The Rings of Power is Enjoyable as Amazon Fan-fiction

There’s been a lot of hate for Amazon’s new Tolkien inspired fantasy series, The Rings of Power. ‘Rings Of Power’ Is Getting Review Bombed So Hard Amazon Suspended Reviews Entirely. On Rotten Tomatoes, while its critics score is 84%, it has a 36% audience score. This means that the Rotten Tomatoes Audience reviewers actually hated The Rings of Power more than Troll 2 (one of the most hilariously bad movies ever made).

While The Rings of Power is not the best show ever, I was honestly surprised by all the hate. I didn’t think it was Troll 2 bad.

Deciding to investigate, I scanned through about four pages of Rotten Tomatoes reviews. The reviewers said they were angry about bad writing, slow pacing and the drastic change in Galadriel’s character from wise sorceress to elf Rambo. But the biggest complaint of all was that people felt that the show was unfaithful to Tolkien’s source material.

The show itself is based on J. R. R. Tolkien’s appendices. It is produced by Amazon Studios in cooperation with Harper Collins and New Line Cinema, in consultation with the Tolkien Estate.

If you think about it, The Ring’s of Power is basically fan fiction. The show writers are using the world building Tolkien provided in his appendices, and populating it with their own plot lines and dialogue. Why? Because they are doing their work based off an appendices, not a written novel with its own dialogue and plot. So it’s just not going to be the same quality as Tolkien. We can’t expect it to be unless they can somehow bring Tolkien back from the dead and make him write it. Maybe if Amazon called the show, Amazon’s $465 Million Tolkien Fan-fiction, people would have been less upset?

If one approaches the show as fan fiction, rather than expecting it to be on the level of Tolkien, one can enjoy the show more.

While I was not blown away by the show, I was entertained enough to keep watching. I think Tolkien’s original theme of good versus evil, and corruption versus nature were intact. The New Zealand landscape was visually stunning, along with the depiction of Númenor. There’s likeable characters. I’m genuinely enjoying the friendship between Nori Brandyfoot and The Stranger (who may be Gandalf). Perhaps what the show writers are setting up is an explanation for Gandalf’s love of little people. I’m also enjoying the humorous exchange between young Elrond and the dwarf, Prince Durin. And I’m genuinely excited to see what the orcs, and their leader, Adar, are going to do next (I find them pretty interesting).

Compared to other fantasy series out there on TV, I think The Rings of Power is not bad. And given that a record breaking 25 MILLION other viewers are watching season 1 along with me, how bad could it really be? I am looking forward to watching more.

I also do think it’s getting better. Even the audience reviews (which are currently almost below freezing) seem to be thawing ever so slightly.

If I had to give The Rings of Power a rating between Valinor and the Southlands, I’d give it a Khazad-dûm.

House of the Dragon Review – All The Bad of GOT With Little of the Good

Are you a fan of incest, senseless brutality, pedophilia, and cruelty toward women? Good news! House of the Dragon has all that intact.

Did you like Game of Thrones for its expansive world building, likeable characters, well thought out plot, riveting dialogue, palpable tension, and heart felt drama? Too bad! None for you!

If you excuse me, most of this review is going to be my rant of reasons why I was not a fan of HBO’s Game of Thrones prequel, House of the Dragon. The only thing I liked about it were the visuals. They are truly spectacular. And Matt Smith’s acting. But that’s it.

I don’t often do negative reviews or harsh rants, but I felt like there were some very troubling problems in this show that needed to be addressed. If you disagree or agree with my review, please feel free to comment!

There will be spoilers in this review.

To give you a brief summary of the plot of House of the Dragon, it takes place some 200 years before the story of Game of Thrones starts and 172 years before the birth of Daenerys Targaryen. It portrays the beginning of the end of House Targaryen, the events leading up to and covering the Targaryen war of succession, known as the “Dance of the Dragons.”

On the surface it sounds like it could be good, but to me, it seemed to have all the shock of Game of Thrones with little of the substance.

