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sunshine_revival (in which I have in no way participated) going on, but. Well. *gestures at current date* And as we all know, something-something-only-perfect-results-matter, etc. etc. etc.But here. It's Friday. The world is terrifying, but at least for this moment the sun is out. I spent most of my workday in a style guide meeting, which was genuinely pretty fun; tonight we're seeing Ginny and Kas because this week it's better for them than our usual Saturday hangout.
Tomorrow the (very) wee farmers' market that's only a few blocks away is getting underway for the season. I have ambitions of actually rolling out of bed and walking over in hopes of strawberries, even though tomorrow and Sunday are also Eevee community day in Pokemon Go, so I'm also hoping to leave the house those afternoons. Leaving the house twice in one day is not exactly a thing that happens often, and as a result, the prospect of it is exhausting. ^^; But here's hoping!
There's been zero doubt for a long time now that my only actual investment in Pokemon Go is the pursuit of shinies, and community days are the best chance to get shinies of a given critter, and Eevee, see, has EIGHT possible evolutions, so if there's any faint hope of ever having a full set of shinies of those, well, it's this weekend.
(I can't remember if I've said here that this is a crystalized perfect demonstration of why it's really, really good that I don't gamble. I'm usually pleased when I catch a new-to-me Pokemon, but it's pretty minor. But rather than setting the game aside, since it mostly hasn't resulted in me actually getting outside and walking much more than I had been, the hope of catching a shiny critter keeps me opening it back up. Nobody get me into slot machines, okay? [That sounds facetious, but I mean it very seriously.])
That's all I've got right now. Stay well, friends.
- Mood:
pensive
( 14 things, some animal trivia and other random stuff )
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Every month or so the OTW will be doing a Q&A with one of its volunteers about their experiences in the organization. The posts express each volunteer’s personal views and do not necessarily reflect the views of the OTW or constitute OTW policy. Today’s post is with Rhine, who volunteers as a volunteer manager in the Translation Committee.
How does what you do as a volunteer fit into what the OTW does?
As a Translation volunteer manager I mostly deal with admin work that surrounds the work our translators do – be it talking to other committees about things that are to be translated, preparing English texts for translation, making sure our version of the text is up to date, or getting texts published once they are translated – along with more general personnel stuff like recruiting new translators, keeping a clear record of who is supposed to be working on what and who is on break, checking in with translators and how they feel about their work, that kind of thing. Having been in this role for some time now, I also help with mentoring newer volunteer managers in how to do what we do, at the scale we do it.
What is a typical week like for you as a volunteer?
There isn’t one singular stereotypical week in this role, but some different modes with different focuses that are more or less typical for me:
- Going on-call for a week: Translation volunteer managers work from a shared inbox that serves as a first point of contact for all inquiries related to the Translation Committee. Each week, one or two volunteer managers go on-call as the ones primarily responsible for making sure everything gets actioned and squared away as needed. This usually means spending a couple hours each day working through everything in the shared inbox, including but not limited to assigning tasks to translators, checking on translators who were on hiatus, triaging translation requests from other committees, and responding to any questions translators may have in the course of their work.
- Working on a bigger project, like a series of high-visibility posts (e.g. membership drive, OTW Board elections), opening recruitment, or internal surveys: When Translation does a committee-wide thing, it’ll by necessity involve most or even all of our forty-some language teams, each with 1–8 members. Coordinating all that takes some organisational overhead (and some love for checklists and spreadsheets, along with automations where feasible), which typically means sitting down for a few hours on three or four days of the week and chipping away at various related tasks to keep things moving, including but not limited to asking other people to double-check my work before moving on to the next step.
- Working on smaller tasks: When I want to have a more relaxed week while still being active, I’ll sit down on one or two afternoons/evenings, and take care of a task that is fairly straightforward, like scheduling and leading chats to check in with translators or train people on our tools, creating a template document with English text for translation, drafting and updating our internal documentation, asking others to look over and give feedback on my drafts, and giving feedback on others’ tasks, drafts, and projects.
- Weekly chair training/catch-up chats: We have a regular weekly meeting slot to sit down and talk about the few chair-exclusive things in the Translation Committee, as part of chair training.
