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Trout Nation Posts

This thing was free, but now it’s not. This other thing wasn’t free, but now it is!

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Hi there, Trout Nation! I have some updates to Trout Nation pricing of things!

First, the thing that was free and no longer is: The Boss is no longer a free ebook. This isn’t the exciting ten year anniversary news, by the way. Back when I first published The Boss as an ebook, I said that it would always be free. And I believe that it’s that strategy that kept the book alive for so long, to be perfectly frank. As of this morning, it was ranked fiftieth in BDSM Erotica on Amazon. It actually had an unbroken streak of like eight years before it dropped out of the top one hundred in that category.

But every decade or so, I do a reset. When I published The Boss, I was pretty sure my career was over. I was in the mindset that I needed to beg people to read my books, that I didn’t deserve to have someone read them, and I certainly didn’t deserve to be paid for them. Now, ten years later… fuck that. I love that book, I’ve loved giving it away, but I’d also love to make some money on it. When I first posted it on Amazon, I told everyone to wait until KDP got with the program and made it free there, as it was free on all other platforms. I’d priced it ninety-nine cents.

In the two months prior to the change taking effect, I made $20k off that book at that price. And I turned that tap off because I made a promise to readers that it would be free, a move that pretty much everyone in my life disagreed with. I’m not regretting that choice or kicking myself now for honoring that promise, but I do think that after ten years, it’s okay for me to make a couple bucks off the book.

TL;DR, I’m proud of The Boss, I no longer feel people are doing me a massive favor by tolerating my prose, and I’m changing the price of it. I think it’s worth $3.99. I think it’s worth $9.99 but let’s not get too excited, here. It’s $3.99.

Second, the thing that no longer costs money?

You’re going to want to sit down for this.

As you may have noticed, the Crave recaps have ground to a halt. You guys, the book is so boring. But you know what’s not boring? I mean, the book is boring, it’s very, very boring, but it’s not boring to hate-read it?

A Court of Thorns and Roses.

My Patreon patrons voted to see the previously patrons-only recaps of A Court of Thorns and Roses posted here on the main blog. The poll is still open until tonight, but at this point there is no way for the Patrons who haven’t voted to overcome the thus-far unanimous votes in favor of sharing those recaps with everybody here. Reasons given were that it’s easier to read posts on the blog than trying to navigate the Patreon interface, and people want to have a free resource to direct their ACOTAR-loving friends to in the vain hopes that an in-depth examination of the book will somehow knock loose something in their brains and make them see reason.

Another big plus? They’re already written, so they can be posted regularly and not at the whim of the truly weird streak of luck I’ve had for the past few years. Those recaps will start as soon as I figure out what’s happening with this weird medical thing I’ve got going on that… you know. My luck.

Reminder: I’m still recapping The Missus on YouTube, and a new chapter will post today (good lord willing and the internet don’t suck), and over on Patreon we’re reading Modelland, which has turned, at least, to me, from a hate-read to a lovefest. And as always, you can find My Brother’s Billionaire Best Friend and Taken by The Alpha King on the Yonder and Radish apps respectively.

The How vs. The Why

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Grey’s Anatomy is terrible. From every single angle, it is objectively bad. There isn’t a single character that’s legitimately likeable. When presented with the chance to protect their careers, their hearts, hell, their own personal safety, the characters always decide on the obviously wrong option, often while other characters point out to them how obviously wrong that option is. And don’t get me started on the hospital protocol and medical procedures; my working theory is that the consultant hired to oversee that aspect of production was just some guy who went to the E.R. for a headache one time and who is really good at remembering things he kind of overheard in the next cubicle.

But despite all this, despite the fact that the CPR performed would kill someone quicker than saving them, despite the fact that McDreamy gave off big, shiny red color guard flags embroidered with HE’S MARRIED in glittering thread all through that first season, despite the fact that season three should have opened with Izzy facing homicide charges, I am addicted to this show.

I don’t know how it happened. The best way I could explain it is to steal a quote from Community: “What? You fall into it.”

