publishing industry

Romance, Representation And You

So the last post I reblogged got some interesting comments I want to touch on, namely people stating that they don’t dislike Romance because it’s fluffy and feel good, but because it is often sexist, misogynistic, ableist, heteronormative and woefully lacking in diversity, which yes, absolutely, yes. Those are entirely valid criticisms of the genre—indeed I find them to be valid of any genre, whether it’s sci-fi, fantasy, young adult or otherwise. There is a shocking lack of diversity in our fiction and media—and not because people don’t want it or aren’t trying to make it, but because publishing houses and media can’t see the co-relation between what their marketing teams are telling them, and the actual reality that of course straight white stories are selling the best, of course it is, because you won’t sell anything else, that’s why there’s no sales numbers for anything else.

I worked in a romance publishing house for a good few years, I also worked for their erotica team, and do you know, not once did I ever come across a manuscript with a disabled person? Not a single one. There was also never a manuscript that featured a character with mental illness who wasn’t the villain, or whose issues couldn’t be Fixed With Love™(*vomit*). 

The few times a story featured non white characters, it was usually “The Best Friend Who Gives Sassy Real Advice”, or so horrifically racist that our modus operandi was to nuke it from the office servers rather than try and deal with it because how do you politely tell an author, hey, you’re a fetishistic piece of shit please find God and change the entirety of your story so we can print it, (Answer: you don’t there is no polite way to tell someone they are a  fetishistic piece of shit and you never want their work to darken your inbox ever again.) when you can instead say “Sorry, not what we’re looking for a the moment” and retreat to the relative safety of the slushpile where maybe, just maybe, a hidden gem awaits excavation.

And our publishing house prided itself on diversity because we had an LGBT section, and oh boy let me tell you I was so excited when I got moved over onto that side…only to realize, there’s no w/w fiction because “it doesn’t sell well” and 90% of the m/m fiction is being written by women for women and they fired the one gay author cause his work wasn’t “what was selling” and every bisexual character I ever encountered was either Actually Gay/Actually Straight, or surprise! The Evil Greedy Homewrecker who needs to pick a side, booo hiiiiss, grab your pitchforks and burn the witch.

And I remember, I remember looking to my senior editor who was also my friend at the time, a poly bisexual, mentally ill woman and saying “what the fuck Rebecca” (yes, her name was actually Becky) and she looked at me over our skype call and said “You want to keep your job? Deal with it.”

Because you see, Marketing reigns supreme, and Marketing doesn’t give a shit about people like you and me. It doesn’t care if the neurodivergent person wants to see people like them in fiction, it doesn’t care that people of color want to be more than just the friend/villain, they don’t care that there is more to LGBTQIA+ than the L and specifically the G, it doesn’t care if disabled people want to be represented as more than someone ele’s story arc prop. They don’t care they, don’t care, and do you know why so many publishing houses look down on indie publishing and self published authors and try to call them hacks? Because we don’t give a fuck that they don’t care and we’re doing what we want anyway.

Oh sure you get the usual “but the work is so unpolished, no one has vetted it, it’s just bad, this is why we need publishers to stop the crap from rising to the top”—and yet Fifty Shades of Grey still gets a multi-billion dollar production budget and to the top of the best seller list—do you see, where I am going with this? They’re not interested in selling the best they are just interested in selling, and we are living in a society that has a system designed specifically to a quite literally straight and narrow demographic. So of course XYZ stories sell well, of course they do, because that is where the vast majority of marketing goes, to make sure you buy into it. And Romance…Romance is a lucrative industry to be in if you can get the weight of that campaign behind you…but if you can’t? Well, not only do you have to compete with lack of funding and resources, but also the pervasive lie that because you’re not affiliated directly with X Publishing House or Y Agency, you are not good enough, and no one will want to read your story.

And that’s a bunch of baloney. It’s so much baloney you can slap it between two slices of bread and cover it in mustard because the whole thing is a ham.

Do you know what I would have loved growing up? (And still would) Stories about girls who liked people regardless of gender—and who wasn’t conflicted over it because people are people and gender is fluid and irrelevant to love. Stories about people with mental health issues, where the person is still loved and shown as functional, with their mental health issues, not despite. Stories about disabled and ill people who have fulfilling lives whose arc doesn’t revolve around being brave for simply existing or how much of a saint their families/loved ones are for putting up with them. And do you know what I get instead, even now as an adult who has worked in the industry that sells these stories? I get things like Fifty Shades of Domestic Abuse, and train wrecks like You Before Me where the death of the disabled person is seen as a romantic gesture of selflessness that sets the love interest free to fully live her life. HOW FUCKING FUCKED UP IS THAT. Oh you can argue with me all you want that wasn’t  Moyes intent when she was writing it, but it damn well was the end result.

