did you know... that if you don’t kudos/comment on fics... authors don’t know you read and enjoyed them...

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@writetobuildtheworld
did you know... that if you don’t kudos/comment on fics... authors don’t know you read and enjoyed them...
Character: is a white man. That’s it.
Fandom: how dare you dislike this femme-coded female-coded gay-coded disabled-coded mentally ill-coded icon
[image description: tags reading #some of the people in the notes being like “me with so and so” #…besties do not #fandom criticism #text end ID]
This is a post about the racist tendency to focus on white men and project marginalised traits onto them rather than engage with the characters that actually have those traits. If someone is tagging this #me then they should think hard about there’s a pattern of their prioritisation of white male characters.
(Part One) Hi, I am planning this fantasy series all set in a completely fictional world. There are no humans. Looking through your blog I already know some of the do's and don'ts of fantasy species and poc, but my question is, some of my fantasy species do have real skin tones and I wanted to give them features from different real races.
I read all your asks about fantasy races but I there wasn't one that talked about a fantasy world with no humans. My question is: is still othering to have poc in that context? Should I include more humans to balance it out?
Fantasy races with features from real human races
From what I gather, you are saying you are writing a fantasy series with no humans, but a variety of fantasy species, some of which have human-like features, including skin tones. I think this is a simple problem.
When coding cultures and traditions:
Do not:
Code whole ethnicities/ races for whole species.
This would reinforce the racist pseudoscience notions that differences between groups with different outward appearances connote different intrinsic, biological and behavioral attributes.
Do:
Show ethnicities within species.
Show societal attributes that can all be linked to the circumstances of the environment, even if the outcomes are different for different groups living in the same region.
Avoid dehumanizing coding Lastly, I advise against creating a [human-like features] = [more human personality] / [animal-like features] = [Less human] dichotomy as this too falls in line with “dehumanizing based on physical appearance” reasoning you are looking to avoid in the event your culture-coding ends up revealing any intrinsic biases.
Marika
(Edited for repeat paragraph Dec. 11, 2023)
Worldbuilding Fantasy Species: Examples
Hey guys, Marika here:
I’ve seen some requests for examples w/r to the above. Please see below for an example of 2 species, each with 2 subspecies, who arrive in the same region at various points in time and create a society with a variety of ethnicities. These examples are things one would be able to create using knowledge from a standard Californian secondary school biology curriculum accompanied by standard material pulled from coursework found in most US university 1st year anthropology programs.
The Setting:
The setting for my example is a coastal region on an Earth-like sphere with a dry, Mediterranean type climate with mountains, hills, valleys and an ocean coastline (I live in Los Angeles in the United States).
Please note in my thinking how I focus much more on how environment informs culture (traditions, professions, calendars social roles), and much less on how the environment informs physical traits, unless I provide a clear justification. As we all know from basic secondary school evolutionary biology, changes in physical features via genetic mutation take many thousands if not tens of thousands of years, but creating cultural traditions to adapt to an environment can be done by a population much more rapidly.
Scenario A (Swimswims and Flapflaps)
2 sapient, different, reptilian species live in our region and possess physical traits that are function of different ways of living in the same space. We’re fudging things a little, but let’s say these species are in the same genus and are capable of communicating with each other to a high level of understanding - an accelerated version of how primates might communicate with each other.
Let us introduce two reptilian groups: Flapflaps (a subspecies of the Aireptile species) and Swimswims (a subspecies of the Watereptile species) (Names courtesy of Mod Rina). They will have different needs given climate and the region’s ecosystems + geography.
Swimswims:
Movement: Swimming+crawling.
Distinct characteristics: The more indigenous population to the region. They’ve lived in this region for a much longer period of time, and thus have developed (over millennia) the necessary physical adaptations to live out in the open in a dry, windy climate relative to other amphibious reptiles. Also, they are capable of living saltwater environments.
Habitat: Their ancestral homes might be in coastal estuaries and saltwater swamps, which all have some level of water no matter the time of year (An important consideration during times of drought).
Calendar: Their culture’s calendar revolves around rainfall, particularly when changes in salinity become high or low, as well as the impact the salt concentration in the water has on their capacity to raise offspring in the swamps.
Culture: Awareness of rainfall and the health of waterway ecosystems is paramount to their survival.
Flapflaps:
Movement: Winged flight throughout most of the year.
