It occurs to me that I haven’t spoken much on our business Tumblr about certain things going on in the background of running this Press. Usually, on Sundays, we try to post an informational post about writing, a prompt list, or some other significant content, but that’s been noticeably absent the last few weeks, and here’s why.
Hi, I’m unforth/Claire/Nina Waters, any pronouns (I don’t care if people default to she/her, which most do), and I own this Press. I’m 39, enby, aroace, mother of two, and queer platonic married to ramblingandpie. And I’ve had problems with my back on and off for almost 15 years. In the last 4 years that’s very much been more “on” than “off,” and in the last year it’s been continually “on.” Over the summer, it lingered at a constant 2-or-so on a ten scale where 9 is “giving birth without painkillers,” which I have done. Twice. Over the early fall, it was bad enough that I started getting help lifting and moving things. In November, it went into precipitous decline, and I started to get alarmed.
Early December, my doctor said “give it six weeks, see if it goes away on it’s own.” Spoilers, it didn’t. I saw a specialist, finally, on December 30th, and they immediately sent me for an MRI (I’d been trying to get my PCP to send me for an MRI for 4 goddamn years). A week and a half ago I saw the specialist again, and we reviewed the MRI results, and basically, one of my discs is bulging and pinching my spinal cord (less basically, the disc between my L4 and L5 vertebrae is herniated and causing spinal stenosis and radiating sciatic pain down my right leg). At this point, even on massive amounts of painkillers and anti-inflammatory meds, I can’t drive and can hardly walk right now – I get about 5 minutes on my feet before the pain is too excruciating and I have to sit and rest for 5 to 10 minutes before I can do more – and I also can’t sit at my desktop computer at all. And, the meds make me tired and dizzy. The specialist said I should see a surgeon, and while she hedged her bets and suggested there was a chance I wouldn’t surgery, she also considered the case urgent enough that she tried to flag the surgeon down in the hallway and have him see me immediately, and spent the rest of the appointment discussing surgery like it was a foregone conclusion. But I couldn’t make an appointment with the surgeon, because his secretary was out with Covid…and by the time she got back on Monday, the surgeon had also caught Covid, and is out for two weeks, as is another of the 4 total surgeons that the Spine Clinic at the local hospital employs.
I’m seeing one of the ones who DOESN’T have Covid on Wednesday, and again, while there’s a chance I don’t need major back surgery, it’s a very small chance. Based on our research and knowledge and what the pain specialist said (my wife has medical expertise too), we think the only real question on Wednesday will be how soon they’re able to schedule it, considering how bad Omicron is spreading here. The MRI indicates that right now I’m literally continually, potentially, a moment a way from catastrophic nerve damage. Like, if something twinges wrong, I could end up incontinent for the rest of my life, or with permanent leg weakness, or even theoretically paralysis, and I have a list of circumstances under which I’m supposed to go to the ER immediately and have the surgery with the on-call surgeon (who will be one of those same two who don’t have Covid, I feel bad for them they must be SO overworked right now, what a mess). It’d be a huge surprise if I don’t have surgery within the next week or two – we’ve been planning as if it’s a foregone conclusion, and I have a go-bag ready for the ER, because it really is that serious – and once I do, recovery is about 6 weeks of bed rest, followed by months of PT and the slower healing that just takes time.
All that said, post-op success rates on this surgery (I believe it’s a laminectomy?) are very high – if I follow all the medical instructions, I should heal back to 100%, unless I’ve already got nerve damage (which is unfortunately possible but. What can ya do?). Even then, surgery should heal the pain, and I’ll just have leg weakness.
All of which is to say…since early November I’ve been dealing with some pretty damn major health problems. Especially challenging has been my inability to sit at my computer, because that’s where I do most of my writing and all of my graphic work and editing.
I know I’m over-sharing personal things here, and I’m sorry about that – I’ve tried to hold off on sharing it at all, this has been going on for almost 10 weeks, but I think we’ve reached the point where the health issues are major enough, and the impact it has on the business is visible enough, that it’s better for me to simply disclose. I’m not looking for pity; I’m trying to make clear why the business is behind on certain things we’d said are imminent.
Our goal is to have this impact the business as little as possible, but since I’m our only full time employee, and our primary coordinator for major projects, there’s simply a lot we can’t do when my work time is greatly reduced by health issues. The good news is, once it became clear how serious this was, I used basically the business’s entire rainy day fund to buy a nice laptop, so I’m now able to work from the couch (which is about the only place I can sit comfortably). That’s how I’m typing this update – the laptop arrived on Wednesday and I’ve spent the days since getting it set up to do all the things I usually do from desktop, which means I can move forward on some of the things we had to delay.
Specific implications of all the above, as applied to our current projects:
1. The And Seek (Not) to Alter Me Kickstarter is temporarily delayed. We’ll make an announcement (and finally do the cover reveal!!) once we can plan a specific timeline for launch – hopefully, we’ll know that in about a week, after I’ve spoken to the surgeon. In terms of our actual preparedness for launch…I’m behind on my share of the editing, but all the stories have had at least one editing run, and about half are ready for immediate publication. The art is also all ready. We have all the merchandise art ready, and some are in the printing templates. The Kickstarter copy is complete written and edited and has been approved by KS (like, from that standpoint, we could literally launch right now), but only 4 out of the 6 graphics we need are completed; I’m hoping to finish the rest imminently, so that as soon as my health allows and I know I’ll be recovered enough to manage the KS fulfillment (which involves a LOT of box lifting, which is impossible for me right now) we can hit the “launch” button.
2. There are no delays in review of applications for He Bears the Cape of Stars and She Wears the Midnight Crown. We’ve already finished reviewing the applications from “returner” applicants (people who have written with us before on one of our two anthologies or have done a Patreon story with us) and have a preliminary list of accepted authors (no one will be notified until we’re done reviewing all applications). Our team doing the review (myself, A. L. Heard/jhoom, Alessa, P. J. Claremore/Foop, K. B. Vimes, and Lacey Hays/Owlish) are about halfway done with the mlm applications and a quarter through the wlw – I personally am a reader for every applications and I’m finished with the mlm and will be starting the wlw ones today. All of which is to say, we’re making good progress and do not anticipate a delay – we still expect to notify all applicants of their acceptances or rejections by January 31st.
3. The two novels I’m supposed to edit – one by A. L. Heard, the other by Tris Lawrence – I’ve been unable to make progress on, so these are currently delayed, and the authors are in the loop and know.
4. We’re a little behind on Patreon backer rewards, specifically the Patron-exclusive stories. However, we’re working on catching up, and we anticipate that (hopefully) by the end of February, we’ll have published all the backlog and caught up. Other Patreon rewards have not been impacted.
5. There’s a few other things that were in the works when this all started but that we hadn’t publicly announced yet…those are, as would expect, on hold. (As a teaser for anyone dedicated enough to have read this far…this includes our first erotica title and an erotica imprint to go with it, with it’s own logo and sub-website on our main page, and our plans for our fifth anthology, and a call for manuscript submissions, and more!)
As we see it…these are uncertain times for everyone even without “extra” things happen, and something like this health issue couldn’t have been predicted. However, nothing has changed in terms of our commitment to Duck Prints Press and all we set out to do. We truly appreciate your patience and understanding as we, and I especially, get through this. We’re striving to catch up and get back to “normal,” and we can’t wait to share with you all the amazing things that we’ve been working on. And Seek (Not) to Alter Me is a.may.zing, y’all, and the submissions pitches for the two new anthologies are blowing our socks off. Seriously, we’re so excited.
Stay tuned – there’s so, so, SO much more to come!
Interested in applying to be a contributor to our new, paired anthologies – She Wears the Midnight Crown and He Bears the Cape of Stars? Well, now is your last chance! Applications will close in roughly 16 hours – once midnight of December 31st has passed in the GMT – 12 timezone. Don’t miss out – we’d love to hear from you!!
We received a question on our Discord, seeking guidance on writing a pitch for our newest anthologies, She Wears the Midnight Crown and He Bears the Cape of Midnight. Answering it led us to look through the pitches we received when we put out our first call for applicants earlier this year. At that time, we didn’t include story pitches in the ratings, and we were also more open to authors changing their pitches, since we weren’t rating them. However, we still read them because we were really curious and excited to see what people had in mind, and I (hi, it’s your friendly neighborhood @unforth, owner and usually-the-blogger) highlighted my favorites and shared many of them with our backers on Patreon to whet their appetites.In response to the question on Discord, I shared a few of my favorites, and multiple people expressed that it was helpful to them, so I thought – why not turn it into a blog post, and let everyone see?
