local novel

ALL MY WRITERS

I think the best piece of writing advice I ever got was from an author of locally popular novels that visited my school when I was in grade eight. He said that when you want to write a novel, or any kind of story, the typical system of “What is my story about? Who is it about? What will happen?” are pretty much the worst thing you can do.

Writing is far simpler than that.

His advice was to ask yourself three questions that I’ll never forget:

Who is the character?

What does the character want more than anything?

And how can I prevent them from getting it?

The hot new chapter in The Shameleß‘s aquatic romance series takes a turn for the paler, in “In which an ancient princess finds pity in the form of a mute shipwrecked midblood, generously offering hospitality without summarily culling the intruder, both parties disguise their growing attraction leading to a series of humorously near-tragic misunderstandings about the requitedness of the attraction, which are eventually overcome through stubborness and dedication under emotional stresses in three significant action-packed sequences, two large dialogues containing public embarassment, six clever quips imperially judged likely to become memetic, and interactions with a large number of characters of varying caste belonging to the princess’s social circle and hivehold staff that long-time readers will recognize from previous installments in the series, to include the most recent two flush courtships”!  Get your copy now at imperially-approved retailers!

anonymous asked:

sebastian reassuring his trans farmer spouse that he's willing to help them through their transition? gender neutral pls

“Sebby?”

“Hm?” He didn’t even look up from his work. In some ways, that annoyed the Farmer, in some ways, it comforted them.

“I want to tell you something.”

“Hit me.”

The Farmer took a deep breath, shaking. They hadn’t told anyone in town yet, and this was the most important person there was. “I… I’m trans.”

The silence that followed felt like years to the Farmer. A deafening silence that seemed to fill their lungs and prevent any air from entering.

“And?” Sebastian said.

The Farmer didn’t know how to react. They expected the best and the worst. Loving acceptance or total rejection. Words of support or words of disgust. Not… not this.

They felt tears start to fall, and they ran from his room, out to the mountain lake. They thought Sebastian cared, they thought Sebastian loved them. The Farmer trusted Sebastian more than anyone else in town, and this was how they were treated after they bared their soul. The Farmer collapsed into a ball by the edge of the lake, crying.

“Woah woah woah woah!” They distantly heard. When they lifted their head, Sebastian was running toward them, concern in his eyes. He sat next to them, gathering them up in his arms. “What’s bothering you?”

The Farmer tried to find their voice. “I thought… I thought you loved me.”

“I do. Whaccha talkin’ about?”

“I thought you would have a different response.”

Sebastian quietly hummed and gave the Farmer a kiss on the forehead. “Being trans isn’t a big deal. You’re still you, and that’s part of who you are. I love you, no matter what body you were born with.”

“I just… I just need you to be there with me. While I do this.” The Farmer said, tears drying up a bit.

“Of course I’ll be there for you. I just won’t make a big deal out of it. Like I said, it’s part of who you are, and I love you for who you are. So I love that about you.”

“Thank you.” The Farmer hugged him closer.

After a bit, Sebby spoke again. “Have you talked to Harvey yet?”

“I have an appointment with him tomorrow.”

“Want me to tag along?”

“Yes, please.”

Sebastian kissed them on the forehead. “Ya know, if I wanted to date someone just for their bod, I would have gone with our local romance novel model.”

The Farmer snorted in laughter.

Sometimes I imagine taking a walk with him. I imagine leading him behind the school and into the trees. I imagine stomping on his skull until all his fine, sharp features have turned to pulp. Until all the parts of him that are too familiar disappear.
—  All the Rage by Courtney Summers
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So I might have lost my fangirl shit when I got to visit the ONLY romance-exclusive bookstore in the United States. 

The Ripped Bodice was a fangirl dream come true, and you bet your petticoats I was fangirling the whole time through.

I got to meet the one of the co-owners Bea, WHO WAS SUCH A SWEETIE! She didn’t even bat an eye when I was like, “Can I be a dork and get a photo?”

