published by process

anonymous asked:

In his latest video (Unity Has An Image Problem) Jim Sterling seems act as if Unity should be responsible for "bad" developers making "bad" games for it and basically said that Adrian Forest's tweet thread about how game journalists just make more harm than good talking about game engines in reviews was him making bad excuses for why game journalists shouldn't talk about game engines. Where do you stand on this whole thing and is Jim/game journalists in the wrong for bringing up the game engine?

For those who don’t understand this question, here’s the TLDR: [Adrian Forest tweeted a rant about how it is silly to judge a game based on its choice of engine], and he placed the blame on video game news sites putting undue emphasis on game engines. [Jim Sterling, in typical fashion, released a counterpoint video] defending the gaming bloggers’ right to talk about whatever they want, complained about how there are too many games on Steam that use the Unity engine badly, and blamed Unity and their CEO for not policing the people who use their engine better.

I agree with Adrian Forest’s opinion that gaming news sites tend to put too much emphasis on things like the game’s engine, and that has been cultivated by marketing departments searching for some sort of new buzzword to entice players. I also think that it is silly to ignore a game because of its’ engine. It’s like saying that you refuse to live in a building that was built in part with nails and wood. Engines are not necessarily indicative of the finished product, and anyone who makes a decision on a game based on the engine is doing themselves a disservice.

On a side note, Sterling’s mention of unscrupulous developers using Unity for an asset flipped title doesn’t actually address Forest’s point. Most gaming news sources don’t bother talking about asset flipped titles in any depth because they aren’t worth the time - there’s just not that much to say about an asset flipped game. An asset flip isn’t a bad game because it uses Unity, it’s a bad game because the developers didn’t actually build an actual new game. Any blogger or youtuber who spends time talking about an off-the-shelf engine with regards to a specific title is probably wasting their time and not providing any worthwhile information or insight to anybody. As he’s admitted, most of the bloggers lack actual knowledge on how engines work or what they do. That severely limits their possible insight.

I don’t agree with Forest’s solution though - it isn’t on the gaming bloggers to police themselves, and they gain nothing from pushing back on the engine talk. I’m fairly sure that most businesses are essentially self-serving, and I can generally trust them to do what’s in their own best interest. I don’t believe that game bloggers or youtubers like Jim Sterling actually care about the “truth” as much as they care about what gets them the views and traffic. If talking about the engine gets them the continued traffic and paychecks, then they’ll do it. As long as engines are a thing in marketing, they will continue to make noise about it in the press blogosphere. They can’t help themselves.

One of the big problems in general, however, is that these online marketplaces like Steam, the App store, Google Play, etc. have a curation problem. There isn’t a solid automated means of culling the wheat from the chaff. You don’t see as many of these crappy games on console marketplaces, due in large part to the high barrier to entry - console dev kits are expensive. This has nothing to do with the engines either - the reason that there are so many crappy unity games on Steam is primarily for two reasons:

  1. Steam has a low barrier to entry. No particularly rigorous screening process, and a low cost to get started.
  2. Unity, Unreal, GameMaker, RPG Maker, etc. are also inexpensive and easy to obtain

When the barrier to entry is lowered, a lot more hobbyists will end up presenting more products, but overall average quality will suffer because you’re not increasing the number of skilled professional developers in the pool, you’re just adding a lot more amateurs and hobbyists. And it’s in the platform’s best interests to figure out how to fix this problem, because they’re the ones who are hurting the devs they wanted to empower most with this - the devs who make fantastic games, but don’t get the lucky spotlight or news mentions that propel them into the public eye. In 2016 a little over 11 games on average released every day on Steam. Steam currently has a list of ~40 games with July 25th, 2017 as their release day. That’s a lot of new games with no way to tell if they’re good or who might like them, and the number will only increase. 

Consoles avoid this problem by having their exacting and expensive certification process, but the costs of such processes put it beyond the reach of many indie developers. In order to fix this problem, there absolutely needs to be some means of evaluating a new game and it almost certainly must be automated. The biggest cost of the certification process is the collective payroll for all of the humans needed to press buttons and test the certification criteria, and that cost will be prohibitive for most indie devs.