A few notes on this:
1. We do not claim this list will be generalizable to other Presses or calls for story pitches. You may find these strategies effective elsewhere, but you may not!
2. The pitches for Add Magic to Taste were restricted to only 200 words; our new call allows up to 400, so if you’re writing a pitch for us you’ll be able to get a bit more in than the examples were provide.
3. If you’re coming to this in the future when we’ve pitched a new anthology that you’d like to apply to, it will still be applicable – just swap in the specifics that make sense to our new project, because the essentials won’t have changed even when the specifics do.
4. If you’ve read our Submission Review Rubric you’ll already know that the only rubric item we have specifically for the Story Pitch is inherently subjective. While yes, we will consider the content, grammar, and technical aspects of your story pitch, that won’t have a huge impact on the ratings for our less subjective categories, and the main place we’ll rate it will be on a 0 to 4 scale from “I’m just not feeling it” through “I NEED 10K OF THIS YESTERDAY.” As such, because it’s subjective, what each reviewer will look for will vary. However, I wouldn’t be writing this post unless I thought the advice in it didn’t have some general applicability – our personal preferences will alter how precisely we rate pitches but in a general sense, a pitch that considers the criteria to follow has a good chance of appealing to all of us, even if it doesn’t end up a personal favorite.
With all that in mind…what should you consider when you write us a pitch?
Basically: we’re going to want to know who the most important characters are, where those characters are,and what those characters are going to do/how they’re going to interact with each other and/or the world around them.
Less basically…how do you do that?
1. Have characters. Don’t pull a “I want to tell a story kinda like a romance, but it takes place in a spaceship, and the ball is for…” without telling us about the people. Be the worldbuilding ever so cool (and don’t get us wrong, we LOVE cool worldbuilding!) we’re looking for people to tell stories about queer romance. So, we need to know who the characters are, not just where they are. All the most successful story pitches we’ve read are character driven. For example, here are some lovely character introductions from our Add Magic to Taste calls:
Ex. 1: Layla was born a witch—specifically, a witch who can make anything she touches taste sweet and delicious, which is a pretty lame magic to be born with.
Ex. 2: Xee is Asexual, graduated from school a decade back, and works the Tea Shop his parents have owned since they moved there from the Fae realm four or five decades back.
Ex: 3: Teravilis, a dragon shifter escaped from the government lab where she’s lived her whole life, is already feeling overwhelmed before a towering, beautiful woman sits down on the next couch.
2. Have a setting. However lovingly your OCs are assembled, if we learn nothing about the type of masquerade you’re portraying or the surroundings, then we won’t be interested. Look again at those three examples of characters: all three not only tell us about the character – they also integrate information about the world that character inhabits. A pitch like “Character A is an engineer who is tall and blonde and very good at what they do; Character B is a sec op who has perfect aim and a give-um-hell attitude” is interesting but…what does Character A actually engineers? Why Character B would need to be a sec op wherever they are? It doesn’t have to be in the exact same sentence, but it needs to be in the pitch somewhere.
2a: The setting and the characters must inter-relate. We want these characters to inhabit living, breathing worlds, and we do mean inhabit. If they just seem plastered over the setting – like if we took the characters out and plonked them down somewhere else they’d be completely the same – then that’s a problem.
Some examples of settings that enhanced people’s pitches for Add Magic to Taste:
Ex. 1: Airmid, an undercover health inspector with a love for busting the dirtiest cooks in the business, stops by her gleaming city’s newest restaurant: The Drakery Bakery. She can’t believe what she sees. The miniature dragons who work as everything from oven flames to waiters can’t be up to code, and no matter how delicious the pastries are she’s certain that a dragon shouldn’t be breathing on crème brûlées to crisp their tops.
Ex. 2: 35+ hedge witch who runs a bookstore (or similar) keeps magically bambozzling postal workers to deliver to the wrong address so she can talk to the cute owner of the bakery three doors down.
Ex. 3: Kyle hates that he has to put on his human skin every day and work at the coffee shop, but ocean jobs are reserved for those that can’t work on land.
(and again, note how all three of these could have been easily swapped in as examples for item 1. The setting exists to serve the narrative about the characters, not the other way around, so a strong pitch is likely to integrate the worldbuilding aspects by describing where and how the character(s) fit into the world.)
3. Be specific. It’s okay if you don’t know the character names or haven’t decided on the name of the spaceship where your ball takes place – that level of specificity isn’t necessary – but a pitch that says, “Character A is a spaceship pilot who has snuck into the ball after making a mask out of discarded reactor core parts” is much more appealing than a pitch that says, “Character A works on the spaceship and sneaks into the ball.” We want to see that you’ve thought about who these characters are, and where they are, and what they’re going to do.
Ex. 1: Then one morning, right in the middle of the dullest lull there ever was, the girl that works at the yarn shop across the street – the girl Merrily has been quietly pining over from afar since the first time she saw her three months ago – makes a dramatic entrance, slaps her hands down on the counter and says, very sternly, “It’s you, isn’t it?”
Ex. 2: Then he meets Nigh, a customer who hates the ocean but smells of kelp and salt and rides a skateboard like he’s underwater. He’s everything Kyle might want if he had time to do something foolish like fall in love.
Ex. 3: This story begins when Shiloh heads to La Vie Café to meet with the Reincarnation Support Group (for women who believe they have been reincarnated) in Philadelphia. She claims that she is the reincarnated version of a man who died 25 years ago.
4. Introduce the plot…but don’t feel you have to tell us everything. If you really want to summarize your entire story in 400 words, go for it, but it’s not necessary. It’s absolutely okay to leave us wanting more – you can treat this like a back-of-the-book blurb rather than like your cover letter summary. “The problems they face seem insurmountable…what will they do?” is a perfectly okay way to end your pitch, especially if you’ve adhered to our first three points and made it clear through your characters, setting description, and specificity that you do have a plan. Most of the pitches we’ve liked in the past treated the pitch as a teaser rather than as a synopsis or a book report. (Read the full pitches below for an idea what we mean).
5. How you write your pitch is almost as important as the actual story you propose. We want a compelling story, yes, but we also want to see – how do you approach character building? How do you work within a word limit? How do you approach building tension? Your story pitch is about the story you want to tell, but it’s also literally about how you pitch it. The classic AO3 “sorry I suck at summaries” isn’t going to cut it here: you have to take the dive and act like you know your story pitch is the coolest concept ever, and you are out to convince us it’s the coolest also. You love your characters? Tell us enough that we also love your characters and get invested in their fates. You built a lush world for them? Paint that world concisely and accurately with your words. You know that a reader who reads the first 1,000 words of your 6,000 word story will be so intrigued they won’t be able to put it down? Show us that by making the 400-word introduction to the concept so fascinating that we don’t want to put it down either. (Again, instead of excerpts, see the full pitches below.)
6. Don’t neglect your spelling and grammar. Good technical aspects won’t necessarily save a pitch that is flat in other regards, and poor technical aspects won’t necessarily sink a pitch that’s otherwise intriguing, but your attention to detail speaks to your genuine interest in working with us, and if the editing is poor, even if we loved your story submission and your pitch, we’ll worry ‘how much editing will this person really need to bring their story up to professional editing standards?” It’s definitely worth sweating the small stuff and getting your SPAG clean for your pitch as well as for your writing sample submission!
To boil these six points down to a tl:dr – we are looking for story pitches that are character-driven, keep in mind our main theme components (happy ending queer romance at masquerades or in masquerade-esque societies/settings), show that thought has been put into the details, and leave us wanting more!
Here are all the full pitches that we used for the above examples, and some we didn’t pull examples from. All are used with author permission and credited according to author request. If the story ended up in Add Magic to Taste, we make a note of that, but remember that we did not rate these pitches as part of our applicant review for that anthology. Not all of these authors were accepted to our first project, even though we love their pitches, but all of these authors are currently involved in the Press. (Many are in our upcoming anthology And Seek (Not) to Alter Me.)