As evident, I had zero chill.

And ya’ll fangirls know, you KNOW I couldn’t leave without giving The Ripped Bodice literally all my money.

SO HERE’S MY HAUL, YO!

The actual “Fiction Books Imma Read” pile…

  1. The CEO Buys In by Nancy Herkness: Contemporary workplace forced proximity secretary-billionaire
  2. A Study In Seduction by Nina Rowan: Historical, mathematician heroine, hero in pursuit, OTP bet
  3. The Game and the Governess by Kate Noble: Historical, governess heroine, rich hero in disguise as poor servant, bet
  4. Roses in Moonlight by Lynn Kurland: Historical, back-in-time travel, scholar heroine, Highlander hero
  5. Destiny’s Captive by Beverly Jenkins: Historical, POC characters, enemies to lovers, alpha heroine, pirate heroine steals hero’s ship, hero in pursuit
  6. Sorcerer to the Crown by Zen Cho: Fantasy, adventure, hero freed slave, heroine magician
  7. My Reckless Valentine by Olivia Dade: Contemporary, librarian heroine, hero new boss, workplace romance
  8. A Convenient Arrangement by Maggie Marr: Contemporary, bad boy billionaire hero, opposites attract, no strings attached
  9. Pretending with The Playboy by Tracey Livesay: Badboy hero, contract dating
  10. Trade Me by Courtney Milan: Contemporary, interracial couple, billionaire hero, financial lives swap bet

(Hmm. “The bet” trope popped up a lot in that list. Didn’t notice that til now. Also I’ve already read A Study In Seduction, AND SO GOOD OMG OMG OMG!)

Okay, so what about non-book-hoard romance swag? Oh I got ya.

What’s that? A Fabio book? Can it get better? IT CAN!

But no, Fabio, no matter oh big your man-titties are, I’m not reading your Old Skool Romance. Sorry. 

But wait, what’s that necklace, you ask? Oh well let’s look closer.

A MOTHER FLIPPING FABIO NECKLACE HOMESKILLET! You know I couldn’t not get that. YOU KNOW! He’s the figurehead of our genre, after all.

Our cheesy, cheesy figurehead. 

Sigh. 

NOW LOOK AT THIS AWESOME TOTE BAG!

YOU BET YOUR KNICKERBOCKERS I SPAZZED WITH HAPPY OVER THAT THING!

As well as over the Choose Your Own Romance adventure book. Like, c’mon. COME! ON!

And last but for real not least, of course I also bought one of those cute AF woodcuts made by a local artist BECAUSE ONCE AGAIN HOW COULD I NOT?!

The Ripped Bodice, you complete me. YOU WERE MY EVERYTHING. I mean, even your receipts were pink. PINK!

(Okay so I paid 40 bucks for a necklace, SUE ME. And okay, so the pink doesn’t show up all that well on camera. DON’T SUE ME I’M BROKE!)

Either way, the fact remains that this bookstore was the bomb diggity, and to all the naysayers and book snobs out there, let me just say…

Because until you do, I don’t wanna hear shit.

why pirating otome games hurts

You’re probably sitting there thinking oh my gawd, there she goes again, we already know that pirating otome games is bad and we shouldn’t do it (at least, I hope you know that it’s bad to pirate them).

After receiving two asks and yet another comment on my wordpress blog asking for videos of otome game playthroughs, I wondered why people can’t seem to understand the message I’ve been trying so hard to get across. It isn’t just me either; plenty of people have written against the piracy of otome games. But people continue to ask for pirated access to them. Quite honestly, it’s frustrating.

I’ve realized that there’s focus on the “it’s bad” part and there’s not enough explanation on the “why”. So here I am, writing this post when I could be out there romancing butlers and princes and hot salarymen and CEOs instead.

