapter, behind a paywall—along with a link promising to take me—through an app downloadable on the Apple Store—to an AI-narrated audiobook version. When I searched word-stream itself for my ao3 handle I found both of my multi-chapter fics were listed this way:

Because the tags on my fics (which included genres* and characters, but never the original IPs**) weren’t working, I put ‘Kara Danvers’ into the search bar and discovered that many more supercorp fics (Supergirl TV fandom, Kara Danvers/Lena Luthor pairing) were listed.

I went looking online for any mention of word-stream and AI plagiarism (the covers—as well as the ridiculously inflated number of reviews and ratings—made it immediately obvious that AI fuckery was involved), but found almost nothing: only one single Reddit post had been made, and it received (at that time) only a handful of upvotes and no advice. 

I decided to make a tumblr post to bring the supercorp fandom up to speed about the theft. I draw as well as write for fandom and I’ve only ever had to deal with art theft—which has a clear set of steps to take depending on where said art was reposted—and I was at a loss regarding where to start in this situation.

After my post went up I remembered Project Copy Knight, which is worth commending for the work they’ve done to get fic stolen from AO3 taken down from monetized AI 'audiobook’ YouTube accounts. I reached out to @echoekhi, asking if they’d heard of this site and whether they could advise me on how to get our works taken down.

While waiting for a reply I looked into Copy Knight’s methods and decided to contact OTW’s legal department:

And then I went to bed.

By morning, tumblr friends @makicarn and @fazedlight as well as a very helpful tumblr anon had seen my post and done some very productive sleuthing:

@echoekhi had also gotten back to me, advising me, as expected, to contact the OTW. So I decided to sit tight until I got a response from them.

That response came only an hour or so later: 

Which was 100% understandable, but still disappointing—I doubted a handful of individual takedown requests would accomplish much, and I wasn’t eager to share my given name and personal information with Cliff Weitzman himself, which is unavoidable if you want to file a DMCA.

I decided to take it to Reddit, hoping it would gain traction in the wider fanfic community, considering so many fandoms were affected. My Reddit posts (with the updates at the bottom as they were emerging) can be found here and here.

A helpful Reddit user posted a guide on how users could go about filing a DMCA against word-stream here (to wobbly-at-best results)

A different helpful Reddit user signed up to access insight into word-streams pricing. Comment is here.

Smells unbelievably scammy, right? In addition to those audacious prices—though in all fairness any amount of money would be audacious considering every work listed is accessible elsewhere for free—my dyscalculia is screaming silently at the sight of that completely unnecessary amount of intentionally obscured numbers.

Speaking of which! As soon as the post on r/AO3—and, as a result, my original tumblr post—began taking off properly, sometime around 1 pm, jumpscare! A notification that a tumblr account named @cliffweitzman had commented on my post, and I got a bit mad about the gist of his message :

Fortunately he caught plenty of flack in the comments from other users (truly you should check out the comment section, it is extremely gratifying and people are making tremendously good points), in response to which, of course, he first tried to both reiterate and renegotiate his point in a second, longer comment (which I didn’t screenshot in time so I’m sorry for the crappy notification email formatting):

which he then proceeded to also post to Reddit (this is another Reddit user’s screenshot, I didn’t see it at all, the notifications were moving too fast for me to follow by then)

... where he got a roughly equal amount of righteously furious replies. (Check downthread, they're still there, all the way at the bottom.)

After which Cliff went ahead & deleted his messages altogether. 

It’s not entirely clear whether his account was suspended by Reddit soon after or whether he deleted it himself, but considering his tumblr account is still intact, I assume it’s the former. He made a handful of sock puppet accounts to play around with for a while, both on Reddit and Tumblr, only one of which I have a screenshot of, but since they all say roughly the same thing, you’re not missing much:

And then word-stream started throwing a DNS error.

That lasted for a good number of hours, which was unfortunately right around the time that a lot of authors first heard about the situation and started asking me individually how to find out whether their work was stolen too. I do not have that information and I am unclear on the perimeters Weitzman set for his AI scraper, so this is all conjecture: it LOOKS like the fics that were lifted had three things in common:

They were completed works;

They had over several thousand kudos on AO3; and

They were written by authors who had actively posted or updated work over the past year.

If anyone knows more about these perimeters or has info that counters my observation, please let me know!

I finally thought to check/alert evil Twitter during this time, and found out that the news was doing the rounds there already. I made a quick thread summarizing everything that had happened just in case. You can find it here.

I went to Bluesky too, where fandom was doing all the heavy lifting for me already, so I just reskeeted, as you do, and carried on.

Sometime in the very early evening, word-stream went back up—but the fan fiction category was nowhere to be seen. Tentative joy and celebration!***

That’s when several users—the ones who had signed up for accounts to gain intel and had accessed their own fics that way—reported that their work could still be accessed through their history. Relevant Reddit post here.

Sooo—

We’re obviously not done. The fanwork that was stolen by Weitzman may be inaccessible through his website right now, but they aren’t actually gone. And the fact that Weitzman wasn’t willing to get rid of them altogether means he still has plans for them. 

This was my final edit on my Reddit post before turning off notifications, and it's pretty much where my head will be at for at least the foreseeable future:

Please feel free to add info in the comments, make your own posts, take whatever action you want to take to protect your work. I only beg you—seriously, I’m on my knees here—to not give up like I saw a handful of people express the urge to do. Keep sharing your creative work and remain vigilant and stay active to make sure we can continue to do so freely. Visit your favorite fics, and the ones you’ve kept in your ‘marked for later’ lists but never made time to read, and leave kudos, leave comments, support your fandom creatives, celebrate podficcers and support AO3. We created this place and it’s our responsibility to keep it alive and thriving for as long as we possibly can.

Also FUCK generative AI. It has NO place in fandom spaces.

THE 'SMALL' PRINT (some of it in all caps):

*Weitzman knew what he was doing and can NOT claim ignorance. One, it’s pretty basic kindergarten stuff that you don’t steal some other kid’s art project and present it as your own only to act surprised when they protest and then tell the victim that they should have told you sooner that they didn’t want their project stolen. And two, he was very careful never to list the IPs these fanworks were based on, so it’s clear he was at least familiar enough with the legalities to not get himself in hot water with corporate lawyers. Fucking over fans, though, he figured he could get away with that. 

**A note about the AI that Weitzman used to steal our work: it’s even greasier than it looks at first glance. It’s not just the method he used to lift works off AO3 and then regurgitate onto his own website and app. Looking beyond the untold horrors of his AI-generated cover ‘art’, in many cases these covers attempt to depict something from the fics in question that can’t be gleaned from their summaries alone. In addition, my fics (and I assume the others, as well) were listed with generated genres; tags that did not appear anywhere in or on my fic on AO3 and were sometimes scarily accurate and sometimes way off the mark. I remember You & Me & Holiday Wine had ‘found family’ (100% correct, but not tagged by me as such) and I believe The Shape of Soup was listed as, among others, ‘enemies to friends to lovers’ and ‘love triangle’ (both wildly inaccurate). Even worse, not all the fic listed (as authors on Reddit pointed out) came with their original summaries at all. Often the entire summary was AI-generated. All of these things make it very clear that it was an all-encompassing scrape—not only were our fics stolen, they were also fed word-for-word into the AI Weitzman used and then analyzed to suit Weitzman’s needs. This means our work was literally fed to this AI to basically do with whatever its other users want, including (one assumes) text generation. 

***Fan fiction appears to have been made (largely) inaccessible on word-stream at this time, but I’m hearing from several authors that their original, independently published work, which is listed at places like Kindle Unlimited, DOES still appear in word-stream’s search engine. This obviously hurts writers, especially independent ones, who depend on these works for income and, as a rule, don’t have a huge budget or a legal team with oceans of time to fight these battles for them. If you consider yourself an author in the broader sense, beyond merely existing online as a fandom author, beyond concerns that your own work is immediately at risk, DO NOT STOP MAKING NOISE ABOUT THIS.

Again, please, please PLEASE reblog this post instead of the one I sent originally. All the information is here, and it's driving me nuts to see the old ones are still passed around, sending people on wild goose chases.

Thank you all so much.

[letteredlettered]

feedback and fic in fandom (3 f's of our own)

This conversation about feedback on fic says everything I’ve been wanting to say better than I could say it. But I’ll go ahead and try anyway.

Over the last five years or so there have been some great discussions around the rise of commodification of fanworks and decline of fandom community. This commodification looks a bit like enshittification of the internet: a cool site exists; its popularity makes someone realize they can get money from it; it has more and more ads; the site adds features to drive engagement, including The Algorithm; the things that made the site cool start to fall away. The site exists now as a vehicle purely to get clicks, and the people on it are on it solely to get clicks—to make money, to be successful, for some kind of social cachet.