Pitch by anonymous:
Sugar and Spice: Layla was born a witch—specifically, a witch who can make anything she touches taste sweet and delicious, which is a pretty lame magic to be born with. Her quest to trade it in for something cooler, or at least to learn some flashier spells, brings her to Sweetheart’s Cakery, a sweet and sugary establishment run by the most powerful necromancer alive. Stephanie Drybones, professionally known as ‘Sweetheart,’ has spent centuries honing her baking skills the hard way and isn’t impressed by Layla’s woes… but she is intrigued by Layla’s determination and acerbic wit.
The two women make a deal: if Layla can produce a better sweet than Stephanie within a week, Stephanie will teach her some awesome spells to revive the dead in a sanitary manner, leech the warmth from her surroundings, and generally annoy the neighbors. If Layla can’t, however, she must come work at the bakery until she understands the importance of cake as a concept—which, considering how pretty and disarmingly nice Stephanie is, shouldn’t be a chore. Let the bake-off commence.
Airmid, an undercover health inspector with a love for busting the dirtiest cooks in the business, stops by her gleaming city’s newest restaurant: The Drakery Bakery. She can’t believe what she sees. The miniature dragons who work as everything from oven flames to waiters can’t be up to code, and no matter how delicious the pastries are she’s certain that a dragon shouldn’t be breathing on crème brûlées to crisp their tops.
But Calida, the dragon mage who owns the place, gives her pause. She doesn’t know what brings her over to Airmid’s table, but she has to confess that she finds her charming. And pretty. And confident, and talented, and… One more visit couldn’t hurt before she calls in the health department, right?
Airmid finds reason after reason to give one more inspection rather than shutting down The Drakey Bakery, always hoping for one more chance to chat with its enigmatic owner. And as she does so, she finds a new appreciation for dragons, the deliciousness of imperfection, and most importantly for Calida— a woman as irresistible as she is lawless.
Merrily Berkshire finds her quaint, old fashioned town boring and dull, and her shifts at the local coffee shop are the most boring of all. She knows she probably shouldn’t do it, but to keep her busy she has begun practicing her spellwork on unsuspecting patrons: a bit of a brightening charm here, a wakefulness spell there, an enchantment to be more open, an enchantment to be more closed, an intention to draw in funds, a quick-but-unfortunate curse to cause unrelenting hiccups that she feels immediately guilty for… It passes the time, and she’s getting better at it every day.
Then one morning, right in the middle of the dullest lull there ever was, the girl that works at the yarn shop across the street – the girl Merrily has been quietly pining over from afar since the first time she saw her three months ago – makes a dramatic entrance, slaps her hands down on the counter and says, very sternly, “It’s you, isn’t it?”
Can Merrily right her wrongs and woo the yarn girl? Get your most beloved mug ready: it’s time for a tale of magic, mistakes, and making your own meaning when nothing feels like it means anything.
(A version of this story pitch is in Add Magic to Taste)
A Chinese fox spirit, a Russian river spirit, and a love story measured in coffee dates.
Lara Yan spent one hundred years cultivating to human form and she’s not going to waste this opportunity just to tear out men’s hearts to steal more qi. She frequents the Chashka Kofe on Morskoy Prospekt, working on her papers for her Master’s in Philology — language, she thinks, is the best thing about having a human mouth.
Alisa Rusakova just wants a cup of coffee before another long day diving for a sunken barge in the River Ob. She spends her days in the water, hiding her rusalka nature in plain sight. Gone are the days when she and her sisters drowned or tickled men to death and haunted mortal women for their combs.
When they run into each other — literally — on the way to the coffee counter, they have no idea that they’ve finally met someone who understands what it is to straddle the world of the human and the monstrous, someone they don’t have to hide from.
(A version of this story pitch is in Add Magic to Taste)
In a world where the Fae, the Magical, and the slightly-more than normal live side-by-side with humans as a part of their daily lives, I would love to tell the story of Xilmys (he goes by ‘Xee’) and Areon. Xee is Asexual, graduated from school a decade back, and works the Tea Shop his parents have owned since they moved there from the Fae realm four or five decades back. Areon, he, well, they, but that’s rather new, has lived in the city since they were a kid, and they have been getting tea (both literal and metaphorical) from the Tea Shop for years, always from Xee.
The only thing larger than their tea addiction is their crush on Xee. Now, if only Areon’s hair didn’t turn bright pink every time they talked to Xee, giving away how embarrassed they were, that would be great!
One day, though, Aeron walks into the Tea Shop, determined. Their hair is purple, and they manage to do what had been impossible. Ask Xee on a date. Or coffee. But not tea. Definitely not tea.
Xee agrees, of course, and says that while he loves all of Areon’s colors – purple is his new favorite.
Pitch by Shea Sullivan:
Kyle hates that he has to put on his human skin every day and work at the coffee shop, but ocean jobs are reserved for those that can’t work on land. The bipeds assume he’s one of them. His friends at home don’t have the recessive gene that would give them skins.
He really is a fish—octopus—out of water.
Then he meets Nigh, a customer who hates the ocean but smells of kelp and salt and rides a skateboard like he’s underwater. He’s everything Kyle might want if he had time to do something foolish like fall in love.
(A version of this story pitch is in Add Magic to Taste)
Pitch by A. A. Weston:
35+ hedge witch who runs a bookstore (or similar) keeps magically bambozzling postal workers to deliver to the wrong address so she can talk to the cute owner of the bakery three doors down. Tooth rottingly sweet (pun intended) disaster gay/bi shenanigans.
(note on this one and the next that detailed, appealing, and plotty doesn’t have to mean long – it’s possible to get the entire idea across very succinctly and still have it be appealing!)
Pitch by G. Hendrickson:
A wlw bakery run by a witch and her familiar. A new customer has become a regular and the witch is besotted. Her familiar tries to get them together, even though she also loves her witch. Love triangle shenanigans are ended when the witch reveals she didn’t want to pursue her familiar because of the power imbalance. The new regular reveals they don’t want to choose between the two because they thought the familiar was just the messenger for both. The solution is a happy, bubbling bakery run by that cute poly-triad.
Pitch by Adrian Harley:
Maria Birch, former child star, ducks into Genre Blends Tea Shop on a summer afternoon to escape the prying eyes of paparazzi and be left alone for a few precious moments. She strategically picks one of the couches closest to the back exit and hopes her new seatmate won’t recognize her behind her sunglasses and floppy hat. But when her new seatmate burns her mouth on her tea and tears up staring at a crossword, Maria breaks her own isolation to see if she can help.
Teravilis, a dragon shifter escaped from the government lab where she’s lived her whole life, is already feeling overwhelmed before a towering, beautiful woman sits down on the next couch. The wider world has too many people, too many pastry options, and too many crossword clues that make no sense. When Maria reaches out, though, Teravilis learns that some things outside a lab-controlled environment can still be simple.
Will disgruntled paparazzi and furtive government agents interrupt this blissful afternoon? Not if a mild-mannered, glasses-wearing barista has anything to say about it.
Pitch by T. S. Knight:
This story begins when Shiloh heads to La Vie Café to meet with the Reincarnation Support Group (for women who believe they have been reincarnated) in Philadelphia. She claims that she is the reincarnated version of a man who died 25 years ago. Convinced that she is (or was) this person, Shiloh has discovered that her widowed wife is still alive and working nearby. Shiloh hopes that the support group will help her decide if and how she might talk to beautiful Aline. While the group of fabulous and predominately queer women are glad to chat, Shiloh quickly realizes that none of them actually believe in reincarnation and instead see the group as an opportunity to spend time together. Though these are kind and lovely women, socializing isn’t going to solve her frighteningly real reincarnation problem, but at least there are pastries and coffee and new friends.
(A version of this story pitch is in Add Magic to Taste; note that T. S. Knight requested and was granted permission to slightly edit this pitch from the original submitted one, as there were things in it that didn’t end up in the published version that they hope to use in a future story)
We received an e-mail regarding Duck Prints Press’s official view on Kickstarter’s recent announcement of their intentions to go transfer to a block-chain based system, and if Kickstarter’s actions would influence Duck Prints Press working with them in the future.
