samsaintjames

[samsaintjames]

Erogenous Bosch or whatever his name is

[samsaintjames]

Look, see, I’m not dead.

#jaina proudmoore #fic rec #world of warcraft

[samsaintjames]

[samsaintjames]

Hi if you ever find yourself in a relationship saying anything along the lines of "well I can't leave cause I would never be able to find something better than this because I'm trans/fat/aging/antisocial/unlucky" I beg of you to run. Please. You can find and build better but in order to do that you have to take the first step out the door. You do not have to endure abuse, mistreatment, or just plain incompatibility for the sake of a fraction of happiness. You don't.

[samsaintjames]

when u click with someone and they have the audacity to live far away

[samsaintjames]

Hey is anybody having trouble with those Captcha test things lately? Mine are getting kinda weird and I’m even not too sure what to click on

[samsaintjames]

Okay, y'all.

I'm gonna be really up front with everybody in a way that I'm usually not:

This year so far has been really rough, in a way that kinda has me worried. Bear with me, and there will be dog pictures along the way and pictures of new swag at the end, ok?

Running a small business is always rough, and with everything going on - with me being down-and-out struggling to get my hysterectomy approved, with everything going on financially & politically, with Jake moving out here - we knew that this year probably wouldn't be a banner year, but...

... when I pulled reports at the end of May, I was kinda shocked and gutted because at the start of June, we were actually down a considerable amount year over year. I knew the year wouldn't be great, but like, oof.

Pride is usually where we make our money for the year - we call it "gay Christmas," because where other retailers count on their holiday season, we count on Pride to make sure that our employees get paid during January of the following year.

Pause for Ser Davos Seawoof:

This Pride has started ... slowly. Not terribly, but a little more slowly than I'm comfortable with, and slowly enough that I'm nervous. We invested a lot of money in new stock and equipment, and that's got to pay off. Right?

So here's the pitch:

We need to make at least $60K in sales this month to make sure that we're in good shape for the upcoming year. We are currently at $8100, and we have a two-day event coming up in Seattle at the end of the month, but that still gives us an awful lot of ground to make up.

If we hit our sales goal for this month, NerdyKeppie will donate 1% of our net profit for June to @queerliblib.

Just hitting that goal would both make it possible for us to know we can make it through the year & even if we have the worst profit margins this month, it'd be a minimum $250 donation.

We just added Express delivery as a shipping upgrade on most of our t-shirts (limited color and size options on that, which isn't under our control) so if you need something quick, we've got you, and everything from our Portland HQ collection ships usually within 2 business days.

Everything in our Bottoms & Tops collection is Buy 2, Get a 3rd 69% off with code TOP2BOTTOM until midnight tonight:

And as always, NerdyKeppie is 100% trans-owned and queer-run. We start all of our employees at a minimum of $25/hr, and all eligible employees are IWW members. We have no investors, and we have no shareholders to please. Big box corporations screw over small artists and drop Pride the minute it gets hard or controversial, but this is our life.

We're here for the long run. Help us stay and help us build resources for today & tomorrow, and get some cool-ass swag while you do.

💗🏳️‍🌈

[samsaintjames]

DS9: What if we had a villain, and he was charismatic, interesting, entertaining even, a man who’s affable and charming and like he’s someone you could almost like but he was a genocidal fascist

DS9: What if he started down a road to redemption and then

DS9: What if we don’t redeem him, what if the point is a man can be all of those good things but he’s still a racist, fascist murderer and doesn’t deserve to be redeemed because at his core he’s an evil, evil man and his narrative reward is defeat and death at the hands of the black man who represents the bridge between men and gods

DS9: Meet Gul Dukat

[samsaintjames]

🌼 The Fields of Mistria demo is HERE! 🌼

Experience the start of your new life in Mistria with our first-ever demo! The demo is available now through the end of Steam Next Fest, on June 17th at 10 am PT.

✨ bit.ly/Mistria

#already tried it #looks super cool

[samsaintjames]

I am Sick and Tired of DVD special features being forgotten about. Bring back cast commentary. Bring back director commentary. Bring back behind the scenes. Bring back BTS documentaries. I KNOW it's still the same fucking nerds working on every piece of media who eat this shit up. LET ME AT IT. BRING IT BACK.

[samsaintjames]

Met an old teacher today and we got talking about ‘the good old times’ and ten minutes into the conversation I jokingly said the one regret I have from middle school is that I never won anything at her magnificent tombolas? Because, like, she used to hold this game about once a month so we’d learn the numbers in French and it was never big prizes, but as a 12-yo I desperately craved them - a cactus-shaped eraser, a bright blue notebook with slightly larger-than-usual squares, a set of coloured pens - and never ever got a single one of them. 