AO3 doesn’t have advertisements. It’s not making money. But what is happening to fandom is proof of concept that enshittification changes the way we as humans engage. A cool website in 2004 was often a community space where you could meet people, have conversations, find cool things, and make cool things. A cool website in 2024 is either a content farm that will continually feed you enough content to hold your attention, or a social media site where your participation will come with stats to show you whether you are holding the attention of others.

AO3 wasn’t built to be a community space. It doesn’t have great functions for meeting people and having conversations. The idea was that, because fandom community spaces already existed, AO3 would serve the part of that community where you can find the cool things and store the cool things you made. It was meant to be a library in a city, not the whole city itself.

But it was also never meant to be a website in 2024, a content farm constantly generating content solely for your clicks and eyeballs and ad revenue, or a social media site where the content creators themselves vie for your clicks and eyeballs.

The most common talking point when people discuss the enshittification of fandom is the folks out there who are treating AO3 as that first kind of enshittified website: the content farm. This discussion is about how people treat fanfic as a product for consumption.

The post that kicked off the discussion on @sitp-recs’s blog was about someone who wasn’t getting very many kudos or comments on their fic, and was feeling pretty demoralized about it, then joined a discord server and found an entire channel dedicated to people loving their fic. But those on that server had never come to share that love with the author, which the author found really discouraging.

There are more and more stories like this. Someone on tiktok pulls a quote from a fic on AO3 and makes a 10-second video with them staring at a wall, the quote pasted at the bottom, music playing over it. It has 100,000 hearts, and 100 comments with people gushing over the fic, which has 80 kudos on AO3. Overall, people notice more and more hits on their fics, but fewer and fewer comments or even kudos. Fewer and fewer people seem to feel the need to interact with the author, instead treating the fic like a product to be used and discarded—which the enshittified internet (a stunning feature of late-stage capitalism!) encourages. The fandom community is dying, these stories conclude.

I agree. 100%. Both of the stories above have happened to me—viral tiktoks about my fic, secret discord channels to follow and discuss my fic—and let me tell you, it fucking sucks.

But from these observations about fandom enshittification, the discussion continues in a very odd direction. The solution to the death of fandom community is our favorite enshittification buzzword: engagement. We should engage the authors. They’re producing these products for free. We consume them at no cost. We must demonstrate our gratitude by paying them back.

It’s as though the capitalist consumption that the enshittified web encourages is so ingrained within us that we must think in terms of payment, in terms of exchange, transaction. Or as though, by forgoing payment, authors are some kind of martyrs defying capitalism, and the only way to honor their great sacrifice is comments and kudos.

Indeed, the discourse around this sometimes does veer away from capitalist rhetoric into something that smells almost religious in desperation. Authors are gods who bestow us mere mortals with the fruits of their labor benevolently, through love; the least we can do is worship them. Meanwhile the authors adopt the groveling sentiment of starving artists: I produce great art; I only humbly ask that you feed me in return.

These kinds of entreaties make my skin crawl for a number of reasons. I’m not a god. I’m not writing because I love you. I don’t expect your worship or even your praise.

I think the thing that disturbs me the most about it is that it suggests that authors (or, if the OP is feeling generous fan work creators) are the most important people in fandom. I’ve even seen posts stating that without creators, fandom wouldn’t exist—as though readers aren’t just as important. As though conversations where people discuss characterizations and plot points and randomly spin out interpretations and ideas and thoughts related to canon are meaningless. I’ve even seen people scramble to include folks having these discussions as “creators,” as though realizing that these people are necessary and integral to fandom communities but unable to drop the idea that the producers are the ones who are important. As though that person who just lurks can never count.

Is this what community is? When you join the queer community, are you expected to produce a product of your queerness? If not, must you actively participate and give back to the queer community in order to be considered a part of it? Or is it enough that you are queer, that you exist as a queer person and want to be around others who are queer, you want to be a part of something? What is community, anyway?

The problem with people raising the authors above everyone else in the community and demanding that tribute be paid is that they are decrying the “content farm” style of 2024 website out of one side of their mouth, but out of the other side are instead demanding that AO3 become a 2024-style social media website. Authors are influencers. “Engagement” and clicks are the things that really matter. They are in fact suggesting that the way to solve the commodification of fanfic is by “paying authors back” with stats.

Before anyone comes at me with the idea that comments aren’t just “stats,” I will clarify what I mean. There are literally hundreds of posts on tumblr alone claiming that any comment “helps” the author. Someone replies that they are shy to comment. Someone else replies that incoherent keyboard smashes, a single emoji, or the comment “kudos” are all that is required to satisfy the author, all that is required as tribute—all that is required as payment to keep this economy healthy.

I’m not condemning the comments that are keyboard smashes or emojis or a single kind word. I receive them. They make me happy. If anyone wants to leave such a comment on my fics, I’m really grateful for it. But this is not community-building. This is a transaction. In @yiiiiiiiikes25’s excellent response in the post linked at the beginning, they point out that “you have a cool hat” is something that is “perfectly nice” to hear from someone—and it is! We all want to be told we have a cool hat! But as they go on to say, what builds community is interactions that are deep and specific, interactions that are rich in quality, not in quantity. A kudos or a comment that says only ❤️are lovely things to receive, but they don’t build community.

My reaction, when I see people begging for kudos and comments as the only means by which to keep fandom community alive, is very close to @eleadore's. I want to say, “No. Readers do not need to comment or kudos. Believe not these hucksters who claim to know the appropriate method of fandom participation. Participate as you feel able, or not at all; nothing is required of you.”

I’ve been told before (several times) that I’m not qualified to participate in such discussions because I am an established author who has some fics with very high stats. It doesn’t matter that I have also been a new writer with almost no one reading my fics. It doesn’t matter that I still write in new fandoms where no one in that fandom knows me. It doesn’t matter that I, like any human being, still care about receiving recognition and attention and praise.

And maybe that’s correct. I personally don’t think that billionaires have a place in deciding the direction of the economy, and--if we're really going to consider fandom an economy--in fandom terms, if I’m not a billionaire, or even a millionaire, I’m definitely in the infamous “one percent.” So, just as no one wants to hear Elon Musk say “money isn’t everything,” maybe it’s not my place to say “kudos isn’t required, actually.”

That said, I’m not the only one who has a problem with the stats-based discourse around fandom community. However, the main counter-response to this discussion I see goes something like this: you shouldn’t be writing fic for validation. If you’re writing for attention, you’re doing it for the wrong reason. Authors should write fic because they love it without any expectation of return.

This is, in my opinion, missing the point of what is meant by fandom community.

I wrote fanfic before I knew that fanfic, as a concept, existed. I read books; I wanted them to be different; I wrote little stories for myself with new endings, with self-inserts, with cross-overs, with alternate universes. I did it for myself in the 90s. It never occurred to me that anyone else would do this, much less that people would share.

As @faiell points out—creating and sharing are two different things. I created fics for myself, but I decided to share them in the early 2000s because other people might like them, too. And of course, I wanted to hear whether other people liked them. How could I not? I might decorate my home just for me and not for anyone else’s preferences, but when people come over and say my house is nice, how can I not enjoy that? And if a lot of people think my house is nice, which encourages me to post pictures of it online, isn’t it understandable I might do so with the hope that more people will say my house is nice? And, honestly, if no one is appreciating my pictures, I probably won’t continue to go through the trouble of taking them and posting them. I’ll just enjoy my house that I decorated without sharing, the end.

When I found out there were whole fannish communities where people discussed canon and tossed ideas around about it, made theories and prompts and insights into the characters, fics they had written and recs for other fics and analyses of fics and art based on fics and fics based on art—I wanted to be a part of that, too. Now, sometimes, I write fic not out of an internal need to do so but out of a desire to participate in that community.

The idea that we write fic only for the love of it, then post it only because we possess it, is a process entirely centered on the self. It’s fandom in a vacuum. The idea that we share this thing, that we feel pleasure if someone likes it but feel nothing at all if no one says anything about it, that it’s completely okay to be ignored and unseen—that’s not what a community is either. That’s some weird sort of self-aggrandizement through self-effacement—because yes, there is often a weird kind of virtue-signaling in this kind of discourse.

I say this as someone who has virtue-signaled in that way: “some people write for stats, but I write for myself.” It’s bullshit. Sure, I write for myself, but why post it on the internet? Honestly, said virtue has a whiff of the capitalist machine, which would like you to produce for the sake of production, work for the sake of work. The noblest among us expect no recompense for that which they give!

