the taste of stories

I say this as someone who sells pottery, and many people who see my art assume I am using art as an outlet to “express myself.”

I am not.

I use art to challenge myself. A lot of what I do is the equivalent of doing a hard sudoko or a half marathon, answering the question of “can I do this?”

I use art to question things and explore ideas. Finding physical synthesis between concepts and working out a design to its end state.

I use art to make money. I make some things just because I suspect they’ll sell well, and I keep making them when they do.

This idea that an artist is “putting themselves out there” every time they create is not only stupid, but harmful, and it kills critique and analysis.

Yes every creative work is influenced by its creator, but the most preliminary step of analysis is to define the purpose of a work of art (functional, narrative, entertainment, persuasive, decorative, ceremonial, etc.) and a vanishingly small percentage of that is self-expression. Even then, it’s generally tied to the self’s relationship with something else—perception, society, etc.

It’s very tiresome to have people assume they know you because they like (or dislike) your art, to make assumptions about who you are and how you approach the world. It’s nothing new— people called the Impressionists insane and the Fauvists degenerate. And now people are expected to hand out their identities and traumas to prove they have the right to explore certain subjects.

1. The FBI's Famous Cases & Criminals archive (fbi.gov/history/famous-cases) has detailed breakdowns of real fraud cases, Ponzi schemes, and confidence operations. The language they use is clinical and precise, which is perfect for getting the procedural details right.

2. The FTC Consumer Sentinel Network publishes annual reports on the most common fraud tactics in the US. Great for understanding how modern scams actually work and what makes people fall for them.

3. The Smithsonian's American Art Museum has a free digital collection of forgery case studies. If your character forges documents or art, this is gold.

4. Court Listener (courtlistener.com) is a free legal database where you can read actual court transcripts from fraud trials. Want to know how a real con artist talks under oath? This is where you find out.

5. The Internet Archive's collection of old newspaper crime sections. Search for "confidence man" or "swindle" in papers from the 1920s through 1960s and you'll find incredible real stories that would feel too dramatic for fiction.

Bonus: The Psychology of Fraud section on the Association for Psychological Science website has accessible articles about why people trust, how deception works cognitively, and what makes someone a convincing liar. Essential reading if you want your con artist characters to feel psychologically real.

literally just saying 'he spoke with a Welsh accent'; sure, it's a bit blunt, but it gets the job done in a pinch. "He's completely drunk," he said, his southern drawl lingering on the final syllable as if to highlight the extent of the offence. Y'know, something of that ilk, but not as shit.

learning the specific vocabulary and syntax that someone with that accent might use. Sticking with the Welsh theme, because it's objectively the best accent*, there's a bunch of things that differentiate a colloquial South Walean accent, outside of our famed tendency to elongate a vowel to the point of death. The way we use prepositions (where to by is he?), the vocabulary borrowed from Welsh - saying that someone daft is twp, or something small is dwty - can easily signpost our speech as being from that specific area, without needing to type something like "'e's absolutely 'angin', man, pissed as a faaht 'e is!" Something less jarring, such as "He's absolutely hanging, he is." is just as clear. A character who says "Do you want a cuppa?" is coded or located very differently to one who says "You'll have a cup of tea, so you will."

ditto if there are specific ways that someone from a certain area might refer to a well-known concept. Regional words for mother and father, for example, or words that are class-specific; your character who calls his parents 'mater and pater' is likely inhabiting a different socioeconomic strata than your character who calls them 'mam and dad'. See if there's a colloquial way of saying 'yes' and 'no'; a lot can be signposted if your character says 'nah' rather than 'no', or 'aye' rather than 'yes'. A character saying 'couch' is inherently coded differently to one who says 'sofa'.

The reasons that writing accents phonetically is Generally Ill-Advised, In My Opinion are as follows:

quite simply, you're probably not being as clear in conveying the sounds of the accent as you think you are. Taking JK Rowling's work as the best possible example of this, her attempts at writing a Cockney accent phonetically come across like someone is chewing a mouthful of cheese curds and struggling to contain them. There's no consistency, no proper understanding of how to transcribe syllables into writing in a way that coherently conveys the accent she's trying to portray. I mean this so seriously, but what the flying fuck is: 'Well, 'e 'ad these 'ead pains and 'e was def'nitley nervous. Depressed maybe.' It's a crime, is what it is.

it's just plain hard to read. Trying to wade through sentences full of apostrophes and elision, parsing what's actually being said, gets tiresome. It asks the reader to do work that you're actively making harder for them. And that's not always a bad thing! Making readers Put Some Fucking Effort In can be very fruitful! But do you really want them to be struggling to understand every single thing that your Character B is saying for 350 pages?