Reasons I Didn’t Like House of the Dragon

#1: Lingering Disappointment From Season 8 of Game of Thrones

I’ll admit that I entered the show with a negative bias. I was already disappointed by the disaster that was season 8 of Game of Thrones. One of the best shows on television suddenly turned into a mess where people were leaving Starbucks cups and water bottles in scenes, the fan favorite Danaerys Targaryen became a violent psychopath out of nowhere, and the whole story was rushed to a close because the main show writers, David Benioff and D.B. Weiss, wanted to go do Star Wars instead. It didn’t help that George R.R. Martin never finished the Game of Thrones series.

But that’s all a different show, let’s get to House of the Dragon.

#2: The Heavy Handed Theme

Every show has a theme. In House of the Dragon, they drop theirs into your lap with all the subtlety of a twenty pound bowling ball. You barely get through the first five minutes of episode one, before it is announced that Rhaenys Targaryen was not chosen to be a queen, “because she was a WOMAN.” Yes, the show literally tells us this.

While female empowerment is certainly a worthwhile theme, the show treats their theme like a morning star they need to whack the viewer over the head with constantly, assuming the viewer is too stupid to figure it out on their own. It seems every ten minutes you are reminded that women can’t be queen because they are women, and that their only purpose in life is to be birthing machines for male heirs or sex objects in brothels.

#3: A “Feminist Show That Exploits Its Female Characters?

It’s a bit insulting to me that the show is putting itself forward as some brave message of female empowerment, against the backdrop of sexual objectification, pedophilia, and brutal violence against women.

The birthing scene with Queen Aemma Arryn is a particularly gruesome affair where the maester decides that the only way to save the baby is to cut open the queen. And then they LITERALLY show this on the screen with a knife cutting open the woman’s belly and gutting her like a fish as she screams and cries in terror. As I watched this, I wasn’t sure if I was watching a fantasy show anymore or one of the Saw movies.

Perhaps this brutality was supposed to add to the show’s theme that women were cruely treated like birthing objects in the Middle Ages, and that the main character, Rhaenyra Targaryen (not to be confused with Rhaenys Targaryen despite the incredibly similar sounding name), is gonna rise above this.

But then there is the depiction of women as sex objects—literally, there are paintings of naked women having orgies in almost every room of the Targaryen palace. And let’s not forget the constant need for brothel scenes.

This is all along with the constant depiction of grown men talking about marriage or sex with teenage girls who all look very young: Alicent Hightower, Rhaenyra Targaryen, and most gross, the 12 year old, Laena Velaryon who “won’t have to bed the king until she’s 14.” Some people may argue that this is the middle ages and that adult men discussing sex with teenage girls was a norm. Maybe that’s true. But if the theme is supposed to be female empowerment, then how do we explain episode 4?

In Episode 4, Rhaenyra’s uncle Daemon (who is a violent psychopath that likes to have people murdered, mutilated, raped, tortured and calls his wife “The Bronze Bitch”), decides to take Rhaenyra out for a night on the town. He’s an adult male in his late 20s and she’s a teenager. He gets her drunk, takes her to a brothel, and then starts throwing himself at her sexually, telling her that this is the place where people “take what they want.” Rhaenyra gets visibly sexually excited and starts kissing him back. As the camera pulls away, we see that her pants have been pulled down and they were about to engage in a sex act, when her uncle ends up getting disgusted and leaving instead. So even he seems to know they were about to do something wrong, but she seems happy and content enough.

What’s the message of female empowerment here? That if a teenage girl’s uncle gets her drunk and starts kissing her that it’s empowering for her to like it??? I watched the directors explanation of the episode and they were trying to sell it as some message of female sexual empowerment (where she’s choosing what she wants!) There’s a female director. GURL POWER…right?

Sorry, but no. You can’t have a teenage girl’s uncle get her shitfaced drunk, and then say it’s empowering for her to like it. What kind of message does that really send?

Slant Magazine hit the nail on the head when they talked about how the show falls short of its feminist theme by not actually dwelling on the emotions of the female victims, or the consequences of the brutal actions against them. But instead spends valuable screen time showing the Crab Feeder crucifying his victims or people at the tourney getting smashed in the face.

#4: No Likeable Characters

I’m four episodes in and I don’t like any of the characters on screen. They could all get eaten by dragons and I wouldn’t care. By the way, where are the dragons in House of the DRAGON?