The reason that I’m bringing this back around to capitalism is that capitalism actively works to dismantle community. The reason that folks are out here pleading for “engagement” in order to “pay back” authors for the products they give us “for free” is because people no longer even have the language to discuss how to participate in meaningful community. And frankly, how to build back fandom community, in the face of enshittification, is getting harder and harder to see.

But I do think that if we value fanfic and the fanfic community, it’s really, really not constructive to judge whether someone’s reasons for writing fanfic are valid. It’s also weird to me that it would be considered wrong that someone’s reason for sharing fanfic is because they would like to receive some recognition for it, when in fact that seems to be the most natural reason in the world for sharing something so private and vulnerable with the world.

Let’s go back to that idea of how hurtful it is to find out your fanfic is trending on tiktok without anyone from tiktok saying anything to you about your fic, or how it can be painful to find out there’s a secret discord channel dedicated to your fic. The people who respond to that with, “Ah, but you shouldn’t be writing to get attention!” are missing the point. The fic did get attention. It got lots. Attention obviously wasn't why the writer was writing--they were writing to participate, and they didn't get to. At all.

However, if your conclusion is that the author was upset because these particular stats were not accruing under this author’s profile, thereby preventing them from achieving the vaunted status of BNF and influencer—I don’t know, maybe you’re right. But I don’t think that’s why I, personally, have been hurt by these things, and I doubt it’s what hurt the people in these posts either. They’re hurt because they want to participate, and they have been systematically excluded by the very people they thought were part of the community they thought they could participate in.

Sure, if those folks from tiktok and the discord server all came and showered the author with kudos and comments that said “kudos,” the author might have felt satisfied enough with the quantity of this recognition that they would continue writing. But in the end, this still does nothing to address the problem of fandom community, in which the deep, meaningful recognition, interactions, and relationships in fandom are getting harder and harder to have and to build, as a result of how people now expect to engage in online spaces.

So, how to address the problem of fandom community? You probably read this long, long post hoping that I had an answer, and for that I must apologize. I don’t have solutions. My intent was to be descriptive, rather than prescriptive. I wished to outline the problems that I’m seeing in what was hopefully a slightly new or at least thought-provoking way, rather than offer solutions.

But, now that I’m talking about being prescriptive, maybe I can offer one suggestion, which is—maybe the solution to this isn’t about prescribing behavior. I do understand the irony in writing a prescription saying we shouldn’t prescribe people, but I’m going to write it anyway:

Maybe we shouldn’t be telling anyone the appropriate reasons for writing fanfic or for sharing it. Maybe we shouldn’t be telling readers they need to kudos or need to comment. If we’re going to go pointing fingers, we should be pointing at the institutions of capitalism that have made the internet what it is today—but I don’t think that’s going to solve the problem either.

But I do think that describing this problem, understanding what it actually is, not blaming readers for it and not blaming authors for it—I do think that helps. The discussion I linked at the beginning of this post is what I think of as the fandom I miss, the fandom that's now harder and harder to access, the fandom that is dying. That fandom was a social space where people had opinions and disagreed and went back and forth and gazed at their navels and then talked about Buffy the Vampire Slayer.

In the words of @yiiiiiiiikes25, it was a fuckin’ discussion about hats. And we’re hungry for it.

[wheucto]

oh yeah baby

[baddywronglegs]

It's coming up Dragon Age time!

I streamed the first three games in the series blind and will be picking up that worldstate for this playthrough and, as I did for all of them, will be putting my player character's background up to polls. More info under the cut.

Also Tumblr just hit an error and posted this instead of saving changes when I edited the draft. Thanks Tumblr such good design webbed site

The difference is the first three, most of the people responding had already played themselves while I knew nothing - especially Origins because I knew nothing about Dragon Age at all when I started that. Now though, I probably know as much as anyone about what's in store (barring spoiler avoidance).

So for Origins, I polled gender, race, class and background - or would have had the poll not chosen mage, so there was only one background option - 2 just gender and class and Inquisition gender, race and class.

Race and class are up again, gender is more complex in The Veilguard but because of its complexity I don't know if it'll affect anything. But background is back in the form of factions!

I'm going to avoid having the same race/class/faction combination as any of the companions, so if the winning combination matches one of them I'm going to take the most popular second-choice to not duplicate anyone - for example, if I get a human Shadow Dragon mage, I don't want to step on Neve's toes, but if Elf is a close second for race I'll switch to that and keep the other two winning choices.

Before the polls begin, here's the world my Rook will be trying to save:

My Warden was a female Elven mage, who romanced Leliana, brokered peace between the Dalish and Werewolves, destroyed the Anvil of the Void and saved the mages in the circle tower; Alistair Performed a Ritual with Morrigan so both survived, Alistair went on to be king, after which the warden worked with and spared the Architect.

Hawke was a female mage too, romancing Isabella - Carver's a Templar, Feynriel's in Tevinter, companions all survived on as good terms as they could

Inquisition it's back to being an Elf, still female, but a rogue now. She recruited the mages, re-united Celene and Briala, left Stroud in the Fade, recruited the Wardens, drank from the Well of Sorrows, got Bull excommunicated, Cole despirited, Blackwall put through his joining; Cullen stayed off the lyrium, Dorian told his father where to shove it, Cassandra rebuilt the Seekers, and with hardened Divine Leliana as her witness she disbanded the Inquisition to redeem Solas.

And I romanced Harding. But she deserves better than someone whose response to plotting chaos with Iron Bull is "all right, get it out of your system" so I suspect they've drifted apart by now on account of Harding being someone to knock out an assassin with someone else's beer so she clearly has more in her system where that came from.

[qqueenofhades]

Hey! I just found your blog and followed yesterday. Came for the fact that you're the only other person in this webbed site actually say out loud that they liked Biden, stayed for the hope and determination and perspective. Anyway just wanted to introduce myself and I hope you're coping well!

Hello and welcome to you and the other sudden flood of followers that I got after yesterday's event. I'm glad to have you and hope you are all in on the project of Kicking Fascism In The Shriveled Testicles 2024, American Edition. It's a dirty job, but someone's gotta do it.

Biden was not my first choice (far from it) in the 2020 primary process, but when it became clear that he was going to win the nomination, I supported him early and often. Trust me, this was not a popular position, and it remains so, but so be it. By any reasonable metric, he is the most progressive president we have ever had, it is a crying shame that the media is so beholden to the Trump Teat of Drama that they gave him such a kid-gloved free pass and ratfucked Biden instead, and it makes me worry, a lot, for American democracy. I have always gotten a lot of "you support everything Biden has done so you're awful and going to hell!!!" messages, because this sure is a Webbed Site Where We Piss On the Poor, and like -- I don't. I had major disagreements with Biden, especially on foreign policy! But because I apparently did not performatively self-flagellate myself in every post about how awful he was but maybe I guess vote for him anyway, that got some people very mad! It's also true that there's literally nobody in the world anywhere, especially and including in Palestine, that would benefit from Trump becoming president again! Especially since Biden at the NATO summit recently and explicitly endorsed progress on the ceasefire framework he has been pushing for several months! So unfortunately, we live in a society where shitty choices are necessary, and that is part of being a grownup!

....anyway. Deep breaths. Rant for later. Glad you're here. I have been desperately trying to Not Politic for a bit, since doing so on social media in the year of our lord 2024 is a recipe for swift insanity, but the world keeps taking a large dump directly on those plans, and I guess someone's gotta do it. In more normal times (OH LORD WHEN), you can expect history (I am an academic by trade), random posts, various asks, and sometimes a great deal of fanfic for assorted blorbos, though the Horrors have done a number on that and I am also working on an original fantasy trilogy at the moment. (Still deciding whether I should bother trying to agent it or just publish it on Amazon/Lulu/etc.) I have turned off anon for the moment because otherwise my inbox would be a nightmare beyond comprehension, but I do generally enjoy talking about things and/or answering them as much as I can. I am old, queer, tired, fueled by coffee and spite, have been politically conscious since the first Bush Jr. term and have therefore seen all the Anti Voting nonsense before (quick thought: if it was going to deliver the perfect Leftist Messiah and/or stop a flawed candidate from becoming president, don't you think it would have done so by now?) So yes. Welcome again and I hope you will enjoy (if that is the right word for it) your stay.

[lastoneout]

Making this it's own post bcs I don't want to detract from the racism discussion on the last post I reblogged(and also this is rambly as hell, sorry) but like I always find the critique that "x genre of music is only about drinking, sex, and violence" wild bcs....almost ALL music in every genre is about that?? Like with rap/hip-hop it ofc this argument ties directly back to racism but even with other genres that get shit on like country people are like "they just sing about getting beers with the boys and driving their trucks" like???? Yeah, I could grab 50 songs from other genres that are about that and beloved regardless??? Getting beers with the boys is a fucking cherished meme on this webbed site!! Or that one Ed Sheeran song people roast all the time like "how dare he write a song about finding his girl's body attractive" bro, are you new here. 99.9% of popular music is "my partner is really hot and I want to have sex with them" and that's like the ONE song of his I know of that's just about fucking like he writes about other stuff, people just ignore those bcs it doesn't fit the narrative of him being a shallow misogynist everyone here loves to drag around and beat like a dead horse.