I’ll be focusing on two companies in this post: Voltage Inc. and Otomate/Idea Factory. Why? Because I categorize otome games into three categories: mobile, handheld/console, and PC. The overseas PC market for otome games is mostly overtaken by indie developers and none of them have a clear dominance in the market. Voltage is a leader (not the only one) in the mobile market and Otomate is the only company with measurable success in the console/handhelds market.


1. Companies have to make profit.

Let’s start with the basics. Who develops these games? Companies. If you want to use the correct term, it’d be corporations. Voltage and Otomate/IF are both incorporated entities, which means they were founded with the goal of business purposes. What do businesses do? (psst, the answer is make money)


2. Localizing/Translating a visual novel costs a lot of money.

Developing a game costs a lot of money. I won’t say a number since it varies depending on the game, but there are a lot of people who go into the production of a game developed by a big company (director, scenario writers, scripterwriters, line-art artists, CG colorists, background artists, CG supervisor, sound director, composers, seiyuu/voice actors, animators, programmers, debuggers, production manager, etc). Keep in mind this is only the developing team. I haven’t included the PR team, marketing, customer service, HR, and many others.

Also keep in mind that certain directors, scenario writers, artists, and seiyuu can come with a huge price tag if they’re successful and in demand. Consumers will buy games if the story is written by a writer they like, the art is done by an artist they like, or a character is voiced by a seiyuu they like. This allows these people to charge a “premium” price for their services because they can affect how well a game sells by a considerable amount.

A game won’t get translated unless it’s made enough revenue to break even and earn profit in Japan. Which means that they’ve made enough money to pay all the people above and make extra money off it (aka profit). I keep mentioning profit and you’re probably wondering why it’s so important; I’ll explain its importance later.

Translating a game has different costs. They have to hire a director, translators, scriptwriters, programmers, debuggers, production manager, etc. Because the game has already been developed, less people are needed, but even then it’s not a small number.

I read a post somewhere posted by someone who used to translate for Voltage that it cost them around $10,000 just to translate the prologue and main stories alone (it might have been a season, I’m not sure. If someone could find that post for me it’d be much appreciated). This is number very likely the money paid to the translators only. It probably costs Otomate/IF a lot more to translate theirs since their games are longer and usually include side stories. Let’s say Otomate pays ~$20,000 for their translators.


3. Selling a game is a lot more than just its development and translation.

Money is spent on legal costs for copyright. Offices aren’t free; they have to be rented (and they cost a lot). There’s the PR team, marketing team, customer service team, HR team, and a lot of other teams that are included in the development of a game and the everyday operations of a company.

A lot of money is spent on marketing. I can’t give a number since this also depends on the game (it’ll go past $1 million for some games), but its a large cost and very likely costs even more than the localization itself. A game will do well or do poorly based on how its marketed. This is especially true for otome games because…


4. Otome games target an extremely niche market.

What does this mean? It means that there’s a small, specific group of people that these products can be sold to. It’s easy to misunderstand and think that there’s a lot of people who like otome games since they’ve been getting a larger presence here on tumblr. 

Voltage has it easier since they’re in the mobile market. Smartphones have become ubiquitous in today’s society; because of that, they already have more room to work with in terms of target audience. While the subset they target is women in their 30s (at least, in Japan), technically, anyone with a smartphone could become a possible consumer. However, not everyone is interested in reading a romance in first person from a woman’s point of view.

Otomate released Amnesia on Steam and both Amensia and Hakuoki on mobile. It’s most likely because they’re trying to find a larger target audience they can sell to. Vita sales haven’t been doing well overseas, limiting the people who have a reason to buy their products (Otomate’s games are mostly developed for the Vita). However, it’s a pretty good bet that they’re not going to release games for Steam anymore due to the piracy fiasco that ensued less than a week after Amnesia’s Steam release.


5. The otome game market is extremely competitive

A small target audience with lots of competitors indicates market competitiveness, which in turn indicates low profitability. Why? Because you have to either differentiate your product or fight with low prices.