What made you decide to volunteer?
I actually started volunteering at the OTW as an AO3 tag wrangler back in 2020, when lockdowns were on the horizon and I felt like I could pick up some extra stuff to do. Growing up bilingual and with some extra languages under my belt, I ended up hanging out in some of the spaces with lots of OTW translators. Then I found out that I could internally apply as a Translation volunteer manager, and the rest is pretty much history. At that point I was missing the feeling of doing some volunteer management and admin work anyway!
What has been your biggest challenge doing work for the OTW?
On a high level, I’d say it’s striking a balance between the expectations and the reality of the work the Translation Committee does, including the sheer scale. On a more concrete level, it’s like this: Being a translator in the Translation Committee is, by default, a relatively low commitment, with a number of optional tasks and rosters that we encourage people to take on, if they have the time and attention to spare. Part of how we ensure that is by dealing with as much of the overhead in advance as we can, as Translation volunteer managers.
This means that for instance, when the English version of a text is updated – which may take about two minutes in the original text – we go through each language team’s copy of the text, make the changes as needed in the English copy, highlight what was changed, and reset the status in our internal task tracker so that it can be reassigned to a translator. This way the changed part is clearly visible to the translator, so they can quickly pinpoint what they need to do and make the corresponding changes in the translated text.
For both the author of the original English text and the translator, this is a very quick task. On the admin side, on the other hand, it’s the same two-minute process of updating our documents repeated over and over, about 15 times on the low end for frequent news post series that we only assign to teams that consistently have some buffer to absorb the extra workload, and almost 50 times on the high end for some of our staple static pages that (almost) all teams have worked on, meaning it’s something that takes somewhere between 30 minutes to almost two hours even when it’s a tiny change and you’re familiar with the workflow.
(And that’s before getting to very last-minute changes and emergency news post translations with less than two days’ turnaround time, where we manually track everything across around thirty teams, usually. Each time that has happened, everyone’s dedication has blown me away. Thank you so much to everyone who answers those calls, you know who you are!)
What fannish things do you like to do?
I like to read, especially if it’s something that plays around with worldbuilding or other things that were left unsaid in canon. I wish there were more hours in the day so that I can pick up some of my creative projects again. I suppose some of my coding projects like my AO3 userscripts and my AO3 Saved Filters bookmarklet also count as fannish?
Now that our volunteer’s said five things about what they do, it’s your turn to ask one more thing! Feel free to ask about their work in the comments. Or if you’d like, you can check out earlier Five Things posts.
The Organization for Transformative Works is the non-profit parent organization of multiple projects including Archive of Our Own, Fanlore, Open Doors, Transformative Works and Cultures, and OTW Legal Advocacy. We are a fan-run, entirely donor-supported organization staffed by volunteers. Find out more about us on our website.
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Meanwhile search services should be running, but probably returning no results or incomplete results for most queries.
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scruloose and I both booked today off. I haven't managed a whole lot of manga work yet, but hopefully between today (as soon as I finish this post) and tomorrow I'll get a reasonable amount done. While I'm doing at-my-desk things, scruloose is working on the next step(s) in getting a dedicated hose set up for our individual townhouse.Last night we finally got around to switching the desk chairs in our offices, ( cut for the uninterested )
It occurred to me very late in the game that I might do better at spending non-work time at my desk (where, y'know, most of my writing used to happen) if I didn't hate my chair; I've been attributing the fact that I spend 95% of my evenings down in the living room these days to the fact that Sinha's such a lapcat, and that's definitely a huge factor, but...being able to sit comfortably in here would sure help.
Another pleasing tech-related development has to do with my phone keyboard. ( again, cut for the uninterested )
Speaking of things that feel so much better now, Saturday also involved Ginny chopping my hair off for me. I've been leaving it alone (other than the undercut) since whenever the last time we buzz cut it was, and maybe a month ago I found that it was long enough to easily ponytail. That was pleasantly novel for about a week, even though the front bits weren't long enough to get into the ponytail and quickly started to need clips or something when it got hot. By last weekend, I was very, very done with the whole thing, and this weekend Ginny was able to deal with it. Such a relief.