I’ve been thinking about that quote, issued by Annie when she joined Abed’s obsession with Cougar Town. Grey’s Anatomy is something I’ve fallen into, without logic or reason. It’s everything I dislike in stories, but I can’t stop watching. And that has truly helped me to understand the popularity of other objectively bad things. While I walked around for a long time thinking, “How could anyone like A Court of Thorns and Roses?” or “How could anyone possibly enjoy reading Fifty Shades of Grey?” I kind of get it, now.

Note, though, that I understand how people like those things. Not why. The why of the massive popularity of unforgivably awful things like Zodiac Academy or The Mister still eludes me, but honestly? So does my enjoyment of Grey’s Anatomy. I am routinely outraged by the events in the show. McDreamy, why did you take Meredith’s panties home? Why is Addison costumed and styled like a Disney villain on her day off throughout the first half of season two? Is there a reason that Izzy was not immediately arrested and charged with first degree murder after the events of season two? But I’m not hate watching. I’m obsessed. I’m fully immersed in the ridiculous drama of a hospital where a surgeon just moved in and made a hip little apartment with nobody noticing. I’m actively rooting for Meredith Grey, easily the worst, weakest, most indecisive main character on any television show in the history of the medium. And I’m so attracted to Derek Shepherd, a guy whose man-pain drives him to hateful behavior toward the woman he rejected.

I know how I can like this show: it clearly fulfills some need in my brain. It’s that simple. Something in me needs this, even though it’s bad. That need overrides my ability to be critical or accept criticism of the show, even while I’m being critical of and receiving other people’s criticisms of it. It’s the why that eludes me.

I understand how someone can like A Court of Thorns and Roses while they insist that they recognize that the writing is bad and the characters are insufferable. I understand how. Now, I can’t understand how they excuse the many problematic elements of it, or why they defend it and even try to elevate it as a shining example of diversity and high literature. I will never argue that Grey’s Anatomy is a flawless classic, a template for all other shows to follow in its wake. But at least now I have an understanding of what people mean when they say they “turn their brain off” to enjoy media. I understand how they get locked into something that they know in their heart is just bad.

It doesn’t bring me a lot of comfort to understand the how and not the why, but hey.

Comfort is what binge watching Grey’s Anatomy is for.

Prove that it’s gay enough.

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“I liked it,” a straight acquaintance said of Gideon The Ninth by Tamsyn Muir. “But everyone said it was Sapphic and it wasn’t Sapphic.”

I, in the middle of listening to the audiobook, wondered if we were talking about the same Gideon The Ninth. Admittedly, I’m not finished; I listen to audiobooks in forty-minute chunks while I drive to my physical therapy appointments. But so far, and from the very first chapter, it’s been clear to me that the title character is a lesbian.

“There aren’t any sex scenes, though,” that same reader argued. “So, how do you know?”

How do you not know? I thought, but quickly moved on from that particular point, begging off the conversation by saying, “I’ll get back to you, I don’t want spoilers.”

Because what I wanted to say was, why do you need an explicit sex scene as proof that a character isn’t straight?

And they wouldn’t have liked the answer I would have supplied for them, the only real answer to that question when straight people complain about a lack of sex scenes as a lack of overall queerness in fiction: because the heteronormative mind equates queerness with sex, divorced from a total state of being, a straight default with a slight deviation of genital smashy-smashiness.

I had a view, peeking out of the closet, at attitudes of the ’90s and the ’00s, wherein any non-straight representation in mainstream fiction was the cis gay male, always flirting at the gym but never burdening a hetero reader with icky gay sex details. The rise in popularity of M/M romance novels written by straight cis women brought sexuality into gay “representation,” in the most painfully heteronormative way possible. Most of those books read like traditional straight romance novels clobbered with the find/replace stick: find “pussy”/replace “ass”, find “breasts”/replace “pecs”, find “Erin”/replace “Aaron”.

The ’10s continued the trend of authors, who identified as straight in public, putting out heteronormative depictions of queerness. Readers criticized fiction that didn’t have queer representation while somehow maintaining that blatant homophobia wasn’t enough reason for criticism. During E.L. James’s disastrous Twitter Q&A, a prominent author and internet darling took me to task for submitting the question, “Are you as homophobic in real life as your books are?” The very suggestion that the author of a book in which a running joke was that the romantic hero was far too manly and sexy to be mistaken for gay could possibly harbor some toxic heteronormativity in her brain was an indication of professional jealousy and not a valid argument. The main qualification for evaluating queerness in fiction was straightness, as queer voices were intentionally and forcefully pushed from the conversation if they were saying anything but “yaaaaaaaas, queen!”