Got a burning question you want answered?

“Diving into this 700-page baby today! 😍😍 This stage (aka first pass pages) is one of my favorite parts of the publishing process, mostly because it’s the first time I get to actually see my manuscript transformed into how it will appear in the finished/printed book! (I still totally get chills when I finally glimpse the fancy title page!) This stage is the second-to-last time I’ll get to read through the manuscript, so I’m pretty much going over every page/sentence/word with a fine-toothed comb. Can’t wait for you guys to read it on May 2nd!! 📚🖊😁😁😁 #acowar #acourtofwingsandruin #acotar #thisbookisliterally700pagesonthebutton #longestbookyet ”

700 Pages. The. LONGEST. BOOK
YET! May cannot come sooner!!

  • Side note: The name of the first part of ACOWAR is “Princess of Carrion” and I recognised lmmediately, realising that it from ACOMAF. On page 586 of ACOMAF, it says “Yes, you see now, Princess of carrion”. This is what the cauldron says to Feyre when she touches it. I can’t help but feel like this means Feyre is going wield (or come to) a great, possibly the greatest, amount of power - with the Cauldron being so powerful and calling her that. 
    • Also, in ACOTAR, Amarantha mentions that Feyre is a name of one of the fae’s earliest dialects, which I think could, maybe, represent that she’s always had this power but just had to be made again. I also think, with the cauldron being as old as time, or whatever, that Feyre and it are linked and she could, possibly, harness its power.
  • BUT carrion means similar to or rotting flesh. I feel like this could link to “Unmade and made. Made and unmade”, maybe meaning that Feyre has been made and now her body is rotting (as she was dead) so shill will be unmade. But Lord do I hope that this is not the case and I’ve interpreted this in the wrong way. 
  • I could be completely off the mark here but I don’t think it’s a coincidence that the cauldron called her this.

talkingbirb  asked:

I'm a college student writing a short story for potential publication in a journal, magazine, etc. While I've written many plays, I feel a bit nervous about this one. Are is there any advice you'd give to me, or anyone trying to write a short story and/or get published?

Enjoy yourself. Enjoy the process. Learn from it. Write a story you enjoy, as a writer and a reader. If it doesn’t get published this time it may be published in the future. or you may learn enough from its failure to write something one day that will break hearts and win awards. Either way, enjoy it.

Process goals vs. endpoint goals

This concept was one of the most life-changing things I ever learned, so I wanted to share it. It’s probably something you’ve thought about without realizing it.

If you have something you want to accomplish, or a change you want to make in your life, there are two ways to set goals: you can set process goals, or endpoint goals. 

Example of endpoint goals:

  • Lose 10 lbs by Christmas
  • Write a novel
  • Get $5,000 into savings
  • Get straight A’s

Examples of process goals:

  • Cut down to one soda per day
  • Write 500 words a day
  • Save 5% of each paycheck
  • Study 1 hour a day

Endpoint goals represent an outcome you want to achieve. Process goals represent the steps you are taking to achieve that outcome.

But here’s the rub: process goals are better, and generally more effective.

Endpoint goals set you up in a yes/no dichotomy. Say you want to write a novel. Have you done it? Yes? Great. No? You fail. You’ve either achieved the goal, or you haven’t. Endpoint goals also don’t provide a roadmap for how to get there. It’s vague, and its typically far-off deadline doesn’t provide much mental impetus to take steps to achieve it. If you say “I’ll write a novel by one year from now” it’s super easy to say “ehh, meh, I’ll work on it some other time.”

Endpoint goals also set you up for disappointment and failure. It’s like putting all your eggs in one basket - you’ll either meet the goal or you won’t, and given that a lot of endpoint goals tend to be somewhat pie-in-the-sky, not meeting them is pretty common. Which just gets you discouraged. 

An endpoint goal can seem like a big mountain you have to climb. Setting process goals instead of endpoint goals is focusing on the individual steps to take, instead of staring up at the peak, which will just make you trip over something. It’s carving switchbacks into that mountain.