Yes, Romance is lacking, and yes it needs revamped, it needs more cultural diversity, it needs more inclusion, it needs so many things—but it also needs for people to not want to not write for it because it’s “fluffy” and cheap, like somehow they are selling their souls away. 

I’ve got friends who have written amazing, diverse stories told from their point of view…but they won’t ever get them published because as soon as you mention self publishing or the Romance industry they turn their noses up. And they’re shooting themselves in the foot in doing so, because there ain’t no way a story about XYZ is going to make it in a sci-fi house, no matter who much tech you add in. On the flipside of that, I’ve also got a friend who has written about her experiences as a Black queer disabled woman and it’s filled with relationships and great life stuff and so funny…but she can’t get it published anywhere because she’s been explicitly made to feel like she doesn’t belong in the genre because her stories are too complex, they’re too different they’re too comedic…too…too…too (the list goes on). And that’s awful because Romance is a genre that is primarily about people and if you as a Romance house are telling me you can’t sell a story about people, boy are we well and truly fucked.

The biggest criticism of the Romance genre shouldn’t be that it’s too damn happy and therefore unrealistic and nothing but fluff. What’s unrealistic is the complete lack of diversity and inclusion in the genre that makes it so alienating that a huge part of our society immediately feels like they don’t belong. 

And that’s a bigger problem than fluff.

So great, yes fine, Romance isn’t for you, you can tell me all the time that you don’t like Romance and I will cheerfully talk to you about literally anything else. But don’t ever tell me you don’t like Romance because it’s simple and fluffy when there’s a whole wealth of actual problematic shit to dislike it for.

And to you, yes you, I’m talking to you. You with the idea in the back of your head and the worry that you’ll never be a Serious Author because all you want to write about is romance and people and angst and fluff and also thinking no one wants to read stories about people like you: take that idea and run with with it, learn from your experiences and keep doing it some more and maybe one day we’ll have the publishing industry we deserve that will acknowledge you. But until then: Rebel and Do It Anyway.

Illustration: Chelsea Beck/NPR

Podcasts — everyone seems to have one. And more and more people are listening to them. At the same time, sales for audiobooks are growing faster than any other segment of the publishing industry. That got NPR’s Lynn Neary wondering: Are podcasts helping to drive listeners to audiobooks? The answer, as it turns out, is more circular than that.

A Publisher Tries Podcasts As A Gateway To Audiobooks

Comic Book Page Technical Specifications

This is a post for comic book artists preparing their pages for their publisher or colourist. I’m aware that many pros still don’t know some of this stuff, often because the bigger publishers have production teams who will take the incorrectly sized or shaped pages and adjust them before passing on to colourists or for print. However, this a) is giving more work to people that you can easily do yourself and b) reduces the amount of control you have over how your work is printed. It makes sense to provide files that will present your work in the best way possible.

So, the basics of a digital page file:

Keep reading

writers
  • write that sentence, that dialogue, that scene that terrifies you
  • don’t delete shit, just move it to another document
  • have a “bits and pieces” document for all the odds and ends you can’t fit anywhere else
  • think of the color of a person’s eyes, imagine something reflected in them, now write that scene
  • fiction doesn’t have to be 100% accurate, don’t research yourself to boredom
  • i’m being serious there’s a thing called suspension of disbelief and it’s magical (yes that’s me making a joke)
  • write something that makes you cry
  • write something that makes you laugh
  • write something you can’t explain to other people
  • write something you won’t remember until you read it the next day
  • don’t read about the publishing industry until you really, really need to. all it will do is make you unbelievably tired
  • listen to music from open world RPG video games, you’re welcome
  • always take a small journal or some paper and a pen with you
  • write by hand in a journal every once in a while
  • put the ending of your story in the beginning and see what happens
  • listen to input from other people. yes you’re the writer, but they’re the reader and they want to help you make something spectacular
  • said is not dead dude like wtf
  • the thesaurus is shiny and lovely and a great resource but don’t let words get in the way of your story telling, you don’t need to write prose as poetry for it to be beautiful
  • just finish the draft first, worry about perfection after
  • yes, you do have talent
  • yes, you can do this. you already are

Write drunk.

