The Tumblr of Dorian Graves

Creator of all things Weird and Queer

[nitewrighter]

Couple + Sibling/relative third wheel is honestly an S-tier trio dynamic and I wish we saw more of this in media.

"You are my soulmate. We are forged together by battle and tears and love. Also my brother's coming along."

"Yo."

[nitewrighter]

Bonus points if the non-related half of the couple is just as committed to keeping the third wheel around as the related half.

"Isn't it weird that your brother in law is always hanging around?"

"You've got a problem with Andrew?"

[nitewrighter]

I'm realizing just now this is Han, Leia, and Luke.

[nitewrighter]

I'm gonna call it... Bi4Bi and their Funky Guy.

[angstandhappiness]

LMAO, YES

[thebibliosphere]

That last ask made me check my Ingram Spark rates because I couldn't remember some stuff, and in case you're wondering what book distribution in Australia is like right now:

Country: Australia Recommended price: $ 29.99 Retailer Discount: 40% Compensation to author: $ 0.15

A thirty dollar book, and the author is earning 15 cents.

So, yeah. If you're ever upset that you're favorite author isn't available down under, we're so sorry. This is why.

We're being gouged left, right and center by the industry, and it's honestly not much better for the rest of the world either.

I'm earning just under $4 per book on US sales ($2.80 on Amazon because, lol, I was so stressed with Ingram I forgot to update the Zon. Price changes are pending.) for a book, I was forced to mark up to $24.99 because Ingram Spark made the 40% discount to retailers mandatory* as well as increasing the fee they take, and if I'd kept my books at $17.99, they would have taken it off the market because I would have been earning negative dollars.

In the span of a single year, my book went from $14.99 to $17.99 to $24.99 because of "inflation." And I'm earning, uh, well, in some cases, 15 cents.

Capitalism 🌈✨🔪🔪🔪🔪🔪🔪

----

*They are still pushing us to give retailers a 55% discount, or we won't be stocked in stores. Because, aha, fuck our lives, I guess. I also suspect Ingram are not actually giving that discount to retailers, but I can't prove it beyond a couple of book retailers reaching out to me and Ingram never acknowledged my emails, so doubly fuck my life I guess.

[elucubrare]

i think one of the reasons i get mildly annoyed about worldbuilding threads that are 200 tweets of why you should care about where blue dye comes from in your world before saying someone is wearing blue is that so few of them go up to the second level of "and that should impact your characters somehow" - i don't care that blue dye comes from pressing berries that only grow in one kingdom a thousand miles away if people are casually wearing blue

[elucubrare]

a couple of people reblogged this so i was thinking about it again (ok i'm almost always thinking about material culture worldbuilding tbh) & a lot of my problem is that these kinds of worldbuilding threads and posts treat it like an obligation and not an oppurtunity --

"blue dye is rare" is a world fact that could be a plot obstacle (character is a dyer and needs blue cloth, of the right shade, for a festival); a clue (main character notices someone wearing blue and realizes that they're in disguise); a way to inform character (main character sees a blue banner and thinks its owner is showing off); and any number of other things, from small to large.

and if the rarity doesn't serve any of those functions in your story, then the existence of blue dye is not important enough that you, as the author, need to consider it.

i'm a trends and forces guy - i believe any given worldstate is created by billions of coinflips leading up to that moment, some random (the sun rose on the day of the battle and gave one side victory) and some more directed (a law was enacted with a specific intent). expecting, as an author, to have generated a worldstate that coheres and connects in the same way and with the same complexity as ours is going to lead to paralysis more often than it is to interesting worldbuilding, or worldbuilding that supports the story you're trying to tell.

[the-overthinktank]

Part of the problem here is a culture clash between hobbyist worldbuilders and worldbuilding authors. Some folks just like to tinker with worldbuilding with no overarching goal because they like to have a complex creative project, and get annoyed when authors give them advice telling them they need to focus on story creation. And other folks are worldbuilding in service of a story and get annoyed when hobbyists tell them they should explain fiddly details that are unnecessary to making a compelling narrative.

[trollmaiden]

The duality of the word fairy

[jabberwockypie]

I think there's also a Z-axis that goes from "twee and harmless" to "you've been turned into an equal volume of spiders".

[literaticat]

I'm at my wit's end. I've spent a decade trying to break through - 10 years with 5 novels coming super close with a variety of big publishers, who rave about my writing, ideas, etc. Feedback has been mostly positive. One even rejected saying "I don't know why we're rejecting this, it's EXACTLY what we're looking for and ticks all our boxes, but we feel compelled to reject it anyway." Is there just a "Do Not Publish" sign on my head? How to keep pushing ahead after so long and so much rejection?