Some opportunists embraced this attitude, with great success. Romancelandia cycled through a seemingly endless parade of pet gays who remained in favor just as long as they agreed that straight cis women could write M/M stories as authentically as any gay man, and that lesbophobia in publishing was just a trivial sales issue. These men usually fell out of favor by failing to embody the stereotype of the romcom gay roommate, getting “too political,” or being uncovered as a catfishing straight woman.

Now, in the roaring ’20s, the field of mainstream LGBTQA+ rep in genre fiction has grown. Queer authors are telling stories about queer characters that don’t center around the physical act of sex as an entire identity. LGBTQA+ characters aren’t just straight people who do something different when the bedroom lights go out. They are allowed to feel queer, to be queer, to inhabit a mindset that is completely alien to what straight readers are used to seeing, and those straight readers are tagging it as bad or inauthentic because it doesn’t match up to the heteronormative framework they’re used to. How can you tell if a character is gay if they don’t tragically die in their lover’s arms? How do you know a protagonist is non-binary if he’s using male pronouns and not wearing dresses? When the representation isn’t written specifically to educate straight readers, if the normal, every day parts of gay or trans lives aren’t shaped into something that appeals to a straight reader’s understanding, is that representation?

And that representation we see from big name, straight mainstream authors, which often rely on the homosexuality-as-tragedy vibes lingering in straight minds from the height of the AIDS crisis, is endlessly praised for being bravely queer, while true representation is dismissed as not being queer enough. When Sarah J. Maas, a straight author, intentionally writes homophobia into her fantasy world in order to keep a lesbian side character wallowing in closeted torment, a chorus of straight readers sing praises for her groundbreaking representation. When Tamsyn Muir, a lesbian author, writes a lesbian main character who hoards tittie magazines and gets a gooey crush on the equivalent of a wilting Victorian doll, those same straight readers criticize the representation because… there’s not enough scissoring to make it obvious, I guess?

In the same conversation with my aforementioned straight acquaintance, she mentioned another book we’d both recently read and mutually enjoyed: the very straight The Serpent and the Wings of Night. Acquaintance asked what I thought about the lack of LGBTQA+ representation in the book. I pretended not to understand. “The only straight people were Oraya and Raihn,” I argued. “Everybody else was queer.” When Acquaintance had no idea what I was talking about, I explained, “I never saw any of them having straight sex.” Which I hope drove the point home with this person.

The lack of LGBTQA+ representation in The Serpent and the Wings of Night or the heteronormativity of Ice Planet Barbarians don’t cause harm. Those are simply written with a straight audience in mind, regardless of what the authors’ sexuality might be. What I find more harmful are the attempts at representation made by authors who very clearly are not at ease writing queer characters or scenes of queer sensuality. Sweeping romances with highly explicit sex scenes between straight characters that suddenly become closed-door, fade-to-black only when it’s time for the icky gay sex to start are far more insulting and damaging than sweeping romances with highly explicit sex scenes between straight characters that have no LGBTQA+ characters or romances in them at all. If a straight author is uncomfortable writing outside of their straight experience, what, exactly, is compelling them to write the queer experience? Certainly not queer readers.

We often see authors bemoaning the fact that they have to write diverse casts of characters in order to avoid social media mobs or to remain competitive in the market, but I don’t see that being the case, at all. If a straight author can’t write an LGBTQA+ character without relying on outdated stereotypes or depictions of queer pain and death, how on Earth is that book meant to be competitive or exempt from criticism?

Very rarely do I see queer people clamoring for straight authors to write more queerly, or bemoaning the straightness of books written for straight audiences. That seems to be the exclusive purview of straight allies. Queer readers will seek out queer books from queer writers who are writing them authentically. They’re not absolutely salivating to read the latest heteronormative romantasy with a few queer characters tossed into die or live tragically chaste lives. Instead of calling for straight authors to write more queer characters, allies need to boost the profiles of queer writers.