Edit sober.

Revise and resubmit with an explicit recognition of the academic publishing industry as a parasitic drain on the curiosity and scholarly integrity otherwise associated with post-secondary career pursuits.

Me (before coffee): “academia is a publishing-industrial complex fuelled by status cues and free labour to create terminological proliferation, wheel reinvention, and self-preservative avoidance of relevance”

Me (after coffee): “don’t get me wrong I love what I do it’s the best job in the world have you seen my latest paper see you at the conference”

I would not be bothered by anti sjm blogs if they

-talked about other books that have the same issues as sarah’s. or, talked about the ya publishing industry in general and how it can be improved

-actively promoted books by women of color and LGBTQ authors and ownvoices. because it’s probably more important to promote these authors than it is to tear a white author down for her lack of diversity. im all for criticism and have written some of it myself but i also recommend and talk about books by authors who belong to marginalized groups or books that feature marginalized ppl. 

-acknowledged how important the narratives of abuse and recovery that are in both ToG and ACOTAR are

-acknowledged how important the representation of recovery from PTSD is to readers who have experienced trauma

-acknowledged how important it is to have positive representations of sex workers

-acknowledged how important it is to have books that feature female friendship as the driving force

-acknowledged how great it is that acotar and acomaf deal with the issue of male rape victims and the sexual objectification of men

-didn’t treat fans of sarah’s books as if they are somehow racist or support abuse because they read these books. 

-that last point annoys me in particular because so many victims of abuse take comfort in feyre’s narrative and these anti sjm blogs will just scream YOU SUPPORT ABUSE. but lol, no we don’t. 

-didn’t sound like a cacophony of screeching baby pterodactyls incapable of listening to reason 

-made constructive arguments

-acknowledged that not every book is capable of doing all the work that you want it to

-realized that you can still enjoy a book and also have some negative things to say about it. 

-understood the concept that people are allowed to enjoy things regardless of if tumblr rhetoric labels it “problematic”

so about the bi spiderman post.

this one.

so this thing… blew up way, way beyond anything i ever would have expected. and i became aware tonight that people in the publishing industry are sharing info and links from it on twitter, to the tune of thousands of RTs. and in the event that this reaches a point where sony or andrew garfield or stan lee actually have to respond, i want to say a couple of things.

first off, i fully stand by everything i said. this is not a backpedal; it’s a clarification. there’s very little editorializing in my original post - for the most part, i’m just presenting quotes, with full context, to support the conclusion that andrew garfield and marc webb made some effort to give peter parker a male love interest, and that this ultimately was a factor in the dissolution of the franchise. i made the post out of irritation after seeing marvel championing the diversity of spiderman: homecoming in promotional materials. it feels deeply wrong to me to see a major corporation patting themselves on the back for tolerance when a licensing agreement remains in place contractually obligating peter parker to be white and heterosexual, and when andrew garfield’s campaign for a bi spiderman and a black, male MJ were met with such total and unequivocal refusal.

that said: the variety article i linked in my post was published in june of 2015. i initially mistook this to mean that the “legal licensing agreement between Sony Pictures Entertainment and Marvel Entertainment” the article refers to was the february 2015 agreement in which sony gave marvel the rights to use spiderman in the MCU. as i was writing the lengthy addition to the original post, i realized that the licensing agreement in question had been signed in september of 2011 and predated the andrew garfield movies, and i made a correction in that addition. 

the licensing agreement wasn’t a direct reaction to andrew garfield’s campaigning for a bi spiderman. it was in place prior to the release of the amazing spider-man, and it dictated important character decisions, and it was almost certainly deployed to discipline andrew garfield and marc webb when they began to publicly discuss the possibility of giving peter parker a boyfriend. incidentally, it was also almost certainly instituted in response to the widespread 2010 campaign to cast donald glover as spiderman in the marc webb films, lending an additional layer of racist bigotry to this whole mess.