(OP continues...) "Sorry about the rant, Jenn, and I know there's not much you can say as you don't know my specific situation. But it's just maddening. 10+ years of my life! I know everyone faces rejection, but I seem to mostly get positive feedback and so many "close calls" of almost getting a deal - a lot of interest, but then it just peters out. That "compelled to reject anyway" just made me start feeling like I'm just fated to never be published, no matter what? I'm unagented now, starting from scratch..."

OK first of all -- that rejection, if that is literally what they said, is utterly insane. I have to presume (HOPE? PRAY?) that you are paraphrasing, that that is what it *felt* like to you, but that's not LITERALLY what they said??? Because there are certainly things where, on the surface, yes, this is what a publisher is looking for and it "ticks the boxes", but ultimately, it doesn't have that X-factor, je ne sais quois, or whatever -- so I can see a publisher saying something like, "while the writing is admirable and the premise is interesting, ultimately, we weren't compelled enough to make an offer for publication" -- which is ALMOST what you said, but there's a key difference that makes it actually normal and not insane. Because in YOUR version, it sounds like they are under an imperius curse or something, where they don't know what they are doing or why they are doing it, they just have to do it, even though it is against what WOULD be their better judgment if they weren't cursed. And... it's wild to think that a publisher would make a statement like that. (Maybe they were having a very OFF DAY???) -- BUT ANYWAY, on to the crux of your question/rant:

I understand your frustration. If it makes you feel any better (??), you're not alone. I know many -- MANY -- MANY career authors, who spent 10 years honing their craft, trying and failing, getting rejections, getting close-but-no-cigars, etc. I was chatting with a wise (and now famous) author I know, who spent 10 years or so in the query/wrong-agent/rejection/close-call trenches. She told me a theory that I feel pretty sure is right, though I don't have proof per se, it does track with my observations. She said:

Just about everyone who sticks with writing or the arts in general as a career has about a ten-year rough patch. That doesn't mean it takes everyone ten years to get published! (Though it does take LOTS of people 10+ years) -- Some lucky people get their break a lot sooner than that. BUT. Everyone has to pay the piper that ten year fee, either all at once, or in installments. So let's say you sell your book right away and start raking in the accolades etc -- fab! Just know that nobody stays popular and beloved forever, and at some point, the ten year slump is coming for you. Aren't you lucky that you're getting yours out of the way now?

OK, if that didn't work for you, how about this:

How to keep pushing ahead after so long and so much rejection?

You know you don't have to, right?

Like, if writing and seeking traditional publication is making you miserable -- you can stop. In fact, stopping may be a great idea.

I say this not to be discouraging, but rather, encouraging, actually. I encourage you to give yourself permission to prioritize your own mental and emotional well-being.

If you realize you miss writing and can't live without it -- go back to it! But maybe instead of having "publication" as your goal, your goal can be writing for the pure joy of it, without worrying about future queries or would-be agents or anyone else's expectations. What freedom! Embrace that!

Then when you do have a brand-new shiny manuscript, you can decide your next steps. Maybe it's trying again for traditional publishing, and this is the turn around the track that changes everything. (It should be close, if the 10 year theory is correct!)

OR, maybe it's self-publishing. (Lots of people have a lot of success there -- maybe you're one of them!) --

OR, maybe it's just chilling out and writing some more for your own pleasure -- creating art for the sake of creating it, for fun, for self-fulfillment, etc. Like, you know, a normal hobby, that nobody is expecting you to monetize or make into a "gig".

[colubrina]

as someone on year seven of trying to break in, the idea that the ten-year slump comes for everyone at some point might actually be the most encouraging thing I've ever heard a publishing professional say

[arcusxx]

photography by nicolaslenatti

[emptyjunior]

Enough random notes that have a written story on them as environmental storytelling, explore the space, get crazier with it.

You move into a house and aw cute, it has the kids height on the walls but you notice there's a three foot difference in height between measurements, you check the date, they're a month apart. The final measurement is on the ceiling. It's dated two days ago.

You're part of a recovery team that have finally found a stranded ship, they were found too late and have all passed a long time ago. They all died of starvation. You enter their storeroom, it's filled with food. In the dining hall you find the tables laden with perfectly fine looking breads, cakes, cured meats, jams, candies. Your medic says all the people sitting at the table didn't eat a Thing.

You wake up in an apocalypse. You can't find anyone at all as you wander the streets but you do hear faint music playing from somewhere. You stumble into a supermarket, to see all the aisles still full, except for the shelf that was full of ear plugs, which look to be the only thing that was looted.

Like there's light, sound, props. Having a street where every house is decimated except for One. Landing on a planet known for having No Water and a plant is growing and you don't know where it could have possibly gotten moisture from but you can't find the citizens Anywhere.