(Actually spent a good few months thinking I was genetically unlucky and researching ancient family curses with my grandma.) 

So today I don’t know what I was hoping for - nothing, really?

(I mean, that part of me that’s still twelve was probably expecting this sweet old woman to have a set of glitter stickers in her purse and just go ‘You know what, you’re right - I’ve been saving this one for you all these years, here you go’ but I’m a solidly rational person and I know that’s stupid.)

No, I thought we’d just laugh and it would be a good shared memory and that would be it. Instead, my teacher got flustered and a bit embarrassed and explained the game was rigged. It was never about learning French at all. She’d just noticed some kids couldn’t afford even basic stationery, so she’d buy a few half-fancy items every month with her own money just for them. She didn’t want them to feel different or left out. And obviously the way she used to walk around in the classroom, looking over our shoulders - it wasn’t to prevent cheating. It was because she was cheating herself, wanting to see which number a particular child needed to get a Minnie Mouse pencil case.

Guys - the world is fucked up, but so many people out there are just good and kind and humbly heroic it honestly gives me hope. 

It’ll be alright, you’ll see.

[samsaintjames]

One side effect of my research for this novel being steeped heavily in textile history is my swelling disgust with modern fabrics.

Firstly they're so thin? Like most things you see in Old Navy or even department stores might as well be tissue paper?? Even some branded sports t-shirts I've bought in recent years (that are supposed to be 'official apparel' and allegedly decent quality) are definitely not going to hold up more than a year or two without getting little holes from wear.

This side of even two hundred years ago fabrics were made to be used for YEARS, and that's with wearing them way more often because you only owned like three sets of clothes. They were thick and well made and most importantly made to LAST. And they were gorgeous?? Some of the weaves were so fine and the drape so buttery we still don't entirely know how these people managed to make them BY HAND. Not to mention intricate patterning and details that turned even some simple garments into freaking ART.

I know this is not news, the fast fashion phenomenon is well documented. Reading so much about the amazing fabrics we used to create and how we cherished and valued them, though, is making it hard not to mourn what we lost to mass production and capitalism. Not just the quality of the clothing and fabrics themselves, but the generations of knowledge and techniques that are just gone. It makes me what to cry.

I need to get a sewing machine.

[samsaintjames]

nothing like rereading a book you loved when you were younger only to realize the author can't write

[samsaintjames]

This is the first time someone's pointed something out about the way we behave I didn't even realise and found myself realising they are entirely right

[samsaintjames]

I was thinking how it's satisfying that 25 is 5x5 but 24 is 6x4. Two really nice composites right next to each other. And I was like heh, I wonder how common that is. Then I remembered that (x+1)(x-1) = x²-1 is a basic mathematical truth so it happens with literally every square number. It almost feels too convenient! And yet!!

[samsaintjames]

I FOUND IT GUYS I SPENT HALF AN HOUR LOOKING FOR THIS VIDEO AND ITS HERE

[samsaintjames]

I just received a copy of a book I've been very much looking forward to by a favorite author, but the quality of the book itself is... not great. Cheap paper, weak binding, even a weird illustration of the main character on the cover that I'm having trouble believing the author approved. Obviously, I don't want to leave a bad review on Amazon or GoodReads or anywhere, as I'm 100% certain the content is as excellent as her other work. But how can I best let the publisher (Baen) know I'm disappointed without threatening to never buy her books again? Because, well, if this is the only option, I'm gonna keep buying them even in my disappointment.

Well, the first thing I thought when I read this was "Wow, I'm really glad I don't have anything in print from Baen at the moment except a couple of anthologized short stories." :)

As for the rest of it, let's take it point by point.

Adding a cut here, because this will run a bit long. Caution: contains auctorial bitching and moaning, painful illustrations of cases in point, and brief advice on how to complain most effectively. (Also links to paintings of cats.)

Cheap paper: This has been an accurate complaint since well before COVID—and it's often been worse since, with supply chain issues also being involved. That said: one way publishers routinely save money on printing books, especially the bigger ones, is by going for thinner/cheaper paper. I remember one of our UK editors going on at great length and with huge annoyance—during one of those late-night convention-bar bitch sessions—over how the only way they could get some really good books published (because Upstairs insisted on reducing the per-copy production costs) was by reducing the paper quality to the point where you could nearly read through it. Sacrificing decent text size(s) also became part of this. Nobody in editorial was happy about the result: but there wasn't much they could do.

Bad bindings: Similar problem. Sewn bindings used to be a thing in paperbacks... but not any more: not for a good while, now. These days, it's all glue. Even hardcovers are showing up glued rather than sewn. Don't get me started. :/ (This is why I so treasure some of the oldest paperbacks I've acquired, which are actually sewn.)