Why is this a bad thing when people you don't like do it, but fine when the people you do like do it, huh? Hozier is one of the most popular artists out there rn, this site worships the ground he walks on, and yeah his music has a lot of layers of poetic meaning but a lot of it is just about sex and falling in love and violence and drinking. The two are not mutually exclusive!!

Which is kinda the root of it, them not being mutually exclusive, bcs imo even if a genre was entirely saturated with songs exclusively about drinking and sex(which no genre is, you just haven't gone looking for the other stuff), I just don't think that's a problem or means the music is bad or less artistically meaningful?? I genuinely don't think there's a damn thing wrong with writing a song or twelve about finding someone attractive or talking about the violence a lot of people live with every day of their lives or even just churning out a fun party anthem for people to play while they get white girl wasted at a tailgate. Who cares if the art is shallow, why does it have to be "deep" to be worthy of respect, and why does deep and worthy of respect mean "no sex, violence, or drinking", three things that have been part of the human experience since we fucking became humans!

Honestly if you really are looking down on rap and country for being about sex and drinking and violence I want you to ask yourself why you think some artists should be denied the right to write about shit everyone else is writing about all the damn time to massive critical acclaim. Why should black people and rural poor people and women(bcs this is also a critique I heard a LOT aimed at female pop stars) be denied the right to explore the full spectrum of human experience and emotion in their art. Why do they HAVE to tell stories about something else to be taken seriously when their fellow artists can churn out entire albums full of songs about sex and violence and partying and not have anyone bat a fucking eye.

And, on top of that, please ask yourself why you think that something can't be deep while being about sex, drugs, partying, and violence. Bcs that is some fucking discount moral panic bullshit that needs to get knocked out of your head before it festers and you start insisting people who like horror are weird because violence can't be art.

[virtualtadpole]

Thailand's "cute boy" craze: an explainer

Here's another repost from Reddit, originally from 2022. Since Perfect 10 Liners is currently airing with the "cute boy" page as a key plot point, this seems as good a time as any to re-share (remember that the original novel was first released in 2018). Sorry this one is a wall of text, I wasn't sure it'd be a good idea to include example photos involving people who weren't really public figures at the time.

Those of you following Thai BL will probably have come across this concept of "cute boy" social media fan pages, and might have wondered whether they're an actual thing. Or you may have heard of actors being one of their university's cute boys before joining the industry, and wondered what exactly that meant. Here's my attempt at an explanation.

The roots of the phenomenon go back at least to the popular Thai web forums of the 2000s, especially the youth-oriented Dek-D.com, one of Thailand's biggest and oldest web communities (also known as the web fiction platform which launched many BL novels). Dek-D's forums had a picture-sharing section, with a subsection dedicated to photos of cute guys and girls. It was still the early days of digital cameras and camera phones, and these posts were popular among the site's teen users. A few (mostly girls) who became noticed from these posts became Thailand's first "net idols", many of whom went on to join the entertainment industry.

The arrival of social networking sites around 2007 (first Hi5, then Facebook a few years later) helped facilitate these posts, as publicly posted photos became more easily accessible. The issue of privacy wasn't really on most people's minds then, and most of it was done in a light-hearted spirit. Being featured in these posts meant a boost in followers and online popularity, enabling more teens to become recognized as net idols, but it would be a few more years before this really meant anything. On the other hand, the social networking sites themselves would eventually bypass the traditional forums as a central venue for such posts, and an increasing number of Facebook pages (followed by dedicated Instagram and Twitter accounts) would be created to offer a curated experience instead.

The actual trend of "cute boy" pages took off in 2012, around the same time as the explosive growth of Instagram. Teens flocking to the platform (escaping Facebook, which was now full of parents) filled their public profiles with selfies and portraits of themselves, generating a steady stream of material that these pages could pick up to post and promote. This in turn gave the kids likes and followers, a mutually beneficial arrangement for most thanks to the platform's like-seeking culture.

Of course, not all of these proliferating pages featured teen boys. "Cute girl" pages have their share of followers, though they don't seem to be as visible or talked about, perhaps due to a combination of factors including the way society doesn't consider it as creepy for girls to openly ogle after boys compared to the opposite.

As competition grew, these pages diversified into several niches, including those covering specific schools and universities. Most of the school ones aren't that unusual, given that it's quite natural for students to talk about the popular boys and girls at school, and this had been a trend in school forums long before then. Most of them didn't last long though, as page administrators soon graduated and moved on.

However, things were different for certain high-profile schools, particularly the country's four oldest boys' schools, which participate in the biennial Jaturamitr football competition: Suankularb (SK), Debsirin (DS), Assumption (AC) and Bangkok Christian (BCC). The schools had always been well known, but the Instagram era launched an unprecedented wave of interest in their good-looking students, many of whom attracted huge numbers of followers just by being on Instagram. AC especially stands out in this regard, as Instagram allowed outsiders to glimpse into this exclusive boys' world that served as the basis of Love Sick, the source novel of which was begun in 2008.

Not only were cute boy pages created dedicated to these schools (some by outsiders), some of the boys became minor celebrities in their own right, with fans (mostly sao Y (the Thai term for fujoshi), and also some queer folk) meeting up with and photographing them in real life, especially at school events such as AC's Christmas fair and the Jaturamitr competition. And they were serious about it, coming equipped with professional DLSR cameras and huge telephoto lenses. The schools' student bodies leaned into this popularity, having the popular boys promote fundraising events and selling merchandise to their fans.

The relationship between the boys and their fans seemed to be mostly good, the boys appreciating the positive attention and the fans getting to stan someone much more accessible than the mainstream celebrity. And if they later became famous, then there's the pride of having known them before everyone else. These being sao Y, there sometimes is a bit of shipping, though mostly jokingly. Of course, this was not limited to boys from AC and the other Jaturamitr schools, but they were much more prominent.

This was the backdrop against which Love Sick launched its casting calls in 2014, which generated a huge amount of online buzz throughout the cute boy pages and fan Twitter. There's a reason the series featured such a huge cast with so many minor roles - to provide ample opportunity for fans to latch onto the actors and the show.

In some ways, the cute boy label served as a distancing from the previous term net idol, which by 2014 had begun to develop into a negative stereotype of people using their online fame to sell beauty products for easy profit, especially those livestreaming on emerging platforms such as Socialcam and Bigo Live and whose followers tended to be less sophisticated as opposed to the urban middle-class. Which is why most people appearing on cute boy pages tended to come from higher socioeconomic backgrounds, and much more attention was given to those focusing on elite schools and universities.

At the university level, cute boy (or other similarly named) pages associated with the country's top universities became very prominent online and also offline, often collaborating with the universities' student bodies to promote events and sometimes also assisting in the universities' PR for prospective students. Many universities already had a pageant culture in one form or another, with which these pages tied in well. Most prominent among the pages were Chula Cute Boy and TU Sexy Boy of Chulalongkorn and Thammasat, the country's two oldest universities. The two universities have an annual traditional football match, which the Cute Boy and Sexy Boy pages played large parts promoting in recent years, and is another event that attracts many fangirls.

Some have argued that the net idol phenomenon serves as a democratization of the entertainment industry, opening up opportunities for aspirants to directly connect to audiences as opposed to the traditional model where everything depended on one being picked up by an agency. But it benefits the traditional model as well. While in the old days talent scouts would look for teens hanging out at Siam Square, today they only have to scan the cute boy pages. Many BL actors were discovered this way. Inn Sarin was a long-time favourite of Chula Cute Boy, and Up and Mix first became widely known from there as well. Many others have likewise previously been featured in various cute boy pages, and practically all of the younger actors who joined the industry more recently probably had strong followings before their debut.

But the craze might be coming to an end. While there have long been concerns over today's youth's obsession with looks, and the university cute boy pages have from the beginning been criticized for promoting shallow images of their universities at the expense of academic aspects, they didn't really have any effect on the trend. But this began to change in 2020, when a widespread youth protest movement swept through school and university campuses and liberal progressive ideas rose to the fore. The issue of "beauty privilege" became one of many perpetual topics of discussion, and many began calling for an end to university cute boy pages. Thammasat, long regarded as the university with the strongest student activism, saw the TU Sexy Boy page shutting down (though the admin cited personal reasons and it was never confirmed whether this was in response to the criticism). Many people seem to have stopped tweeting cute boy pictures since then.