Otomate doesn’t have any competitors in the consoles/handheld market (so far) but they have to compete with the growing number of otome games being released for mobile. If someone just got into otome games and didn’t own a Vita, there’s no reason for them to buy a Vita when they can easily play otome games on their phone. However, its indisputable that Otomate is the leading company for consoles/handhelds; I think they’re trying to use this to their advantage. They’re choosing which games to localize extremely carefully to grow their fanbase and secure more sales in the future. The mobile phone releases of Hakuoki and Amnesia were most likely done to increase sales, but also to give consumers a taste of their products. If they liked them, they can invest in a Vita and play Code:Realize, Norn9, and future releases. In a way, they’re differentiating their products as more “serious” games by their choice of platform (by “serious” I mean better developed, whether its the game itself, the characters, or the plot).

Voltage has a plethora of competitors. NTT Solmare, D3 Publisher, Cybird, Genius, Koyonplete, Arithmetic, indie developers, and more that I may not know of. However, they can’t raise their prices because they’re very well aware that people already think their prices are too high. They set the standard at $3.99 USD and keep it there. Their main strategy seems to be focused on quality, art style, and brand name. Game quality is factored into development and not localization so I won’t be discussing it here.


6. The math part

Time for everyone’s favorite subject!

Let’s add up the total cost it took for Voltage to localize a game. Let’s say the project lasted 4 weeks. They hired 2 translators, 2 scriptwriters, 2 programmers, a director, and a production manager. Translators worked in weeks 1 and 2, scriptwriters worked in weeks 2 and 3, and programmers worked in weeks 3 and 4. The director and production manager worked all 4 weeks.

With the exception of the translators (who are paid by word) and the director, I’ll be using average salaries for the other positions. For the director, I’ll be using the average entry-level salary since the overall average is skewed too much due to high profilers.

translation: $10,000
2 scriptwriters working ~2 weeks: $5,000
2 programmers working ~2 weeks: $6,000
director working ~4 weeks: $4,000
production manager working ~4 weeks: $5,000

Total cost of localization team: ~$30,000

If we were to go off sales of main stories only (which are ~$4)

$30,000 / $4 = 7,500 main stories

Voltage has to sell 7,500 main stories to break even on localizing a game.

Now let’s add up the costs for Otomate localizing a game. 

Because the games are longer in content, let’s say the localization project for around 8 weeks. They hired 3 translators, 3 scriptwriters, 3 programmers, a director and a production manager. Translators worked weeks 1 to 3, scriptwriters worked weeks 3 to 6, and programmers worked weeks 5 and 8 . The director and production manager worked all 8 weeks.

translation: $20,000
3 scriptwriters working for ~4 weeks: $15,000
3 programmers working for ~4 weeks: $18,000
director working ~8 weeks: $8,500
production manager working ~8 weeks: $10,000

Total cost of localization team: ~$71,500

A copy of Norn9 sold for ~$40 on Amazon or GameStop. Distributors usually get around 50% of the selling price, which means that for every copy of Norn9 that got sold, Otomate made $20. 

$71,500 / $20 = 3,575 copies

Otomate has to sell 3,575 copies of Norn9 to break even on localizing it.

Keep in mind that this isn’t taking into consideration the marketing and advertising for either situations.


7. So what about that oh-so-important profit?

Both Voltage and Otomate have to push money into localizing these games before they can sell them. Guess where that money comes from?

Some of it comes from investors, but a lot of it comes from profit from previous projects. The profit Otomate makes from Amnesia, Code:Realize, and Norn9 are most likely going to go towards whatever games they choose to localize next year. The profit Voltage gets from Butler Until Midnight is most likely going to go towards their future releases for the game and their next game localization. Profit is important because it allows a company to continue functioning and expand.

Companies also use revenue as a means to judge whether a product has sold well or not. They’ll have a set goal they want to reach and if the goal is met or exceeded, the product is considered a success. High profit indicates high interest; low profit or not breaking even means it’s not worth investing in.