I'm sorry, I'm just kinda over the "graffiti on the wall to show the bad guy is around". That's not environmental storytelling that's just normal story. Show me I'm in the villains territory by the rain suddenly cutting out above me as I'm driving, even though it's meant to be raining all night. I park the car and step out, and realise the constellations are Wrong, until I see they're Not constellations, they're the blinking lights of a massive ship-

I Will stop now because everytime I go to write a sentence it devolves into another prompt but I'm just saying we have a Lot of senses, engage them, show me the Environment in environmental storytelling.

[quasi-normalcy]

I find it personally offensive how many bad writers can get published so easily.

[quasi-normalcy]

I used to find it reassuring, like, "Haha, wow, if THIS can get published..." but now I take it to mean "It doesn't matter if your book is good or not, all that matters is if you're in the right social circles (and you're not)"

[littlemissmanga]

As someone who used to acquire for an indie publisher ... it sucks on the other end, too. We don't WANT to work on shitty books with shitty writing. But bossman wants to make money, and shitty writer has marketing clout/knows the right people/is already published (even if it's only online/ebook).

I used to read the most AMAZING submissions I'd be forced to pass on. Like, there was one, a literary fantasy featuring a bi deaf protagonist who learns how to navigate a spectrum of relationships while discovering herself (I don't want to give too many details out of respect to the author/don't want her concept stolen) and I couldn't get it acquired no matter how thorough my proposal and marketing plan was because she was a debut author with fewer than 10k Twitter followers and we needed that advance money for another Fifty Shades knockoff (this was a few years ago lol).

BUT PLEASE DON'T LET THAT DISCOURAGE YOU! If you're a writer, and you're trying to get published, don't give up!! If your first novel isn't getting traction with either a house or agency, publish it yourself on amazon. Get that "debut" moniker away from your name. Prove you can sell your shit and keep working.

A good agent will work with you to come up with a marketing/publicity proposal. That will be huge in getting houses to notice your work - makes the acquisitions team's job easier as they can point to it and tell bossman "we have a plan". Look online for titles that have high ratings/are on the NYT list that can be compared to yours. That helps give acquisitions an idea of what they're getting into - and how to represent your book to their ED/publisher.

A good agent will also help you target editors/imprints whose lists match your book, increasing your odds of getting positive feedback or even constructive feedback. If I had a submission that just wasn't quite ready for publication, I'd give detailed notes of what I wanted and ask them to revise and resubmit.

Keep writing! Even if a book isn't picked up, start your next. It's so attractive to see an author with several unpublished works ready to be polished if you already like the work that's submitted. And more writing only refines your skills.

Yes, bad writers get published. And too many good writers, even when published, go unrecognized (if you like southern gothic fiction a la Where the Crawdads Sing, go read The Past is Never, which came out four months earlier and got NO national attention but is BEAUTIFUL). Be such a good writer that you break those odds.

Because you can. I've read your stuff on Tumblr. On Ao3. On Fanfiction.net. On Wattpad. You can do it.

[quasi-normalcy]

This is actually practical advice; thank you.

[flavoracle]

Mental Crop Rotation

When farmers grow the same crop too many years in a row, it can leave their soil depleted of minerals and other nutrients that are vital to the health of their fields.

To avoid this, farmers will often alternate the crops that they grow because some plants will use up different minerals (such as nitrogen) while other plants replenish those minerals. This process is known as “crop rotation.”

So the next time you find that you need to step away from a project to work on something else for a while, don’t beat yourself up for “quitting” that project. Give yourself permission to practice “mental crop rotation” to maintain a healthy brain field.

Because I’ve found that when that unnecessary guilt and pressure are removed from the process, a good mental crop rotation can help you feel more energized and invigorated than ever once you’re ready to rotate back to that project.

[bomberqueen17]

: A crucial part of crop rotation is that the field is let fallow sometimes. You plant what’s called a “cover crop”, which is something you don’t expect to harvest– it’s there for its roots to hold the soil in place, and often it’ll be what’s called a nitrogen-fixer, i.e. a plant that can pull nitrogen out of the air and fix it into the soil with its roots (but sometimes it won’t, sometimes it’s really just there to shelter the soil surface), and then you’ll till in that cover crop, or let the frost kill it and the stalks lie as mulch, and then you’ll rotate productive crops back into that field the next season. 

It’s important, though, to understand that during the fallow period, no nutrients are removed from that ground, and nothing is expected of it. Whatever the land grows then, it keeps, and it gets tilled back in or decomposes in place, to return its energy to the earth.

We’re not allowed, in our current society, to just let our minds be fallow for a bit, to produce nothing for export, to make nothing that can be sold. But it’s part of good land stewardship, to give every field time when it doesn’t need to give you anything back. 