On top of the political mood, the pandemic's disruption of normal school life also interrupted the cute boy momentum, as many photo opportunities dried up. Long-time page admins and fans outgrowing the topic and losing interest might also be a factor. The Chula Cute Boy page has also been inactive since late 2020, for undisclosed reasons.

The future seems at best unclear for now. There are still many active pages out there, but on the whole, from what I've seen, there does seem to be a loss of interest. If younger netizens are indeed disinclined to craze after them the same way, the era of cute boy pages might very well soon be over.

Or maybe they've just moved onto TikTok, and I haven't found out how.

----

In the above original post, I neglected to go into the phenomenon of real-people shipping, so I'm attaching this comment from later as an addendum:

Regarding real-people shipping, there are probably two lines of origin that influenced the practice. First is the rise of K-pop and the shipping culture that came with it, which led to a proliferation of online fanfiction in dedicated Thai web communities and a shipping culture forming around the reality singing competitions which were the talk-of-the-town entertainment programs in the 2000s. One of the first really famous shipped pairs was Nat and Tol from Academy Fantasia season 4 in 2007. (That is Nat Sakdatorn, whom you may recognize as the uncle from Never Let Me Go, among many other roles.)

The other origin is the rise of "net idols", which followed the arrival of social media sites (in Thailand this was led by Hi5 in 2006). I covered this in more detail in my post on Thailand's "cute boy" craze, but didn't really touch upon the shipping aspect. Indeed, a significant shipping culture did form (a few years later) around net idols/cute boys. At first this focused more on (people who were believed to be) real-life couples, like Both and Newyear, who became famous in 2012. From there, manufactured/imaginary couples naturally followed in hopes of cashing in on the popularity of such shipped pairs.

I'm a bit hazy on when the shipping of actors as couples actually became a regular thing in the BL industry. While the practice of fanservice moments on the promotion circuit go back at least to The Love of Siam, I don't think there was significant shipping of the actors' real-life persona, and the same seemed to be the case with Love Sick, especially after the series ended. The first actor pair to become shipped as such was probably Krist and Singto from SOTUS, and the practice quite definitely became a thing after that.

----

Postscript: Thanks for reading, and sorry the writing in this one isn't as good as the other posts I've shared. If you're interested in further reading on the topic, I can recommend the article The Yaoi Phenomenon in Thailand and Fan/Industry Interaction. (2019). Plaridel, 16(2), 63–89 by Assoc. Prof. Natthanai Prasannam, one of the leading Thai academics on BL/Y culture in Thailand.

[mostlysignssomeportents]

Pluralistic is four

I'm on tour with my new novel The Bezzle! Catch me TOMORROW in SALT LAKE CITY (Feb 21, Weller Book Works) and then SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA, Seattle, Portland, Phoenix and more!

Four years ago, I started pluralistic.net, my post-Boing Boing, solo blog project: an ad-free, tracker-free site that anyone can republish, commercially or noncommercially. It's been a wild four years, featuring over 1,150 editions, many consisting of multiple articles:

https://pluralistic.net/2020/02/19/pluralist-19-feb-2020/

As a project, Pluralistic has been a roaring success. I've published multiple, significant "breakout" articles that popularized obscure, important, highly technical ideas, most notably "adversarial interoperability":

http://pluralistic.net/tag/adversarial-interoperability

"End-to-end" as a remedy for multiple internet ripoffs, including as a superior alternative to link-taxes as a means of saving the news industry from Big Tech predation:

https://pluralistic.net/tag/e2e/

and, of course, "enshittification":

https://pluralistic.net/tag/enshittification/

These are emblematic of the sorts of ideas that I've spent the past 20+ years trying to popularize in tech-policy debates dominated by technologically illiterate policy ideas ("abolish Section 230!") and politically illiterate technical ideas (so many to choose from, but let's just say "cryptocurrency"). They require that the reader come along for a lot of cross-disciplinary analysis that often gets deep into the weeds. These are some of the hardest ideas to convey, but nuanced proposals and critiques that work on both political and technical axes are the best hope we have of successfully weathering the polycrisis.

Blogging has always been a part of this project. For nearly 20 years, I posted nearly every day on Boing Boing – 53,906 posts in all! – taking note of everything that seemed important. Keeping a "writer's notebook" in public imposes an unbeatable rigor, since you can't slack off and leave notes so brief and cryptic that they neither lodge in your subconscious nor form a record clear enough to refer to in future. By contrast, keeping public notes produces both a subconscious, supersaturated solution of fragmentary ideas that rattle around, periodically cohering into nucleii that crystallize into full-blown ideas for stories, novels, essays, speeches and nonfiction books. What's more, those ripened ideas are supported by a searchable database of everything I've thought about the subject, often annotated by readers and other writers who've commented on the posts. I call this "The Memex Method":

https://pluralistic.net/2021/05/09/the-memex-method/

Pluralistic marks a new phase in my deployment of the Memex Method. With 50K+ notes in a database, I've gradually turned Pluralistic into a forum for far more synthetic, longer-form work that pulls on threads from decades of research into nothing in particular and everything that seemed important.

Pluralistic is also an experiment in retaining control over my destiny – but not my work. Rather than hitching my ability to reach an audience through a platform that can be enshittified at the whim of a mercurial, infantile billionaire or their venal, callous shareholders, Pluralistic is published web-first, on a site I control, and then syndicated to every platform that matters to me. It's a process called POSSE (Post Own Site, Syndicate Everywhere):

https://pluralistic.net/2021/01/13/two-decades/#hfbd

I want to spread the ideas I fight for, so I post them everywhere, and license them Creative Commons Attribution-Only, encouraging others to repost them. Lots of small sites do this, but so do large ones. Notably, Wired picked up my first breakout piece on enshittification and republished it under the CC terms:

https://www.wired.com/story/tiktok-platforms-cory-doctorow/

This was a really interesting process. On the one hand, I didn't get paid for this feature, which did really well for Wired. On the other hand, nearly 30 years of writing for Wired makes me doubtful that I could have gotten this piece out in the form it emerged, without substantially toning down (or, if you prefer, neutering) the rhetoric that made that piece more persuasive. A commissioning editor from one of the largest newspapers in the world got in touch with me after it came out and said they wished they'd published it – but also that they knew they couldn't possibly have done so. By publishing the story first on my blog, proving its audience, and establishing its canonical form, I was able to get it amplified by a service with a much bigger platform than me, without having to compromise on the form.

That republication gave me the much-maligned "exposure" – but it also carried the message to places it wouldn't have reached on its own. I don't write – have never written – solely as an income source. As both an artist and an activist, connecting with audiences has always been co-equal in my mind with earning my living. That's why I don't do a lot of film-writing: it pays well, but most of it never sees the light of day. It's also why I stopped writing for ad agencies: it paid well, but it didn't matter to me or my audience. To mangle Dr Johnson: "No man but a blockhead ever wrote solely for money."

The open nature of this blog, with its many open syndication channels, creates multidirectional pathways for evaluating and refining my attempts at making my ideas understood and my art land. My posts often circle back to points I made earlier, incorporating useful feedback from readers and colleagues, sure, but also anticipating and rebutting those areas where critics have convinced others in various forums. Vanity searching is unjustly maligned: I learn a ton about how to make by work better by lurking in Reddit comments, Hacker News, Twitter, Slashdot, Metafilter and other forums. I also take a sneaky pleasure in knowing that the persistent trolls who reliably pop up to grind their weird axes about me (sometimes referencing blog posts I made decades ago) have taught me how to neutralize them in advance, and it's delightful to see them try their same old lines, only to have other commentators point out that my latest piece makes it absolutely undeniable how wrong they are. Living well is the best revenge, indeed.

Four years. I've been writing Pluralistic for four years. During that time, I've published eight books – and beyond any doubt, Pluralistic helped me get those books into readers' hands. But far more importantly, during that time, I've written nine books – and contracted for a tenth – as the Memex Method paid off again and again.

I don't know how long I'll do Pluralistic for, but I don't foresee stopping any time soon. What's more, no matter what happens to Pluralistic, I can't ever see giving up on the Memex Method, keeping notes in public and making them work for me.

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/2024/02/20/fore/#synthesis

[crownmemes]

Advice; Where to Make Rules and About Pages

If you've read my advice post about the difference between about and rules pages and why they're both important, you may not be wondering the best way to make them. The good news is, there are plenty of options!

Tumblr

The simplest choice. In the past, people would make custom pages on their theme. However, since dash view has become popular (and you can't view custom pages via it, nor can you view them on mobile), most people simply post their about/rules page as a normal text post, and link to it in their pinned post. If you have a custom theme, make sure to link the pages in the navigation bar too!