Social Calendar: The period towards the end of the year has high, unpredictable winds. This is a festive time when adolescents compete in coming of age competitions to showcase their strength in flight. Rainy season immediately following the windy season is a period of rest and introspection.
Culture: The Flapflappian culture stresses cognizance of conditions that might lead to forest fires, including wind speed, heat and drought.
Habitat: Due to their reliance on air quality, infrared eyesight to spot prey from a distance and roosts for habitation, Flapflaps live mostly on hills, foothills and mountain tops.
Left to their own devices, Swimswims and Flapflaps have little cause to interact. They may live in the same place and affect the same ecosystem. However, because they dwell in different biomes, the cultures they create are largely shaped by the needs of how the region’s seasons impact each biome and the physical needs of each species.
Scenario B (Enter Swumswums and Flipflips):
Now let us imagine the arrivals of additional subspecies Flipflips and Swumswums.
Flipflips (Aireptile): Sexually compatible with Flapflaps, but from a more humid environment.
Swumswums (Watereptile): Sexually compatible with Swimswims, but from a more freshwater environment.
Note our new arrivals are not very compatible with our region’s climate relative to Swimswims or even Flapflaps. This suggests that they are not necessarily here by choice: they may be part of some more acute displacement/ migration event. They will be eager to adapt and survive, and their situation will be urgent given their relative lack of establishment/ locally accumulated resources.
Swumswum adaptations and interactions with Swimswims:
Settling in a more comfortable environment: Swumswums settle in the least saline, most humid waterways: coastal streams fed by snowmelt from the mountains.
Technology to expand their range/population: over time, maybe they construct artificial irrigation/ rain harvest sites further away from the coast. Perhaps they excel at farming crops in freshwater as well as engineering.
Cooperation over shared resources: The level of conflict they have with Swimswims will depend on how the waterways and water content are managed after Swumswums' arrival, but I like to imagine that their shared interest in maintaining the waterways results in mixed families with offspring possessing varying levels of tolerance to water salinity...
...And thus a 3rd community forms along the waterways: a midway point between the highly salty swamps and costal estuaries, and the seasonal snowmelt streams closer to the mountains. All 3 cultures will have a cultural calendar united by how the rains affect the waterways and mating season.
Flipflip adaptations and interactions with Flapflaps:
Settling in a more comfortable environment: Flipflips won’t find the foothills and mountains Flapflaps find so useful for flying and perching very comfortable because those areas are very dry. Thus, Flipflips may move towards the seaside lowlands where the humidity is constant throughout the year.
Being from a more humid environment, perhaps, as a rule, they don’t fly very far distances or use wind/ thermals for flight. (See gliding snakes for RL examples)
Technology/division of labor to gain resources: Maybe they use flight for short distances to capture prey or avoid enemies. Maybe they spend less time flying and more time cultivating prey/ livestock (Like large insects) that everyone else also consumes.
Permanent settlements and land ownership: Struggling with the cooler temperatures of the coast, maybe they start looking for warmth. Happily, this is FakeLosAngeles. One Flipflip finds an underground hot-spring (Yes, these exist in LA), and this becomes their real starting point. Land ownership, particularly land ownership for livestock and linked to the water rights of hot-springs sources throughout the region become crucial for their community.
Cooperation: Over time, hot springs are also discovered in the mountains where groups of Flapflaps live, and the little mountain hamlets where Flipflips can provide resources become essential for Flapflaps, especially in the winter, when cold, rain, wind and snow can threaten the health of vulnerable populations like the elderly, chronically ill and young.
Tolerance to diversity and accomodation: Mixed families of Flipflips and Flapflaps form. Flipflippian culture is often characterized by their appreciation for commerce and hospitality. Their rituals emphasize these values as well as a willingness to care for those needing accommodation. The culture of Flapflaps, which prizes distinct physical abilities related to aerial maneuvers and fire-fighting, may have struggled in this regard in the past.
Newcomers like the Swumswums and Flipflips are contributing to the region with their skills, and helping make the region more habitable both for themselves and for marginalized members of the native population (Flapflaps and Swimswims), as well as "Flipflaps" and "Swimswums" who may find the region’s more extreme environments challenging to thrive in.
This is not an argument that newcomers to a region improve that region more than their indigenous counterparts. Rather indigenous counterparts often have lifestyles so well suited to their environment and if I’m bringing in less well adjusted groups and I want interactions to be mutually beneficial and productive, having the new arrivals contribute to the indigenous societies seems a natural way to encourage the groups to mix.