A lot of advice you’ve probably already heard amounts to breaking down endpoint goals and focusing on process goals. Take cleaning or de-cluttering, for example. How many times have you heard the old “clean for 15 minutes at a time” or “break it down into multiple small tasks” advice? That works because what that’s doing is breaking down the big endpoint goal of “clean the entire house” into process goals.

A big area that uses this concept is in fitness. Saying “I’m going to be able to bench press 300 lbs by New Year’s” isn’t super helpful. So weightlifters focus on goals like “Each workout I will do x reps, increasing in weight.” That’s a process goal. And it’s more forgiving, too. Not every workout will be successful. Sometimes the bodybuilder may feel tired, or might not get in as many reps, but he’s still working the process, so he’s still accomplishing his process goals. I’ve found this very useful for my own fitness. I’m not focusing on hitting a certain lifting weight, or losing X amount of pounds (exercise isn’t for weight loss anyway) - I’m focusing on going to my classes regularly, walking on a regular schedule, getting those Active Minutes on the FitBit. That’s a process goal. And I always feel like I’m succeeding, even if I miss a workout or can’t walk because it’s raining - the process is still a go.

Sports teams do this, too. The endpoint goal might be “win the Stanley Cup,” but how they do that is by focusing on process goals. We’re going to practice these skills, and run these drills, and condition X many times per week.

Ultimately, your endpoint goal is the final reward of having met your process goals. Achieving your endpoint goal isn’t always within your power - if your endpoint goal is to publish a novel then you’re gonna need some cooperation from publishers - but achieving your process goals is always within your power, and taking yourself through that process may provide you with rewards that you didn’t anticipate. 

Process goals give you a constant stream of positive reinforcement, which is something an endpoint goal can’t do. Any behavior that’s meant to achieve an endpoint goal is easy to rationalize stopping once the goal is reached (”I’ll run every day until I lose 10 lbs!”) but a process goal is an ongoing practice that will help you achieve goals beyond the endpoint, and other goals you never even thought to set yourself.

So if you have an endpoint goal you want to achieve, it’s okay to know what it is, but sort of - put a pin in it. The reward of achieving that goal is far away. Focus on process goals, and you’ll start feeling rewarded immediately.

The Difference Between ARCs and Finished Copies

These are my pass pages for Vengeance Road. This is the first time my book has been typeset (read: not been a .doc file), which is very exciting. Pretty fonts! Chapter headings! Crop marks!

Advance reader copies (ARCs) are printed from pass pages. While the ARCs are produced and distributed to early reviewers, the pass pages are reviewed one last time (sometimes more) by the author and the editorial/copyediting team at the publishing house. Then finished copies are printed. This is why ARCs often say “uncorrected proof” on the cover. Because ARC-printing and pass-page-editing happen simultaneously and changes WILL be made between ARC and finished copy. Often, many changes will be made.

All those sticky-noted pages are changes I am making to Vengeance Road

  • 15% of the sticky notes are typos that I found at this stage
  • 25% are new typos that didn’t exist previously, but were created when edits I made during the copyediting stage were mis-transcribed *
  • 50% are small stylistic edits that I’m making for the first time – dropping a dialog tag, word choice changes, etc
  • 10% are substantial edits – tweaks for historical accuracy, adding a few sentences to address a potential plot hole, etc

All these edits will only exist in the finished copy. Yes, many of them are small and minor, but it’s the polishing that makes a story truly shine and this is why so many authors cringe when they see someone reading an ARC months after the finished copy of a book becomes available. (Also, while it is not the case with Vengeance Road, sometimes there are major changes made between ARC and finished copy.)

So while ARCs certainly have their time and place, the cleanest, BEST version of any author’s story is, naturally, the finished copy.