And that starts with understanding that LGBTQA+ people are not solely defined by scenes of explicit fucking.

Jealous Patrons AV Club

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Hey friends! As we were all probably trying not to think about, E.L. James has released a sequel to The Mister, called, The Missus. I wasn’t going to pay any attention to it; James’s career is firmly heading to midlist now; The Missus didn’t break the top 100 on Amazon on its release day, and it didn’t make the lists. Finally, I thought. Finally, we are free. She’s not a cultural phenomenon, so there’s no reason to think about her and her god-awful books anymore.

But then I read this article on Bustle, and I was like, oh, fuck this, grabbed my camera and my hater goggles, and made a decision.

We’re recapping The Missus. But this time, we’re doing it with a twist.

Because I’m far more wordy when I’m typing than when I’m talking, recapping a book takes me between six to eight hours per chapter. That’s reading, making notes, re-reading, and writing everything until it’s exactly how I want it to be. And because my serialized fiction career is doing so well right now, I don’t have time to recap the book we’re already recapping, let alone a new one. But making videos is so much shorter. Read, rage, film, edit, caption, upload. It’s like a four-hour process in terms of active work time.

So, come along with me while I read and react to The Missus, beginning with my take on the article in which E.L. James claims that the trauma of her billion-dollar film franchise not turning out exactly how she envisioned it was so great, it caused her to develop amnesia to escape the horror.

THE GRIND

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This weekend, I saw something that I needed to see… probably ten years ago. It was a confirmation of something I already knew, something that any reasonable person would automatically land on as the truth from an objective standpoint. It’s a blog post by Dave Walsh titled, “Be Whoever You’re Gonna Be,” and I wish I could craft it into a sword or a hammer or something, bust into every indie author group on Facebook, and just start swinging it. Go read that, then come back here.

Now, I needed to see that post about ten years ago because I have spent a decade in the indie author hell pit of self-doubt regarding my productivity and bemoaning my laziness and lack of “wanting it” as much as other authors. I never intended to be an indie author. I assumed that when I self-published The Boss and The Girlfriend, I would make like forty bucks and go back to the demoralizing grind of begging for scraps from traditional publishers. I didn’t realize it would become my entire career, and I didn’t realize how much the rhetoric of the indie author community would harm my self-worth and self-image. And I would never have imagined that it wasn’t a problem with me, but a problem with the grind mindset of indie publishing that wasn’t just making me hate writing, but hate myself to my core if I hadn’t seen Dave’s blog post.

This has not been the greatest couple of years for me. 2022 started with a bang, with my best friend dying suddenly in January. I got Covid at her funeral because fuck you, Jenny, that’s why. The following September, I lost another friend to cancer, and in October, I was involved in a car accident that damaged the tendon, muscle, and soft tissue in my shoulder. In the intervening time, another friend almost died from a ruptured appendix. Another had a critically needed aortic valve replacement. So, obviously, this entire block of time has been completely stress-free. And then, this past March, I had to do the thing I hate most: I had to take time off. Why? Because I could no longer “tough it out” with my destroyed shoulder.

When I say “take time off,” by the way? I had the surgery on a Friday, took pain medication for two days, then went off everything but ice packs and ibuprofen to get back to writing my Yonder and Radish serials. The companies, by the way, didn’t ask this of me. They’ve been very understanding as I’ve navigated deadline extensions. Because of who I am and my blue-collar upbringing, it felt unforgivably lazy to let myself heal, especially since I’d planned a month off from my Patreon. A month! Sure, the surgeon and physical therapists and everyone I knew who’d ever had the surgery had warned me that the recovery would be long and painful, anywhere from six months to one year total. But I had taken a month off from my Patreon and two whole days off from writing. Two days! And all that had happened to me was a traumatic surgery in which a nerve block accidentally paralyzed my throat and chest. I had to be intubated, tissue was removed, bones were drilled, screws were placed, and I experienced the most pain I have ever experienced in my life, with no support from the surgeon’s office because it was the weekend and their answering service felt that a screaming, sobbing patient begging for help wasn’t an “emergency.”

And I got back to work on Monday.