furthermore: i recognize that the 2015 marvel/sony deal was a complex one. i recognize that there were many factors at play here, and that the companies ultimately felt it would be lucrative to reboot the series with a younger actor, as opposed to integrating andrew garfield into the MCU. i’m not suggesting that andrew garfield said “spiderman should have a boyfriend” and was fired the next day solely for making that comment. but i absolutely, positively believe that his advocacy for a bisexual spiderman played an integral role in the dissolution of the franchise. when andrew garfield talks about his disappointment surrounding the fate of the amazing spiderman films, he doesn’t talk about the films not making enough money or not being received well; he explicitly talks about the studio’s unwillingness to “deliver medicine” to “millions and millions of young people who are hungry for someone to say, ‘you’re seen.’” stan lee had no complaints about the quality or profitability of the amazing spiderman 2, but he had a lot to say about the notion that peter parker might date a boy.

ultimately, marvel and sony signed an agreement dictating that peter parker be depicted as heterosexual and white. their lead actor and director publicly and vocally challenged this, and they were both subsequently dismissed. marvel is now running a commitment to diversity as part of the promotional plank for spiderman: homecoming - while evidently holding fast to the contractual agreement to portray peter parker as straight and white. that doesn’t sit right with me. lgbt kids and kids of colour deserve better. 

I want a book magazine

Like, popular and easily accessible. Maybe YA marketed since it’s so popular.

Imagine it: Book reviews, author interviews, book box reviews, spotlights on certain genres, interviews with people in the editing and publishing industry, ads for upcoming books, places to buy book-themed goods, recipes of foods from books, looking a fan art and stuff inspired by books, news from the publishing and bookstore business. 

I want it. Badly.

  • Meat industry: *publishes 6,000 billboards around the country telling people to eat more beef and 500 online articles telling people that veganism is bad because field mice*
  • Y'all: That's not propaganda! That's just the meat industry advertising a product and making a honest living! What do you expect? You can't just dismiss that information because it doesn't conform to your bias!
  • 'Vegan propaganda': Advertises vegan ice creams and an article about how cows are just as sentient as dogs and don't like being killed
  • Y'all: This is all part of an insidious worldwide conspiracy to turn people vegan enough with your broccoli-industry funded lies.

justanotherwritingblog  asked:

Hi there, I just discovered you blog and I think it's amazing! Congrats on your contract! :D I've recently finished writing my third novel and my friends and family keep prodding me to try to publish. Do you have any advice on how to get started on that? Thanks in advance ^^

Hi! Thanks for all of those nice words :) 

First of all, I would just like to say that you shouldn’t try to publish unless it’s something you’re sure you want to do. No matter how stellar the book you’ve written is, you’ll receive tons of rejections. To withstand all of those, you’re going to need a belief in your work that doesn’t rely on external validation. 

If this is something you really do want to pursue, I’d say there are three major steps. 

1. Readying Your Manuscript for Submission 

I don’t know whether this is a first draft, or something you’ve revised, but you’ll need to do at least three levels of revision: a macro-edit, a micro-edit, and a copyedit. 

The macro-edit focuses on all of the big features of the book. This is where you make sure your characters are fully fleshed out; that your plot makes sense and has a defined beginning, middle, and end; that your world building is engaging and realistic, etc. There may be multiple macro-edits as you whip your book into shape. 

Once you’ve finished the macro-edits, move on the micro-edits. Micro-editing is about making your sentences flow. In your micro-edits, you focus on fixing your dialog, descriptions, syntax, etc. You also fix any small plot holes, cliches, and character inconsistencies.

After micro-edits come copyedits. Here, you mainly fix spelling, grammar, and style errors. If you haven’t submitted work to formal workshops/writing classes, I’d suggest doing some research on how to style punctuation/paragraphs/pages in fiction. Fiction writing has a ton of largely unspoken style rules, and breaking these rules will make your writing appear more amateur and unrefined than it may actually be. Here are some great sources to check out:

Once you’ve readied your manuscript for submission, it’s time to actually prepare to send it out.  

2. Finding Agents to Query 

Most publishing houses don’t take unsolicited submissions. Instead, they take submissions from agents. So when you want to get your manuscript published with any of the big publishing houses, you should look for an agent instead of a publisher. 

This answer is already going to be long enough without an explanation about what a literary agent is and why you should get one, so if you’d like more information, I’m going to direct you to this article:

An agent is someone who’ll support you throughout your career. This is going to be a very important relationship in your writing life, and so you should do quite a bit of research into them. There are a great number of sources for researching agents. These two are some of the most popular: 

If you need some more advice about how to find the right agent, check out these articles:

3. Querying 

Once you have a list of agents you’d be interested in representing you, you’ll notice that they all require query letters. Luckily, I’ve already typed up a thorough guide to writing one of those. 