Are these numbers accurate? Who knows. I’m basing this off my personal experience in coding and projects; I haven’t worked on as large-scale projects, but if the localization was the only thing the team was working on, it seems reasonable to me. You also have to take into consideration that all the people in the positions I mentioned could have been freelanced or have regular positions in these companies. They’re most likely working on other projects while working on this one and the company might offer different rates for those. (this is my disclaimer: these numbers are purely from research and some personal experience).

To the people who say pirating doesn’t hurt anyone: it does. Here are the facts and numbers. They may not be perfect, but if you want to show me numbers that say pirating isn’t going to hurt the otome game market, go ahead. Do your own research and work it out.

I hope this helped you gain a better understanding as to why pirating hurts.

tl;dr : Don’t be an asshat and ruin things for fans who want more localizations

Starter for @unknxwnhxcker (will it work this time-)

Being bored after finishing duty - and more because he hadn’t found a good prey lately -  Hakai had decided on going to the library, read a bit,and maybe find a good prey to kill. That’s how he ended up at the local library, reading french novels, and not searching for a prey. After all..It was empty.

Or so he thought,as he saw in the corner of his eyes a familiar silhouette. Wait…Wasn’t it… A smirk appeared on his face. Seems like he found a great prey today. A luck he decided to go to the library…Immediately, he got up, walking towards the nearby shelf,and gave a small pat on the boy’s back, his smirk quickly transforming in a smile.

   “Hey! If it isn’t Shou! It’s been a while!” Yeah. He’ll be a great prey…

As I see another “Look, free PDFs!” post, I want to remind everyone:

Baccano!’s novels are licensed, the first is out, the second comes out August 23rd.  They’re also available digitally, and I think in several countries - check your local Amazon.

Durarara!!’s novels are licensed, the first three are out, the fourth comes out July 19th.  They’re also available digitally, and I think in several countries - check your local Amazon.

I won’t whine about Vamp or Etsusa Bridge, which aren’t licensed.  And yes, I know why people don’t want to wait 4 years for Time of the Oasis or somesuch.  But man, support the licensed English translation, PLEASE.  We don’t want either series cancelled for poor sales, especially Baccano, which has a smaller fandom than DRRR.  The digital editions, which you can read on your phone, are $7.99 in North America.  That’s affordable even for college kids.

3

So my book is finally at my local library!!! I’m so happy and I’m so proud of myself! This is a huge milestone for my project @cosmiccallistocaprica I’ve come a long way from when I first came up with the concept in 2013, tried to kickstart it and failed in 2014. Brushing the dust off of my project and crowdfunding it on Indiegogo in 2015 and now its in my local library in 2016. Dont give up on your dreams guys!

Okay so today’s Halloween so I thought of a Shiki AU. Shiki is a really good horror anime and it’s quite dark and gore, if you’re into these stuff I really recommend it! I should have picked a scene where you could see Nagisa’s vampire fangs but these eyes are already pretty spooky aren’t they.

Nagisa is Sunako, the token vampire little girl, and Rei’s Seishin the local priest (and novel author). For the other character I thought of Haru and Makoto as Natsuno and Tohru, Sousuke as Dr.Oozaki, Rin as Megumi, Ai and Momo as Kaori and Akira. Kisumi can be Chizuru lmao. I’d like to draw them all eventually!

(Also I’m tagging this reigisa but it’s platonic ofc)

3

Thank you for  your visiting  this page.
When We began the kickstarter, did not gather much back.
But in this two days, it has been spreading information to many people.
So now back has reached $ 10,000.

It is difficult to achieve this project.
But we want to send you to this game.

We need support of everyone.
Please spread this information to many.
We will do our best until the last day.


◆I need your help!  Witch Boy Magical Piece kickstarter.
Witch boy Magical piece - A BL visual novel localization