YABookgate

  • 📧 If you are an employee of a T1 ISP, US datacenter, or related company please get in touch at josh@kiwifarms.net. I have some questions.
  • Want to keep track of this thread?
    Accounts can bookmark posts, watch threads for updates, and jump back to where you stopped reading.
    Create account
Not to mention she's a Homestuck fan. I suppose that explains why the book turned out so fucking retarded.
Isn't there another author showcased years ago in this thread who was also a Homestuck fan? I think it was the chick with the severe fivehead, or whoever was deep into "cottagecore".

EDIT: Oh shit, she was talked about before. I thought she was married to a Finnish/Norwegian woman, unless I'm thinking of someone else, or the wife pooned out.
 
Last edited:
To the surprise of every single body in this thread I presume, literary prizes are dogshit, and winners lack all merit.

What makes me say that at this current instance?
The winner of an annual award presented by the Commonwealth Foundation is AI slop!

Announcement
Here is the face of our man of the hour. I don't know if his photographer didn't know when to stop when it comes to filters and photoshop smoothing, but the avatar almost looks AI as well.
1779494103434.png

I am going to be quoting a lot from this article, which is quite good.
Image from the article
Image from the article


The decent chunks of the story is apparently composed of snippets of fanfiction entries:
  • For instance, if you read the sentence “but a belly sound, as if the earth swallows a shout and holds it there,” it seems rather jarring. Not really what you find in good writing, is it? Don’t worry, this was drawn from a fan-fiction webpage, The Fall of a Phoenix. (Sorry, the story is removed now, but the sentence was: “He swallows a shout of pain, breathing heavily, his whole body trembling.”)
  • I was intrigued by the very purple sentence ending in a typical ChatGPT rule of three (x, y, z). Here, “damp earth, woodsmoke and the sour tang of fermenting cocoa” seems hyperspecific and very rare. Turns out it’s also drawn from an AO3 webpage. The sentence being: “She smelled cooking and the sour tang of fermenting grain.
  • Consider the sentence “His eyes narrowed against the glare outside and the darker glare inside him.” Here, “eyes narrowed against the glare outside” sounds a bit vain and ominous in a way that’s unnecessary. Well, that’s because it’s drawn from jedifiction.com (that’s defunct now), but also a random horror blog (the sentence being: “His eyes narrowed against the glare of the halogen strip lights”), and “the darker glare” is pulled from another fan-fiction story Poison.
Fun fact, a decent chunk of the training data for the earliest iterations of LLMs used just scraped fanfiction.
 
Kinda interesting that the more prominent usage of AI text has been from PoC who may or may not exist. I think Mia Ballard (Shy Girl) was similar where her online presence was minimal, her images were very filter-looking, and there was another Mia Ballard who also wrote in the genre which makes one wonder if Shy Girl Ballard took the name to make things difficult to figure out. What's publishing going to do? Critique a PoC or stand up against AI writing?
 
What's publishing going to do? Critique a PoC or stand up against AI writing?
Neither. They don't care about AI writing until they get caught, at which point they can simply quietly drop the author (because no one cares about the publisher like 90% of the time).
 
I should take screenshot this.
We thought bookstores having #Booktok tables is absolute fucking trash? Think again, girlypop.
Now some clouthungry bimbo bookstore gal made a table based on the book recommendations on the whasian actor playing one of the homos on Heated Rivalry. Because nothing is better to get you the best books than the opinions of some annoying ass dude from a faghag show.
I want to die.
 
The future of fiction is just foids getting oneshotted by increasingly-specific "just tell me what I want to hear" AI slop novels.
No story that's merely "well-written" or "interesting" can ever hope to compete with "this female protagonist is literally you." That's what most female readers actually want. The rest is just window dressing.

oneshotted.png (yes, it's real)

Right now, authors are the ones who are seeking out these ever-smaller and more-specific niches to try to best appease their readership, but I'm sure that it'll just be all AI soon.
The cover art is already AI. I'm sure that the plot outline was, too. And why not the prose? Even for the ones who refuse, who insist that they're not outsourcing their writing to AI—they're still letting AI look over all of their writing to make suggestions (that they always go with) and catch their spelling mistakes (that's totally all that it's doing bro). But that's fiiiiiine! Don't you know how expensive hiring an editor is?

This shit is already just AI with extra steps. The middlemen will get cut out soon enough. There'll be something that looks like a service or a management agency, but under the hood, it'll be nothing but AI churning out whatever you want.
It can be made so quickly and tailored so specifically that real authors, even the traditional "I write 10 romance books a year" slop-shovellers, won't be able to keep up.

Some portion of readers will still want real stuff. But I think that the rest are just going to become insanely atomized—just like everything else over the last few decades—sorted into ever-smaller groups based on their niche interests until they're whittled down into a group of one, being fed tailor-made slop just for them.