So yes, grow and produce different things from time to time, rotate them around your mind and exercise different mental muscles, take different things from your creative processes, yes– but also, give yourself a fallow spell now and again, and let the field of your mind grow things for itself to keep, to break down and save for later. 

[highvelocitysandwich]

Positive mental health AND agriculture??!?

*slams reblog button*

[pagingdoctorbedlam]

#(also i need to remind myself about not knowing every detail being okay...)

ain't that a mood... waaay too much time of me writing night running was spent on me scrounging literally everything I could about sankta and laterano lore

Arknights in particular is a fascinating and frustrating setting to be accurate to, since there are so many precise details and they aren't outright stated.

Like, if I want to know a simple detail like a character's age, I have to read through an assortment of records and stories, some of which might not be relevant to the character in question, and then do so much math and context matching. It feels like so much work.

And...for what? On the off chance that some reader will "um actually" me about a minor detail like my fic is the latest roast on CinemaSins?

Pointing out inconsistencies and plotholes can be fun, but at least from what I've seen in the pubkishing industry, it can lead to paralyzing behavior for authors where everything needs to make indisputable sense, and that's no way to live.

Last night, I was wracking my brain over how originum works as a fuel source, where it nay be used in place of electricity, and other tech differences between our world and Terra. And then I realized...there is no fandom police after my head. I'm only stressing myself out further.

So be free, all of us. Write on and leave the finicky details in the dust if you don't need them.

[doriangravesftw]

I'm sharing this here too, for all you writers of original fiction.

You do not NEED all the answers, even for your own world. The characters can say "I don't know". Your fantasy world can have coincidental similarities to ours without concocting a whole internal essay for it.

If you like that kind of work, then good on you. I sometimes do too, it can be fun! But if it doesn't bring you joy and doesn't help your story, leave it. It's okay.

[neonjawbone]

THE PIRATE AND THE PORCELAIN GIRL IS OUT!!!!!!!! HAPPY BOOK BIRTHDAY!!!!!!!!!!

The Pirate and the Porcelain Girl

Our Flag Means Death gets a magical, sapphic twist in this swashbuckling young adult graphic novel adventure full of high-stakes adventure,

[lionfloss]

by KangHee Kim

[bebewrites]

woop there it is

[beaft]

off of my last post: i feel like corporate horror has such a rich seam of possibilities that are just begging to be mined. the helpless, nightmarish feeling of watching your life get chewed up by the implacable machinery of faceless corporations in which you are nothing but an easily-replaceable cog and knowing the whole time that you chose to be here. that you can, theoretically, leave any time you want. mindless, pointless busywork that you're expected to take pride in even when it has no measurable impact. feeling like you're running on a treadmill - always busy, never achieving anything. upper managers who only communicate with you by email. CEOs who never communicate with you at all, and may not actually exist for all you know. you can leave any time you want. but you can't, can you? not really. you still have to pay the bills.

[beaft]

also while i'm on this train, corporate environments are inherently a bit uncanny - everything looks the same, the corridors and cubicles often feel labyrinthine to the point of absurdity, conversations are outwardly pleasant but rarely dip below surface level, and any expression of intense, genuine emotion - happiness, sadness, anger - is discouraged. there's just something very potent about combining the visceral nature of horror with a bland, impersonal environment staffed by people who refuse to admit when something's wrong.

[deniselavestal-deactivated20231]

HAVING FUN and ENJOYING the process of writing is so important. Whether you strive to work professionally or write just for the hell of it, remember why you started in the first place. It all comes down to love honestly

[turquoisemagpie]

Odd Jobs.

(Gonna start a small series of monsters and cryptids having unlikely jobs to get into spooky season.)

[library-bandit]

Some really nice words from the irreplicable Naomi Novik.

“People wonder why I still write fanfiction.

Part of it is that fanfiction is like being in a community. You’re literally doing it in the context of a fandom community of other people who are all your peers within this one writing universe. But the other piece of it is that it’s just play.

Just the same way some people like to learn to play the piano or guitar. Some people will learn to plink out “Twinkle, Twinkle, Little Star” with one finger. Some people will really get into it and like to do it as a hobby. And then a very tiny number of people devote so much time and energy to it that they can perform as concert pianists professionally. And probably an even smaller number of people actually want to compose their own music.

Those things are all completely valid. If you take your guitar out to the park on the weekends and play Simon and Garfunkel with your friends, people aren’t like, “Why aren’t you at Julliard?! Why aren’t you getting paid?” Because that’s so clearly not the point of it. The point is to enjoy making art. And all of us as human beings like to make things.

But there’s this sense that writing has to be hard work. Probably because it’s so necessary for schoolwork and it’s so emphasized as work that people forget that people start writing for fun.” - Naomi Novik in the 88 Cups of Tea podcast

[dduane]

There you have it. :)