• CHILD OF SEHERON • @crowbasing@mastodon.social

Agender busybody. Primarily a writer these days and a distracted programmer.

I write action, scifi, horror, and comedy! Sometimes all at once~

⬐-- SUPPORT LINKS --⬎
⌨️ http://crowbased.nl/
✍️ http://blog.crowbased.nl/
📚 https://tapas.io/naughtingwell
☕ https://ko-fi.com/corvidae

• GACHAPON ADOPT THREAD •

What is a gachapon adopt? Well, it's a luck of the draw, my friends. Read the teaser profiles and see if you like them. Each gacha comes with profiles, outfit descriptions, and a short bio.

Keep an eye on my Gashapon spaces, only on Commissio.

Listing: https://commiss.io/listings/ENrW

Support Folder: https://commiss.io/kaprizant/gashapon-adopts

I love seeing people actually excited for video games these days. I hope y'all keep these vibes for a while~

Even though at this point I've deleted almost every creative platform I have, I've been in more of a mood to write because it's nice and slow at work.

LB • I wasn't expecting to laugh as suddenly as I did at the realisation.

This was supposed to be more comprehensive, but I'm exhausted. So, mata fucking ne, I guess.

If you have a book idea that you know won't publish/sell well, it's not you! It's that damn percentage because there are tonnes of shite out there that has no business being on the shelf. They just check the right boxes that maintain the status quo.

Writing can be improved upon, if you believe yours is worth the work. If you work with a good team, you will have no choice but to improve. If you dedicate yourself to actually wanting more out of the deal than just profit, you will improve.

Stay sharp and don't get too lost in the cushion of publishing. Keep your ear to the ground, and remember to be your own individual brand as well.

I'm exhausted, and all of this has been a massive thought spam.

All I'm trying to say is: the big names in publishing are snakes. They are incredibly tricky but incredibly profitable. I would do my research about where their dog is in the literary fight, understand how to query (but mostly how to talk your way around a pitch), and be flexible!

If you get rejected a lot, it's not you. Honestly, you just might be too hard of a sell (which is a compliment, honestly).

I say be flexible at writing two different types of stories until you can get your footing: yours and what a publisher wants (with your own spin of course).

In spite of what they say, if a big house can profit, they will absolutely put out half-hearted shit. It doesn't matter. If you want /your/ work to sell, do your due diligence and research, research, research ! Understand the audience you want versus the one you're going to get.

To explain it simply: it's the (dedicated demographic that will read a publishing houses work - the target demographic) / the general population within a publisher's reach that read at all. (Math's old, but probably still right.)

I would say to never compromise your vision as an author. (For example: I want to write an eroguro story around existentialism and godhood.) But understand what you're theoretical colleagues are publishing and what's being promoted.

They need a "theme" in an old sense to secure their brand, but they need variety to really build their audience. But because of that mass market appeal percentage, it's... way harder than it should be.

(My brain is scrambled eight ways to Sunday because of Yakuza Kiwami and just general fatigue, but.)

I'm glad that we live in a time where smaller publishing houses are cropping up everywhere, and they're getting traction. But there's a strong sense of traditionalism in publishing (compounded with the greedy reform for live-service) that's making it hard for them and others to succeed.

Publishing houses have grown a lot and a number of them aren't just dedicated to a single theme or a single strong seller. (Like ten years ago, you'll have people known for their contemporary authors or romance or sci-fi).

Everyone's trying to do a bit of everything, but if that's the case, browse their catalogue. Pick three or four consistent authors of different genres and see how their promotion has been. It shows how deeply the houses actually care.

Middle houses (who are smaller than the big houses but are still notable on their own) are wildcards... I'm not sure if this is even still the case anymore because I know some middle houses have been absorbed as imprints.

They're the ones /I/ personally think more people should aim for if only because of the peers you'll have and the variety of works.

Children/subsidiary houses will follow in the footsteps of their parent houses. They're going to follow those trends, and they won't take a lot of chances.

They're all trying to check the box of the mass appeal percentage. (Which you want because you want your books to reach as many eyes as possible, but in the end, they will try to curb your creativity if you're not careful.)

This was a problem when /I/ was still circulating in those circles (and it was even worse when I was in journalism, but that's a different tale).

I say publishers in a broad way, but this is dedicated towards those with numerous imprints and those who have smaller houses under them who are essentially heirs.

distribution, copyright, and the future of physical media as a whole. You may have read about how some of the biggest publishing houses are trying to live service book ownership. This isn't new, actually. It's just gotten more intense because of the world we live in right now.

As technology advances, they try to greedily weedle their way into it. Publishers want to kill physical books. And they're making ghost stories to support the move.

I would never discourage anyone from attempting to get published, however. Having the official channels can open up roads and smooth out obstacles that are inevitable when you're small time and doubly difficult when you're independent.

But there's a lot of falsehood when being professionally published that I would warn against. It's important to do your research on your publisher to figure out where they stand on—