which leads me onto the last point, and the most important in my mind: writing out accents like this always, always affects accents that are already in some way Othered. They're either racialised or working class, or associated with certain local regions that have negative stereotypes - think the deep South of the US, or the Welsh Valleys. They're never the 'default'. And this raises thorny questions about what the default is, what the standardised accent is, the accents that do and do not merit differentiation from the norm. You're relegating Character B to being hard to read because he's from, idk, Sunderland. You've decided that he isn't speaking 'properly', and therefore the reader needs to understand that other people think he's speaking weirdly. That, to me, is the principle issue. Because returning to JK Rowling (a sentence I hoped never to type), the only characters who speak like this in her work are working class, or they're from other countries. They're never from, you know, Surrey. Wonder why that is. And it's easy to be glib about it, but I do think it reifies class and regional boundaries in a way that's ultimately harmful.

This isn't to say that there's never a place for eye dialect in writing - Trainspotting (edit to respond to some legitimate comments in the reblogs: I bring up Trainspotting because it's written in Scots and Scottish English, not just Scots, but I agree that this isn't the best example as the Scots portions are not part of this conversation in the same way; consider Their Eyes Were Watching God by Zora Neale Hurston as a better example, and apologies for the confusion!) wouldn't be what it is without it, and there's definitely a different conversation to be had when it's your own accent and you're making a deliberate point about identity by differentiating through eye dialect - but I think that the blanket assumption of 'oh shit, my character is from Ireland, I'd better type that out phonetically!' can actually be both damaging to your writing and to your character representation, and I think that instead doing the work to really understand the vocabulary, speech patterns and unique aspects of a language or dialect always makes a work feel more authentic and lived-in.

To wit, less of this shite:

There’s mony a slip, an’ I’m no losin’ sight o’ any o’ my suspectit pairsons, juist yet awhile. (One of the Lord Peter Wimsey novels by the very English Dorothy L. Sayers, if you were wondering, and yes, that's supposed to be a Scottish accent; I'd not be bringing it up if it were a Scottish author writing in Scots)

and more of this:

"Are we straight so?"

"Aye, we're straight," said Jim.

"Straight as a rush, so we are." (Jamie O'Neill, Irish, from At Swim, Two Boys)

I'm an artist and medical student, and I use art to help me pay some bills.

I built a free, helpful tool because to help prevent other talented creatives from undercharging, as I really see this a lot online.

It's a calculator with a built in reality check

Input your survival costs and expenses

True billable hours

Get the rate you actually need to charge to hit a 20% (or whatever you choose) profit margin.

It generates the rate, a template negotiation email + final invoice.

Plan to keep this tool free, ad-free, and open to everyone.

🔗 Check your math: fairpaycalc.artres.xyz

If the "Thriving Rate" calculation empowers you to double your quote on your next job, please consider hitting the "Buy me a coffee"button. It keeps the server running and the code flowing <3

• it took me out of my brain for the one second needed to get back onto the planet • it shot out a spark into the distance that I could then build a path toward • it opened something up in my imagination. 

Because suicide is the result of the death of the imagination. You forget how to dream up other possible futures. You can’t picture new maneuvers, new ways around. Everything is just the catastrophic present and there will never be a time this is not so. That is what kills you. What saves you is a new story to tell yourself about how things could be. »

HAPPY PRIDE! It’s time for our fourth-annual Pride Bundle charity drive! We’ve got three bundles this year: a general imprint bundle with 25 titles totaling 381 pages; an explicit bundle of 15 stories, 237 pages; and an art bundle with 10 artworks, 250 mb of digital artwork! In the first three years of this initiative, we’ve raised over $725 for the charities we’ve selected, and we’re delighted to be back, this time in an effort to raise money for the Queer Liberation Library ( @queerliblib ) and the Transgender Law Center.

The General Imprint Bundle costs $25 USD (60% off normal!). 40% of this sales price will be divided equally between the two charities.

The Explicit Imprint Bundle costs $15 USD (60% off normal!). 44% of this sales price will be divided equally between the two charities.

The Art Bundle costs $10 USD (66% off normal!). 24% of this sales price will be divided equally between the two charities.

How This Works

You buy one or both bundles between now and June 30th, 2026.

We tally up all the proceeds earned and do some math-e-magic to figure out how much we’re donating!

Before the end of July, we divide our total raised amount in half and donate equal amounts to the Queer Liberation Library and the Transgender Law Center.

We post the proof that we’ve made the donation (you can see past proof here, here, and here.)

You get fantastic stories!

We all get that happy, glowy feeling of knowing that money has been well-spent on fantastic causes!