I was just going to make a "lol look what dumb women are into" post, but now I'm getting kind of blackpilled on the whole thing.
 
I was just going to make a "lol look what dumb women are into" post, but now I'm getting kind of blackpilled on the whole thing.
The implication is that the future of any kind of mass market fiction lies with men; following LEGO's insights into the sexes (men become the character, women make the character become them) then, theoretically, making a compelling enough character for men to inhabit will allow you to move product.

Of course the problem then is convincing the hen party of fag hags that run the publishing industry to accept and publish something with mass market male appeal. So maybe the medium is just fucked.
 
The future of fiction is just foids getting oneshotted by increasingly-specific "just tell me what I want to hear" AI slop novels.
No story that's merely "well-written" or "interesting" can ever hope to compete with "this female protagonist is literally you." That's what most female readers actually want. The rest is just window dressing.
Reader x Character stories ruined an entire generation.
 
Queer Books and Authors are at a Breaking Point / archive
1780148314889.png

Danika Ellis May 29, 2026


I’ve noticed a trend in the news stories coming out about queer books and authors: it’s clear that five years of unrelenting and escalating censorship has brought us to a breaking point. It’s not sustainable for authors, librarians, and teachers to endure years of anti-LGBTQ abuse. It’s becoming harder to get queer books published, harder to sell queer books, and harder to make a living doing it—especially when it comes to queer kidlit and YA. For queer authors of color and other multiply marginalized people, the pressure is even more intense. There’s no sign of this slowing down, either: a national “Don’t Say Trans” bill just passed the House. The fight for queer books badly needs reinforcements.



School Library Journal published an article called “Are LGBTQIA+ Voices Being Pushed Out of Kid Lit?” that includes interviews with authors and agents describing how publishers have stopped acquiring “diverse” books or dramatically reduced their numbers.

For queer books that have already been published, sales have cratered. Small publishers focusing on diverse books have seen their sales to libraries and schools drop by 50%. Jason Low, co-owner of the publisher Lee & Low Books, said, “Our salespeople have told us that books that feature a rainbow on the cover, even if the rainbow has nothing to do with a Pride flag, are being omitted from orders.”

Children’s book authors often depend on school visits for a good portion of their income, and writers of queer books have reported that those invites have dried up almost entirely. Adib Khorram, who writes award-winning queer YA novels, reported that his royalties dropped by 70% amidst increased censorship of queer books, and other queer authors have seen their titles go out of print after 10+ years of success.

Authors and editors also described self-censoring—some have stopped writing or editing queer books in anticipation of them being challenged.




Authors, agents, publishers: every part of the industry is seeing the strain. Literary agent Rebecca Podos told The Hill, “This is the first year in like a decade that I’ve had [rejection] responses from editors specifically citing that it’s difficult to place queer books in stores, and they’re being selective about acquiring queer stories.”

Literary agent Jim McCarthy had a similar experience, saying,

“I did have an editor pass on a project and specifically say that in the face of so many book bans and so much concern about decreasing school library sales of queer content that they were passing on a because they didn’t believe there would be enough of a market for them to have access.

This really feels like it’s been the first backwards step in terms of publishing worrying that they can’t access enough readers because of sort of broad cultural concerns about queer content. I can’t imagine that five or ten years ago, I would have received a response like the one I received.”


Author and LGBTQ Reads creator Dahlia Adler notes that publishers are stepping back from queer books because of the risk of bans. She’s been tracking queer book deal announcements in Publishers Weekly for many years, and they’ve been declining. Even when queer books are acquired, the language used in the announcements is often coded, obscuring the queer representation. Adler sees this chilling effect of publishers hiding the queer content in books as a result of the Trump administration.

Publishers have also seen wholesalers—who acquire books from publishers and sell them to libraries and bookstores—shy away from books with LGBTQ content. This has hit publishers of diverse children’s literature, like Levine Querido, particularly hard, because their business model has previously relied heavily on these wholesalers.



So many of the people fighting for queer representation in books, especially in YA and children’s books, are running on fumes. The librarians, teachers, authors, agents, and publishers who have been pushing back against anti-trans and anti-queer censorship for years on end are tired.

They’ve put their livelihoods at risk. Some have lost their jobs, and many others have had their income drop significantly. They’ve endured bigotry, doxxing, and death threats. And there’s no sign of this wave of book banning and bigotry abating any time soon.

I have no doubt that queer writers will continue to find a way to get their stories into the world. What’s needed, though, is reinforcements: new people to step up as queer lit advocates. There are so many ways you can join the fight, including attending school board and library board meetings, running for office, joining anticensorship groups, calling your state representatives, correcting misinformation, and so much more. Here are 60+ small tasks you can do to defend the freedom to read.