Using a plain Tumblr post increases your page's readability, but reduces the amount of formatting you can do. If you make your pages elsewhere, you will be able to customise them a lot more.

Carrd

A free website maker. You can make a small site with a free account, and the prices are pretty reasonable if you need to make a bigger site. Carrd has a minimalist aesthetic, and it will also adjust what you make to fit a mobile browser (though this may break your formatting if you have designed something complicated).

Carrd is easy to use, but it is best used for simple designs. If you want to do something more complicated than a basic Carrd layout, you're going to spend a lot of time trying to make the formatting work. If you want multiple pages for your site, you're also going to spend a lot of time formatting as you can't clone pages, therefore have to recreate each one every time instead.

It uses markdown for formatting text. If you're familiar with it, this can speed up writing, but it may slow you down if you've never used it before.

One of the benefits of Carrd is that there are lots of free templates available within the rpc! Here are resources I found with a quick Google search, but there are plenty more out there if you look for them: [x] [x] [x]

Weebly

Another free website maker. You can make more for free here than you can on Carrd. Weebly sites should adapt to work on a mobile browser.

I've never seen anybody use Weebly for about/rules pages, but I do recommend it! It's very easy to use, and, unlike Carrd, you can copy and paste entire pages. This makes it ideal if you have lots of muses that you want to make individual about pages for.

It uses a more typical text editor than Carrd. Instead of markdown, it's more like Microsoft Word - where you highlight text and click buttons to add formatting. You also have HTML/CSS options.

Weebly does offer some free templates, but you're likely to want to edit them to suit your needs more. This is okay! It isn't difficult to do!

Google Docs

A popular, completely free option. As with Carrd, there are plenty of templates and resources within the rpc (here are three examples: [x] [x] [x]). These pages will be viewable on a mobile browser, but the theme may not translate well. Keep readability in mind if you use this option.

If you use this option, also make sure the link you share is viewer only and doesn't have editor permissions!

Other Options (WordPress, Self-Hosting, etc)

Don't feel you have to follow the crowd. If you like to use WordPress, use WordPress. You could also use Neocities, or any other website builder!

Personally, I already own a web domain because I have websites for other online activities, so I use about pages that I've coded from scratch and host them myself. For my rules page, I just use a Tumblr text post that's linked in my pinned post. In the past, I've used Carrd and Tumblr pages for about pages.

If you want to write your site using HTML, some free website hosters will allow you to do this (Neocities, for example). If you're interested in coding, I do recommend this! It allows you to have full customisability, and coding can be a really useful skill. However, one downside of this is it can make your pages hard to read on a mobile browser. It's up to you to decide how important this is.

If you're interested in learning HTML (as well as CSS, JavaScript, and other coding languages), this site is a great resource!

[derinthescarletpescatarian]

hi derin! i’ve been following you for a little while, and also bemoaning the nature of publishing fiction (indie or trad) for a little bit longer than that, and i only just realized today that…of course web serials are a thing i can also do!

i really love the idea of publishing serially (though i’m not totally sure i CAN, i’d like to try), so while i add this to my list of potential paths, do you have any advice for getting started? building an audience? marketing? figuring out if writing/publishing this way will work for you to begin with?

i know that’s a lot of questions, and you don’t have to answer all of them! i’m throwing spaghetti at a wall out here. i hope you have a good day though, and thanks in advance!

Getting started in web serial writing

Web serial writing has the lowest barrier of entry of any major method of publishing your story. You can literally just start. There are two steps:

start writing your story

decide how/where you want to publish it

The writing part, I assume you have handled. The important thing to note here is that you gotta see the project through. Start and don't stop until you're done. For publishing, you have a few options:

1. Publish on a website designed for web serial novels

There are a few of these around, they're usually free to publish on (although most offer a paid account to give you ad space or boost you int he algorithm or whatever), and your best choice generally depends on which one happens to gravitate to a niche that best suits your kind of work. The big names in this industry are Royal Road and Scribblehub, which, last I checked up on them (about a year ago) tended towards isekai and light erotica respectively. (You absolutely can publish outside these niches on these sites, it's just much harder to get traction.) Publishing somewhere like this comes with multiple advantages. Firstly, there's a writing community right there to talk to; there's usually a forum or something where people gather to talk about reading or writing on the site. Second, the site itself is designed specifically to publish web serials, and will come with a good layout and hit trackers and 'where you left off' buttons for the reader and all that; generally all you have to do is copy-paste the text of a chapter into the page and the site will do everything else for you. Third, there's an audience sitting right there, browsing the 'latest arrivals' or 'most popular' page of the site; if you can get high in the algorithm, you have to do little if any marketing.

The downsides of such places usually come down to the same things as the advantages. Such sites are a flooded market. Your story absolutely will drown in a sea of other stories, a great many of them terrible, and most of them with the advantage of catering to the site's niche. Gaining an audience there is often a matter of trying to game an algorithm, and the community can be... variable. Some of these places are nice but most of them are a bunch of authors trying to tear down everyone around them to make their own work look better by comparison int he hopes of poaching audiences for their story instead. If you go this route, I'd recommend shopping around for a site that fits you personality and writing style (or just posting on many sites at once; you can also do that).

These places also tend to get targeted by scrapers who will steal your story and sell it as an ebook, which is very annoying.

2. publish on another site

Plenty of people publish web serials here on Tumblr. I do not know why. This site is TERRIBLY set up for that. It makes tracking stories and updates a pain in the arse (people end up having to *manually tag every reader whenever they post an update*), building and maintaining archives are annoying, community building is surprisingly difficult for a social media site, and it's just generally far more work for both writer and reader than it needs to be. You often do have a ready-made audience, though.

This does tend to work better on other sites. Reddit has multiple communities for reading and writing various types of fiction; publishing on these is a bit more work than somewhere like Royal Road, but not very much, and many of these communities are very active. There aren't as many forums around as there used to be, but you might be able to find fiction hosting forums, if that's what you prefer. And of course, many writers who simply want to write and don't mind not being paid choose to write on AO3.

These sites are a good middle ground compromise for people who want a ready-made community and don't mind putting in a bit of extra work.

3. make your own site

This is what I did. You can make a website for free, giving people a hub to find you and all your work, designed however you like. You can also pay for a website if you want it to be a little bit nicer. This option is the most work, but gives you the most control and leaves you free of having to worry about any algorithm.

The obvious downside of this is that there's no community there. If you host your work on your own website, you need to bring people to it. You need to build an audience on your own. This is not an easy thing to do.

Building an audience (general advice)

Here is some general advice about building an audience:

1. Consistency. Consistency. Consistency.

If you want people to read your writing, the best piece of advice I can possibly give you is have an update schedule and update on time, always. If you need to take a break, give people as much warning as possible and tell them exactly when you will be back, and come back then. Do not take unnecessary breaks because you don't feel like writing. (Do take breaks if you get carpal tunnel or need time off for a major life event or something -- your health is more important than the story.) If you're taking a lot of breaks to avoid burnout, you're doing it wrong -- you need to rework your whole schedule from the start and slow down updates to make these breaks unnecessary. Two chapters a month with no breaks is a billion times better than four chapters a month with frequent burnout breaks.

Consistency. Consistency. Consistency.

A reliable schedule is the #1 factor in audience retention. If readers need to randomly check in or wait for notifications from you to check if there's an update, guess what? Most of them won't! They'll read something else. You want your audience to be able to anticipate each release and fit it in their own schedule. I cannot overstate the importance of this.

2. If you can, try to make your story good.

We writers would love to live in a world where this is the most important thing, but it actually isn't. Plenty of people out there are perfectly happy to read hot garbage. How do I define 'hot garbage'? It doesn't matter. Think of what you would consider to be just a terrible, no-effort, pointless garbage story that the world would be better off without. Someone is out there writing that right now, making US$2,500/month on Patreon.

It is, however, a real advantage if you can make your story good. At the very least, it should be worth your audience's time. Preferably, it should also be worth their money, and make them enthusiastic enough to try to get their friends into it. Managing this is massively advantageous.

3. Accept that you're not going to get a big audience for a really long time. Write consistently and update on schedule every time anyway.

It took me over a year to get my second patron. For the first year, I updated Curse Words every single week, on schedule, for over a year, and had maybe... four readers. One of them was a regular commenter. One of them was my first patron. There was no one else.

My audience has grown pretty rapidly, for this industry.

