I’m not going to RT the biphobic YA take but a bi person is literally never in a “straight” relationship. Every relationship they have is queer. Even a relationship they might have with someone of a different gender is still going to be very, very different from a hetero one!
“This bi woman has only ever been in relationship with men!” Well guess what, they’re still not straight, and their relationships still aren’t straight.
“But has she ever even KISSED a girl?” Well sexuality is based on attraction and not action, so GTFO with that intellectually dishonest, acephobic take.
Go take a gender, women, and sexuality class and stop being an exclusionary dipshit
Now is also a good time to remind everyone that
✨✨✨you cannot know someone’s gender just by looking at them✨✨✨
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Okay, because I'm having some Feelings about this, let's talk about how to circumvent different ways publishing weaponizes #ownvoices and creator identities:
First, there are many agents and editors calling for #ownvoices in their subs. Ideally, this means this person is open to various (and non-monolithic) marginalized experiences--feel free to sub to them with or without mentioning #ownvoices or self-identifying...
But stay away from agents/eds/pubs that REQUIRE you to disclose--you can't trust this person to maintain your boundaries or safety.
When authors grossly misbehave online and put marginalized people at risk, @erikhane and I always talk about what we would do if we were their agents. How do we help repair the harm done, and leave publishing better than how we found it?
In most cases, a very clear, correct move is to drop the author, but it's not for the reason you might think. It's not an agent's role to punish an author for bad behavior, and we're not their bosses. We drop someone to reject our complicity in racist power structures.
Agents are an author's conduit to traditional publishing. We provide, most crucially, access. Access to money, to media attention. Additionally, we work with the author to optimize that access.
Okay, I've become aware that a lot of American writers on here don't know about taxes for their business (writing is your business!) so I'm going to do a lil thread on the subject.
DISCLAIMER: Your financial situation is unique, and you're best served by taking this rough overview and talking to a certified accountant, particularly one who specializes in working with freelancers/artists.
DISCLAIMER, CONT: In MN, we have some nonprofit arts organizations that connect artists with arts lawyers, accountants, etc. It's a good idea to start there!
I thought I was getting just getting a chair. Now, my husband is on hour two of arranging furniture in two (2) rooms so the chair can be *optimally placed*, rearranging art, and shopping for rugs and shelving to make a "cozy nook"
Folks, I sacrificed my guest bookshelf for this (kinda--it just moved into the office and blended with another themed bookshelf)
Okay, we are done for the night, but before retiring, he *artfully arranged* a throw blanket he brought up from downstairs (it was his second try--the first one he picked was too dark???)
A lot of people have mentioned that their query lists are super small because they want to be sure they’re working with someone safe. So let’s do a quick thread on how to still query effectively with a smaller list!
First, you must always remember that querying is a numbers game—all you need is one yes, and you will never be able to guarantee you won’t get form rejections (and many might not have anything to do with something you did)!
So, make sure your query materials are exceptional. Don’t try and invent the wheel—make it short, center the MC in your plot paras, include metadata and bio. Don’t give anyone an excuse to reject out of hand.