Agree w / lovely @gildedspine's rant abt this. Saw some confusion abt what IP or write-for-hire actually means. My take as the co-founder of @CAKELiteary: get ready, because it's always been here, there's more coming. The difference: marginalized voices actually have a shot now. https://twitter.com/gildedspine/status/1293702524302700545

IP & WFH have long been ubiquitous in publishing, including faves from Nancy Drew to the Baby-Sitters Club to Gossip Girl to Vampire Diaries. Now more common than ever. Pretty much every kidlit publisher has IP in-house. And many adult publishers do, too, or are looking into it.

As the economy shrinks, IP and WFH will keep on becoming more common and widespread, because most publishers (and Hollywood – let’s not forget that, where IP is KING right now and has been) will want more sure bets rather than investing in things that may or may not succeed.

And this is all with the caveat that, yes, publishing actually has to push and market books for them to have any shot at all. Many won’t get that push, and will be dubbed failures despite the fact that few authors can move numbers without publisher support.

NYTimes list, notoriously, is a game, largely rigged, not something authors control. Publisher push puts titles on it. Pre-existing IP franchises like Marvel or Star Wars have built in audience. Makes it a smart investment for publishers. Makes it a career-builder for writers.

Not all IP/WFH is franchise work. Plenty of smaller IP and WFH projects exist, and companies create them. So do publishers. @CAKELiterary, frex, is focused on building high concept, delicious diverse books – created by & with voices from the communities represented in them.

Why? Because marginalized voices too deserve to tell -- and see -- stories where we get to save the world or score the kiss. And it's still so hard for most of us to get in the door at all, despite all the talk of championing diverse voices in the last few years & months.

Main difference here – what I rambling abt – is how this impacts marginalized voices. There have been IPs by white folks on the Times list, oft for a year-plus, w/ few complaints. When marginalized creators get a shot at telling (and hopefully twisting), it's shoddy storytelling?

My beloved @karenstrong noted Publishing Is Not a Meritocracy. We all say it, esp. women of color, because it’s fucking true. Despite much discussion, outreach, “support,” over five years & even the last few months. Still true. Don’t point out exceptions. They're still exceptions

W/ IP & WFH, disparity still exists. Publishers have lists. Getting on them is hard. It's who you know. Who's your agent? Sales track? WHO ARE YOU? Some lists didn’t include a lot of marginalized voices. Many still don’t. That's why @runwithskizzers made HER list. From WITHIN.

But there will still be the burning question? Why should a black/brown/native/queer/disabled or other marginalized voice be given a shot at this IP franchise or WFH? Because we're still only allowed to tell very specific stories. So all of the above factors? Apply to us tenfold.

If you are a marginalized voice, or just a writer who wants to work/eat, period, don't cut yourself off from considering IP or WFH. It's a valid income stream, can be a career builder (or starter, cuz THAT), and can be substantial, meaningful storytelling. Has in my experience.

And now back to my deadline.

Also, stupid deadline brain typos: @CakeLiterary.