The Point of this Flap-flapping Exercise:
We now have a region with two species, Aireptiles and Watereptiles, each with two distinct subspecies--Flapflaps and Flipflips, Swimswims and Swumswums, but also mixed groups of the subspecies — Flipflaps and Flapflips, Swimswums and Swumswims. Each individual member of each species possesses a rich, fully formed cultural background, family history and social role, all of which are informed the interaction of the species’ needs with the region’s climate, environment and migration history.
External physical appearances are up to the author - provided they make sense on a basic biological level, but one can easily picture a diverse collection of 3-4 groups for both flying and swimming sapient reptiles of various appearances chilling in FakeLosAngeles.
Note: You’ll notice I am pointedly not using the term “race” here. As many readers of our blog know, race as we understand it is a distinctly modern, human social construct that links physical appearance with intrinsic traits and lineage. In other words, it’s a convenient sociopolitical concept that is very real in its impact, but is ultimately something that is only as real as how people and their societies decide to use it. I haven’t progressed far enough in this world-building exercise to decide if “race” is “real” for my suspiciously Pokemon-like reptile groups.
Notes on Social Representation While World-Building
Societies and social roles tend to revolve around the production of offspring, propagation of lineage, distribution of property/ power , etc. In my scenario, the mating of Aireptiles and Watereptiles will not produce live offspring, though both species are sapient and can communicate with each other.
I like to be cognizant of the existence marginalized groups: disabled individuals, LGBTQ individuals when I world-build, as well as the possibility of mixed families. Thus when I world-build, I’ll be thinking of what social roles given the parameters of the cultures (informed by my environment above) do not necessarily require the production of live offspring or may require some form of accommodation for social roles.
This is easy to imagine if I use IRL examples. Many large, social, reptilian species IRL are known to take great care of their young. Let’s say that some LGBTQ+ or mixed Air/Water couples, despite their lack of capacity to produce live offspring, might help raise children in their families or raise children of their own who are abandoned or orphaned.
Another example: an able bodied aro-ace reptilian may find their place in a role that is less compatible with romantic/ sexual partnership and offspring. Imagine a Flapflappian sentry/ smoke jumper for forest fires, or a Swumswummian instructor for a form of dangerous underwater repair for flood levees that takes years of experience to master. A disabled individual may similarly hold vital roles: a blind masseuse for Aireptile wings, a storyteller or musician during a cultural periods of rest--you get the idea.
IRL, many societies do create some social roles for at least a few marginalized groups, but they will not do this for every marginalized group given a variety of limits. Similarly, cultures do not necessarily maintain or expand the prominence of such roles as they alter over time, even if the society+region becomes more capable of supporting a more diverse group of individuals. The whys are many and varied, but I try to read up on history to make sure my logic is consistent. I can feel however I want on about an issue, but I try to make sure my understanding of the problem is grounded in fact as much as possible: that is simply my preference. Thus, how much of a utopia v. dystopia the author creates is a YMMV issue to me as long as it is believable. There are very different versions of my story that end in war, genocide, colonization, etc. I just prefer mine - and feel the facts are sufficient to present this option to the audience.
The main point: A writer can always create preferred traits and physical attributes to assign to a race, ethnicity or culture. Similarly, a writer can always create social roles characters from varying backgrounds can fill or not fill, even in an imaginary non-human fantasy culture. However, it’s also up to the writer to create the logic of the world these characters and populations inhabit to justify these choices, even if one’s characters and populations are a bunch of sapient, anthropomorphic reptiles. The writer’s understanding of the variety of disciplines utilized above will heavily inform how to do this.
The TLDR: If you want to write fantasy with original non-human species, leaving aside your interest in literature, an interest in biology, ecology, anthropology and world history will greatly assist your world-building efforts.
CREATING AUTHENTIC DEAF AND HARD OF HEARING CHARACTERS: A WRITER'S JOURNAL
Introduction
Creating authentic characters in your writing is essential for engaging storytelling, and this includes characters who are deaf or hard of hearing. To craft a character that accurately represents this community, it's crucial to do your research, gain a deep understanding of their experiences, and portray them with sensitivity and respect. In this journal, we'll explore how to write a deaf or hard-of-hearing character, including key information and preparation steps.