With my arm in a sling, propped up on pillows, I gritted my teeth and cried and forced myself to sit at my desk and get my word count. And it wasn’t just the physical pain that bothered me. It was the mental process running the whole time: You’re not in that much pain. You’re being dramatic. It’s been two whole days since you had surgery. What’s wrong with you? You’re lazy. You don’t deserve anything you have. Other people want this more. Do you think other indie authors are taking time off for this kind of thing? They’re not. And that’s why they’re more successful. That’s why they’re making five figures a month, and you’re making four. You’re worthless and lazy, and you don’t want this. You are letting everyone down, and frankly, if your dead grandfather could see you being such a whiny little worthless bitch, he’d hate you exactly the way everyone should hate you. Because you are worthless.

That’s not an exaggeration for dramatic effect. That goes through my mind every time I do anything job-related. Even writing this blog post, there’s a voice in the back of mind: You’re wasting time. No one wants to hear this. You’ll write a thousand words here that you could be writing on your manuscript. That’s why your numbers have dipped. That’s why your latest release netted you a hundred and twelve dollars in release month. Because you haven’t earned it. Because you don’t work hard enough, and all you ever do is complain. That’s why nobody likes you. Because you don’t work hard, and you’re a lazy, worthless, spoiled brat.

Logically, I’m aware that all careers have hills and valleys, and I’m incredibly lucky that I’m able to continue being the breadwinner for my family but… I still feel lazy. Lazy for taking two days off to heal from major surgery performed under general anesthetic, a surgery I had already been told might take a year to recover from fully.

I cannot reiterate enough: two. days.

Over the years, I’ve stopped reading my reviews. I stopped when someone criticized my use of alternate pronouns in one of my books. It felt so intensely personal, and my writing was getting increasingly queer-focused. I decided I needed to protect myself, and the only way I could do that was by not reading reviews. But my serials started coming out on Yonder and Radish, and people can leave comments. Those are more fun because you get to see people react to your stories chapter by chapter and know exactly where these reactions (both positive and negative) were coming from.

But then I started to see things that wore me down. Things like, “I have to pay for this? Deleting the app.” There were so many comments like that, where people were outraged that I greedily wanted compensation for my work. I started to wonder if my work was worth anything. If I was worth anything. If I was scamming people because a publisher asked people to pay for the book I wrote. I started to consider whether I should just make my future work and entire backlist free, get a job outside the home, and be grateful that people even deigned to read my work in the first place.

Then, a couple of months into my recovery from this surgery, a deeply needed surgery that I had delayed four months out of fear of not wanting my career enough, fear of not deserving time off, fear of laziness, someone left a comment on one of my serials that has broken me. They left it at the conclusion of what was the third full-length novel I had written in 2023. I can quote it verbatim. I won’t because it feels like that would be the same as outing a reviewer. But to paraphrase, they angrily demanded why the story was taking a month-long break when they, a paying customer, had spent money on the previous books. They shouldn’t have to wait thirty days for the next book.

I stared at that comment, completely defeated. It was the confirmation of that voice in my head. I’m lazy. I don’t produce content fast enough. I don’t give. I only take. And I don’t deserve a single thing that I have.

The reason they have to wait is that I am depleted. By July first, I will have written four full-length novels this year. That isn’t enough. I should have been able to write faster. Other writers write faster. They don’t bother spending time with their families. They don’t take time off for things like unbearable grief, traumatic accidents, or painful surgeries. I’m lazy. I’m not good enough. I’m not cut out for this business.

At the same time, I recognize the problem. And I’m angry about it. I see the comment for what it is: entitlement. This reader felt entitled. I should be pumping out words at super-human speeds. Fulfilling their demand for entertainment should be my only goal. Not my family, my mental or physical health, just their desire for the next installment of a story that wouldn’t even fucking exist if not for me. Their response was not “thank you,” which I don’t expect, but “fuck you, I want a Golden Ticket now!

And what has caused this reader entitlement? Authors. Indie authors who are willing to resort to ghostwriters and AI because of this desperate need to “game the algorithm” over on Amazon, the never-ending quest to release as many books as possible in an impossible time frame, and the glorification of ignoring all human needs and obligations to serve up books, usually for free in the KDP program as the mark of being a Real Author™.