This has been a lesson in ARC printing and publishing timelines. :)

* This is why I prefer digital CEs to hardcopy/paper CEs, but errors like this are always bound to happen, regardless of format, and this is exactly why the pass page stage exists.

frostbite883  asked:

TLoK Question: Which character in TLoK do you want to have and changed for the better (if you had creative freedom to re-make the character in however way you want)?

instant fix: Legend of Korra AU where Prince Wu’s a tiny annoying dog that can’t talk instead of a tiny annoying human who can

wilddragonflying  asked:

Hi! I was wondering if you could maybe speak about how you went about getting published? Are you doing it thru Amazon or a publishing house? I'm working on a manuscript of my own but it won't be ready for quite some time, but I'm floundering a little on the publishing process

I’m currently not yet published as I am publishing my work myself through Amazon, though that’ll change soon.

I tried seeing what a few houses would think of the manuscript, including a few places I used to work for, and while they were all receptive of my style and really keen on a few things, they were not so keen on the polyamory and basically wanted me to turn it back into a love triangle one true love style story, cause “that’s what sells” and considering the whole point of the novel was to defy that toxic trope and actually have some happy poly romance, I ultimately decided on self publishing and went back to doing the story the way I really wanted it to be.

I’ll say this much though as someone who has worked the other side of the industry: finish the story first.

Don’t get ahead of yourself worrying about how you’re going to get it out there until you’re done with a full first draft. Once you’re done you’ll have a better idea of what is right for you, either through indie house, self pub or if you want to find an agent to go the trad pub route. Until then, you’re getting ahead of yourself and distracting yourself from the very important goal of Getting It Done. And the majority of publishers and agents don’t want to hear from people with great ideas and half written manuscripts. They want people who can prove they can produce and finish work–and then they’ll listen to your half finished ideas.

Get the book done. Then rewrite it. (You always end up rewriting, the first draft is just you telling yourself the story) Then worry about whether or not you’re going to try striking out on your own or if you want to try and find an agent/publisher.

anonymous asked:

After Secret Wars, Civil War 2, and Secret Empire all needing extra issues after it was already being published, what's the process of creating an event comic at Marvel? Do you approach the editors with a vague idea and they tell you how many issues you get? Do you say "I can do this in (#) of issues? Do you give an indepth, step by step outline? How does the company decide and why do we keep needing extra issues during these events? Not complaining about more story, but it's bad planning.

Because although comics is business and sometimes it can be big business it is also an art form. And art decides its own shape.

 Yes, superheroes are art. yes, big giant Superhero crossover events are art.

 there is nothing vague about the planning. These things get planned.

 If someone with legendary meticulous planning skills of Jonathan Hickman even needs an extra issue THAT should tell you how peculiar and amazing planning an event this size, with that many speaking parts, and that many threads, can be.

 you can get halfway through scripting your tightly organized plot and the characters, if you’re doing everything right, will reveal things about the story that you have not considered yet. Or because it’s a shared universe and other writers are handling other parts of the story, those other writers may have things they need handled in your story or they may come up with something that accentuates some ideas in your story that may need an extra page or two…

 and then the next issue needs an extra page or two and then the next issue needs an extra page and then them before you know it you need an extra issue or ten.

and sometimes not. I had siege wrapped up in four issues and I had five, maybe six, to play with if I needed. other times I have gone over by multiple issues.

 some of you, will think this is unprofessional. Why can’t they plan better?

oh my god, do they.  spencer planned his ass off. but… It’s art. 

And if you don’t leave yourself open to the inspiration for the characters to show you the truth of the scenes, if you don’t leave yourself open to the idea that some things will expand while other things disappear then you are doing it wrong.

the outline is a tool. it is not the law.  its just like real life, you wake up with a plan for your day and then the world kicks you in the ass and TELLS you what the plan REALLY is.

t-eleanor  asked:

What is your favorite part of the writing/publishing process? :)

Finishing a draft is great. But so is reader response. I’m over the moon whenever I find that readers seem to really enjoy KC and the series.