You’ll want to query a good handful of agents at a time: between six and ten. Agents may get back to you within a day or after a few months, so it’s a good idea to track who you’ve queried, when you’ve queried them, and what they’ve said. Query Tracker is a good source for this, but you can also just use a spreadsheet or a notebook. This article suggests not giving up until you’ve queried 80 agents or more, which could represent an entire year of querying. 

(There’s a reason this is called the “query trenches.”) 

Once you land an agent, the rest of your journey to publication will be decided in discussion with them. 

Throughout this entire process, from step one to step three, you should be keeping up with the publishing industry, and doing your best to learn about it. There’s only so much I can cover here, and I’ve really only skimmed the surface. 

I recommend:

Best of luck! 

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Online Writing Submissions: What You Must Do Before You Hit Send!

Like it or not, the process of submitting your writing to literary journals and agents has moved irreversibly into the digital age. And while most writers have happily embraced the convenience of submitting work online, others still need to be dragged, kicking and screaming, up to the computer keyboard. Either way, the reality is unavoidable: The printed, mailed submission is going the way of the inkwell and parchment paper.

Using an online submission manager allows you to easily make, track, and manage your submissions. Many literary journals now accept submissions via an online submission form or a submission manager – and some have stopped accepting print or email submissions entirely! Literary agents as well have embraced the ease of electronic submissions and are accepting e-queries, sample pages, and even entire books by email.

But, while online submissions have made sending your work easier and faster, they’ve also made it possible for you to send glaring errors and avoidable mistakes with lightning speed too.

Here are a few reminders to help you make the best possible online writing submissions.

anonymous asked:

Hi hope you're doing well today. The HSA Inc. company It had seen listed before, someones blog awhile ago, but just sat there I believe, but now what does that actually mean to Harry? What do they publish? Do they get money separately from the things he does in print (i am so ignorant about this.) The Erskine Records Limited, what do they do with his career. I do not understand how HSA, ERL and the touring company work together, why three separate things?

Hi anon! The three companies will control and manage the rights, assets and revenue from different areas of Harry’s business. So Erskine Records will probably manage his recording rights & revenue, HSA Publishing will manage his publishing copyrights, and Erskine Touring will manage his income from tours.

He needs three separate companies because….well, basically he’s hella rich and there’ll be a huge amount of revenue coming from lots of different directions and they’ll need different entities to deal with them.

HSA Publishing deals with Harry’s underlying copyright to the songs he writes - for anyone, not just himself. Every time a song gets played on the radio or used on TV or used in an ad or a public event, Harry will get a royalty payment. We know that Harry has signed a deal with Universal Music Publishing (UPMG) for his song publishing, so that was probably signed via HSA Publishing. 

Incidentally, remember when the hacked photos from Anne Twist’s phone were being removed from the internet? The copyright notices sent to people demanding they take the pictures down were from HSA Publishing. So that’s probably the company that will deal with all Harry’s copyright such as image rights, photos, artwork, merchandise etc

Harry’s record deal with Columbia was probably signed via Erskine Records rather than Harry directly (for his exclusive services) and who knows - maybe one day he’ll use it to release his own music directly, or even sign other artists. 

And Erskine Touring will look after all his touring business.

Hope that clarifies things a little bit :)

Work Comes Home - Part 8

Summary: You work for the company that publishes Hamilton: The Revolution.

Words: Approx. 6100

Author’s Note: Thanks to everyone who read this over (@ourforgottenboleros​, @secretschuylersister​, @letsgiggletogether​: your enthusiasm and excitement honestly helps me to write this. @iwrotemywayto-revolution​ THANK YOU for fixing my horrible grammar - you’re amazing.) Let me know if there’s any little mistakes, I can go in and fix later <3

Disclaimer: I’m sorry for any pain, there’s a few more parts left in this story so please stay with me. Feel free to yell at me all you like because I UNDERSTAND. Again, the timeline is definitely a little weird and artistic liberties were obviously taken in reference to the publishing industry. 