For those who many not have heard, Kickstarter has indicated their intention to transition to using block chain in…some fashion…to “decentralize” and make their organization more “open and collaborative.” Their own announcement is posted here, and despite a lot of glitzy-sounding copy, it basically reads as nonsense. Maybe a crypto-bro would understand it but it all sounded pretty meaningless to me (you know, a well-educated professional author and editor). There are lots of websites who have posted more readable explanations, and which thoroughly roasted them, and I imagine the way I’m writing this already makes clear our position, but since we were explicitly asked, and answered, I see no reason to keep our answer a secret.
When I submitted And Seek (Not) to Alter Me to Kickstarter for approval and review, they asked me to take a survey. The survey primary cared about demographics, but there was a free answer item at the end, and I used that opportunity to tell them in no uncertain terms that if they do more with blockchains and/or cryptocurrency, we will no longer work with them. We have zero interest in being a part of anything like that.
Based on my understanding of their announcement, so far they’ve only declared a “commitment” to this change, and started an organization to “develop the protocol.” Which means, for now, we’re still willing to work with them, mostly in the hopes that in light of the blowback they’ll change their minds. However, if they don’t change their minds, we’ll discontinue working with them and switch to a different crowd-funding platform, most likely Indiegogo based on the currently available options and the information we currently have.
I am still slightly reticent even to continue with Kickstarter as things stand now, because if they DON’T back down, the fees they collect from us will go to fund something we truly utterly do not support, but we feel committed at least for our next campaign. Depending on how the situation progresses, though, that may change by the time we’re discussing our third.
Hope this makes it clear that our attitude amounts to “fuck that noise,” and reassures anyone who shares our concerns that we will absolutely not continue to be involved with them if they go in this direction.
And if you actually support them doing this…uh…well, um, good luck with that, I guess?
Did you miss your chance to back our first Kickstarter? Did you back it, but have a friend who wants a copy? Have you just been itching to get some of the merch you didn’t get as a backer? Have you only just heard of us thanks to our recent call for applicants, and want to learn more about our first Anthology?
For Add Magic to Taste, 20 authors have come together to produce new, original short stories uniting four of our absolute favorite themes: queer relationships, fluff, magic, and coffee shops! Our diverse writers have created an even more diverse collection of stories guaranteed to sweeten your coffee and warm your tart.
Select extra/leftover merchandise from the Kickstarter is also available, including:
And, lastly, we have seconds of our donut fairy key chain, featuring art by @foxyjoy-art. Note that these had printing errors from the vendor (we got a refund and got the actual campaign pins reprinted by a different vendor) and are being sold as-is.
So check it out, and get some of the book that’s averaging over 4 stars on Goodreads and Storygraph, and the merch that our Kickstarter backers described as “absolutely beautiful,” “gorgeous,” “incredible,” and “absolute BEST IN CLASS.”
Welcome to Duck Prints Press LLC’s newest project: a pair of anthologies which share the same theme, but feature different kinds of relationships. For these anthologies, we seek pitches for stories featuring masquerades – the more unusual, the better!
She Wears the Midnight Crown and He Bears the Cape of Stars will each be collections of eighteen 6,000-word stories. She Wears the Midnight Crown will feature wlw relationships; He Bears the Cape of Stars will feature mlm relationships. Genderqueerness and polyamory welcome! Where do you come in? You tell us! We want to know how you think those relationships unfold at an unusual or trope-subverting masquerade.
For these projects, we’re seeking 20 fanfiction authors who have not published their work with the Press before and who are interested in making the transition to publishing their original work! (The 16 remaining spots are reserved for authors who have previously worked with us.) New applicants must have published fanfiction, and must want to write an original story, aligned with our theme, of up to 6,000 words in length, at a minimum pay of 1 cent US per word – and with a maximum earning potential of up to 8 cents per word, depending on how our crowd funding goes. And, in case you didn’t know…our first crowd-sourced project, Add Magic to Taste? Successfully funded and earned enough to pay authors the maximum. This is a great opportunity for fanfiction writers who aspire to transition to writing professionally to get some experience, build a resume, and see their work in print!
This post is not a call for story submissions. Like a fandom zine, we’re asking prospective authors to submit writing samples and brief story pitches. We’ll select authors based on these samples and pitches. You must write and post fanfiction to apply to these anthologies, but all stories in She Wears the Midnight Crown and He Bears the Cape of Stars will be 100% original!
Want to be one of the selected authors? Now is your chance! Learn more about this project:
Applications open right now, December 15th, 2021, and will remain open until December 31st, 2021 – or until we get 150 qualified applicants, so don’t wait until the last minute! Review the rules, ask us any questions you have, prepare your submission story and story pitch, and then…
The Wayback Machine is the time machine used by Peabody and Sherman in “Rocky and Bullwinkle.” It’s also the nickname of The Internet Archive (https://web.archive.org/) which, since the late ’90s, has crawled the internet and just. Archived everything it finds. (You can read their history here). People now can enter pages they want to save (I used it to preserve some censored Chinese gay books, for example, entering all the URLs myself to be sure that Wayback captured them), and I don’t even know how else it finds stuff, but it’s pretty amazing. How amazing?
This is their capture of my Tripod anime webpage from when I was in college. Some of the graphics are missing, yeah, but like. I made this website in fricken 1999, and stopped maintaining it in 2001 or 2002. Back then my e-mail address was still “email@example.com” and webrings were a thing and I was well known for creating Winamp skins in Jasc. That it’s there at all is pretty fucking incredible.
Who cares about your old anime page?
Other than me? No one. BUT. Wayback’s “catch all, save all, store all” approach to archiving means it’s an invaluable tool for finding deleted fic. For example, here’s their capture of “Rock Salt and Feathers,” which was (as far as I know) the first Destiel-specific fic archive made on the internet, and many of the earliest Destiel fics were posted there or x-posted there from LJ.
The owner deleted it in 2010, taking all the fics with it, but many can still be accessed – and saved by my project, and read by anyone who wants to – because they’re in Wayback.
Okay, that’s way more interesting. How do I use Wayback to find stuff like that?
The key to using the Wayback Machine to find old and/or deleted fics is that you need the original url. Thus, teaching someone how to use Wayback to find deleted fics ends up mostly being about teaching someone tricks for finding ancient urls for fics that have been deleted (and occasionally when you find the url you actually discover the fic isn’t deleted at all, which is always nice!). Once you have the URL, the “how to use” part is easy, you just go to web.archive.org and enter the url in the search box.
The bar graph of years shows every time Wayback Machine “captured” (archived) the specific page at that url. Often, each of these captures will be different, especially for websites that update regularly (like an archive or an author’s works page). When you click on a year, you’ll get a calendar, and then you just pick the date and time you want (I highlighted April 18th, 2009, as an example, and because it was my dad’s 68th birthday so why not? It’s also about a month before I personally started watching SPN, ah, memories…). Once you’ve picked the capture you want, it’ll load the next page and show you a capture of it – so here’s a (different than above) capture of Rock Salt and Feathers, dating to within a week of when the website was first founded! The same bar graph is now up top, and you can click on the bar you want to jump to that date and see how the website changed over time – so this capture on April 18th, 2009, is pretty bare bones; by the time of the May capture I screen capped above, things have moved along!
Further, once you’re in an archive of a deleted webpage you can (or at least, you can try) to navigate it as normal, just…all within Wayback’s interface. So like, on this page, I can access their list of new works (and find different ones by trying the different captures)…
…and I can even read them!
Uh oh, better watch out for those 4.20 spoilers. Anyway, the point is – if you’ve got the original URL, you can use it to load a deleted page into Wayback, and then navigate that website as normal…at least up until you try a link that Wayback didn’t archive, and then you’ll hit a “sorry, we don’t have that one” page (I’m not gonna screen cap cause at this rate I’ll hit Tumblr’s image limit in about 2 more minutes). Not everything will be there, ever. Rock Salt and Feathers is unusually well-preserved; when I did a deep-dive and spent three days trying to find things there, I was able to preserve nearly 90% of all the fic I know of that was posted there, and some of the rest I was able to find by tracking down alts for the people who posted there – many (though not all!) had x-posted their works to LJ, and later some ALSO x-posted to AO3, once AO3 existed (Rock Salt and Feathers predates the existence of AO3 by about 6 months).
So, as you can see – using Wayback is the easy part (at least until it isn’t – more on that later…it’s easy on a simple page like Rock Salt and Feathers, hence my using it for examples, but it can get hella complicated for more modern, dynamic websites like AO3). The hard part?