Rhaenyra Targaryen is the main character the show follows, the first-born child of King Viserys I Targaryen. The best word I can use to describe her is “meh.” She doesn’t have any dynamism on screen. Half the time I can’t tell if she’s happy or uncomfortable in some scenes. Her main motivation is to not be a birthing person, and instead ride into battle on dragons. That sounds cool. But we only get a little of that. Instead, most of the time, she’s throwing tantrums at her dad because she doesn’t wanna do stuff that royal people are supposed to do.

Every now and then she comes up with a clever idea. But the show’s writers accomplish this with the tired trope of making all the adult male characters dumb as doorknobs to make this teenage girl look smart…instead of…you know…just making her smart in a world of competent characters?

At one point King Viserys decides to storm a fort with…just 20 men! This is despite the fact that he has 10 dragons in reserve. Apparently he forgot he had them. Luckily, Rhaenyra Targaryen, our strong empowered 15 year old, rides into the scene with a dragon to save the day, because apparently she is the only person who remembered that the Targaryens have dragons.

The main reason that Rhaenyra Targaryen is unlikeable for me, however, is that she just doesn’t seem to care about other people other than herself. In Game of Thrones we fell in love with Daenerys Targaryen, because while she was ruthless, she also prevented women from being raped, freed slaves and had a soft spot for the people who served her.

We see none of that with Rhaenyra Targaryen. She cares mainly about herself and what she wants. I guess we’re supposed to be impressed by her tenacity to take what she wants? But instead she comes off as entitled and bratty.

She is seen smirking flirtatiously at her uncle Daemon (who once again, is a known psychopath who had a bunch of people mutilated and raped). Her dad seems like he’s actually trying to work with her when he gives her the chance to choose who she wants to marry, but she doesn’t seem to notice or care. The worst is when she hits on her armed bodyguard Ser Criston Cole with a game of keep away the helmet (what a perfect reminder that she’s still a child before her “empowering sex scene”). She starts undressing him and he says, “no.” She keeps going anyways and then he goes along with it. SHE TAKES WHAT SHE WANTS, EVERYONE!

Daemon Targaryen is played by one of the best actors on the show. Matt Smith. The show tries to depict this character as a gray character, and he gets a lot of screen time. But the problem is that the moment he is introduced, he does so many horrible and selfish things that I could care less about what happens to him either way.

As to the rest of the characters, they are either flat or make so many dumb decisions that they are hard to sympathize with.

#5: Lame Antagonists

A show is only as good as its antagonist. Who was the antagonist in this show so far? The Crab Feeder! A guy who was dressed like the Phantom of the Opera and likes to feed people to crabs. That’s right, I’m not even making this up.

In addition to the Crab Feeder, the other antagonist, as we’re constantly reminded every five minutes, is the patriarchy. And our protagonist, Rhaenyra Targaryen, bravely rises above the patriarchy by… getting drunk and trying to have sex with her uncle???

#6: It’s Difficult to Make a Good Spinoff Series

To be fair to HOD, it is very hard to make a good spinoff series. Most spinoff shows don’t succeed. That’s because a good spinoff show must achieve the difficult task of offering a new, fresh take on something familiar. An example of two series that were spinoff successes are Better Call Saul and Legend of Korra.

Unfortunately, there was nothing new or fresh about House of the Dragon that made it stand out from Game of Thrones.


In summary, this is a show that wants to be a female empowerment piece while utilizing the same sexist tropes that populated GOT. Seems like a show that’s trying to have its cake and eat it too in my opinion.

Related Links:

Review: Sorry, but HBO’s ‘House of the Dragon’ can’t touch ‘Game of Thrones’ greatness (USA Today, 8-19-22)

‘House of the Dragon’ Is ‘Game of Thrones’ Minus the Fire (Rollingstone, 8-19-22)

House of the Dragon Review: A Frustrating Jumble of Incident and Spectacle (Slant Magazine, 8-19-22)

Game of groans: Why is House of the Dragon so dull? (The Guardian, 9-15-22)

#SFFpit Happening This Thursday!

“Writing a fantasy or science fiction novel is hard enough. Now, try pitching it in a single tweet. That’s the challenge set forth by #SFFpit, a twice-annual Twitter pitching contest.”

“Unlike Brenda Drake’s #PitMad, this contest is only for works of fantasy or science fiction. All age categories (PB, MG, YA, NA, and adult) are welcome. The last #SFFpit was February 24th, 2022. The next event will be August 25th, 2022.”