Warnings: Angst, maybe swearing

Askbox | Masterlist | Previous Chapter | Next Chapter

Tags@hoppybunnny​ @doctorstethoscope@smileystumph​  @invisiblerambler​ @lookingformygus @theselfishllama @genericusernameblahblahblah @musicals-lin @ruth-hamilton-delrio

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farashasilver  asked:

Hi! Question about the publishing industry. Most of my rejections have to do with market and genre saturation ie, "we like this but it's not what we're after right now." At that point do you table the work and focus your energy on something else, or do you keep pushing and trying in hopes someone will eventually bite? Signed, very discouraged writer trying to break into the game.

Try other publishers and agents, do the rounds. Try smaller publishers, not just the big five. Regional presses. If those don’t work out, set it aside, DON’T throw it out, and work on other things. And work on other things while you’re submitting! 

Sooner or later the trends will change, and you might be able to try those earlier works again. One writer I know had written twelve books before she sold one, and the one she told was her sixth. 

Also, don’t write to the current trend. By the time you finish, the trend will be ending. Write what you want to! You’d be surprised by how many people want to see the kinds of things you’re passionate about.

The Steam Dichotomy

The dysfunctional thinking between what developers have and what they think they want

Valve announced that Steam Greenlight was no more, and then Steam Direct became news everywhere. Not much has been said yet, other than Steam Direct will be about as much as Steam Greenlight was – and this has sparked debate among indie developers. Some show support with the initiative, whereas others are disappointed in the low fee and the consequences they assume from it.

Thinking less competition will provide for better opportunities for sales is absurd. You can try standing on a street downtown selling candy by yourself, but the fact that you would be the only kid diung anything doesn’t mean that anyone would buy from you. Ideally, having a market involves the concept of multiple variables efficiently coexisting, without it the concept of a market doesn’t exist. Without company diversity operating in the same supply and demand, indie developers would be nothing but quirky kids doing creative things that belong nowhere in the economic spectrum. Having a healthy market indicates more to work with, there are more games but also gamers too; having more people to perceive as potential users is a positive thing.

Without the data a market provides, companies like Steam would not exist. There would not be enough of a user base to build up a distribution platform that would operate as an important hub in the industry – you would be stuck working on your own Wordpress website, with your GoDaddy / Shopify store.  I sure remember those days, way before even social media existed. To assume a company should do less to serve third-party expectations is flawed, a company works for itself, even if it is a hub that provides a service to many other smaller companies and indie studios.



 The thing indie developers understand as a problem is the denial to accept the bar gets raised every single time there is a surplus of content. More games dictate gamers will have choices, providing new bars for what is value and price, including options for costs and quality. When more is asked of you, you shouldn’t complain about giving less – learn more instead; there is so much to work with, having fewer people playing games won’t dictate your success, but having more venues to reach out to more.

There is not much to discuss on Steam Direct so far, we need information on how content will be curated now, and what this new platform will offer for indie development. For now, all we can do is revise the concepts of cost and price, and quality and value – all sound similar, yet they are not. Not long ago, I wrote about the difference of cost and price, this time I want to introduce quality and contrast it with the concept of value, all relevant to the future of your games.

Value is something that becomes defined by the user, if it is something that serves a purpose for any specific use, or that it becomes something that resonates in sentiment. Quality relies entirely on the company, and sometimes it might even set the bar for cost and performance. Also, while important, users might buy not because it has quality but they will not buy it in the absence of quality, reason why quality and value need of each other.

Maybe your game presents the most refreshing imaginative creation yet on its genre, but if the game crashes on start, it matters very little how meaningful it is if it’s unplayable. Maybe your game runs perfect, but it is yet again another pointless shooter clone without even a story to it – development should not impair marketing, just as marketing can’t exist without development. Yet, it is often known that developers can market a game for five years and more, or simply just launch without marketing at all – neither scenario is healthy without understanding how variables like quality and value will set the bar for cost and ultimately, price.

Steam is one of many distribution options for digital content, and it is one of the fundamental ones. It widens your options as a publishing platform, but it doesn’t provide success by default. Everything you combine with the concept of cost, quality, value and price will.

Game development production is fundamental: the time you take working on something, the time it takes to promote said something, the money you inject into it. There are so many variables that need time and money, and if you do not have the money then it should take ten times the work and attention. But thinking because you can’t afford it, that it might not be needed, is what makes indie developers fight to be in a new releases listing rather than organize a genuine marketing plan instead. Invest your efforts wisely, don’t be afraid of competition – grow with it.

“Loads of moneeyyyy! Money, money, money ♪ ♫ ♪ ”