My younger nibling and their spouse of eight months or so stopped by a few days ago to pick up a few years' worth of my spare comp copies from Seven Seas. Only one box, since I've technically scaled back my freelance workload (and I think there's also a backlog of comps that I should be getting sooner rather than later), but a hefty box that was bulging a bit at the seams, so it's nice to have that all sent off to a new home. It was lovely to see my nibling and meet their spouse, however briefly. (They politely rolled with the "we're going to stand in our driveway and chat while masked and overheat more than a little" element.)
A final thing before calling this a post and getting to work: last weekend
scruloose and I gave the Sensation lilac a long-overdue aggressive pruning (and it should probably get the same amount cut out of it in a year). The poor thing was all spindly limbs and mostly-high-up blooms, so hopefully this will help it for next year.( But what to do with the mutant hybrid? )- Mood:
apathetic
I apparently have a distinctive vidding style. Considering the amount of time I spend pulling my hair out over songs, it was really nice to see multiple people saying nice things about my song choices. Also, I'm delighted that Kandy Fong said the song I used for 'Can't Help Falling in Love' fit the vid so well!
I finished reading Tchaikovsky's Service Model, which I thought was...fine? It was interesting enough, but if it had been my first exposure to his work it wouldn't have made me rush out and try more right away.
I read and liked Margaret Owen's Little Thieves in April, and Jenny Hamilton on Bluesky was recently talking about the trilogy as a whole (and this reminds me that now I can go read her "How to Break a Heart: Subverting the Hero’s Breakup Trope"), so when I decided a week or so ago to finally burn through all of my Kobo points and clear at least a bit of my wishlist, I included the second book, Painted Devils, which I enjoyed enough to want to read the third (Holy Terrors) right away. I try not to buy many ebooks at full price, though, given how many more I buy overall than I'm ever going to manage to read, and thankfully my library not only has it but had it available right away.
Consider that a recommendation, but beyond it I'm just going to quote the non-spoilery part of Jenny's essay that describes the series (and the essay then details how things stood at the end of book 2, so consider that the spoiler warning):
This year brought us Margaret Owen’s Holy Terrors. It’s the third in a trilogy about an angry, selfish girl named Vanja who made it through a lifetime of neglect and abuse with a crop of emotional and physical scars, a talent for picking pockets, the favor of the gods (sometimes), and a healthy hostility for rich people. Against both their better judgment, she falls in love with prefect Emeric Conrad, whom she variously describes as a “human civics primer,” an “accounting ledger made flesh,” and an “intolerable filing cabinet.”
(Here the author of this piece has been compelled to delete a ten thousand–word manifesto about the greatness of the Little Thieves series. If you like the TV show Leverage, or you enjoy digging your teeth into solid character development, or you just hate rich people, you should read it. The first book is Little Thieves. Thank me later.)
For a dramatic change of pace, I'm now reading Everything for Everyone: An Oral History of the New York Commune, 2052–2072 by M.E. O'Brien and Eman Abdelhadi (also a with-points acquisition), which I keep wanting to file under non-fiction, although the title will clearly tell you that it's speculative fiction. (IIRC I learned about it from
skygiants' post.) Its fictional interviews build a distressingly plausible picture of global collapse through this decade and the couple to come, but also offer glimpses into how we could come out on the other side, if we're willing to largely raze and rebuild ~human society~ in a way that actually takes care of people. (The book came out in...2022?...so it in no way accounts for the most recent and current forms of the political hellscape.)On the non-fiction side, I read Laurie Colwin's Home Cooking: A Writer in the Kitchen, a book of essays and corresponding recipes that I'd previously read maybe ten years ago. Colwin died in 1992 (I think I've got that right), and this book (and the follow-up, More Home Cooking) is a food-writing classic for good reason, although also very much of its place and time--very American, very '80s.
(The rest of my using-all-my-Kobo-points haul: The Hands of the Emperor, We Are All Completely Fine, Princess Floralinda and the Forty-Flight Tower, All Under Heaven: Recipes from the 35 Cuisines of China, and Warmth: Coming of Age at the End of Our World. Did this put a visible dent in my Kobo wishlist [which is a relatively curated list of books I keep an eye on for preorder purposes and sighting sales]? Yes. Has the dent since been filled in? Also yes.)