Understanding Deaf and Hard-of-Hearing Characters
Research: Start by researching deaf and hard-of-hearing individuals' experiences, challenges, and culture. Read books, articles, and personal stories, and watch documentaries or interviews featuring members of the Deaf community.
Consult with Experts: Reach out to members of the Deaf community or experts in Deaf studies to gain insights into their experiences. They can provide invaluable guidance and help you avoid common misconceptions.
Diversity Within the Community: Understand that the Deaf and hard-of-hearing communities are diverse. Some individuals communicate using sign language, while others rely on lip-reading, cochlear implants, or hearing aids. Be aware of these differences when creating your character.
Character Development
Backstory and Identity: Consider your character's background. Were they born deaf, or did they become deaf later in life? How do they identify within the Deaf community? Understanding their identity and experiences will shape their character.
Language and Communication: Decide how your character communicates. Are they fluent in sign language, or do they primarily rely on lip-reading and spoken language? Their communication style will influence their interactions with other characters.
Cultural Awareness: Explore the cultural aspects of the Deaf community. Understand the importance of Deaf culture, including its history, art, and values. Incorporate these elements into your character's life when relevant.
Writing Tips
Dialogue and Communication: When writing dialogue for a deaf or hard-of-hearing character, be mindful of their unique communication style. Use visual cues, body language, and facial expressions to convey emotions and context.
Access to Information: Consider the challenges your character may face in accessing information. This could involve issues with closed captioning, subtitles, or accommodations in educational or work settings.
Social Interactions: Depict social interactions realistically. Show how your character navigates conversations, group dynamics, and social events within their community and with hearing individuals.
Preparation
Sensitivity Readers: Consider hiring sensitivity readers who are part of the Deaf or hard-of-hearing community to review your work and provide feedback. Their insights can help you avoid stereotypes and inaccuracies.
Learn Sign Language: If your character uses sign language, take the time to learn at least basic signs. This will not only enrich your writing but also demonstrate your commitment to accuracy.
Beta Readers: Seek feedback from a diverse group of beta readers who can assess the authenticity of your character and offer constructive criticism.
Engage with the Community: Attend Deaf community events, workshops, or online forums to immerse yourself in the culture and better understand the perspectives and experiences of deaf and hard-of-hearing individuals.
Creating a deaf or hard-of-hearing character that resonates with readers requires dedication, empathy, and thorough research. By following these steps and embracing the rich culture and diversity of the Deaf community, you can create a character that is not only authentic but also promotes understanding and inclusivity in your writing. In addition, when writing dialogue for your deaf or hard-of-hearing character, remember:
It's important to clarify why, when writing dialogue for a deaf character, you should continue to use structured English grammar and not sign language structured grammar.
Maintaining Structured English Grammar:
Readability: Writing in structured English grammar ensures that the text remains accessible and comprehensible to all readers, including those who may not be familiar with sign language or Deaf culture. It avoids potential confusion that could arise from using sign language grammar in written text.
Universal Understanding: English is a global language, and adhering to its grammar rules allows for a wider audience to understand and engage with your story. Sign language grammar varies between different sign languages, making it less universally applicable in written form.
Respect for the Medium: While sign language is a rich and expressive mode of communication, it is primarily a visual and gestural language. Attempting to replicate sign language grammar in written text can be cumbersome and may not fully capture the nuances of sign language communication.
Balance of Realism and Readability: Striking a balance between authenticity and readability is crucial in storytelling. Maintaining structured English grammar while depicting a deaf character's interactions helps convey the character's experience without compromising the reader's ability to follow the narrative.
As an illustration, consider the following text: Dialogues with Descriptive Sign Language:
Sarah greeted John with a warm smile, her hands moving gracefully as she signed, "Hi, how are you?"
John returned the greeting in sign language, his expressions mirroring his words. "I'm good, thanks. Did you see the new movie?"
Sarah's eyes lit up as she signed back enthusiastically, "Yes, I loved it!"
In summary, using structured English grammar when writing dialogue for a deaf character is a practical and respectful choice that ensures your writing remains inclusive and accessible to a broad audience while still authentically representing the character's identity and experiences.