A Questionnaire for Writers

1. What does your writing process look like?
2. Do you have any strange writing habits (like standing on your head or writing in the shower)?
3. What book do you wish you could have written?
4. Just as your books inspire authors, what authors have inspired you to write?
5. If you could cast your characters in the Hollywood adaptation of your book, who would play your characters?
6. How important are names to you in your books? Do you choose the names based on liking the way it sounds or the meaning? Do you have any name choosing resources you recommend?
7. What do you consider to be your best accomplishment?
8. Where do you see yourself in 10 years?
9. Were you already a great writer? Have you always like to write?
10. What writing advice do you have for other aspiring authors?
11. If you didn’t like writing books, what would you do for a living?
12. Are you a plotter or a pantster?
13. Do you read your reviews? Do you respond to them, good or bad? Do you have any advice on how to deal with the bad?
14. What is your best marketing tip?
15. What is your least favorite part of the publishing / writing process?
16. Is there one subject you would never write about as an author? What is it?
17. Do you have a favorite conference to attend? What is it?
18. Is there a certain type of scene that’s harder for you to write than others? Love? Action? Racy?
19. Is this your first book? How many books have you written prior (if any?)
20. What are you working on now? What is your next project?
21.When did you decide to become a writer?
22.Why do you write?
23.What made you decide to sit down and actually start something?
24.Do you have a special time to write or how is your day structured?
25.Do you write every day, 5 days a week – if not, when?
26.Do you aim for a set amount of words/pages per day?
27.Do you work to an outline or plot or do you prefer just see where an idea takes you?
28.How do you think you’ve evolved creatively?
29.What is the hardest thing about writing?
30.What was the hardest thing about writing your latest book?
31.What is the easiest thing about writing?
32.Do you work to an outline or plot or do you prefer just see where an idea takes you?
33. How do you think you’ve evolved creatively?
34. What subjects do you find you can’t write about, and why?
35. What subjects do you love writing about?
36.How much research do you do?
37. Have you written any other novels in collaboration with other writers?
38. Why did you do decide to collaborate and did that affect your sales?
39. When did you decide to become a writer?
40. Why do you write?
41. What inspired your latest project?
42. What’s the most boring part of writing?
43. What’s the most fun part of writing?
44. What’s the biggest writing mistake you ever made?
45. What do you hope to accomplish in the next 5 years as a writer?
46. What’s the best thing you’ve ever done as a writer?
47. What’s the worst thing you’ve ever done as a writer?
48. Do you find it hard to accept criticism?
49. What do you hope to do better as a writer?
50. What do you think is your best quality as a writer?


(Sorry about the repeats on the questionnaire - I threw this together rather quickly).

The Hate U Give - author interview with Angie Thomas

Angie Thomas (@writerzambitionz) talks to us about her debut YA novel, The Hate U Give, which tells the story of Starr, who is the only witness to the fatal shooting of her unarmed best friend by a police officer.

What inspired the book?

I was inspired to write the book back in 2010/2011 after the death of Oscar Grant, a young black man who was shot by police in Oakland, California. At the time, I was a lot like Starr – I attended a mostly white, upper class college while living in a mostly black, poor neighborhood. Every day, I found myself in two different worlds where I had to be two different people. I also heard two very different conversations about Oscar. At home, he was one of our own, but at school he may have deserved it. From my anger, frustration, and hurt, I wrote the short story that would later become The Hate U Give.

Why did you decide to write the book from Starr’s point of view?

I knew from the beginning that I wanted to write the story from the point of view of a young black girl. With so many of these cases of unarmed black people who lose their lives, the victims are young - Trayvon Martin, Mike Brown, Tamir Rice to name a few - and so many young people are deeply affected by the losses. But a lot of times, the focus tends to be on young black men, and I wanted to show just how much it affects our girls as well.

How much of it is drawn from real life?

I tried not to draw from real life cases too much for multiple reasons. One, these are actual human beings we are talking about, not simply hashtags - it’s not my place to tell their stories. But I wanted Khalil to reflect them in a way.

Were you nervous writing about such a controversial subject?

Yes, I was extremely nervous - so much so that I was afraid to send it to literary agents. I knew it was a timely topic, but if you say, “Black Lives Matter” to 3 different people, you will get three different reactions. Sometimes they’re positive, and sometimes they’re not. But I felt like I wrote the story straight from my heart and I stood by my words, despite being nervous about how people would receive them.

