The fanfic straw that broke this reader’s back

I’ve had trouble finding romance that I want to read these days, but I recently read a short story featuring a trans character that I liked quite a bit. So I thought I’d keep branching out. I’ve been meaning to read f/f, so I surfed around for recommendations and then downloaded a bunch of samples that were recommended and/or made some year-end Best Of lists.

I started with a contemporary that was well reviewed and recommended by a number of readers. It has a 4+ star ranking at Goodreads. The writing was smooth and the opening was promising: a 20-something librarian who just split up with her husband is packing her car to move to a temporary but long-term position as a librarian in a small town. On the way she blows a tire, and who should turn up to repair it but a tall, beautiful woman. Who turns out, a few pages later, to have returned to the same small town to take over her father’s medical practice after his unexpected death.

OK so far. But then, as I read on, I noticed that the author was using a lot of words to describe very little action. The librarian starts setting up the town’s new library. She runs into the GP again and goes over to her beautifully-appointed house for dinner. They drink fancy red wine and fancy coffee. The kitchen appliances are noted by brand, and the house is described in detail. The two women bond over classical music. They have a discussion about the relative merits of Bösendorfer v. Steinway grand pianos. And so on.

I checked the number of locations in my Kindle sample. 1600+. For the sample. This meant the book was 8-10 times that long. What the hell was going to happen in it? More kitchen appliance descriptions? More wine?  A long-delayed consummation of the longing glances? I didn’t think I had the fortitude to find out. Given that nothing had happened so far (except for a broken ankle, that dinner, and the town BBQ), I was at a loss to know what could possibly provide the conflict to propel 400 pages of story. I decided to Google some more and see if I could figure out anything about the author and the book. And boy, did I. The book is a barely-transformed uber-Xena fanfic.

I had forgotten that Xena fanfic existed. I had to look up how “uber” was being used in this context. It turns out to be fanfic “that takes the ESSENCE of the characters in XWP and places these in another time, another place, another reality.”

Aha! So that’s why Lesbian A is tall and dark-haired and gorgeous, while Not Yet Lesbian B is short and blond and adorable. That’s also why the characters were depicted with minimal description (as opposed to so much else in the sample) and nothing happened. Everyone knew what they were reading, and the reading experience was about immersing oneself in the Xena-Gabrielle world, in this case an AU in which they were upscale, highly educated women who bonded over wine, classical music, and a gorgeous house.

Why is this the final straw for me? It’s not because the author tried to fool me, or Pulled to Publish. To the contrary, the original fic is still available on the fanfic site where it was first posted. The author does not hide the connection; she even thanked a reviewer for the shout to that particular community. As far as publishing fanfic goes, this seems as honorable a way to publish as can be imagined (setting aside the argument that no fanfic should ever be published for profit).

There are two reasons why I describe this experience as the last straw that has led me to give up trying authors I don’t know and books with a provenance that’s not immediately apparent. First, this book has the classic flaws of fanfic. It was unsatisfying to me in exactly the ways that fanfic is unsatisfying to me (and pleasurable to many devotees). I don’t want to read about Xena and Gabrielle. If I want to spend time with them, I’ll watch the series. When I read a book, I want characters that the author of the book has created, not characters that someone else has created. I want to read original fiction. That’s why I read. Your mileage may vary, but that’s mine.

Second, as a reader, I’m tired of having to stop and check to see whether a recommended book is barely transformed fanfiction. In the romance genre and especially in the GLBTQ end of the pool, if a reader assumes that books published by small presses (or self-published) are original fiction, she will be wrong. A lot.

In this case it’s my own fault for not paying more attention when I checked reviews of the book on review sites, because a couple of them mention the fanfic site and refer to reading or writing “lesfic.” But I wasn’t familiar with the site by name and I thought lesfic was an abbreviation for lesbian fiction, not lesbian fan fiction. And to be honest, I wasn’t thinking that hard, I just wanted to read a good book.

And that’s the crux of the problem for me. There is definitely transformed, published fan fiction that meets my criteria for a good romance: fully developed characters, a complete story arc, well-plotted, with a satisfying romantic journey. But there is a lot more being published that sticks to the fanfic traditions of sketchy characters (because we know them already from the original), a series of vignettes rather than a story arc, clumsy plotting, and romantic scenes that don’t serve to propel the relationship forward to a satisfying HEA/HFN.

