On Book Publishers Day (Monday, January 16th), we asked our followers across all our platforms if they had any questions for us as book publishers, and we got one anonymous ask on Tumblr! This week’s blog feature is our response to that question.
What’s the difference between catering to fanfic writers and to other kinds of writers? Or is there not much of a difference? Happy Book Publishers Day BTW.
Ah, I’m so excited that you decided to send in a question for Book Publishers Day! I delayed answering for a few days so I could really think about the answer, and now here we are. 😀
Tentatively, I’d say that there’s not a huge difference between catering to fanfic writers and catering to other kinds of writers, but there are a few. I’d say the biggest differences aren’t specifically in “how we cater to authors” so much as “how we’ve envisioned and structured the whole Press differently because of our collective roots in fandom.” Here’s some of the biggest differences that strike us, starting with those that are more narrowly about catering to the different types of writers, then getting a bit more general.
Privacy/safety concerns. While of course everyone worries about their privacy and maintaining data security is critical when dealing with contractors, employees, etc., it’s something we especially emphasize when working with fanfic writers for two primary reasons. First, a lot of fanfic writers don’t want people who know them in meatspace to become aware that they write fanfic, given the stigma against it in some communities. Second, a lot of fanfic writers are queer and they aren’t necessarily out in all their circles. Thus, we put a lot of extra effort into ensuring that people who work with us can keep their “fandom self” separate from their “meatspace self,” if they want to. I’d estimate roughly half of our authors opt to keep their various “selves” completely separate, and we work to be very public about the steps we take to protect our authors and the guarantees we have in place that we won’t “out” anyone in anyway – that we’ll do everything in our power to protect them.
Publishing education. While plenty of the authors we’ve worked with have been interested in publishing for a while, and a noticeable minority have published their original work with other Presses, a lot of our authors have always seen publishing their original stories as more of a “someday” and aren’t familiar with the processes of what happens after the stories are written. So, we put a lot of effort into process-related transparency and answering questions to ensure that writers know what to expect. For example, we make blank versions of all our contracts public so that people who are considering working with us have plenty of time to read them, research standard contracts, and decide for themselves if they think our terms are favorable. We want people to know what they’re getting into and to feel comfortable before they commit, and to feel comfortable walking away if that’s better for them.
Unconventional publishing models. That said, we’re also rather outside the mold for publishers, because only a few of the folks in our upper echelons have a background in more traditional publishing and/or medium/small Press publishing. I, the owner, have flirted at the edges of the more mainstream publishing industry but while I know a lot of people in trad pub and indy pub, I haven’t worked in it myself nor have I been traditionally published. Thus, we definitely have had a learning curve ourselves, and it also a lot of our internal structure and approaches are specifically, explicitly designed around fandom models instead of around more standard Press models. For example, we wholesale adopted a zine approach to anthology production and publishing – we select creators and give them freedom to create within the parameters of the anthology theme, then help them with editing, instead of asking for completed stories that we sift through and pick our favorites. For another example, our approaches to tagging and cataloging stories and our interest in breaking out of industry-standard rigidly defined genres are also deeply rooted in our experiences as fans and fancreators in fandom spaces. Basically, in the same way that we approach writers who are fanwriters first, original writers second, we ourselves were all fandom people first, publishers second. and our methodologies grew out of our experiences as forum moderators, fandom event creators and runners, zine editors, etc.
Community spaces. Again, because we’re looking at more of a fandom-based model transplanted onto a publishing milieu, we’re very oriented on building a community and relationships. Our Discord is quite active, and we talk about our lives, about our projects, help each other out with research and betaing, etc. To be honest, I don’t know if that’s different from other Presses, but I at least strongly suspect it’s well outside what trad pub does.
Transparency. In the end, we view Duck Prints Press as a collaboration, as something we’re growing together with writers, editors, artists, graphic designers, etc., where all of us have been active in fandoms first. Toward that end, general transparency about our decision making, processes, and plans is important to us, and we work hard to make sure that people involved in the Press know what’s going on. We hold monthly meetings to which everyone involved in the Press is invited (our next one is this Tuesday!) where we talk candidly, openly, and honestly about our progress on current projects, any set backs we’ve encountered, and how we’re doing fiscally. In the same way that, if I’m involved in a zine, I’d expect the people running it to talk about the money earned, where profits are going, if there’s been an issue with production, if someone’s life going haywire has introduced delays, etc. That’s the level of openness we aim for.
Education. This is an area where we’re still expanding, but we’ve so far offered two classes to people involved in the Press on grammar and editing stuff. The idea is, a lot of people who write fanfic aren’t “trained” authors, and we often don’t know the rules, just “what sounds right.” And, that’s fine, that’s why we have editors! But if people want to learn more, we’re striving to provide more opportunities for that. Related, we’re extremely, and atypically, transparent about our selection processes for people who apply to anthologies. We are not and will never be a black box where submission stories come in and acceptance and rejection letters go out. Not only do we use a rating rubric that’s available publicly, we also share completed rubrics with authors upon request. We want people who are interested in learning and improving to see our notes and to have the chance to ask questions. We want to support people who are aiming to improve. And, flipside, we don’t automatically send those rubrics out to applicants because we wholeheartedly subscribe to the fandom-standard attitude that concrit is only helpful when it’s asked for. If someone doesn’t want more information, doesn’t want to improve (because improvement NEVER has to be one’s goal as a writer, especially for fanwriters doing fic for fun!), we don’t force that feedback on anyone! So, so many of our structures are based on fandom models, are grounded in fandom ethos.