You're not gonna start publishing chapters for a big, vibrant community. You're just not. And you have to keep going anyway. These days, I have a pretty good readership, and those couple of loyal readers (who I appreciate beyond words) have grown into a much larger community, who hang out and debate theories with each other and liveblog and drag in new readers and make fanart. My discord has over 550 members, with volunteer moderators and regular fan artists and its own little in-jokes and games and readers who make a point of welcoming newcomers and helping them navigate the discord, all with very little input from me. I start crying when I think about these people, who do the bulk of my social and marketing work for me just because they want to help, and my patrons who, after writing for over 4.5 years, have recently helped me pass an important threshold -- my web serial (via patreon) now pays my mortgage repayments. I can't live off my writing alone, but boy is that a massive fucking step.

You're not gonna have that when you start. You're gonna have a couple of friends. And that's it. Maybe for a year. Maybe less, if you're good at marketing and lucky. Maybe longer.

You have to update on schedule, every time, anyway.

Building an audience (more specific advice)

"Yeah, that's great, Derin, but where can I find my fucking audience?" Well, if you publish on a web serial site, then the audience is there and you jsut need to grab their affention using the tools and social norms offered to you by the site. I utterly failed at this and cannot help you there. You can still use these other tips to bring in readers from off-site.

1. Paid ads

I've never paid for ads so I can't offer advice on how to do it. I've Blazed a couple of posts on Tumblr; they weren't helpful. This is, however, an option for you.

2. Actually tell people that your story exists and where they can find it.

I used to have a lot of trouble with this. I didn't want to bother people on Tumblr and soforth by telling them about my personal project. Unfortunately you kind of have to just get over that. Now I figure that if people don't want TTOU spam, they can just unfollow me. If you're like me and want to just politely keep your story to yourself... don't. You're shooting yourself in the foot doing that.

You need to mention your story. Link your story in your bio on whatever social media sites you use. Put it in your banner on forums. Make posts and memes about it. Eventually, if you're lucky, extremely valuable readers will start to talk about your story and meme and fanart it for you, but first, you need to let them know it exists.

It will always feel weird to do this. Just accept that people can unfollow you if they want, and do it anyway.

3. Leverage existing audiences and communities

Before I started doing this web serial thing, I used to write a lot of fanfic. The original audience that trickled in for Curse Words comes from AO3, where I was doing a full series rationalist rewrite of Animorphs. They knew how I wrote and wanted more of it. Nowadays, I still occasionally pull in readers through this route. Most of my new readers these days come from a different community -- people who follow me on Tumblr. Occasionally I bring in people who don't follow me because we'll be talking about how one of my stories relates to something different, and fans of that thing might decide they want to check my stories out.

Your first readers will come from communities that you're already in and that are already interested in something similar to what you're doing (people reading my fanfic on AO3 were already there for my writing, for instance). Keep these people in mind when you start out.

One additional critical source of existing communities is your readers themselves. A huge number of my readers are people I've never been in any group with -- they were pulled in by their friends, relatives, or community members who were reading my stories and wanted them to read them too. This is an absolutely invaluable source of 'advertising' and it is critically important to look after these people. enthusiastic readers, word-of-mouth advertisers, and fan artists are the people who will bring in those outside your immediate bubble.

4. Your "where to find me" hub

If you're publishing on your own website, you can simply link everything else to your homepage, and put all relevant links there. For example, I can link people to derinstories.com , which links out to all my stories, social media I want people to find me on (you don't have to link all your social media), patreon, discord, et cetera. If you don't have your own website, you're going to have to create a hub like this in the bios of every site where you garner audiences from. This is the main advantage of publishing on your own website.

Monetisation

There are a few different kinds of monetisation for web serials, but most of them boil down to 'use a web serial format to market your ebook', which to be honest I find pretty shady. These authors will start a web serial, put in enough to hook an audience for free, and then stop posting and release an ebook, with the intention of making readers pay for the ending. Now, to be clear, I am absolutely not against publishing and selling your web serial -- I'm doing exactly that, with Curse Words. I am against intentionally and knowingly setting up the start of a web serial as a 'demo' without telling your audience that that is what you are doing, soliciting Patreon money for it, and then later yanking it away unfinished and demanding money for the ending.

Monetisation of these sorts of stories is really just monetisation for normal indie publishing with the web serial acting as an ad, and I have no advice for how to do that successfully.

Your options of monetisation for a web serial as a web serial are a bit more limited. They essentially come down to merchandise (including ebooks or print books) or ongoing support (patreon, ko-fi, etc.) Of these, the only one I have experience with is the patreon model.

This model of monetisation involves setting up an account with a regular-donation site such as patreon, providing the base story for free, and providing bonuses to patrons. You can offer all kinds of bonuses for patrons. Many patrons don't actually care what the bonus is, they're donating to support you so that you can keep writing the story, but they still like to receive something. But some patrons do donate specifically for the bonuses, so it's worth choosing them with care.

The most common and most effective bonus for web serials is advance chapters -- if people are giving you money, give them the chapters early. You can also offer various bonus materials, merchandise, or voting rights on decisions you need to make in the future. 'Get your character put in the story' is a popular high-tier reward. If you're looking for reward ideas, you can see the ones I use on my patreon.

Patreon used to offer the ability to set donation goals, where you could offer something when you were making a certain amount total or had a certain number of subscribers. They recently removed this feature because Patreon hates me personally and doesn't want me to be happy, so you kind of have to advertise it yourself now if you want to use these goals. I release chapters of unrelated stories at donation goals, and I found this to be far more effective than I thought it would be.

The important factor for this kind of monetisation is that it's ongoing. The main advantage of this is that it makes your income far more regular and predictable than normal indie publishing -- your pledges will go up or down over a month, but not by nearly as much as book sales can. The main thing to keep in mind is that it's not a one-time sale, which means that however you organise things, you want to make sure that donating keeps on being worth it, month after month. Offering bonuses that aren't just one-time bonuses, but things that the patron can experience every month, helps here. So does making sure that you have a good community where patrons can hang out with other patrons. (Offering advance chapters does both of these things -- the patron can stay ahead in the story and discuss stuff with other patrons that non-patrons haven't seen. I've found that a lot of my patrons enjoy reading an emotionally devastating chapter ahead of time, discussing it, and then all gathering a week or two later to watch the unsuspecting non-patrons experience it for the first time.)

Whatever method you use for monetisation, rule #1 is (in the words of Moist Von Lipwig): always make it easy for people to give you money. The process of finding out how to give you money should be easy, as should the process of actually doing it. And, most importantly, the spender should feel like it's worth it to give you money. This is a big part of making it easy to give you money. Make your story worth it, make your bonuses worth it, make sure that they're happy to be part of your community and that they enjoy reading and supporting you. And remember that support comes in many forms -- the fan artist, the word-of-mouth enthuser, the person who makes your social hub a great place to be, the patron, all of these people are vital components in the life support system that keeps your story going. And you're going to have to find them, give them a story, and build them a community, word by word and brick by brick.

It's a long process.

Good luck.

.

[writingquestionsanswered]

Have you got any advice/resources for non US writers trying to write something set in America? The internet is so US centric that it’s kind of tricky to find research sources that don’t assume you know a lot of things already, making it difficult to work out cultural differences I should be aware of, or to find points of reference I can properly understand. I need a part of my story to take place in the US and I want it to fee asl accurate as I can get it (but I can’t afford to fly over)

Non-U.S. Writer Setting Story in U.S.

I don't know of any resources dedicated specifically to non-U.S. writers who want to set their story in the U.S., but keep an eye on the comments in case anyone knows of any.

The cultural differences you'll need to be aware of depends on your own culture, where in the U.S. your story is set, and who the specific characters are, as many places in the U.S. culturally diverse.

Google Searches - Specific Google searches may be your best bet. Like, for example, "What are some cultural differences between Tokyo, Japan and Atlanta, Georgia?" You can also try something like, "What is the cultural makeup of Atlanta, Georgia" (for example) and then research those specific cultures. And, to get a feel for the general city/state/regional culture, you can try searches like, "What is the culture of Atlanta, Georgia" or "What is the culture of Georgia, U.S.A. like?"

Groups and Forums - Groups and forums (such as on Facebook, Discord, and different web sites) can be a great way to chat with others about specific topics. If you can find travel groups/forums based in your country, you might be able to find posts about traveling to the location of your story setting. Or, you could post and ask if anyone from your country has traveled there and what it was like.

Blogs, Vlogs, and Articles - You can also look for travel blogs written by travelers from your country, as well as travel vlogs on YouTube, to see if they have gone to the location of your story setting. Travel articles in online travel magazines published in your country are another option.

Location-Based Web Sites - Most towns, cities, counties, states, and regions have their own web sites and web-based travel guides geared toward visitors. For example, if you Google, "Visit Atlanta, Georgia, U.S." the first hit is a web site called "Discover Atlanta," which features information about things to do, popular events, areas of the city, getting around, and more. In fact, under their "visitor guides," they have a guide specific to international visitors available in multiple languages. Odds are, other big cities as well as states will have something similar.