Furthermore, it's essential to avoid creating a character who is overly perfect or one-dimensional. In real life, we understand that everyone has imperfections and complexities, regardless of whether they are deaf or hard of hearing. Therefore, it's entirely acceptable to depict your character as a villain with a hearing issue if that aligns with your storytelling goals.
everyone hate my loquacious swag. its always "why did you make this sentence so long" and "why do you use so many commas and em dashes" and never "how did you come up with run on sentence" or "writing that run on sentence looked fun"
catch 22 by joseph heller // mash (o.r.)
characters with prey animal rage
characters with both the abject terror and murderous desperation of an animal that knows it is cornered and destined to be eaten. you just can't get that kind of angst out a successful hunter. but alternatively i posit: predator animal fear. which is a totally different thing
"A story doesn't need a theme in order to be good" I'm only saying this once but a theme isn't some secret coded message an author weaves into a piece so that your English teacher can talk about Death or Family. A theme is a summary of an idea in the work. If the story is "Susan went grocery shopping and saw a weird bird" then it might have themes like 'birds don't belong in grocery stores' or 'nature is interesting and worth paying attention to' or 'small things can be worth hearing about.' Those could be the themes of the work. It doesn't matter if the author intended them or not, because reading is collaborative and the text gets its meaning from the reader (this is what "death of the author" means).
Every work has themes in it, and not just the ones your teachers made you read in high school. Stories that are bad or clearly not intended to have deep messages still have themes. It is inherent in being a story. All stories have themes, even if those themes are shallow, because stories are sentences connected together for the purpose of expressing ideas, and ideas are all that themes are.
nothing unsettles me more than like a good fic on ao3 with no opening notes and no end notes. nothing but story. who are you? where are you writing from. are you ok. who hurt you
#i click onto the author’s dashboard and open all their other fics looking for notes on them#they are all similarly blank#i go to the author profile. it tells me the author joined in 2014 and nothing else#they have no bookmarks. they have one gift and it’s a bts fic from orphan_account. none of their own fics are bts fics.#this fic has altered me. i leave an unhinged comment then bookmark it and go stare out the window // via @elegantlyloquacious
Omg hi Ms. Yellow Caballero big fan of your work <3 For real though, I'm really excited that your sharing the Weekenders, it was a joy to read and I'm bongocat-ing now that others also get the privilege to read it as well.
Referencing your tags, would you please elaborate of ableism in fandom and, like you said, how fandom treats characters with unpalatable disabilities?
Hi Ms. Bud Lite I'm a big fan of you <3
TL;DR A fear of writing characters of highly marginalized identities shields you from criticism and discomfort, but it's actively stigmatizing to people of these identities and as a writer you really need to get over yourself and write The Icky People.
I guess I'll come out swinging on this one and say that fandom doesn't like severe mental illness. (As a note, when I say severe mental illness (SMI) I mean illnesses such as psychotic disorders, bipolar disorder, substance use disorders, personality disorders, etc)
Obviously, nobody likes people w/SMI. It's just insanely egregious in fandom to me, since fanfic writers absolutely love writing characters or HC characters with depression, anxiety, or a specific variety of PTSD That Isn't Scary. People actively reject any character HCs for a SMI. When people write a character with SMI, they nicely downplay it, ignore it, substitute it for a disorder they like better, or rewrite it. It's completely untolerated, in both headcanons and in fanfiction, and every time I bring it up I always get the most interesting reasons why somebody couldn't possibly acknowledge a character's SMI in their writing. I've heard all of these:
"I don't know enough about the disorder to write it accurately." Do research.
"I'm not X, so I can't really depict it." You probably aren't a cis white man, but you depict those guys just fine.
"It feels insulting to the character." There is no shame in having a SMI.
"I can't understand what it's like, so it's better to be cautious and avoid giving characters stigmatized identities." There are LOTS of experiences that you'll never understand because you've never had them - you just don't want to write anything you're uncomfortable with. People with SMI make you uncomfortable, and you don't want to write anything that makes you feel uncomfortable, or think of a comfort character in an uncomfortable way. SMIs are marginalized differently than solely depression/anxiety/The Nice PTSD, and by refusing to write them you're actively contributing to the stigma.
I think (?) I've spoken in the past about how I believe that the rigorous external and internal policing of writing people of marginalized identities is actively harmful towards efforts to increase diversity of experience and background in fiction. A lot of fanfiction writers are just terrified to write people who they can't directly relate with, because they're worried 'they'll get it wrong' and be Big Cancelled. I think this is negative enough when it prevents people from going outside of their comfort zone, but on a macro level I think this results in people refusing to write characters of marginalized identities as all. It's an insidious thought process, and it's reflected in people's unwillingness to diversity their writing or acknowledge canon diversity.