I want to reiterate that I’m not complaining that this fanfic was published, and I’m not blaming the author for my mistake in picking up the sample. There are a lot of people who enjoy reading fan fiction, and it’s certainly easier to read it in an ebook format, so it makes sense that more is being published. But before, if you wanted to read fanfic, you went to a fan fiction site. If you wanted original fiction (including substantially reworked fan fiction), you bought a book.

We’re not going back to those days, but I would really appreciate an acknowledgment in the front of the book, or in the publishers’ and retailers’ descriptions, that notes when the work has been previous released in another form. Honorable publishers and authors tell readers when they’re republishing a previously released book or issuing an edited version of an earlier novel. If fan fiction authors and publishers were to do the same, I’d go back to reading “debut” authors that are new to me. But until then, I’m sticking to the known quantities. Yes, I’ll miss some wonderful new discoveries. But at this point, I’m more than willing to make that sacrifice.

39 thoughts on “The fanfic straw that broke this reader’s back

  1. I love the way you articulated all of this, and I often find myself doing similar things: wondering if something was fan fiction, wondering “who I know” in fandom that could’ve penned it, etc. It’s this sense of “I bought one thing, but when I opened the box, the shoes were the wrong color and the wrong size.” It just doesn’t quite…fit.

    I had a post a while back about how being a fan fiction author and going pro often means “things get lost in the move” ( and a lot of what you cite here is part and parcel of that, regardless of whether an author is just changing the names or starting fresh and writing original fiction. There are “shortcuts” used in fan fiction precisely because the reader is going in armed with the knowledge of who these characters are. Whereas a reader picking up original fiction with no preconceived notions will approach a text differently. And it’s absolutely valid to feel “cheated” out of that experience when you’re not told what product you’ve purchased.

    And, for me, I always go back to the fact that fan fiction is meant to be free, whereas pro fiction is for commerce. Buying that cow when I could get the milk for free…definitely a bit of a rub!

    • I read that post! It was probably echoing in my mind when I wrote this and I didn’t know it, but thank you for linking to it. It’s exactly what I mean.

      I have a feeling that the “fanfic should be free” side has already lost the battle, which I find sad. Not that people don’t have the right to profit from their creations, but the communities are going to change because of the publishing angle. Writers are already affected by the non-members who dig in the archives looking for the next hot thing, whether for publication or personal consumption.

      • Oh, I’m so glad you read it! I feared linking to it would be a faux pas, but I can be such a scatterbrain, sometimes I’m like, “Oh, look, I said it much better here…”

        I’m very sad about the change of the communities as well. Sure, Fandom goes through a metamorphosis every few years, and we’re seeing the death of journal-based Fandom as everyone moves to Tumblr (not me, though! Tumblr scares me!), but it’s the fact that private fannish space has become very much public to “Muggles” that’s changing the whole paradigm.

        • I like it when people link to their relevant posts, so no worries there. As for Tumblr, I have an account, and when I figure out how to use it effectively, I probably will again. ;)

  2. I’ve never written fanfic, but I’m sure I’ve read a few fanfics turned stand-alones.

    I used to read the hell out of books based on series — Buffy, etc., but mainly Indiana Jones. You could pick one of those up and not know anything whatsoever about Indiana Jones, but the author would take a moment to describe things that were important and distinctly Indy — how he looked and his background, something any movie buff knows, but it was done so well, anyone should have been able to pickup a copy of “Indiana Jones & the Blah Blah Blah” and never have to so much as Google the movie series. This is what fanfic turned novel should achieve.

    If an author is going to publish his/her fanfic, I don’t think a disclaimer is necessary. I’m not interested in reading fanfic, but what I don’t know won’t ruin the book for me. As long as the fanfic has been beaten into something that can stand 100% on its own, go for it, but if an author is still writing with his/her fanfic audience in mind and doesn’t think towards a wider readership, the result will be shit.

    They should have one hell of an editor who can point out the things you’ve mentioned, and more.

    (On an aside, it kind of cuts me up when an author outs themselves by mentioning that their character looks like some random actor barely anyone has heard of. I can forgive “he looked a little like George Clooney” because he’s so widely known and his look is common amongst contemporary heroes, but when you get into something like a contemporary about rival con artists, and the author specifically points out “He looked like Matt Bomer” I know exactly what I’m reading — a “White Collar” fanfic with a Mary Sue along for the ride. Instant wallbanger.)