Was it difficult to get the book published?

Surprisingly, no. While I was afraid to send it to literary agents, one day an agency held a Q&A session on Twitter. I asked if the topic of my book was appropriate for a Young Adult novel. A literary agent responded and said that not only was it appropriate, but that he would like to read it. A few months later, I signed with him, and a few months after that, 13 US publishers fought for the rights as did multiple UK publishers. The book I was so afraid of ended up being the book for me.

What were you most nervous about in the publishing process?

I was the most nervous about the reception. Even after all of the publishers fought for the book, I knew ultimately that potential readers could make or break it. So far, the response has been incredible.

How did you arrive at the title of the book and how do you think it reflects the story?

The title comes from the infamous “Thug Life” tattoo that Tupac Shakur had across his abdomen. So many people know him for that tattoo, but most people don’t know that it was actually an acronym for “The Hate U Give Little Infants F**ks Everybody.” He explained that as meaning that what society feeds into youth has a way of coming back and affecting us all. That’s exactly what happens in the book.

What message do you want readers to take away from the book?

That empathy is more powerful than sympathy.

What’s happening with the film adaptation and how involved are you with that?

The script for the film is currently in development. Audrey Wells is penning it, and George Tillman Jr is set to direct.  I’ve been very involved in the process - from having day-long meetings with Audrey and George to multiple phone calls in a month where I give insight. I’ve been very happy with the process so far.

What has the reaction to the book been so far?

The reactions to the book amaze me every single day. I’ve had so many teens in particular reach out to me and thank me for writing it. I think that because the topic is so timely, that’s helped create a lot of buzz.

What role do you think literature has to play in examining difficult real-life issues?

Literature plays a huge role in examining difficult real-life issues. I see writing as a form of activism - it can give us windows into lives and issues that we may not otherwise have, thus promoting empathy. And when you understand an issue and share the feelings of those who are directly affected, you’re more likely to join in on the fight. Literature births activists.

What is next for you?

I’m currently working on my second YA novel. It is not a sequel, but more so a spin off of The Hate U Give. It’s set in the same neighborhood and some characters from The Hate U Give have major roles in it. I can’t say much about it, but it’s causing me to put my hip hop/rapper past to use.

The Hate U Give is published by Walker Books UK on 6th April.

When You Hate Your Book

In the process of editing your book, it is normal that you will become tired of it, frustrated, even despairing. And then if you’re really lucky, you may hit the “I hate this book” stage of writing burnout. This usually happens right during the copyediting stage. You don’t care about that comma because you want to light the whole book on fire. You aren’t sure if you ever want to write again, but if you do, it will be nothing ever like this book.

I suppose that in some sense, this may be healthy because once the book is printed, there’s nothing you can do about it anymore. You may need some emotional distance because reviews will be coming in, both professional and not, and if they hate the book, some part of you may be able to nod and think—they’re not entirely wrong about that. Of course, you can’t say that out loud to anyone. Ever. Or even given the slightest hint about hating your book that is now on sale and the publisher expects you to promote. But amongst writer friends, you can vent about this. You may be surprised at how many authors also admit that they hate their book.

Some of the reasons you hate your book:

1. You’ve read it too many times and you can’t read a single word one single more time.
2. You started writing it when you were someone else and it doesn’t really reflect who you are anymore.
3. You see too many flaws and can’t figure out the way to fix them.
4. You are just sick and tired of this world, these characters and their problems, and wish they would all go to hell.
5. You are jaded because of the publishing process. It may have taken ten years AFTER the contract was signed before the book was published. You may have gone through multiple illustrators (if you’re working in picture books), multiple editors, even multiple publishers. It’s not the book’s fault, but all you can think about when you think about the book is all that angst.
6. The language isn’t what you want it to be, but you don’t know how to make it what you want it to be right now.
7. It’s not a good time in your life. There are sometimes outside factors that affect your relationship to your book, and even if they don’t cause writer’s block, they can make you hate everything you write.
8. Being a writer under deadline hasn’t turned out to be what you thought it would be. You just need more TIME to get it right.
9. You have nightmares of every person you’ve ever met and told you wanted to be a writer reading this and seeing every flaw in your personality, your character, and your education in it. They’re never going to read it and think that you made good on your promise.
10. The book jumped the shark. You don’t know where it did or how to go back to a draft before that moment, but it doesn’t matter because you just have to finish it and get on to the next book.
11. It’s not this book you hate, it’s the fact that you soon have to be working on the sequel to this book, which will require you to work around all the impossible problems you didn’t solve in this one. And somehow get them right.