Click here for more information.

Mango Publishing Interview – Starting an Independent Book Publisher

Mango Publishing has been listed as one of the top ten independent book publishers in the U.S. by NY Book Editors.

In their sixth year of existence, Mango Publishing is one of the fastest-growing publishers in the country, and was a finalist for Publisher of the Year at Digital Book World 2019.

So I am very grateful that they were willing to talk with me in my continuing series of articles on independent publishing. The interview below was held with Mango’s Director of Logistics, Hugo. He has been with the company since the very beginning. I would also like to give a shout out to Geena El-Haj (Mango’s Marketing Communications Coordinator) for helping me to facilitate the interview.

JBJ: Why was Mango Publishing created?

Hugo: I don’t know if we had a very intentional start. Mango Media, the original incarnation, and parent company, was formed with the idea of being a modern, data-driven media company that explored the intersection of books and smartphone apps. Through that journey of mistakes, we stumbled upon a consistent theme: Gut. “My gut tells me,” “I have a gut feeling,” “I think I should listen to my gut…”

Nearly every project we created in the media days revolved around a lot of gut instinct. Something that was diametrically opposed to the mission of being data-driven. So we reevaluated our process of creating content and identified a hole in the market: books published for consumers, ignoring the “gut” of buyers, agents and traditional public relations, and instead focusing on the analytics on consumer trends.

JBJ: For other people who are interested in doing the same thing, what were the steps your publishing company took starting out?

Hugo: It’ll sound repetitive, but the data was our focal point. Once we understood how outdated the publishing landscape was, we began to reinvent it by following the success of content creators. Bloggers, journalists, podcasters, YouTubers, chefs and artists who were creating content for a specific audience. We didn’t (and still don’t) care how large their audience was or even how engaged they were. We were more interested in their expertise in the field and their authentic relationship with their audience.

JBJ: What are the important services you have to pay for when running an independent publisher?

Hugo: Everything. Mitchell Kaplan of Books and Books loves to tell people, “If you want to make one million dollars selling books, start with two million dollars.” You won’t find many people in publishing that are in it for the money, regardless of how Hollywood likes to present it. Publishing, indie publishing, is a world filled with constant minor expenses, thin margins and incredible people. You can’t skimp on design, or editing, or printing or sustainability and expect to have a book that delivers on the promise their author made when announcing the book.

JBJ: Do you mind giving me a figure for a starting budget?

Hugo: It’s too vague to give a number because, at least for us, we build our list on every title carrying its weight. So they all get their financial support in the same capacity (in direct marketing, advertising, design costs, editing, etc.). P&Ls play a role in our commissioning process, but more than that, it’s the mission of the book, the authenticity of the author and the potential of the data.

JBJ: Would you especially recommend anyone or any website for the following services: legal, production, editing?

Hugo: No. Everyone’s purpose for those services is different, so there’s no way to outright recommend people or services in a general sense.

JBJ: What is Mango Publishing’s greatest challenge?

Hugo: Pre-pandemic I would have said time. Mainly time for commissioning. We have endless data helping us identify authors, categories, trends and more. Yet the time that goes into building the trust and relationship with your authors is incalculable and not something that can be skipped or ignored. In a post-covid world, print production is probably our biggest hurdle. Supply chain issues, paper shortages, sustainability limitations and limited warehouse workers all add chaos to a highly delicate system.

JBJ: What is the most rewarding aspect of what Mango Publishing does?

Hugo: Publishing under-represented voices from marginalized or ignored communities.

JBJ: You guys are listed as one of the top ten independent book publishers by NY Book Editors. What is the secret to your success?

Hugo: Getting unimaginably lucky with our hiring. Having the mission of reinventing publishing and publishing underrepresented authors is nice and all, but without the insane luck of the people we’ve been able to hire and work with buying into it, we would have folded up years ago.

JBJ: What steps would you recommend to an author who is submitting a query to you? What is the best way for a prospective author to get published at your publishing house?

Hugo: Know your audience. I don’t care if you have a massive platform with eight million subscribers or a new podcast with 3,000 downloads a month. Those are both fantastic and reaches we can work with, but in order for them to work, we need the author to understand their audience: who they are, why they follow them, what they’re looking for, and more.