Where am I supposed to get the original URL for a fic that’s been deleted for 5 years or a decade or more?
Google search is your friend (or your preferred search engine I guess, but I always use Google). If you know the username and the exact title, it’s easy – especially using quotes, which is also your friend. So, for example, I couldn’t remember the URL for Rock Salt and Feathers and I didn’t actually have it saved, so I just googled “rocksalt and feathers” (in quotes). It prompt got mad at me and told me rock salt should be two words, and so I changed it, and sure enough the first result was an ancient LJ post that included the links I needed. Which is to say, what you’re really looking for isn’t the “thing itself,” but rather other websites that reference the thing in question. For works that were originally posted on LJ, FF.net, personal websites like Rock Salt and Feathers, or elsewhere, ancient rec lists tend to be winners for finding the links. Learning some search tricks can also help – like, if you don’t know the exact title, try variations, or try just the part you’re sure of. If you remember a quote, try searching for that. If the title is something super common, try adding the author name or, if you don’t know it, search for it using “(name of fic)” destiel. Anything you can think of, remember, etc., will help. Sometimes, you just get as close as you can, and then look through the results, and often there’ll be something close that even if it’s not right, will lead you to a resource that’ll help.
Alternatively, again for older works, searching for a different work that you know was released around the same time. So, like, looking for a fic by…idk…Fossarian? Or cautionzombies? Try search for aesc, or bauble, or obstinatrix, or annundriel – someone else who was active when Fossarian and cautionzombies were. (Obviously knowing some Destiel fandom history helps in this case, but there are enough fandom olds around that even if you don’t know this info, learning it is an ask away). Especially, try searching for a contemporary whose works are still up, because you can get titles for those more easily (for example, in this case, aesc, annundriel and obstinatrix all have some works cross posted on AO3, so finding the titles is easier, and then you just…keep going til you find what you want). You can also try looking for works where they were betas or editors or gift-recipients, and/or you can kinda…map out…their old friends groups, by seeing who commented where. For example, looking for links to cautionzombies stuff? cautionzomes and annundriel were friends, which I learned by poking around a fuck-ton, and annundriel’s accounts are still up, and some old cautionzombie links can be found in annundriel’s journals. The links don’t work but that’s not the point, you just need something to plug into Wayback!
And, as a side note – just because an old LJ link is dead, don’t assume that the work is lost! Many of those authors x-posted onto AO3 once they had AO3 accounts (heck, Gedry was continuing to back up works to AO3 as recently as last year), and even among those who didn’t (such as annundriel or CloudyJenn, who each only backed up a few) they often simply ported their accounts to Dreamwidth, so you can find their works just by reformatting their LJ url (username.livejournal.com) to a dreamwidth url (username.dreamwidth.org – works for me too, if you want to see the awful shit I wrote in 2005). Also, sometimes you’ll find they x-posted to FF.net but not AO3 (which, granted, presents FF.net own array of challenges for backing up, but that’s for a different post – drop me an ask if you want me to write that up sooner rather than later, otherwise I’ll just do it whenever I remember). All of which is to say – before you assume a dead link means a deleted work you can save yourself some trouble (and some heartbreak, Wayback isn’t great for LJ in general because of how LJ posts and blogs were structured) it’s worth your while to take a little extra time and check – okay, was it x-posted? Did the person have alternate usernames they used on different platforms? Did they have a writing community on LJ where they posted (for example, a lot of authors posted their works directly to deancasbigbang.livejournal.com or deancas-xmas.livejournal.com, and also a lot of authors made communities even just for themselves, and those communities remained even when they deleted their personal accounts). Even if you find they deleted across all platforms, it’s easier to find full works from AO3 or FF.net on Wayback than it is to find works from LJ, so it’s worth a try. And, honestly, with really old stuff? Finding the old work x-posted somewhere, or just asking someone like me, or the folks at @destielfanfic, is more likely to find it for you than putting an LJ url into Wayback, though in a pinch that of course is an option too.
Unforth, stop babbling about LJ, I care about deathbanjo, or apokteino, or TamrynEradni, or…
…or anyone who posted on AO3 exclusively, and deleted more recently, yeah, I get it. Of course, the tricks for finding the urls remain similar – rec lists are your friends! But, for AO3, there’s another super handy trick. It doesn’t always work, but it’s by far the best place to start.
Search for the author’s name, and/or the fic title, and/or anything you can remember about the fic.
Since mid-2013, the Destiel AO3 feed Tumblr has logged probably around 75% of all the Destiel that’s been posted. There ARE gaps – works that weren’t initially tagged Destiel, or times when the feed was down and just caught nothing, or “oops the author changed their name four times and I don’t know which one they were using when they posted That Fic,” or “there are three people with very similar usernames” or “the fic is called ‘carry on’ and there are a bajillion fics with the same title.” It’s not perfect, but as a first step it’s essential. Because, whatever you find, it’ll have:
The link to the original AO3 post
The link to the author’s name page at the time
The exact date and time it was originally posted
The original title, tags, etc.
If the work was in a series, the series link
And all of the links can be put into Wayback to help you find The Thing You Want. So, to use a recent example from someone I know doesn’t mind having their stuff distributed (or, in this case, discovered on Wayback)…
When you click on the tinyurl, you get an AO3 error page, but, more importantly, in the enter-the-url bar, you get the original url for the fic! Which, in this case is:
Now, suppose you weren’t looking for this fic by HazelDomain, but instead were looking for one that ao3feed-Destiel didn’t have on their list. Well, now is when that link to HazelDomain username comes in handy!
You can put this directly into Wayback, and it’ll show HazelDomain’s home page or, alternatively, if you loaded the fic above (for example) you can just click where it says HazelDomain below the title, and you’ll get to go to their main page, which’ll list their most recent works (on the date that the capture was taken) and some other links. Tada! You’ve found HazelDomain fics on Wayback.
(Side note on all of this: AO3 links are stable and permanent, which means that they do not change even if the nature of a fic changes. If the fic’s posting date is edited? If the author changes their username? If the title changes? If it’s added or removed from a series or a collection? If it’s orphaned or added to an anonymous collection? The link will never change. That’s how I know that the so-called “orphaned” version of With Understanding is actually a fake – it doesn’t have the same URL as the actual version of With Understanding that apokteino posted. So, if you find a link to a work and it turns out that work has only been orphaned, not deleted, that link will still work! For example…
One of sir_kingsley’s link, with the exact same link it had before it was orphaned!)
Okay, but the one I want isn’t on the author’s page even after I checked!
As I mentioned, a basic old site like Rock Salt and Feathers? Very easy to use on Wayback. A complex website like AO3? Much more messy, which means there are a bunch of tricks you can use to try to “get at” the data. There’s always the chance it’s not there at all; a random ficlet by a little known author? Unlikely to have made it into Wayback, unfortunately, especially if the ficlet was Mature or Explicit rated. But, there are bunch of things you can try, and there’s never any guessing which will work until you try. When I’m looking for something that’s been deleted? I try them all.
Trick 1: The “/pseud” trick.
See how in HazelDomain’s author link, it’s listed as “users/HazelDomain/pseuds/HazelDomain”? There’s a few tricks you can use related to this. First, on AO3, both “users/(username)” and “users/(username)/pseud/(username)” function as links (even if the second instance of username isn’t actually a pseud and is just a repeat of the same username, as in the HazelDomain example). As such, they are different urls for Wayback machine searching purposes. Sometimes, when you search “user/(username)” you’ll get results but get none when you search for “users/(username)/pseuds/(username), and vice verse. To Wayback, these are two completely different urls, so you have to check them individually – AO3 knows internally that these links route to the same place but Wayback is just basically taking screen caps (well, HTML text caps) so it doesn’t know they’re equal – so check both!
Trick 2: The “they changed usernames” trick.
If you know that an author changed usernames, try plugging every single one into those “user/(username)” and “user/(username)/pseud/(username)” links. Is it a lot of work? Yes. How bad did you want that fic, again?