And this has caused a tendency to apologize profusely when serious, life-changing events cause even the smallest and most understandable of delays: First of all, I want to thank everybody who supported the release of BRIDE OF THE MINOTAUR last Tuesday. I know that the sequel is supposed to come out this Friday, but the sudden death of my husband of thirty years has really put a dent in my ability to finish the book on time. I’m hoping that I’ll be able to hit publish on Monday, but it will depend on how long the funeral takes. I’m hoping it won’t be more than a couple of hours. Thank you, thank you, thank you for your patience and I’m so, so sorry to be letting you down like this. It’s unforgivable, unprofessional, and inconvenient to my loyal readers. There will be supportive comments, telling the author to take the time she needs and that, of course, no one would expect her not to delay the release. But there will, guaranteed, be people in the comments saying, I’m sorry for your personal tragedy, but frankly, I’m sick of authors making promises and then not delivering. First, it was D. L. Rose delaying the next Legends of Alamora book by two whole weeks because she “needed” a new kidney, and now this. If you want to keep your readers, maybe think of how this type of disappointment will drive them away. I, for one, will not be reading you again.

And we’ve just gotten to the point where we accept this. We accept that we are failures for not being superhuman machines, spitting out hundreds of thousands of words per day. We make unreasonable sacrifices and, in some cases, beg for understanding about things where understanding should be automatic. We caused this problem. Some of us more than others—looking at you, rapid release squad—but we all contribute.

On top of the surgery and the three full-length novels, I received an amazing opportunity. I’m directing a production of The Music Man. This isn’t just any production: it’s the one Jill was most excited about. One that we talked about in our last text conversation after I found out my theater would be producing her all-time favorite musical. Plus, directing musical theater had been my dream in high school; I truly believed I would have a massive career as a performer on Broadway that would segue into becoming the most celebrated director of musical theater in history. Now, I’m not achieving that particular dream, but I am achieving a part of it. I’m being paid to put my vision for The Music Man on stage. And I’m doing it while honoring my best friend’s memory, healing a very small piece of a wound that I will feel for the rest of my life.

Now, every day when I leave for rehearsal, I think about the comment that person left on my serial. I think about the fact that they have to wait thirty days. Because I had the gall to accept my dream job. Because I selfishly had surgery and took two days off instead of properly resting and recovering. Because I’m lazy. Because I don’t want it enough.

I needed to see Dave’s blog post. It obviously doesn’t heal a decade of psychological damage or the grief and accute stress of the past two years. But it does make me feel like I have permission to be alive, to pay attention to life, to live my life for myself and not for people who will never see my output as “enough.” Will it banish the voice in my head that constantly tells me I’m not a writer, I’m a pretender? That as long as I lazily indulge in things like healing from major surgery, I’ll never be worthy? No. But for a couple of minutes, reading about someone else who’s feeling the same frustration as me, I felt a little better.

I hope that by sharing his post, and sharing this one, I might make someone feel a little bit better, too.

PATREON ANNOUNCEMENT: Modelland is here!

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After many, many attempts to convince me to recap a particular book, my Patreon patrons have done it. They’ve finally done it. Our current selection is Modelland by Tyra Banks.

The cover of Modelland by Tyra Banks features a single, illustrated eye with lots of yellow feathers sprouting above it like eyeshadow.

Is it a memoir? Contemporary fiction?

Nay. It is a YA Fantasy about a magical world called Metopia, in which a chosen few are selected to venture to a shining land on a mountain to become the most famous models in the world.

If that description is a siren song of terribleness, check out a preview for free here. If you like what you see, join at the $5 per month level for full recaps or the $1 per month level for posts discussing various element of each chapter as you read along from home. This is, however, the first book we’ve ever done in either the Jealous Patrons or Jealous Haters book club that isn’t offered as an ebook. That’s right: it’s a celebrity YA Fantasy novel about a magical modeling school that flopped so hard, it’s out-of-print in digital.

Hope to see you there!

RELEASE DAY! Taken By The Alpha King

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Hi there! Quick update from the land of typing still hurts: it’s release day for the paperback and ebook versions of Taken By The Alpha King!

He’ll never stop fighting to keep his throne…and her.