    And for shits & giggles —

    • I agree with a lot of what you say, but there are many readers who LIKE reading fanfic, whether they write it or not, and there’s no real reason they can’t read ff in book form, if the author wants to put it out there. At least then the author retains control over the process. Right now outsiders are mining and other sites for stories and then throwing them up on Goodreads and Amazon. An author who never meant for her RPS story to go outside her community found her book on a number of Listopias at GR, not to mention reviewed at m/m sites. Given that readers are finding and publicizing the work without author approval, I think we have to come up with some kind of system.

      That cover has scarred me.

      • The “outsider mining” is terrifying to me. It’s right up there with linking your fic to an actor or a showrunner. i just feel like so many of fandom’s social constructs are being torn down in recent years, and pro publishing and review blogging is only muddying the waters. There HAS to be a system, but I don’t know how it’s going to be built, when you have people who don’t understand how the fan fiction community works (both inside it and outside it) trying to turn a profit!

      • Are they *selling* the fanfic in book form? I think that’s one thing that’s awesome about technology — you can make your stuff available on ebook instantly with free software, but I think selling puts you in a murky area — though wasn’t there someone who wrote James Potter fanfic and sold it, and not two shits was given?

        And stealing someone else’s writing just sucks ass — though like I said, KDP at least seems to be able to pick up on it. When I put some short stories available on the web into an anthology, I got an email in less than 24 hours letting me know and asking me to prove I owned copyright. Not sure what they use to pick up on that, but it’s comforting to know it’s there.

        I could say more, but it’s Friday at 5pm and I’m leaving the computer to explode in happiness.

        • Yes, the book is for sale at Amazon and at other places. It’s AU fanfic, though, so to the extent the author can be accused of plagiarism it’s in the appropriation of the characters (the whole “uber” thing suggests fidelity to the source). The original medium is TV and the setting is entirely different, so unless she faithfully copied an episode it wouldn’t be text-to-text plagiarism.

          • I can’t even begin to wrap my head around the “uber” thing. I think of fanfic as being set in the same universe as the original source. If you take a character or two as inspiration and write something completely new, how it is still fan fiction? My brain hurts.

            • It’s basically AU fan fiction. The characters are recognizable from the original source. When they say “inspiration” they mean that the characters can have different jobs, etc., but I don’t think their basic personalities (and most of their physical traits) can deviate that much. In this book, once I read it was Xena fanfic I could see the characters. Had I been a bigger fan of the show it probably would have struck me immediately.

      • Say someone writes Supernatural fanfiction. On SPN, there is a network of demon hunters and supernaturals. Fanfic author A could use this — create his/her own character and just evolve the story. Now A has a world that has its origins with the series but could now stand alone. They decide to tweak a few of the manuscripts and try to get them published (or self-publish).

        They should eliminate any possibility that someone is going to question whether or not the work is theirs. It’s a headache no author needs — and in the online book community, there’s often a shoot first, ask questions later mentality about plagiarism. Even KDP asks “We found something EXACTLY LIKE THIS — explain.”

        Then, once that’s settled, “Oh, wait, it used to be fanfic. ICK.”

        (If that was me, I’d just tear big chunks out of the fanfic and start from scratch — remember when James hit big? She got plagiarism accusations and some members of the fanfic community were outraged — not that she cares as she reclines in a bathtub full of diamonds …)

        • In this case it’s clearly the same author writing the fanfic and the book (she uses the same name for both), so the question of attribution would have to do with whether it was tacitly or explicitly condoned by the original creators (whoever has rights over the Xena franchise) and how the community felt about it. I haven’t seen any criticism, only praise by earlier readers, but that doesn’t mean it’s not out there.

          • Yes, I’m just rambling now …

            I think that’s one edge fanfic authors have over everyone else — you have a built-in cache of reviewers who already love the work ready to sing your praises. One author comes to mind who is a part of an actor fandom I used to follow about 10 yrs ago. She writes historicals and contemporaries, and every single hero looks exactly the same — like the actor. You won’t find any diversity in her books, but her fellow fangirls can’t get enough. If she only ever wrote and sold to her fellow fangirls, spreading word of mouth only through this moderately-sized online community, she’d still be taking a fat cheque to the bank.