The Policy & Abuse committee (PAC) is responsible for enforcing the AO3 Terms of Service (TOS). To help users better understand the TOS, we’re posting a weekly spotlight series about the TOS and our policies. We’ll also be reading comments and answering questions on this and our other spotlight posts.
For our last post in this series, we’ll be talking about our non-commercialization policy. AO3 doesn’t allow users to engage in commercial promotion of any type, which includes everything from paywalls to tip jars, and quite a lot in between. In this post, we’ll discuss why AO3 doesn’t allow commercialization, what kinds of activities are considered to be commercial promotion, and what to do if you see commercial promotion on AO3.
Don’t go looking for things to report.
Please do not start searching for works to report after reading this post. We know that commercial promotion frequently appears on AO3. However, when people deliberately search for works to report, we end up getting a lot of duplicate tickets about works that have already been reported. Every ticket we receive is reviewed by a PAC volunteer, so we only need one report in order to investigate an issue. We know it seems like sites only respond to mass reports, but on AO3, duplicate and mass reports increase the time it takes our volunteers to investigate.
What is commercial promotion?
Commercial promotion covers all references or links to commercial sites, monetized features of non-commercial sites, and anything else that makes it clear someone is asking for or has received financial contributions.
On AO3, you can’t encourage anyone to give other people money, or talk about anyone having given people money in the past. This applies whether you are promoting yourself or a friend, or even if you’re collecting donations for other people or causes. If there is money changing hands, then it likely violates AO3’s TOS.
AO3 is a non-commercial space.
AO3 was created and is managed by the Organization for Transformative Works (OTW), a nonprofit organization committed to the defense and protection of fanworks from commercial exploitation and legal challenges. The OTW is entirely staffed by unpaid volunteers, and AO3 is itself entirely non-commercial. No one involved in AO3’s creation or management profits from it. The site is made available free of charge to all fans who wish to share their works with other fans and fan communities.
We understand that many people today choose to monetize their creative activities. However, in order to keep AO3 as the non-commercial space it was designed to be, users are not permitted to engage in any commercial activity on the site.
When you use AO3, you agree to follow our Terms of Service, which includes the non-commercialization policy. This applies to all parts of the site, whether you’re posting a work based on an existing source or creating content entirely original to you.
AO3’s non-commercialization policy applies to the entire site.
Real-world commercialization is banned everywhere on AO3. This includes:
- Profile pages
- Usernames, pseuds, and pseud descriptions
- Works (including all tags, beginning or end notes, chapter notes, summaries, and titles)
- Series (including titles, summaries, descriptions, and notes)
- Bookmarks (including tags and notes)
- Comments
- Prompt memes, gift exchanges, and other collections
- Any other part of AO3
It’s okay for fictional characters in fanworks to talk about fictional monetization. For example, it’s fine if a character has a fictional OnlyFans or Patreon within the story, as long as that commercial reference doesn’t direct the reader to a real-world OnlyFans or Patreon account for the work creator or anyone else.
What are some examples of commercial activities?
There is a wide variety of things that are not allowed under AO3’s non-commercialization rules.
Links or references to any commercial site or service. A “commercial site” is any site whose primary purpose is to facilitate the transfer of money. This includes, but is not limited to:
- Storefronts like Amazon or Etsy
- Crowd fundraisers like Kickstarter or GoFundMe
- Tip jars or membership subscriptions like Ko-Fi or Patreon
- Payment platforms like PayPal or Venmo
Links or references to the monetized features of non-commercial sites. This covers any site that has features you can enable or opt-in to earn revenue, but the primary purpose of the site is social media, sharing artwork, or anything else that isn’t inherently payment-focused. This includes, but is not limited to:
- Paywalls or early-access content like Wattpad Paid Stories or Webtoon Canvas
- Storefronts like DeviantArt Shop or Instagram Shop
- Tip jars or membership subscriptions like TikTok Donation Stickers or Twitch Prime
Previews and other promotions for paid content. This covers situations like excerpts or teasers shared in an attempt to entice people to purchase a book or become a paying subscriber. It also includes references to paywalled or early-access content (e.g. “Patreon subscribers get the new chapter one week early before I post it on AO3”).