Born into a secret society of werewolves and betrothed to a mate she didn’t love, Bailey Dixon made the choice to leave her pack for five years. Now, she’s back and fully committed to becoming the werewolf she was destined to be.

But destiny–and the new pack king–have other plans. Rich, handsome, and utterly ruthless, Nathan Frost demands absolute obedience from the Toronto pack. When he sets his sights on Bailey, she’s plunged into a world of politics, sex, and violence she’s not equipped to navigate on her own.

With her life in danger and enemies emerging from every corner, Bailey is forced to rely on the mysterious stranger who’s usurped the throne of her pack. And even he can’t be trusted…

AmazonBarnes & Noble

Unlike past book releases, Taken By The Alpha King is available from any bookstore that can order through Ingram Spark. If you prefer to shop for a paperback from your local indie bookstore, ask them if they can order you a copy! I’m excited to have a way that readers can support their local bookstores!

Bridgerton React and Book Depository Links

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Sad news out of the book world: Book Depository is closing. Our amazing Trout Nation moderator has put together a list of my paperbacks that are still available to purchase there before the end of the month:

Say Goodbye to Hollywood
Nightmare Born
First Time
The Boss
The Girlfriend
The Bride
The Ex
The Baby
Say Goodbye to Hollywood

Here’s the legal: These are affiliate links, so Tez gets a little something if you buy.

In other news, recovering from this surgery is driving me to the depths of boredom. Typing is really difficult, so I was trying to think of content I could still be making. You know, so people will think I’m still alive, and I haven’t abandoned my blog.

It occurred to me that I had never watched Bridgerton. And I’m a romance author. I can’t believe I haven’t been arrested for dereliction of my duties yet. So, over on YouTube, I’ll watch and react to Bridgerton. Episode one is up now for anyone who’s interested.

TAKEN BY THE ALPHA KING paperback and ebook release! (and ARCs)

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DO YOU LIKE HORNY URBAN FANTASY ABOUT WEREWOLVES?

Cover of Taken By The Alpha King. A full moon over the Toronto skyline, with a crown on a stone wall in the foreground. The title is in large font in front of the moon, with Abigail Barnette along the bottom.

Well, I have I got the book for you, coming May 2, 2023. Taken By The Alpha King is a collection of the first three seasons of my Radish app serial for readers who prefer a different format. Seasons four and five will debut on Radish soon after, so you’ll be able to continue the story there or wait for those to come out in paperback and ebook in 2024.

Where can you get it? Basically, at any store that can purchase from IngramSpark. You probably won’t find it just chilling on the shelves, but you can ask them to order it for you. And honestly, that would help a lot because it might convince them to order copies and put them on the shelves. Which is one of my career goals: have my books available in bookstores again.

But, if you’re like me and you hate leaving the house, of course, it’s available online. You can pre-order it at Amazon, Barnes & Noble, Books-A-Million, it’s out there begging to be read. Here, have some pre-order links:

Pre-Order at Amazon
Pre-Order at Barnes & Noble

Now, onto the blurb:


He’ll never stop fighting to keep his throne…and her.

Born into a secret society of werewolves and betrothed to a mate she didn’t love, Bailey Dixon made the choice to leave her pack for five years. Now, she’s back and fully committed to becoming the werewolf she was destined to be.

But destiny–and the new pack king–have other plans. Rich, handsome, and utterly ruthless, Nathan Frost demands absolute obedience from the Toronto pack. When he sets his sights on Bailey, she’s plunged into a world of politics, sex, and violence she’s not equipped to navigate on her own.

With her life in danger and enemies emerging from every corner, Bailey is forced to rely on the mysterious stranger who’s usurped the throne of her pack. And even he can’t be trusted…


And now, a message for ARC reviewers: I have a limited number of paperback copies and an unlimited number of ebook copies available for review. Good review, bad review, any reviews, I’m just looking for reviews. If you have a GoodReads account, a TikTok account or YouTube channel, a blog, if you review books and you want to review this one, please send me an email at jenny@jennytrout.com (not providing a link there because whenever I do, I get an inbox full of people wanting to sell me blog articles none of you want to see here). Let me know which format you prefer and I’ll send an ARC your way.