            Different author, same board, wrote a movie fanfiction that was published as-is (the source material is in the public domain) and made the rounds. First page, author says “This is based on the movie, not the book, because the movie is sexier” and then proceeded to write one hell of an adaptation. She’s written about a dozen books since that time under a few different pen names, all works rooted in fanfiction as far as I can tell, but she’s kicking the ass of her source material.

  3. Sometimes I think I am scuttling into a cocoon with my reading. I seem to only read books by authors known to me via social media and backlists and re-read. I think I am doing this for reasons similar to the issues described above but also because I am tired of outrage being a factor or risk when I take up a book.

    • The outrage factor is shaping my reading choices as well. What was so disappointing for me about this experience is that it makes me gun-shy, because I’ve now learned that there is quite a bit of fanfic in f/f and lesbian romance. I have more samples to read and I’m still going to give them a try (they’re by authors I’ve heard of and seen on twitter), but I’m being much more selective.

      ETA: I meant to say, I was already gun-shy because of the outrage & controversy environment, and this was supposed to be a break from that. But it just raised another problem. Sigh.

  4. This is the book you were tweeting about that gave me nightmares. Literally — a sort of Brady Bunch 70s domestic comedy, with Xena and Gabrielle as the moms.

    It’s true that some derivative works stand alone, enjoyable even to those who unfamiliar with the original inspiring work. Hell, some are better than the original — my favorite case in point is Shakespeare’s Romeo and Juliet. But for sure, some relies on its origin for context in order to really work (most pastiche), and some (a lot of fanfic) requires a knowledge of the original. I imagine that for fans, having every fic include detailed descriptions of the familiar would be boring, and I expect that it’s a lot of work to add that level into a work that was created without it.

    I’ve read very little fanfic, repurposed or not — a few Austen pieces, and of course MOTU/50. I suspect that’s because my reading habits are too mainstream. But I almost did buy this one based on the buzz, because I do read an occasional f/f. Really glad I didn’t. I wouldn’t have enjoyed it, and I might never have known why. I’m not the detective you are!

    I wonder if authors trying to get readers to try their work should attach a “Not Fanfic” promise?

    • Yes to everything you say, especially the distinctions between pastiche and original and fanfic. I wish we had a better description of the spectrum from original complete ripoff, because there is so much good stuff in between.

      Yes to some kind of label, please! I don’t want it to be pejorative, because lots of people want to read it, but I really want plot and story arc, and too much ff doesn’t have it, or doesn’t do it very well. At least if there’s a label I proceed at my own risk (given my tastes).

      ETA: that’s supposed to be “original to complete ripoff.” WordPress ate my symbols.

  5. I like fanfic. I like to read it. I occasionally like to write it. Sometimes I go trolling at Amazon to find a new author, expecting original work. And sometimes I go looking for fic on AO3 based on community or pairing, because I want to read The Continuing Adventures of A/B or maybe because I need to see how other people have rewritten or fixed what a show writer/producer killed. When buying, I want to know what I’m paying for (utterly original vs. repurposed ff) because it makes a difference to my expectations as I read. I don’t think that’s unreasonable, and there are a lot of “new” authors I discard after sampling because the excerpt has whiffs of under-scrubbed ff.

    The monetization fanfic has definitely changed at least one small fandom I read and write in. Because of the foundation (docu-drama loosely based on actual people and events), the general attitude had been Fight Club rules. When one writer published for profit a story that was more or less RPF with the names changed, there were convulsions in the fandom and in some venues fic was locked or deleted by the writers/owners. It’s had a huge chilling effect on everyone.

    • This is what is so worrying, as Suleikha says above. The monetization aspect changes the community. Ficcers can subdivide into open and closed communities as a response, but the people who want to be part of closed communities will have a much harder time finding them.

  6. I liked this post, and the discussion in the comments is great! I appreciate getting a better sense of how the P2P trend (and the success of some examples of same) is affecting fan communities, because I think that’s an interesting issue and know pretty much nothing about it.

    What I do know is that like you, I am not really keen on books like this–lots of pointless description, emotional scenes but lack of strong plot/character arcs–especially when I read genre fiction. I think there is a lot of that out there right now, books that even if they are not former fanfic share some of its aesthetics. Maybe the writers started in fandom, maybe they just haven’t honed their craft enough yet and figured out how to shape a plot well. Sure, the novel has changed over time, but these are not conscious, purposeful experiments in fictional form, by and large. They don’t make books better or more interesting–even readers who are enjoying the books tend to comment on pacing and plot problems. This is not a direction I’m thrilled to see fiction going in, and I’m not happy to see buzz and the decisions of big NY publishers pushing it more in that direction either.