My post Setting Your Story in an Unfamiliar Place has some other general suggestions that might be of help. You can also send your questions here, and I can do my best to answer them as will others in the community who are from/familiar with the location of your story.

Happy writing!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[dying-signals]

Nekoweb: An alternate static site host that may fit you!

On the topic of digital mutual support, did you know that nekoweb, is a static web hosting platform similar to Neocities, however offers a considerable number of features and pros, some of the most important in my opinion are access to file types and coding options that make automation and customization broader than ever, a cheaper membership plan that supports an active development and moderation team, and the ability to allow multiple users to edit a site!  This last feature let me help @goobergrove get their original site set up! Web development and making websites does not have to be a solo venture, you can help your friends! While Neocities is quite popular due to the oldweb revival scene, and the lasting legacy of the now defunct Yesterweb, nekoweb may be a fantastic platform for people looking to leave Tumblr and such but not necessarily abandon the web entirely. I'll keep posting resources, but this is a place to start. Read the full article

[canmom]

Where do you read and find web comics?

that's a great question!

these days the scene is kinda dominated by platforms like webtoon and tapas, which heavily favour vertical-scrolling infinite canvas formats. these environments are aggressively competitive, and getting to the top of the popularity pile requires a pace of work that makes even the manga industry look downright reasonable. I wrote a little about one such comic back in 2022. the 'portal' format applies similar pressures as webnovel sites - somehow that's come down to favouring high-concept premises which can be spelled out in a title, and a fairly homogeneous art style. in general you'll see a lot of romance and isekai.

that said, traditional page-formatted webcomics are absolutely still around. usually I read them on their websites - you can use an RSS reader to keep up with updates for most comics, but I fell out of the habit of that years ago.

as far as finding them, there's not really any centralised place to find them, but often webcomics will promote other authors, and there's organisations like hiveworks which serve to cross-promote members of their network. most webcomics have a 'links' page. it's rhizomatic or some shit.

if you are coming back to webcomics, 'I used to read this comic, is it still going' can also lead to a lot of pleasant surprises - you wouldn't believe the number of webcomic authors who turn out to have transed their gender when you come back a few years later (or maybe you would). 'spend years writing a comic instead of transitioning' is a strangely common pitfall [edit: though I'm not sure 'spend years transitioning instead of making a big creative project' is like. a better strategy lmao. they're both big expressions of agency, it doesn't really matter what order you do em.]

some authors tend to stay on a single perpetual epic that will likely last until they die, but others like to write multiple projects, and usually if you enjoy one thing by a person you'll enjoy the others. for example, @bigbigtruck wrote the excellent The Less Than Epic Adventures of TJ and Amal back in the day, and is presently writing a story about stormchasers with a very similar vibe. Evan Dahm of Rice Boy went on to write some rather cool comics like Vattu.

webcomics review blogs can also be a good place to pick up recs. yes homo, now defunct, put a few things on my radar (I disagree with many of their opinions but that's part of the fun of it lol), as has thewebcomicsreview.

along similar lines, forums can be a good place to look - back in the old old days, I used to be a big fan of a D&D comic called The Order of the Stick and hang out on its forums a lot, and they had a pretty active board for talking about other webcomics (a large part of which was devoted to literally hundreds of threads for the club of posters making fun of a really mid comic called Dominic Deegan: Oracle for Hire - don't ask me to explain that...) these days I bet there are webcomics discords that function similarly, though I couldn't tell you which ones off the top of my head.

if you're willing to part with a little bit of money, events like the Shortbox Comics Fair are a good way to gather a huge stack of one-shots. I picked up a bunch in the last one of those, I should really write about them.

honestly I should really just draw up a list of comics I've liked, catch up on the ones that I fell off the update schedule on, and put that list on my website somewhere. writing full reviews is fun but time-consuming and I don't want to make promises with how incredibly ADHD I am (the 'comics comints' series lasted a mighty three posts, and of all the writing-about-stuff projects, the main ones I'm trying to get going again are the tftbn and umineko liveblogs), but it is happy-making to spread the word about good shit I've read. I used to liveblog webcomics quite a bit, you can see some of them over here. (I never got around to migrating the Homestuck sideblog.)

ultimately, word of mouth is queen here. all these suggestions are just different flavours of "find people who like the sorts of things you like and read the stuff they like" in the end!

[derangedfujoshi]

Little rant that maybe will get deleted later but uughh I'm pissed at this webbed site.

A while ago I tried to upload the birthday sexy pic of Edmond from Nu Carnival on here and had to censor it because there was a little bit of ass involved. Another time I wanted to upload some artistic nudity of yuri women and had, again, to censor the god forbidden female presenting nipples. Hell, I just got one of my posts force-labelled as containing adult sexual themes in it when it was just a thich with barely the beginning of an ass cheek peeking.

But do me a favour, go on the search page and scroll down to the "popular tags", reach the 6th place and see what it is. Here I'll save you the troubled, it's "Gay"

Noticed something weird? Notice maybe ass and cocks blasted in full frontal view on the FEATURED MOST POPULAR TAGS SECTION maybe?

And do me another favour, go into that tag and count how many posts you need to pass before getting to real people posting nudes. Let me help you again, the answer is not many.

See that? Guess how many clothes he's wearing. The answer is none. Notice how he was able to post that without his post getting deleted nor labelled as containing adult content? Now let's check those Guidelines shall we hhmm

MMH WOULD YOU LOOK AT THAT! So real people can post their cock n balls but my three inches of an anime ass cheek gets removed or force-labelled? HM. INTERESTING. HOW PECULIAR. IT'S ALMOST AS IF THIS SITE THRIVED ON NSFW CONTENT BUT HAD DECIDED TO ONLY PERSECUTE QUEER ARTIST AND ANIME STUFF FOR SOME REASON.

God I'm so tired this is ridiculous and any rant is useless. I won't move from here, there's literally nowhere else to go at the moment and while yes I do love Tumblr for a lot of reasons it IS tiring, especially when getting slapped and spit on repeatedly by it with this kind of hypocrisy.

Rant over have a good night.

[writers-potion]

Writing Webnovels 101

There is one key difference between printed/ebooks and a webnovel: you need to adapt your writing for a highly distracted audience.

Unlike a traditional reading experience, people reading on the web have a gazillion other tabs, windows and notifications demanding their attention. So, here are some things to keep in mind when you’re writing for a digital platform.

Short, To-The-Point sentences

Keep your sentences short so that the reader doesn’t lose themselves in the middle.

Keep descriptions short and to the point while focusing on the action of the story.

Fast-paced

Each chapter must have significant action that contributes to plot progression.

Use well-placed cliffhangers that wouldn’t lose the reader in between chapters.

Trope-Led Story

The function of tropes is to provide a distracted reader with a ready-built framework to understand the story.

Using the right tropes is also important to attract your target audience since it tell up upfront about what kind of experience they’re going to have.

Emotion-Led Story

Deliver emotional highs and lows right off the bat, because big, intense emotion is what the readers are looking for.

Emotional information is easier to digest and retain than technical description.

Big emotions are easier to hook into and relate to.

Linear Storyline

Keep flashbacks, flashforwards, time skips to a minimum.

For a distracted reader, a straightforward timeline is a lot easier to understand and return to after a hiatus.

Focused Plot

Having multiple subplots weaving in and out of each other is probably not the best idea.

Keep delivering the emotional experience that the reader is looking for and provide only relevant information.

Technicals

Choosing the right platform

There are so many ways you can write online, from building your own website to writing short episodes on social media platforms.

You can use: novelfull.com, readlightnovel.me, Ltnovel.com, Wattpad, Webnovel, Wuxiaworld, etc.

Before you start posting on a platform, research into the kind of readers it has, what are the most popular genres, etc. Make sure you are pitching to the right audience.

Promoting Your Work

Many writers now promote themselves through newsletters, Instagram, YouTube, etc. but for someone just starting out, creating digital content on top of writing can be tough.

Join a webnovel community and get to know some of your fellow writers! The goal here is not to span other established works to links of your site. As time foes on, linking to one another and making recommendations would come naturally.

Set a Realistic Posting Schedule

Your posting schedule determines how often your readers get to interact with the story world and with one another. It’s how often life gets breathed into your story.

However, going for five days a week isn’t going to be sustainable, unless your story is already finished.

There is no magic number, so figure out a consistent, regular schedule that you can stick to. At least once a week is recommended.

If you like my blog, buy me a coffee! ☕

References:

https://creators.wattpad.com/writing-resources/write-your-story/what-is-a-webnovel-indepth-guide/

https://www.drewhayesnovels.com/blog/2014/1/25/shit-i-wish-id-known-before-starting-a-web-novel