Writing isn’t for the faint of heart. It’s a Herculean task, carrying a whole world of words on your shoulders. My salute to you if you are in this difficult place! And any time you need to talk about it behind the scenes, I’ll be there.

alytigger  asked:

I've been writing some original work and I was wondering how you went about getting Shift published?

When I wrote Shift, I wanted to have it traditionally published, so I researched all the publishers in Australia and approached them the way they asked to be. Most of the publishers here take unsolicited manuscripts (ie novels without agents), because it’s actually harder to get an agent than it is a publisher. Each of the publishers have their own process. Sometimes it’s a whole novel submission, sometimes its just the synopsis, sometimes its synopsis and first three chapters.

After being rejected by them all, I tried several US publishers and agents and was told it was rare that someone from Australia could be published in the US without first publishing here. (cue tears and tantrums)

Self-publishing is hard, because it’s on me. I did a lot of research into it before I made the decision to do it, but I wanted Shift to be read, rather than abandoning it. Becoming popular or even famous under self-publishing is very hard, but I wasn’t after that, I just wanted those people who’ve been waiting for years for my own work to be able to read it. 

I read a lot of testimonies of self-published authors. I read a lot of tips and guides. I read a lot of the downsides. I researched as much as I could and approached self-published authors to find out what they thought.

One of the things which was common was to put your self-published document everywhere you can. On all the sites, not just on Amazon. Amazon is American centric, but places like Barnes and Noble are worldwide. (That said, if you can make it on Amazon, B&N do take notice too). Smashwords does that for you, it’s a distributor, so doing both Smashwords and Amazon will get you to most places. 

For the printing side of things, I chose CreateSpace simply because it has already got an in with Amazon, so you don’t have to apply to have it attached. But it’s not Australia friendly at all. Amazon just brought out its own alpha version of paperback printing which I may try next time, I’m not sure. 

I think one of the hardest things about self-publishing (after the marketing) is the formatting side of things. It has to be absolutely perfect, or the document gets rejected (it’s an automated process and scan). And every site you upload has their own formatting system (and their own templates). So it means several copies of the same document. 

It’s all very hit and miss the first time. I learned a lot and very quickly and still screwed things up.

But it’s such a huge thing to and I’m really glad I decided to. Being able to hold my own printed novel in my hands was just an amazing moment. 

If you have specific questions, I’m happy to answer them. 

anonymous asked:

aaah i loved your dazai x writer s/o! could you do the same except with oda? ;w; tysm❤️!

Aw thank you! (I loved that one too tbh)

HC referenced is here: (-X-)

Another note: Since I tend to pepper in the occasional NSFW part in my headcanons, from now on I’ll be marking any overtly NSFW hcs or sub-hcs with the first word bolded; so if you want to avoid that, bolding is your warning sign. Very light NSFW in the middle of other HCS will not be bolded for appearance's sake.