(side note: having trouble figuring out if they had alternate usernames? Yeah, it’s a nightmare. Checking old rec lists is one way to find out. If the work is in a series, there’s also a trick – even if the person changes username, the “Series created by: (username)” thing at the top will still show the username they had when they created the series. Or, if they had a fic with a really unusual title, try doing a google search for that title specifically, even if it’s not the one you’re looking for, because the odds that two people used that crazy-specific title are low, and you’ll be able to see results that might give the different name. Or-or, as yet another option…my master spreadsheet lists every alternate name for a given user that I know of…for example, deathbanjo has also been loneprairies, beenghosting, and tumbleweeds. Also note – unlike WORK links, which are stable even if the person changes their username, orphans, etc., “user/(username)” links are NOT stable. If you search for, idk, bellacatbee…
Hope you’re not done giving those “users/(username)” and “users/(username)/pseuds/(username)” links a work out, because you’re not done yet! Those links will just give you their home page, which will only list their 6 (…I think it’s 6???) most recent works. And then you click on “works” at the side and…oh no there’s nothing there! Whelp, whichever link Wayback tried to use (“users/(username)/works” or “users/(username)/pseuds/(username)/works”) …try the other! And then try it for all their username changes, if they had any! Getting frustrated yet? If you’re lucky you’ll have Found The Thing and you can stop, but if you haven’t, we’re not done yet, cause yes, there’s more…
Trick 4: The “?fandom_id=27” trick.
So, I’m writing this guide specifically for Destiel, so this trick is being shared in the SPN-specific format. Every single fandom on AO3 has a fandom ID number. Supernatural’s is 27. If you’re looking for a different fandom, you’ll just have to find it’s number – you can do this by going to any author you know wrote for that fandom, going to their home/main page (users/(username) or users/(username)/pseuds/(username)) and clicking on the fandom – the results will show the fandom_id in the link. So, like, I’ve still got fairychangeling’s page open, Thor is fandom_id 245368, MCU is 414093, Good Omens is 114591, etc. Again, these IDs are stable – fandom_id=27 will ALWAYS be Supernatural, no matter who the writer is. AND, since Wayback treats every single one of these urls as unique, even if “users/(username)/works”/”users/(username)/pseuds/(username)/works” don’t work, “users/(username)/works?fandom_id=27” or “users/(username)/pseuds/(username)/works?fandom_id=27” might. And you know what comes next – yes, it’s try every variation again!
Trick 5: check every capture!
Captures on Wayback are a moment in time, which means there’s always a chance that each one will be different. Trying to find a work that a user wrote in 2011, but Wayback /works is only showing works from 2021 on the first page, and going to page 2 produces a dead link? Try going to the oldest capture. Try going through every single capture, until you find the title you want, if you find the title you want. The /works page wasn’t captured at all? Go through every old version of their main page, and see if there’s any version of it where the story you want was in the 6 most recent works they posted. Etc. Try every capture on every variation of the /users/(username) links. Test and test and test until you either find it or you’ve exhausted your options.
Finding lost fics is about patience and about exhausting every option before you give up. All these small variations that look like nothing? Are another chance that Wayback may have captured the work. Skipping one isn’t gonna do you any favors. There’s never a guarantee. Lots is simply not there. But – more is there then you’ll think if you just try one link then give up.
But I’m not looking for a list of their works, I’m looking for a specific work!
The above tricks are what I use when, for example, I’ve just heard a person deleted their account, and I’m trying to build as complete a list as possible of the works that have been deleted. Further, even if Wayback hasn’t captured the actual work, the /(username) page and the /works page will have the links. Sometimes, those links will help you discover the work was orphaned or moved to anon instead of actually deleted. Other times, you’ll click it, and bam, the fic will be right there in Wayback! Still other times, it won’t be…or at least not apparently. But, sure enough, there are tricks around that too. Before you give up and assume a fic isn’t in Wayback at all, you can try…
Trick 1: Remove the chapter part of the link
So, you’ve got the link to your fic – lets use, idk, “Carry On” by TamrynEradani (I haven’t actually tested this as an example yet, hopefully it works lmao for everything I need to do here… lmao).
The original link to Carry On (found on ao3feed-destiel):
AO3 assigns every work a unique number AND every chapter a unique number. If you put in a work without the “/chapters/####” part in AO3, it auto-routes you to chapter 1 and fills in the chapter number. But, not to beat this dead horse again – Wayback doesn’t know how to do that! It’s entirely literally. It captures only the link, exactly as the link was fed to it. Thus, if you put that link into Wayback? It gets no results. BUT, if you remove the “/chapters/1458361” part (it actually DID loop me to the chapter ID, but when I put it in WITH the Chapter ID, it found nothing – welcome to the joys and vagaries of searching for deleted fics in Wayback…)?
There’s Carry On…at least sort of! Because yes, there’s still a problem – that pesky “Proceed” button. Because you can’t log into Wayback as if it were AO3, and Wayback is (again) literal, you can often end up in annoying cycle where (with Mature and Explicit works) you just get looped back to the “Proceed” page over and over again. There are a couple ways you can try to bypass this.
Trick 2: Check past captures!
Are we learning yet? Yep, this is a repeat. Often, going through every capture will find one or more where, for whatever reason, the Proceed page just…isn’t in the way. I have no idea why that’s the case, but it works – it’s how I opened that HazelDomain fic above, for example. And, it works for Carry On, too – when I tried a different capture of the exact same URL?
There it is!
However, even if that doesn’t work, you still have recourse.
Trick 3: the “?view_adult_work=true” trick.
When you hit that “Proceed” button, AO3 auto-adds on “?view_adult_work=true” but (hits the horse with a stick again) Wayback doesn’t know that necessarily, unless you tell it. So, you can sometimes bypass the endless-loop-of-proceed problem by giving it the direct link instead. In this case…
(this trick actually DOESN’T work with Carry On, but it DOES work sometimes, especially with one shot mature/explicit works. That said, the “check every capture” trick works more often, so definitely try that first).
And see the difference there? it’s the same link, just with ?view_full_work=true added to the end! So, if you’ve found yourself in a position where you can’t get by the “Proceed” loop, OR where you try to go to Chapter 1, try every link variation, and get nothing? You can always still try:
Because there’s always a chance that Wayback captured that even if it didn’t capture the other variations.
Unforth…I’ve read all this…I’ve tried everything…I still couldn’t find the thing! What can I dooooooo….
At this point? You’ve mostly exhausted what you can try in Wayback. But! Wayback actually isn’t the only way to find a lost fic, it’s just the most obvious and most easily used by the public. There are a few others!
1. I already tagged @/destielfanfic, so I won’t again, but they’re a great resource for finding deleted fics that authors have said “yes you may distribute,” and they’ve also got a list of authors who’ve indicated “no.” I used their lists as the base for mine (and their head mod and I trade notes, and fics, semi-regularly and have for years). So, I mentioned Fossarian above? Well, you can find Fossarian fics for download by going to destielfanfic, searching for author Fossarian, and going through the links – for example, “All the Hours Wound” is available in ePub format right here!
2. If you’re willing to delve into Livejournal, spnstoryfinders (https://spnstoryfinders.livejournal.com/) is a still-active community that helps find all sorts of missing SPN stories (not just Destiel) and often posts will have links for x-posts, help with finding alts/different names people have used, or have people volunteering to distribute if contacted. Honestly, personally, I’m too shy to actually contact those people, and even if you’re braver than I if they haven’t posted since 2015 it’s anyone’s guess if you’ll still be able to reach them, but it’s always worth a try!
3. Me. Ask me. Even if it’s not on my list. Drop me a note. I know tricks, as you can see, and I’m just really experienced at this point. I’ve been doing this for years. And, even if I did list most of the tricks I know above, I probably forgot something, and I also have the time (…well, sometimes I do, like when I’m not spending 2.5 hrs writing blog posts about how to use Wayback lmao), and I might know pseuds for a person you don’t, and I have contacts who have collections, and, and, and…
4. Speaking of collections, the Profound Bond Discord mods graciously gave my archive a chat room (it’s #fic-archive-project in the collections section of the server). AND, people who are on that server who have large private fic collections can opt to give themselves the @/archivist role, and when things get deleted or when we look for things, even if I can’t find it, I can tag the other archivists and see if anyone else has it. When I exhaust MY options? That’s where I go. So. You can too, you don’t need me to mediate that, just join the Discord.
5. There’s a smaller, Wayback-esque archive webpage called http://archive.is/. It has way less in it, but I’ve occasionally had luck on there finding LJ stuff that Wayback didn’t have.