Crap covers: I've had my share of these—though my share of some really good ones, too. And one of the endless frustrations of traditional publishing is that the writer routinely has little or even no influence over what the cover will look like... let alone how much will be spent on it, or (an often-related issue) how good the execution will be.

There are of course exceptions. If you're working at the, well, @neil-gaiman level or similar in publishing, a lot more attention is going to be paid to your thoughts. You may even be able to get "cover veto" written into your contracts, so that if you disapprove, changes will get made. But without actual contractual stipulations, the writer has zero legal recourse or way to withhold approval. (And I bet even Neil has some horror stories.)

The normal workflow looks like this. After a book's purchased, its editor and the art director discuss what it's about and what the cover should look like. The art director then hires an artist and tells them what to do. After that, the artist executes their vision and gets paid. It is incredibly rare for a writer to have any significant input into this process. And as to whether or not they approve of the final result, well... the publisher mostly just shrugs and goes back to eyeing the bottom line, muttering "Who told them they get a vote?"

Now, I've been seriously lucky to occasionally be an exception in this regard. In particular, my editors at Harcourt (when Jane Yolen and Michael Stearns were editing Harcourt's Magic Carpet YA imprint) would ask me what I thought would be a good idea for the next Young Wizards cover, and I'd think about it a bit and send them back a paragraph or so about some core scene. They'd then talk to their art director, and after that send their notes and mine to Cliff Nielsen (who started doing the covers for the hardcover and mass-market paperback editions of the series in the mid-90s) or to Greg Swearingen (who was the artist on the digest-format editions). And the results, by and large, were pretty good. ...I also think affectionately of the UK artist Mick Posen, who insisted on seeing pictures of our cats before painting the covers for the Hodder editions of The Book of Night with Moon and On Her Majesty's Wizardly Service (the UK title for To Visit The Queen).

But this kind of treatment is a courtesy—not even vaguely suggested in the books' contracts, and very much the exception to the rule. And for every writer who's midlist, there are times when the luck runs out. For example: one time I wrote a book that was an AU-Earth-near-future fantasy police procedural, thematically pretty dark—dealing with issues of abuse of megacorporate power, institutionalized bigotry, and (explicitly) attempted genocide. And the cover, done by an artist who's a good friend and some of whose fabulous art hangs in our house, came out looking like this. It was... let's just say "not ideally representative."

So I was glad, when my local workflow allowed it, to recover the current, revised version of the book with something at least a little more apropos. But the original cover's not the artist's fault. He did what the art director told him... as a cover artist must do to get paid, and (ideally) to get hired again. At present, that's how the system works.

...So. You've got a badly-built and -presented book on your hands. How best to make your feelings known in some way that might make a difference down the line? (As you make it plain that you'll keep buying this author's books this way if you must.)

First of all: when (as part of my psych nursing training) we were taught how to complain most effectively, we were told that the first and most basic rule of the art is this:

Only Complain To Someone Who Can Actually Do Something About Your Problem

So I salute your desire not to waste your time taking the issue to the reviews on Amazon, or the pages of Goodreads... because they can't do anything. The odds that anyone from production at Baen is reading the comments there strike me as... well, not infinitesimally small, not being hit-by-a-meteorite-while-in-the-shopping-center-parking-lot small... but really low.

So: write to corporate.

In your place I would go online and rummage around a bit to find out who's on record as the publisher at Baen. I would then write them a letter on paper. And I would lay out the problem pretty much as you laid it out up at the top.

The tone I think I'd choose would be the more-in-sorrow-than-in-anger approach. I'd say, "I write to comment about your recently published book by [X Writer], whose work I love. I have to say, though, that I don't think the cover on [X Book] is terribly representative of the quality of the prose inside. And also, the construction and production quality of the book itself was a disappointment to me because [here spell out why].

"I'd really like to see [X. Writer's] books succeed with you, and I'd like to buy more of them without wondering whether I was going to be disappointed again. But if this is typical of how they're being produced, I'd also be concerned that the state of these books is setting up a situation in which the author's sales will be damaged, and you would stop publishing them... which would really be a shame. Whereas on the other hand, better production quality could keep previous purchasers coming back and buying, not only more books by this author, but books by others whom you publish."

This phrasing, as you'll have seen, walks a bit wide around the issue of your further purchases, while directing attention toward the bottom line... which will routinely be what the publisher's looking at from day to day. And—being, one has to hope, in possession of the wider picture as regards what's going on with their production costs—maybe they can actually do something about it.

Anyway, nothing ventured, nothing gained, yeah? It's worth a try. All you can do is hope for the best.

And finally: please know that I admire your commitment to the author: whoever she is, she's lucky to have you. It's a terrific thing to have readers who'll willing to spend the time to hunt you down, and who're willing not to judge a book by its cover. :)