About the Press

Duck Prints Press is a queer-owned indie press, founded to publish original works by fancreators. We’ve been in operation for over 5.5 years, and in that time we’ve worked with well over 150 creators to publish ten anthologies and over 200 other stories, from shorts to novels, and we’ve got more on the works (five anthologies in progress, multiple novels slated for the later half of 2026, an art project, and more). The vast majority of our creators and their creations are queer/LGTBQIA+ (maybe even all, but we don’t out anyone and we don’t ask demography because, frankly, it’s none of our business).

About Our Selected Charities

Note: These charities are not affiliated with the Press, do not know we’re doing this fundraiser, have not endorsed this in anyway and are, as such, utterly uninvolved in this beyond being the beneficiaries of our efforts! Text is from their webpages.

The Queer Liberation Library: “Queer Liberation Library (QLL) is fighting to build a vibrant, flourishing queer future by connecting LGBTQ+ people with literature, information, and resources that celebrate the unique and empowering diversity of our community.”

The Transgender Law Center: “Transgender Law Center is the largest national trans-led organization advocating self-determination for all people. Since 2002 we’ve been organizing, assisting, informing and empowering thousands of individual community members towards a long-term, national, trans-led movement for liberation.”

About the Bundles

We are offering three bundles: general imprint stories, with 25 works; explicit imprint stories, with 15 works; and art, with 10 works. The shop listings include details about and excerpts from all the stories and previews of all the art. Purchasing book bundles gets you access to the e-book (in ePub and PDF formats) of each title included in the bundle. Purchasing the art bundle gets you access to high-quality print-ready images, sized to print clearly at 8.5 in x 11 in (21.6 cm x 27.9 cm) (FOR PERSONAL USE ONLY!). Here’s what you’ll get!

Works in the General Imprint Charity Bundle:

Farm to Table by Andi Rigby

The Problem with Wishes by Annabeth Lynch

Of Loops and Weaves by Catherine E. Green

Starstruck, Adrift by Cedar D. McCafferty-Svec

Let the Solstice Come by D. V. Morse

Red Ink, Black Water by Dei Walker

Old Books, New Friends by Genevieve Maxwell

A Galaxy Run in 30 Minutes or Less by J. D. Harlock

Seal Island by K. B. Vimes

Quintessentially You by Len Amin

Sonic Boom of My Heart by Linnea Peterson

Night Birds by Max Jason Peterson

Snow Day Memories by Merlin Grey

Sarisa by N. C. Farrell

Wolven Dance by Neo Scarlett

It’s Witchcraft! by Nicola Kapron

Living Room Beauty Shop by O. E. Hendrickson

One Moon at a Time by R. L. Houck

a name to call by Rascal Hartley

Nycticorax by S. J. Ralston

Bubble, Bubble by Sage Mooreland

The Wayward Timekeeper by Terra P. Waters

To Fill My Cup by Violet J. Hayes

Tincture of Clarity by Willa Blythe

Chrysopoeia by Zel Howland

25 stories. 381 pages. 130,140 words of fiction! Price: $25.00 USD

GET THE GENERAL IMPRINT BUNDLE

Approximately 40% of the list price of this bundle will go to charity.

Works in the Explicit Imprint Charity Bundle:

Snowbound and Love Sick by A. L. Heard

Heart’s Scaffold by Alec J. Marsh

Heated Desperation by Aria L. Deair

A Safe Place to Land by boneturtle

Can’t Let Go by Dei Walker

Like it Sharp by E. V. Dean

then, too, at sea by ilgaksu

Sinking by Lyn Weaver

We the Hunters by Lyonel Loy

Goals by R. L. Houck

Easier Than Expected by Samantha M. Piper

Worlds Apart (but Still Close)by Sanne Burg

Taken at Sea by Shea Sullivan

Warm Anything You Want by Tris Lawrence

Allay the Burning Fever in My Blood by YF Ollwell

15 stories. 237 pages. 80,768 words of fiction! Price: $15.00 USD

GET THE EXPLICIT IMPRINT BUNDLE

Approximately 44% of the list price of this bundle will go to charity.

Works in the Art Charity Bundle:

Devour by Aaron Kotze

Warm by Aceriee

Aurora by æonswinter

Forever Halloween by Max Jason Peterson

Demi Dragon by May Barros

Bar on the outskirts. by MizuShiba

old truths, new patches by radicalhoodie

The Riddle by Shea Sullivan

[untitled] by swev.art

Another Spring by Zel Howland

10 artworks. 247 mb of art! Price: $10.00 USD

GET THE ART PRINT BUNDLE

Approximately 24% of the list price of this bundle will go to charity.

Check out our bundles for charity now, and help us help others!!