Advertising content or services involving an exchange of money, such as buying merchandise, collecting donations, offering paid commissions, or selling published works.
Any other language which one might interpret as requesting or having requested financial contributions, whether for yourself or others. This covers indirect references, euphemisms, or other language intended to get around the TOS. Some examples of this include:
- Thanks for the coffee!
- My ☕ username is the same as my username here
- This chapter is brought to you by my patrons
- You know where to find me if you want early or bonus chapters
- Check out my Twitter to learn how you can donate to me
since I’m not allowed to discuss it here - If you want to hear more about my ideas, talk about fandom, or find more of my stuff for a coin, visit my Tumblr
Solicitation is not allowed, whether it’s for yourself or on behalf of someone else.
Commercial activity is not permitted on AO3. It doesn’t matter if you’re promoting yourself or a friend, or even if you’re collecting donations for other people or causes.
This means that if you paid an artist to create artwork for your fanfic, you’re not allowed to mention that they have a Patreon or use any other language that suggests people should also commission or donate to them. If you like a book by a particular author, you are certainly welcome to gush about what a great book it is, but you can’t link to the Amazon page where it’s for sale or encourage others to buy it.
What is the difference between a commercial site and a non-commercial site that has monetization features?
As mentioned above, a commercial site is a platform that is first and foremost intended to facilitate the exchange of money. For example, while you can use Ko-Fi as a blog, the site’s primary purpose is to encourage people to give each other money. Ko-Fi’s social features are secondary to its purpose as a donation and paid membership platform. This means you cannot link to or mention your or anyone else’s actual Ko-Fi on AO3 whatsoever.
An example of a non-commercial site that has monetization features is DeviantArt, an art gallery that is mainly intended as a place to share artworks. DeviantArt also allows its users to opt-in to additional monetization features, such as the DeviantArt Shop. Because DeviantArt’s paid features are both optional and not the primary reason people use the site, you can talk about or link to DeviantArt on AO3 – as long as you aren’t directing anyone to a paywalled post or referencing DeviantArt’s paid features in any way.
Can I link or mention a social media site where I talk about making money or collecting donations?
You’re allowed to link or mention social media like Tumblr or personal websites like WordPress, even if you sometimes post about commercial activities on those sites. However, you cannot reference commercial promotion on AO3 itself, nor may you link, mention, or give instructions for finding an account, page, or post that is solely promoting paid content.
Statements such as “Follow me on social media” or “Check out my Linktree” are fine. Directing people to an Amazon author page or to the Ko-fi link in your Twitter bio would not be allowed. This includes things like “Check out my Linktree to learn how you can support me” in cases where you are clearly referring to monetary support.
Can I post a fanwork created for a charity drive or for-profit zine?
While you cannot promote, solicit, or otherwise ask for donations on AO3, you are allowed to add your work to a collection or otherwise briefly mention why you created a fanwork, as long as you do so in a non-commercial manner. This means you can say “This was created for [Event]” or “Originally Written for [Name of Person/Zine]” as long as you do not directly link to a donation page or ask others to donate to them.
Keep in mind we also do not permit mentions of monetary transactions, regardless of when they occurred. A note such as “This was a $100 bid for Fandom Trumps Hate” would still be considered commercialization.
I’ve seen authors say their works are commissions. Is this allowed?
You are allowed to gift your work to someone else or otherwise briefly mention why you created a fanwork, as long as you do so in a non-commercial manner. Because not all commissioned fanworks were created for pay, we do permit usage of the word “commission” as long as there is no indication that a monetary transaction was involved in the creation of the work or that you are available to create other paid commissions.
For example, phrasing like “This is a commission for X” is acceptable, but “Commission for my Gold Tier Patron, Julie” or “My client agreed to let me post the first chapter of their commission” isn’t. The context makes it clear that both “patron” and “client” are references to a paying sponsor.
I’ve seen others ask for donations or advertise paid commissions. Why can’t I?