'Well, I don't understand what it's like to be Black, so I don't want to write Black people'. 'I want to project on this character, so I only want to write them with mental illnesses and identities I have'. 'If I write a marginalized character incorrectly people will yell at me, so I won't write a marginalized character who's marginalized differently than me at all'. Can you imagine writing a lesbian character with a boyfriend because 'you feel uncomfortable writing lesbian experiences'? It's blatantly homophobic. But people do that with disability and race/ethnicity ALL THE TIME.
People with SMI notice that you feel uncomfortable with them. It's obvious. They notice when a character has a SMI + anxiety, and you only write their anxiety. They notice when a character displays symptoms of a SMI in canon, but you write it out. And POC notice when the characters of color are written out. I know we all like to project on the blorbos and relate to them, and in the joys of your own head do whatever, but as a writer if you only stick to identities you're comfortable with you are actively being a worse writer. Which to me is the REAL sin lmfao.
For anyone who hasn't seen them before, Hidden Search Operators are handy tricks you can use when you're either searching or filtering AO3.
summary: string is a generic way of explaining that you can search AO3 for a specific word that appears in a summary. You can do this from the search bar in the header, from the Any Field box at the top of the Advanced Search form, or from the Search Within Results box at the bottom of the filter menu.
Examples:
summary: Bruce
summary: "Bruce Banner"
summary: Bruce OR summary: Banner OR summary: Hulk
You need to put quotation marks around your search term if it is more than one word. The quotes make sure that the site searches for those two words together.
The other two operators listed work best in the Search Within Results box.
expected_number_of_chapters: 1 will return results where every fic has only 1 chapter currently posted.
You can use expected_number_of_chapters: -1 if you want results where every fic has more than 1 chapter currently posted.
otp:true will return results where there is only 1 relationship tag on the fic. If you want results where there are 2+ relationship tags (and no fics with only 1 relationship tag) then you can use otp:false
This page is so beautiful and honestly I hope it reaches and helps any new people that are just starting out on Ao3 because it's helping me and I’ve been using the site for 5+ years now
I saw your tags @jackdaw-sprite and I figured I could offer you some help? You've got a few options to find fics that are actually about your fave who is often sidelined.
My own personal go-to is to use the Search Within Results filter. You can find the filters by clicking/tapping on any tag. If you're on a wide screen like a laptop, they'll be on the right hand side of the screen. If you're on a narrow screen like a phone, you'll need to press the Filters button at the top of the page to open up the menu.
In that menu, scroll down until you're near the bottom. That's where you can find the box labelled Search Within Results. In that box, you can type
summary: Renhardt OR summary: Rendog
When you filter for that result, you'll get 19 fics with that name mentioned in the summary, and if the name is in the summary you've got MUCH higher chances of them being central to the fic.
There's also a way to find fics with a tag in the X position. Fan coders have had this same issue, and so they've created userscripts that you can add to your web browser (like an extension). Here are a few that might be helpful for you to try:
AO3 Actually Relevant Characters - Sorts and highlights works based on how relevant the tagged character seems in the work's tags and summary.
AO3: Prioritise my Faves - Hide work if chosen tags are late in sequence, or if blacklisted tags are early
AO3 Secondary Character & Pairing Filter - Replaces works with placeholder if the tags you want aren't the first few tags, with option to show work.
Editing to add: this version of the post has a syntax error in it. To remove oneshots with a filter, use
-expected_number_of_chapters: 1
my excessive use of commas and my love of run on sentences is alluring and attractive to my readers
i DO believe that a good writer can make mischaracterization work. oh there's a character who doesn't normally cry? figure it out!! disect the character. make the situation cryable for them. make that character cry ugly tears even if it goes against their very nature. YOU CAN MAKE IT WORK!!!