6. As a last ditch, you can always try Google. For example, if I google: tamryneradani “carry on” destiel download – the only damn result (I made this search up off the top of my head without testing it so I’m glad it worked lmao) is shiphitsthefans’s master post of TamrynEradani fic which includes download links, because Tamryn made it clear from the moment they deleted that they didn’t mind distribution (I was here then, which is how I know that…). So, like, literally, you want to read Carry On, yes I linked it above on Wayback but you can also just download the e-book from this post. There are all kinds of things in all kinds of pokey places on the internet. There’s a small old archive that got permission from LJ authors to PDF their works and posted about it, with links, on Tumblr, and now a lot of those originals are deleted (I don’t have the link sorry, I didn’t bother to save it after I downloaded everything they had) but the Tumblr posts are still up and the DL links that still work. There’s master posts for fics that have been deleted but the master post still has a functional link to a full PDF. Stuff is everywhere and you don’t know unless you check.
There’s so, so, so much Destiel, and so much as been deleted over the years. When you look, sometimes you’ll strike gold right away by just plugging the link into Wayback and YAY THERE’S THE THING, and sometimes you’ll spend an hour looking and think you finally finally have it and get so close and that last PDF link on the last place you had to check after everything else didn’t pan out will be broken and you’ll kind of want to burn down the internet, but…you’ll know you tried.
This is how I built this archive – that, and downloading as much as possible before it was deleted, so that once it was gone, I didn’t have to find it, cause I already had it. Basically every fic marked as “deleted and looking for copy” on my list? I tried all of this and still couldn’t find it. Not always – sometimes I just don’t have time – but. When I have the time, I check, and I even occasionally check again, just in case I missed something the first time. This is how it goes. You try, and you hope, and sometimes you’ll succeed, and sometimes you won’t. It’s hard, but if you want the fic bad enough…you do the thing.
So. This is my general tutorial on how to use Wayback. What you do with that information is up to you. Don’t ask me for help finding links for things I’ve said I won’t distribute, but if you’re willing to do the leg work and try the above strategies…well, authors can’t do much about Wayback, they lost that level of control the instant they posted their works, and it’s there to be accessed by anyone who knows how (if it’s there at all, anyway, which, well, sometimes it is, sometimes it isn’t).
Now you know.
Go forth and get the fic.
(And if you know of, or learn, some tricks I don’t know? PLEASE DO TELL! I am always ready to learn more!)
Things have been a little quiet around our social media as, over the past few weeks, we’ve kicked into high gear to finish fulfillment of the “Add Magic to Taste” Kickstarter. We’re pleased to report that we’re nearly done – all backers who’ve done their backer surveys have had their merchandise shipped, and most have received their things. There have of course been some issues – when aren’t there? – with damaged packaging and address errors, but the rate for such as been very low, and so far we’ve been able to replace everything that people have contacted us about.
With the campaign mostly done, we’re hoping to launch the e-book on our website within the next week or two, so that it’ll be available for sale to people who missed the campaign, and we’ll also have an extras sale featuring much of our merchandise. Make sure to keep an eye on our social media platforms if you’re interested in the extras sale – we’ll have extras of the following items to sell!
The book (seconds/lightly damaged ones only):
Keychains (all are seconds with various degrees of damage/problems, but we have a LOT of them):
Enamel Pins (mostly undamaged, with maybe a handful of seconds at a lower price point):
Bookmarks (all undamaged):
Stickers (small numbers of each, undamaged):
Magnets (both undamaged items and seconds):
Mugs (mostly undamaged, though there’s at least one second):
We may have a few sets of the art prints to sell, but we’re not sure yet.
We do not have any extra of the mini-books or the postcards.
As soon as we’ve set prices and the date the sale will begin, we’ll make another announcement. We expect it’ll be at least two more weeks; we want as many of our international purchasers to have received their backer rewards as possible, both because we feel that campaign backers should have their rewards before new people get a chance, and also because we need to be sure we have enough extras on hand to replace any damaged or missing orders placed by our backers. Sales will be handled through our website store portal. Feel free to let us know if you have any questions or thoughts on this!
We received the following ask anonymously on Tumblr:
I loved your “what is a story” post! Aside from structuring stories, are there any other things you think writers shifting from fanfic to original works tend to struggle with, or would do well to keep in mind?
Hey anon! I’m sorry this has taken me so long to reply, but it’s such a big question, it required a big answer. Especially, it’s a challenge to address because, as a creation medium, “fanfic” is far from a monolith. From a “how hard might a transition to writing original content be” standpoint, there’s a huge range – from people who write canon-compliant short stories coda stories that feel like they’re a living, breathing part of the source world, all the way through people who write epic million word AU stories about their own OCs who maybe at most tangentially interact with canon. Some people see writing fanfiction as “canon, the whole canon, and nothing but the canon,” while others see the original media as a jumping off point to play with other settings, tropes, archetypes, and story elements (“canon? I love canon! It makes a lovely whooshing sound as I fly on by…”). What a fanfiction author prefers to write, to some extent, influences what challenges they’ll face when they try to transition.
For those who specialize in “all canon,” their strengths will often lie in research, analysis, understanding metatextual themes, and finding holes or gaps to fill with new content. They’ll likely be weaker in world building and character creation.
For those who specialize in “what canon?”, their strengths will often lie in world building, character development, and recognizing tropes and archetypes and reapplying them to new settings. They’ll likely be weaker in analysis and recognizing plot holes.
These are obviously generalizations; an “all canon” author who does, for example, post-canon or uses OCs, might have lots of experience with world building or character creation. A “what canon?” author who, for example, writes historical works or field-specific ones (eg, a super detailed hospital AU) might be fantastic at research. And, further, hardly any author will be 100% one or the other; most writers will fall somewhere in between those extremes, writing some pieces that are canon, some that are AUs, some where they try to write the character IC-to-a-tee, some where they go “OOC is the new IC!”
Regardless of where a given writer falls on this scale (from “all canon, all the time” through “canon? what canon?”), the best two things any writer can do are: write more and read more. Especially, focus on reading (note this doesn’t have to mean literally “read a book,” it can be, “watch a show,” or “read a comic,” or “listen to a podfic”) original stories you enjoy, and engage with them “like a writer” (how to do that could stand to have a full post written about it, and doing so is on my list…). Look at how the author(s)/creator(s) use language, what the features of their world and characters are, how their plot is structured and paced, all the elements of the story. If it’s too much to take in at once, read multiple times and focus on one thing each time. You need to learn to recognize tropes and character traits, to see them and interpret them and understand that any given story is simply an assemblage of these features, and you can take the ones you like, discard the ones you don’t, and recombine them in infinite ways to tell any story you want. Take notes as you read – scrawl down tropes you recognize, character features that engage you, plot elements.
Having trouble? Try to tag the work like you’d tag an AO3 story, if you’re having trouble recognizing tropes and how to subvert them.
Would you tag it “angst with a happy ending?” “Emotional hurt/comfort?” “Mutual pining?” Congratulations, you’ve found tropes.
“Engineer!Character?” or “Character Needs to Learn to Use Their Words” or “Character is a Bad Parent” or “Asexual Character?” Congratulations, you’ve found character features, traits, and archetypes.
“Slow burn,” “getting together,” reunions,” “arranged marriage,” hey look, it’s a whole bunch of plot elements!
Learn to recognize tropes, and see how different creators use them and subvert them, will also help you see that when you write fanfiction you already do all the things necessary to create and write an original story.
It can help to take a step back and consider your own oeuvre. What kinds of works have you already done? Which pieces have you pushed yourself on? What do you feel your strength is? Write more. Read more. Read posts like this one – there are so, so, so many excellent writing resources on the internet. And, when you write your own work, experiment with different approaches – learn about yourself as a writer. What time of day do you work best? Does outlining help you? Do you need an alpha reader to help keep you motivated? Grow your experience by writing – any writing – and get a handle on what works best for you.