As our TOS FAQ explains, we don’t review content until it’s reported to us. You may have seen somebody else mentioning their paywalled content or otherwise engaging in commercial activities on AO3, but that doesn’t mean that it’s allowed. All it means is that nobody has reported that content to us yet, or that we haven’t finished processing the report.
What will happen if I get reported for commercial promotion?
First, we’ll review the reported work to confirm that you violated our TOS by engaging in commercial activities on AO3. If we determine that you did, we’ll send you an email telling you to remove the violating material.
If your work can be edited to fix the issue, you’ll be asked to edit the work. Your work may be hidden from other users until you do. If you choose not to edit the work, or if your work cannot be edited into compliance with the TOS, it will be deleted.
PAC will only ever contact you by email, and only after we’ve determined that your work violates our Terms of Service. We will never comment on your work or contact you through social media. Please make sure to keep your account’s email address up to date and check it regularly (including your spam folder), or else you may miss our warning email.
If you repeatedly post works that violate our commercial promotion policies, you may be temporarily suspended. Continuing to violate the TOS will result in your being permanently banned from AO3. You can learn more about warnings and suspensions in our TOS FAQ.
What should I do if I encounter commercial activity on AO3?
You can give the creator a heads up by politely commenting on their work and linking to the TOS FAQ or this post. Alternatively, you can report the work to us.
What about spam comments?
The best way to deal with spam comments, commercial or otherwise, depends on whether the comments are from registered accounts or guests.
How do I report commercial activity?
Although we ask that you do not deliberately seek out commercial promotion to report, if you come across commercial activity while browsing, you can report it using the Policy Questions & Abuse Reports form, which is linked at the bottom of every page on AO3.
Please don’t report more than one user at a time or submit multiple reports about the same user. When reporting multiple works by the same user, please submit only one report with links to each work you’re reporting, so that all information about that user is in the same place.
Please tell us exactly where in the work the commercialization is. The best way to do this is to give us a description or short quote that we can search for in order to immediately find the content. If you are reporting multiple works by the same creator, please group all the works into one report and provide this information for each work.
For example, a report of commercial promotion might look like this:
Link to the page you are reporting: https://archiveofourown.org/works/00000000
Brief summary of Terms of Service violation: Commercial promotion
Description of the content you are reporting:
This work by USERNAME advertises a ko-fi in the end notes of chapter 3.
If you are reporting additional works, please include all relevant links and other information in your report description:
Description of the content you are reporting:
This work by USERNAME advertises a ko-fi in the end notes of chapter 3.Some of their other works also contain commercial promotion:
https://archiveofourown.org/works/23456789 encourages readers to purchase their book on Amazon: “If you’re curious what else I’ve been working on or want to support me elsewhere, check out my new short story on Kindle Unlimited!”
https://archiveofourown.org/works/34567890 contains an embedded image with a Patreon watermark. Underneath, the sentence “If you want more like this, click here” takes you to their commissions price sheet.
You can add more details if you like, but this example provides the basic information we need:
- Who posted the commercial promotion: Tell us their username or if the work is anonymous or orphaned.
- Where we can find the work(s): Enter one URL in the “Link to the page you are reporting” field, and (if applicable) include links to any other violating works in the description of your report.
- What violates the TOS: Explain why you think commercial promotion has occurred, for example by including a quote and/or providing context for a comment exchange. A brief description of the situation is fine; you don’t need to be very detailed or quote an entire TOS or FAQ section.
You’ll receive an automatic email confirming that we received your report, and our volunteers will investigate when they get a chance. Please be patient and do not submit another report about the same work. While PAC investigates every report we receive, it can take several months for us to process a report, and not every report will receive a reply.
What if I have more questions about commercial promotion?
PAC follows a strict confidentiality policy. Therefore, while you are welcome to ask general questions in the comments of this post, we will not give information on specific cases, publicly rule on a work, or update you on the status of a report you have already submitted. Comments on this post that discuss specific works or users will be removed.
If you think you’ve found commercial promotion on AO3, or if you want to know whether a particular work contains commercial promotion, please report the work to us as described above. For more information, you can read our TOS FAQ on Commercial Promotion.
If you are still uncertain, you can comment below or submit a question through the Policy Questions & Abuse Reports form.
chasethestars