I won't publish the ask (they asked me not to), but I thought I'd still answer it publicly!
no, royalties are not a significant source of income for most authors. if you wrote something like Project Hail Mary, then absolutely, the royalties would be substantial! but that's like winning the lottery. Ryan Gosling is not starring in the movie adaption of most books.
when you sell a book to a publisher, you get what's called 'an advance against royalties'. it's usually split into multiple parts, so you might get one third for the initial sale, one third for the final revised manuscript, and one third on the publishing date.
an advance against royalties is the publisher saying "we believe you will eventually make X amount in royalties, so here it is ahead of time." and then you don't actually see any money from royalties until the advance is paid off. most books do not make enough in royalties to pay off the advance (I have two children's books and one fiction book, and have yet to see royalties for any of them).
advances are still great, but you need to make them stretch! for instance, last year my net income was about 30k Canadian (21k USD), which is fantastic when you consider that I mostly made it through writing. but I'm definitely not a millionaire. I can live off my writing (not trying to undersell that!) but I'll probably remain in a low income bracket for the foreseeable future.
this isn't meant to discourage anyone from seeking out writing as a career! however, there is a reason that many authors have alternate jobs with writing on the side. or, you know, rich spouses.
this isn't me making a fuss about pirating (I've pirated way too many shows to run my mouth on that lmao), but there IS actually a financial incentive to having people buy your books!
buying books shows the publisher that they can make money off you, which means they're more likely to give you advances for future books. and advances are what authors live off (if they don't have a side job). that's why I always push pre-orders so hard! you have to be a racehorse worth betting on, or else they send you to the glue factory....
if I can offer one alternative to pirating: asking your library to stock the book also helps authors, and doesn't cost anything. the only downside is the patience required.
OOPS yes, @stjohnstarling makes a good point! everything I'm saying is from the perspective of traditional publishing, but it's a very different game if you're a self-published author
I will also add that this is why pre-orders can make a HUGE difference to authors - because if there's enough hype, publishers can pull more levers to build that momentum and reach more readers to help authors earn out their advance faster.
Trad publishing contracts person here to co-sign everything in this post. If you want to support an author you really like but are broke as hell, then you can buy their book when it's discounted, buy it used, borrow it from a friend, or use the library. The first step as an author is to get your book read, not to get it bought. The important thing for you as a reader is to spread the word about how good the book is so the publisher knows the audience is there even if sales aren't spectacular. Piracy of books, especially books from small/indie publishers, means the publisher will print fewer copies of their next book, and sometimes if it's an ongoing series the next books in the series will be canceled, either to be replaced by a book with a different premise or they'll cancel the contract for the next books entirely. The "hack" where you buy the ebook or audiobook and then return it for a credit also takes money directly out of the author's pocket since those payment/royalty systems are set up differently than if you were to buy a book from a bookstore and return it. In that situation the bookstore absorbs that loss, but returning the ebook means the money gets clawed back from the author's advance or royalties and they'll have to earn that back.
Pre-orders and Amazon/Goodreads reviews are used as a gauge by publishers to predict how many copies they are likely to sell and therefore how many copies they want to print. They want to sell most of what they print rather than print too many and end up with a bunch of copies no one wants that they'll have to pay to store or sell at a huge discount or recycle, which is what happens to unsold books. Most publishers have a limited amount of money and manpower to dedicate to any particular book, so if there's a book building up a lot of buzz, that'll give them reason to put their resources towards promoting that book to get a better return on their investment. If the publisher can't make money off a book or author they'll dump them.
Generally, every aspect of the publishing and book industries, including writers, agents, publishing employees, librarians, and booksellers are overworked and underpaid. Unless you're Stephen King or already famous, you don't make money off of books. We do it for sheer love of the game.
Use your library! Publishers have a whole department dedicated to selling their books to libraries and the author gets part of those sales. Increasing circulation of library resources means the libraries can make a better case to get more money from the government to buy more books that you want to read and they're a place to hang out for free. Libraries are the best gift humanity gave itself, use yours as often as possible.
This guide will help make the quotes or words in your gifs consistent, harmonious, and most of all — pretty!
How will you know which fonts work well together and which ones don't?
↓ FIND OUT HOW TO PAIR FONTS UNDER THE CUT ↓
I have the Tumblr equivalent of cleaning supplies...
a mass tag replacer
a way to find ALL of the tags you’ve ever used (mostly?)
and a way to find untagged posts
There will be some seriously intense organizing here soon.
(Just sticking this here for my own reference…)
here’s a mass tag teplacer that actually works
Perfection
in 2026 DO NOT ask yourself whether your art is GOOD
instead ask:
is it SINCERE
was it CATHARTIC
was it FUN TO MAKE
is it MADE BY ME
and don't forget to stay silly