Still at a loss where to start? Read on…
Every world, whether it’s high fantasy, hardcore space opera, or modern contemporary, will require worldbuilding. Worldbuilding isn’t just the big, universal questions like: “how does the magic/science work, where are the cities located, how do people live?” Worldbuilding is also: “what does the corporation where they work look like, what is in the characters’ neighborhood, what are the places and things that will need to exist to make the story idea function?” You don’t need to treat this as “all the biggest stuff,” and I guarantee that, as a fanfiction writer, you’ve done worldbuilding – even if all you write is 1k coda fics. You may cut some corners, relying on context, on the “big stuff,” but the small stuff still needs to be in a story or it won’t make sense. What works in fanfiction, by and large, is the same as what works in original fiction. You should never be leading your reader through a lovingly crafted description of the surroundings/magic system/neighborhood/space ship while the plot languishes. You never need to have all the details up front.. If you’re a planner, go for it, plan the minutiae! But if you’re a plantser or panster, don’t feel you need to transform magically into a planner just to write original fic! You don’t. I’m a plantser. It’s fine.
You can often assume a reader will know what’s going on (even if they won’t!), especially if the character would know what’s going on. Weaving information into a story isn’t a “thing you don’t do in fanfic” – improving your writing in fanfiction will teach you how to do this as surely as writing original fic would. The writing itself isn’t different. Drop a reader in, and introduce them to elements as you go.
Introduce elements gradually, avoid info dumps, make sure the characters act like…this is just the world…they’re not going to (for example) explain things in detail if they’re eminently familiar with them. Use all the same tools you’d use when writing fanfic. Indeed, I think one of the biggest challenges a fanfic author will face isn’t “how do I worldbuild?” but rather, learning how to do consciously and intentionally something that they’ve surely been doing all along, because no story can be done without worldbuilding!
Thus, we circle back to “read your own work and the work of others and see what you’ve done and what others have done.” Force yourself to see that you do worldbuilding when you describe their surroundings, when you introduce story elements, when you say what they’re wearing. All the details that make your fanfiction rich and vibrant are worldbuilding. You build the world around the characters – whether they’re canon or OC – and then they interact with it to tell your story!
(Now, all that said, if you’re like, “that’s all well and good but how do I even start when I want to create a whole new world?” There are a lot of good articles on that; I’m personally partial to this list of questions by Patricia C. Wrede.)
You create a character every time you write. Yes, if you’re creating fanfiction, that character already exists in some form, but you’re still creating: you’re deciding, in the context of your fanfic, what aspects of that character you want to explore, what behaviors of theirs you want to highlight, what things they do you’d rather ignore. You dictate their actions, decide how they’re established canon behavior applies to the unique and different circumstances you are exposing them to be. This is true even if the story is “all canon;” that said, the more AU a story is, the more likely the characters are to be essentially “original characters in a mask” – yeah, you might be using the names from canon, but when all is said and done what you actually are writing about is a new character, featuring the archetypes you chose from the base character and manipulated into a new environment. AUs change character ages, professions, surroundings, backstory, appearance, species, gender, sexuality, family, birthplace, native language, ethnicity, religion, intelligence, presentation type, I could go on…when you make them from Ancient Greece instead of modern America, when you decide they’re a half-octopus, when you say “oh, they’re ace,” when you go, “what if they were trans,” when you think, “I’m really in the mood for some pwp A/B/O…” you’re creating new character with aspects of the original character. The goal is often to keep them “enough like” the original character to be recognizable, but that doesn’t change that, in many AUs (and sometimes even in canon fics!), if the character names were swapped out with a find-and-replace, a reader coming in would be hard-pressed to recognize the source material. They might even guess the wrong ship (this sounds just like a Stucky story! they say, while you know it actually started as Destiel).
This is because characters are composed of archetypes and personality traits. They’re aggressive, they’re shy, they’re brave, they’re risk-averse, they’re selfish, they’re a martyr, there’s a huge menu of options, and any given character is rarely black or white…and when you decide how to portray a canon character in your fic, you’re automatically, often without thinking about it consciously, saying, “these are the archetypes and personality traits I want to focus on, these are the ones that’ll be paramount for this iteration of this character, the others won’t come up.”
So, much like worldbuilding, the concern you have when you transition to original fic shouldn’t be, “I’ve never had to make a character WHAT DO?” it should be, “I’ve been making and modifying characters all along, how do I bring myself to do intentionally what I’ve been doing anyway?”
I’ll give you one guess what the answer is, ha. Also, yet again, there are a lot of resources to help an author learn to do this “on purpose.” A Google Image Search for “character design writing sheet” turns up zillions of results, for example – look through, try a few, see what works for you, make some characters just for fun!
If you’re really struggling, try using one of those sheets to write up different “versions” of the same character you’ve written in multiple fanfics. Like, pick a canon fic you’ve written, and make a sheet for the main canon character, then pick an AU you’ve written, and make a sheet for that same canon character. You’ll notice pretty quickly that they each write up differently – they’ve got different goals, different motivations, different ways they react, even though they’re the “same” character. Pick the two “most different” versions you’ve written of that character, and compare, and it’ll start to be pretty clear: you’ve been making characters all along, so just…keep at it.
“But what story should I tell?” can be a tough question to answer, especially for fanfiction authors who usually write shorter pieces, inserts, codas, and the like. The first thing to remember is…there’s no reason you should tell different kinds of stories! You can write a 2k fluffy meet cute between OCs. Not every original fic needs to be a 500k epic fantasy world saving adventure. There’s absolutely no reason you can’t write exactly the same kinds of stories. Yes, you’re not going to write a “fix it” or a coda for your OCs, but you can absolutely write “moment between” original pieces. You can write drabbles. You can write shorts, novellas, pwp, anything.
However, if you want something more involved…I think you’re starting to get the gist here but I’ll reiterate one last time…look at your source canon material and at the fanfiction you’ve been writing. What were the story elements you chose to incorporate when you made your transformative piece? What do you love about that source material that you’d like to emulate? Do you enjoy a good mystery? Do you like the agonizing drag of slow burn? Do you crave that “I COULD JUST SMACK THEM BOTH” of idiots to lovers? Do you want historical drama, political machinations, high adventure, space battles? Consider what story elements drew you to that fandom, what about it made you go, “THAT’S the one I want to write for!” Consider which story elements you most enjoy playing with when you write fanfiction. Then…do more of that. If you love a good plot twist, or an air of horror, or BDSM, or, or, or…that’s a good start for figuring out what story to tell.
It doesn’t have to be what you’ve written the most of, to be clear – but absolutely it should be something you love and want to emulate. If you don’t love it, what’s the point in writing it?
Figuring out what story you want to tell with OCs isn’t magically different than figuring out what story you want to tell for fanfiction. Your best bet, truly, is to go about things using exactly the same strategy you use for fanfiction. If it helps, you can even plot it using fic characters – pretend it’s an AU, figure out the story you’d tell with canon characters in that AU. If you’re playing with archetypes as discussed above (spoilers: you are), and you’ve put together a world for them to play in, creating a story to tell in an AU using “established” characters is exactly the same as writing original work, except you give them different names, and you don’t throw in random references to canon or quotes that insiders will get.
The biggest mistake most writers make when they transition from fanfiction writing to original fiction writing is treating original fiction as some ineffably Different And Unique And New form of writing. It’s not. A good original fic and a good fanfic will have many, many elements in common (YES, even if the fanfic is set in the canon verse!).
The best advice I can give, honestly?
Do exactly what you’d do when you sit down to conceptualize a new fanfic, but every time you hit up against “Oh I can’t have them say that, that’d be OOC,” or “Oh, I can’t make that happen, that technology/magic doesn’t exist in that world,” or “Oh, I’m going to have to change that, there’s no canon character that makes sense for a role like that,” you can go “OH WAIT THIS IS ORIGINAL I DO WHAT I WANT!” and you make that thing you want them to say be IC for them, you change the technology/magic/whatever so what you need exists, you create a character that’ll fit that role.
Fanfic or original fic, the story is always your sandbox.
Many members of Duck Prints Press have young children, so we got to talking about what our favorite queer children’s stories are. These are all picture books – aimed at children under 8. This list doesn’t include any middle grade or young adult books.
Note that, regarding any individual book, we’re not saying, “this is flawless,” “this is perfect rep,” or “this is the right book for everyone/every situation/every family.” I’ve included a few notes about each book, to give a general idea of the representation it incorporates, but we always recommend that you read the full descriptions at the links provided (which are to Bookshop.org whenever possible), assess the book, borrow it from the library – basically, give it a read, and assess for yourself, and always pick with your own situation and sensibilities in mind when buying books for the young children in your life!