    • A lot of fanfiction is published in serial form. I do wonder if the current trend for serialised novels will spawn a whole lot more P2P books, or paid-for-fic. I can easily imagine some of the BNFs going down that road. The rambling, repetitive, poorly paced plots can be disguised a bit in the serial format.

    • I agree with everything you’ve said, especially in your second paragraph, and you say it so much better than I have. These books are emotionally manipulative, in my opinion, which may be why they don’t work for you and me. Our emotions are manipulated in different ways. But clearly they work for a lot of readers.

  7. I think you are much more likely to find fanfic-turned-pro in m/m and f/f stories. I certainly haven’t noticed a whole lot in m/f romance and my guess is that’s partly because m/f romance is a much longer established industry unlike gay fiction which has been growing very quickly in recent years and thus in need of a lot more new writers. And partly because slash was (I assume still is, but I’m not really in fandom any more) huge in fandom. (For future reference the use of ‘fic’ almost always denotes fanfic, not original fiction.)

    I find the whole business of monetization of fanfic really disturbing. I think it’s unethical even where it’s not illegal, and I also think it is having a negative effect on fandom itself. But mostly, I agree with you that what works in fanfic does not always translate well to an original novel. The fic I wrote which I’m proudest of is a ‘next generation’ Harry Potter story, so the main characters are all my own. But even then, there’s an awful lot in that story which only works if you’ve read the original books. Parts of the plot depend on knowing what happened in the main books. I could not imagine how I could rework that into a standalone novel and nor would I want to. I did find that writing fanfic was a helpful way of developing certain aspects of the craft, but at some point you have to take a deep breath and stand on your own two feet as a writer.

    If I want to read fanfic, I’ll read it online for free. If someone wants to start selling their writing, they need to write their own books. That’s my line in the sand and I’m sticking to it. Which is just one reason why I haven’t read That Book.

    • The proportion of fanfic is higher in m/m and f/f, but the Twific publishing juggernaut shows us that it’s doing really well in m/f. And let’s not forget Cassandra Clare etc. So it’s out there.

      I sympathize with your position on published fanfic, and I agree that there are a lot of negative effects that are not being discussed enough. But as I said earlier, I am very much afraid that battle is lost.

  8. A fanfic story may be as well written as an commercially published novel, in terms of prose and characterisation. It may be a joy to read. But that doesn’t mean it will be a great original story. Some stories work brilliantly as fanfics, yet miss the mark as novels.

    I think the problem can often come from the fact that even a novel length fanfic is probably not written using the familiar conventions and structures of a novel. It’s paced differently. Which may be totally fine, when it’s published serially on a fanfic site. It may be judged a very good story. But the form is different, and if it’s all put together as a novel and published as an ebook – even still as a fanfic! – it may not work any more, because it just doesn’t follow the forms of storytelling we’re so used to, The same thing could be the case the other way! A conventionally paced and structured novel, not written to be serialised, might well suffer if it was released as a chapter a week serial.

    • Yes! I wish that more authors and readers would comprehend this, i..e, that the goals of the two forms are often different, and the structures reflect that. If we treated fanfic as a different form of creative writing within literature (as we do short stories, for example), then our expectations would be different going in. But as long as authors and publishers sell untransformed fanfic as novels, it will make it harder to separate them and treat them as different literary products.

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  10. Is there a point where you’d consider an acknowledgement in the front of the book no longer necessary? Or always necessary, no matter how changed the story? I’m trying to work out at what level in the process of fan fiction-to-novel does a work achieve complete separateness from the fan fiction that inspired it. Or if it ever does, no matter how the story evolves away from the fan fiction.

    I’m honestly not trying to be difficult about it or devil’s advocate-y. :D I think it’s kind of fascinating, this process of trying to turn fan fiction into something else (or lack of process, as the case may be.) Take an author, she’s got a fan fiction she wrote some years before and she thinks it could be a fun novel. The fan fiction was built on real-life historical incidents that she wants to weave into a new, longer story. She writes a chapter or two and finds the characters, whom she’s given new names and new backgrounds, shaping into their own personalities and veering away from the personalities in the fan fiction.