Relaxed restrictions. All of the people who run the business are queer (I’m aroace genderfluid, myself), and most us are neurodivergent (my diagnoses are ADHD and clinical depression), and some of us are disabled (my wife, for example, is an ambulatory wheelchair user, though she’s not heavily involved in the management team…right now she’s anonymizing the submissions to Aether Beyond the Binary), and many of us are parents (I have two kids, aged almost 5 and almost 7). I’ve been active in online fandoms for more than 20 years, and the people in my fandom circles have overwhelming shared the above characteristics. Most are queer. Most are neurodivergent. Many struggle with health issues and disability. Many are parents, have multiple jobs, are caring for parents, are supporting their partners, are facing a multitude of meatspace challenges that make working in a traditional publication model difficult or impossible. In a lot of publishing, things like really struggling with deadlines, or having to navigate the potential for unexpected health flareups, or juggling multiple jobs, or working around a child’s schedule, would be dealbreakers – the deadline is the deadline, meet it or get out. That’s…so not us. We strive to create an environment with the flexibility to meet people where they are, where having life go sideways (cause let’s be real, life always goes sideways sooner or later) doesn’t disqualify someone from breaking into the industry. As long creators communicate with us about their hurdles, we are very free about giving extensions, making exceptions, tweaking schedules, etc. We don’t want anyone hurting themselves just for a story. Yes, it can make management more challenging at times, but we always look to grant the same grace that we hope to be given when our own lives get complicated. (2022 has been a huge example of this, as my health issues resulted in my needing surgery last February and it completely disrupted all our project timelines for the year – we’ve really only just caught up in the last month or so).
Setting expectations. We aim to set realistic expectations with authors who write with us. My own sense of other models is that most publishers promise success without necessarily delving into things like “but you’ll have to handle all your own marketing” or “this is how many copies you can honestly expect to sell.” Authors can often be in for a rude awakening once they’re in the door and contracted and would be hard-pressed to back out. We’re very small, and we operate on a shoe-string budget (I have been operating Duck Prints Press for just over two years and we’ve never yet earned enough for me to take a paycheck, and we’re in the red for both of our first two years, though our 2022 numbers are a significant improvement over 2021 and we have every reason to hope we’ll keep growing). We can’t afford a lot of advertising, can’t be the only source of marketing, can’t promise that people will sell lots of copies (full disclosure re: what that means, our average short story sells under 10 copies during the first week it’s released). We can’t promise anyone a livable paycheck. What we offer instead is community, support, creative freedom, understanding, and the chance to be part of a fan-run business that is slowly but surely growing, and growing amazingly. No editor will ever say “you have to change xyz so your story will sell.” No editor will ever say, “we just don’t want that story.” We want to publish what our writers want to publish, and we want to work all together to help grow all our audiences. And that means, for people involved right now while we’re this young, we can’t promise much, but we can promise one wonderful thing: that the future looks bright.
This went a bit beyond “working with fanfiction writers versus trad pub writers” and more into “ways we approach things differently than a more mainstream Press,” but I think that does tie into how the approach is different. We’re not viewing the Press as The Owner And Managers Who Are Always Above and the writers as The Content Creators And Cash Cows. All of us in the management team are also fandom people, fanwriters, fanartists, etc. It’s not two distinct groups, it’s one big group of more-or-less equals (yes, there’s still a hierarchy, there has to be some, but it’s not super top-down and there’s lots of opportunities for people to share their skills up the not-really-a-ladder) with the doors thrown wide open to welcome in more folks.
And that, I think, is the crux of the difference of how we cater to fanfic authors compared to what we might do differently if we were working with a more mainstream set of authors. While we do maintain certain editorial standards and we obviously don’t accept everyone who applies, we still try to cast a wide net, to opt for inclusion over exclusion, to try to make allowances, to make space for people at different levels, with different experiences, with different life challenges, etc. In the end, I’d love everyone who ever applies to work with us to end up as part of the Press, because if people want to work with us, we want to work with them! There’s no way to just bring in everyone at once, and some people need to hone their skills more before they’ll be ready to meet the writing standards we aim for, but it’s nothing that can’t be learned. And, if people want to learn it, we want to help them learn it.
We’re a publisher, yes, but we’re also a community of fanwriters who all dream of being published, helping each other to make that dream a reality.
This was probably a ton more answer than was really necessary, but here we are. 😀 Thanks for asking, anon, and I hope you found the answer informative!
(I’m @unforth, by the way, it occurs to me a lot of people may not realize that.)