Oda Sakunosuke

  • After a few times of accidentally grabbing your notebook and filling a page or two with his own scribbles, Odasaku splurges a bit to buy you a gorgeous faux-leather bound journal. He orders it custom to your exact preferences; from perfect page size to lovely paper thickness, he overlooks nothing. Inside the front cover, Oda pens a sweet love note. He claims it’s just to help keep your notebooks apart; if you ever point out that since he bought the journal for you in the first place, he should know what it looks like, he simply shuts you up with a sweet kiss
  • Whenever you need a second pair of eyes, Oda’s always willing to break out the red pen and go over your latest draft. He doesn’t hesitate to point out flaws, but he’s careful not to discourage you, either; for every awkward metaphor he restructures or paragraph he scratches out, he circles or points out some word or sentence that has a lovely ring to it.
    • If you’re willing to do the same, Oda always turns his drafts over to you. He always rewards you generously; one kiss for every error you can correct. If you spend long enough critiquing, he might even pepper them lower than your lips.
  • As a fellow writer, Odasaku knows firsthand how important the right setting is if you want to get any words out. His personal duty is ensuring you’ve always got a perfect environment to spread a few words across the page. If you need something more strict, he sets up a mini-office complete with a desk, comfortable chair, and fountain-pens galore. After something more relaxed? When you want to write, Odasaku quickly turns his living room into a chillaxing den; a huge pillow fort, your favorite snacks at the ready, even fairy lights strung around if you’re really after that calming vibe. Whatever you need to get in the zone, Oda never hesitates to provide.
  • If your writing desk starts falling apart, Oda brings up a much better idea than running to the closest IKEA for a replacement; sharing his. Something about the idea of sharing his creative space with you winds his heart a bit tighter; he can’t quite explain why, but he’s willing to deal with the occasional ‘who-does-this-pen-really-belong-to’ spat if it means you’ll work at his desk. As long as you’re not super-possessive, Oda works out a ‘custody deal’ about who’s turn it is to use the desk if you both want to use it at once (of course, all you have to do is pout a bit and he’ll give up his turn immediately.)
    • After you begin sharing this space, the writing desk quickly morphs into one of Oda’s favorite places to fuck you. He can’t explain this little quirk, either; all he knows is that when you’re bent over the familiar surface, moaning against him, his blood gets rushing a little bit quicker than normal.
    • Giving him a sensual, drawn-out blowjob while he’s at the writing desk is also a surefire way of getting him to cum a little faster. Sure, it’s not the most comfortable spot to recline back, but as long as you’re bent underneath the desk with your pretty little mouth around his cock that’s not exactly the first thought on his mind.
  • If you’re a published author, Oda has a billion questions for you about the publishing process. Even if he’s not ready to throw something at an agent until after he leaves the Port Mafia, he’d still like to know the process; and who better to learn it from than you, who’s already done it?
  • Odasaku keeps snippets of your writing paperclipped inside the front of his writing notebook. Often, whenever he’s tangling with writer’s block he pulls out what you’ve written, skimming over it again and again. Usually, scanning the words, hearing your lovely voice reading over it in his mind, is enough to spark a burst of inspiration.
  • Whenever you two have a few hours to kill and don’t feel like doing much, Oda drags you out of the house for a writing date. He drops your supplies in his laptop bag and threads his fingers through yours, tugging you along to the nearest quiet spot brimming with atmosphere. Sometimes, you’ll wander into a tiny corner coffee shop, or maybe a park bench under a cluster of sakura trees. As you both write, he pulls you over to lean on him; as time passes and your drafts take shape, you tangle closer and closer together until you’re practically in a knot. Oda could write like this for hours; fresh air, gentle ambient noise, and your soft skin flush against his own.
  • For your birthday one year, Oda collects your top favorite parts of his writing. He gathers everything you’ve written that he considers his favorite, too. In a small journal, he copies down the words in flawless, winding cursive. Across every page of your writing, he copies something of his that’s similar. When he’s done, all of your favorite writings span the pages together. At the end of the book is a surprise, though; an enormous love letter, listing so many of the things he loves about you (a new composition, of course).
  • Odasaku never leaves home without one of your love letters (his favorite words you’ve ever written) folded up, tucked in his pocket. He claims he just wants to keep your love with him all the time, which isn’t strictly a lie; but there’s more to it than that. Oda’s painfully aware his Port Mafia work means all it takes is one misstep, and he’s gone. If he dies, he wants to fade away with your words pressed against his heart; of course, he’ll never admit that to you.