The fight continues, but so does the queer joy of our stories. I keep track of new releases to feature in Our Queerest Shelves, and every week, I’m blown away by how many incredible queer books are coming out. Meanwhile, queer bookstores continue to open across the U.S., offering queer community, mutual aid, political organizing, and a sober gathering space. (And you can help fund this Black trans-owned bookstore in the Hudson Valley now!)

So, whether you’re just joining the fight now or have been here for years, in this weekend before Pride Month, take a moment to read a joyful queer book. Think about the queer books you wish you could give your younger self—the ones that would have saved you so much pain and confusion. Now, start planning: how can you make sure this generation of kids and teens has access to those life-saving books?



Kelly Jensen is out this week, so I’m filling in for the Literary Activism newsletter. It will be back to its usual format, including the link roundup of censorship news, when she returns!

I was kind of amused at the back handed admission that nobody actually buys these books to read, that the market is apparently YA librarians (both public and in schools) pushing an agenda for moral good girl points. And if that market dries up, as it apparently has, nobody in fact does buy them.

These people also seem to have a very strange definition of the term "banned." Apparently it equals not wanting your ten year old to read about BJ techniques or something.
 
it’s clear that five years of unrelenting and escalating censorship has brought us to a breaking point.
What censorship? I'm serious, I haven't heard shit about any of these books getting hit with censorship because they're the "darlings" of the industry. Books get forced to be censored if they involve straight couples, instances of slavery happening in the background, or the author is discovered to not be the same skin color as the protagonist.

Also "queer" and "kidlit" should never be uttered in the same sentence together in any tone except disgust.
 
I'm going to go ahead and guess that the impending collapse of queer literature also has something to do with saturation of the market and changing tastes, especially given that they're specifically talking about the weird mutant thing "YA" has evolved into. This shit goes through cycles.

Ten years ago we were still riding the wave of teen paranormal romances and Mary Sues singlehandedly toppling dystopian asshole regimes with their specialness. Then the market hit the saturation point and everyone got sick of reading about the umpteenth knock-off of Bella or Katniss and that wave receded and was replaced with what we have now, which is stuff about minority and/or LGBT etc. kids discovering themselves and fighting stand-ins for whichever authority figures their author has beef with, and now we're reaching the endpoint of that wave and the next one is on the horizon. I'm sure the current administration has helped hurry the process along, but it was always inevitable.

The rise of Booktok and Bookstagram probably hasn't helped either, because now you have an increasingly granular set of communities, all obsessed with chasing the latest tropes and trends in their chosen genres and trained by social media to constantly demand novelty.
 
These people also seem to have a very strange definition of the term "banned." Apparently it equals not wanting your ten year old to read about BJ techniques or something.
Thank BookTok for that one. The definition has changed into 'this library/shop/whatever doesn't carry this book and doesn't plan to' because dramatic screeching gets views and the English language doesn't mean anything to anyone anymore. Kind of like what happened to the word gaslighting.
 
My nuclear take is that trying to force this has made it inevitable that there's going to be far stronger restrictions on what can be in school libraries. When I was in high school, I read stuff like Anne Rice out of the school library and it wasn't a big deal. If you asked normies about homoerotic vampire stories being in school libraries, they'd probably either be tepidly outraged or just shrug their shoulders. It wasn't a major culture war issue though so they'd quickly move on and forget about it.

Turning stuff like this into a culture war thing has made it so normies have to actively engage with it as an issue and it turns out that normies don't really have high-minded ideas about the integrity of libraries.

But also to echo what another poster said - most 'queer' YA is lame and no one wants it. Hell, even most gay kids don't want it because it's so squicky in really creepy ways.
 
I was kind of amused at the back handed admission that nobody actually buys these books to read, that the market is apparently YA librarians (both public and in schools) pushing an agenda for moral good girl points. And if that market dries up, as it apparently has, nobody in fact does buy them.

These people also seem to have a very strange definition of the term "banned." Apparently it equals not wanting your ten year old to read about BJ techniques or something.
People have been saying this for over a decade at this point, closer to 15 years. The modern slop doesn't sell, it just sells to librarians and Scholastic. It's been propping up the industry for years.
 
Publishers have also seen wholesalers—who acquire books from publishers and sell them to libraries and bookstores—shy away from books with LGBTQ content. This has hit publishers of diverse children’s literature, like Levine Querido, particularly hard, because their business model has previously relied heavily on these wholesalers.

If an entire subgenre is on the verge of collapse in the era of Booktok and POD because institutional sales have dried up then it probably means that no one is actually reading these books, its success was solely driven by trend-chasing librarians. It reminds me of artists who make most of their money securing commissions and grants from museums for ephemeral works that can't be distinguished from literal garbage.
 
Back
Top Bottom