    The plot, too, is expanding into new angles, but some of the real-life events are still the inciting incidents that ground the story in the real world. The actual scenes, however, are not reproduced from the fan fiction. The characters, having found their own voices, behave differently in the story situations and the story takes different routes. When the author finishes the novel, the only things still recognizable from the fan fiction are one or two historical events and the occupations of the main characters (occupations necessary to the plot, and possibly unusual enough to make the casual reader think of the show, but there are plenty of novels using these same occupations.) This is basically a “new” work, but for the fact that it was initially inspired by an already-written fan fiction. It is also a work that might possibly have been written eventually by the author even if she had never written the fan fiction. But the fan fiction did spur her originally to daydream about reworking the basic story into a novel.

    Would you still like a disclaimer in a book like this? Would the disclaimer make you hesitate to give the novel a try, even if the disclaimer said only “inspired by”? Suppose she offers the work for free, disclaimer included–would you still be reluctant to give the book a read? (And I’m asking this of everyone, although, VM, I’d certainly like your opinion.:))

    I’m just intrigued by where the line is or should be drawn and if, for readers, a fan fiction can possibly be transformed by hard work into something that can be looked upon as a legitimately original story–or if it’s doomed to second-class status because there was once the whiff of fan fiction about it. (Sorry, this got a little long and meandering.)

    • The answer to your easy question first: I don’t have a problem with novels that are transformed from fan fiction. So a note telling me that a novel *started* as fan fiction but was then substantially reworked would be appreciated but would not deter me from reading it.

      I guess nothing ever achieves full separation from its origins, which is fine; all creative work is in conversation with its predecessors and influences. The problem for me comes when there is little or no separation and when the links aren’t made explicit. Remember, I’m talking about not reading the non-transformed book because *I* don’t enjoy fanfic much, but it’s a taste thing. Lots of people take a harder line and think no fanfic should ever be published, which I’m sympathetic to but I think is now impossible to enforce. And I think even those people would agree that if something has undergone a major transformation, it’s a different piece of work.

      This comes back to SonomaLass’s point upthread. We need a better typology of different types of creative work and their antecedents.

      • To add to the murkiness, what if the author originally wrote a work as fanfic, looked at it and said “heck, if I’m putting this much effort into this and diverging this much from canon, I might as well start over completely and write an original work using the Good Bits”, and then published the original work without ever posting the fanfic that inspired it? I wouldn’t expect the author to disclose that the story started life as a never-posted fanfic, especially if the story had been transformed to the point where a fan of the source material wouldn’t notice the connection. (Now, if the fan reads the story and goes “huh, this reads like Source fanfic with the names changed”, then yes, the author should’ve disclosed. Or done a better job of rewriting.)

        We definitely need a better vocabulary for this.

        I write fanfic, and I can’t imagine turning those stories into original fiction without putting in so much effort that it’d be easier to write a different original story from scratch. I might snag a trope or character trait or plot twist that can be tweaked to work in another story (and that, if I’m doing it right, will *change* because of the needs of the new story), but overall, the fanfic is too tied to its source material to work as an original fic — “filing off the serial numbers” would (and should) involve a lot more than search-and-replace-on-character-names.

      • I’ve wondered if Stephenie Meyer had stepped in and sued James, would that have discouraged pulling to publish, or even slowed it down at all. I’m beginning to think not. Too many writers are seeing it as a lottery worth the risk. Churn out enough copies of Twilighty fan fiction, no matter the quality, and you too may be a winner. :/

        It feels like a very evolutionary period in publishing, for better or worse.

        • It would have been a mess, because AU is even harder to demonstrate, and there would have been blowback. But it would have at least shut down the “it’s not a problem or Meyer would have sued” chorus.

          But yeah, once Vintage hopped on the bandwagon, I knew it was game over for the no-profit crowd.

  11. Amen. I have no problem with fanfic. I do have a problem with fanfic writers trying to profit off what essentially was the original work of authors (or writers, in the case of TV/movies). You want to profit? Go write yourself some original works.

  12. I do agree. If something has already been published or posted out there on the web there should be information about it on the book in print. It would be disheartening to purchase something I already read online. Especially if I wasn’t fond of what I read online. If I loved it that information would be a reason to purchase said book.

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