JBJ: What are your plans for the future?

Hugo: Partner with incredible authors, design and print beautiful books and continue to push forward with the idea of borderless publishing.

For more information, check out Mango Publishing here.

Interview with Tannhauser Press – How to Start an Independent Book Publisher?

Recently I have been exploring the independent publishing world. In my last article, I talked with Space Squid about what is needed to start a fiction magazine. In this article, I have a discussion with Martin Wilsey, the founder of the Independent Book publisher, Tannhauser Press.

JBJ: Why was Tannhauser Press created?

MW: After self-publishing my first three novels, I learned a lot about publishing. I learned that books that used the free ISBNs were not likely to find their way into bookstores. This is combined with the fact that—to my great surprise—I had two #1 best sellers on Amazon. Soon I had an accountant, a lawyer, and an LLC taxed as an S-Corp. I started buying ISBNs 100 at a time, and all my books began to be published under the imprint Tannhauser Press with the associated ISBNs. I also began publishing ALL my books in Kindle, Paperback, Hardcover, and Audio editions.

JBJ: What inspired the name Tannhauser?

MW: Several things led to the name. There was a character in one of my novels named Tannhauser. It’s one of my favorite operas. And then there is the Blade Runner reference to the Tannhauser Gate. An LLC in Virginia requires a unique name as well. It was available. My Trademarked logo is a subtle nod to the opera.

JBJ: For other people who are interested in doing the same thing, what were the steps your publishing company took starting out?

MW: Pick a unique name. It will forever be associated with the ISBN of the books. Register the name so it can’t be used by others.

In Virginia, you can register names with the State Corporation Clerk’s Information System.

After registering a name, buy a pile of ISBNs under that name, then build a website.

JBJ: What are the important services you have to pay for when running an independent publisher?

MW: ISBNs if you are in the US. Get them via
Web hosting.

JBJ: Do you mind giving me a figure for a starting budget?

MW: Setting up the LLC was $250 (My lawyer did it. $50 annually). You can do it yourself for $50. 100 ISBNs = $575. Domain name ( varies depending on where you get it and for how long. $100 Web Hosting is $80 annually. (There are free options like Accounting software for expense tracking (I use QuickBooks $250). Please note: I also use an accountant to keep the books (optional $1200 annually).

JBJ: Would you especially recommend anyone or any website for the following services: legal, production, editing?

MW: I am reluctant to make these kinds of recommendations in general because everyone’s needs and budgets are very different.

JBJ: What is Tannhauser Press’s greatest challenge?

MW: Time. As an author primarily, it distracts from my own writing. As owner/operator I could easily do the publishing side full time.

JBJ: What is the most rewarding aspect of what you do?

MW: Helping other new authors. I had to figure out everything myself. I stepped on every landmine and made many mistakes that I can help new authors avoid.

JBJ: Are you able to get print books into bookstores? If so, how do you do that? Do you have other ways of selling your print books?

MW: Tannhauser press IS able to get books into bookstores. However, that is a big complicated topic, including returns, delayed payment terms, accepting purchase orders, and pricing. Tannhauser Press makes most bookstore and library sales via Please note that bookstore sales have the LOWEST profit margin unless the order volume is huge. I sell direct to readers signed copies, in person and via the web.

JBJ: What steps would you recommend to an author who is submitting a query to you? What is the best way for a prospective author to get published at your publisher?

MW: The best way is to write a book that doesn’t suck. Include Tannhauser in the developmental phases.

JBJ: What are your plans for the future?

MW: Continue at the present pace. Ten books or less annually. Expand to other genres beyond Sci-fi and Fantasy. Expand the audio edition practice.

Check out more from Tannhauser at their website: Click Here.

Related Article: Interview With Successful Self-Published Author – Martin Wilsey

Interview with Space Squid – How to Start a Fiction Magazine

Image Source

About ten years ago, there were six big publishers for books. Now there are five. And soon there may only be four. Combined with the competition introduced by self-publishing, it’s becoming increasingly difficult for authors to get traditionally published. This is on top of the supply problems introduced by Covid, and the fact that there was a massive exodus from the publishing industry back in March of 2022. About 1% of people in the publishing industry quit.

With all of these factors in play, some people are now more interested in creating their own independent platforms, or at least are interested in learning how they work.

I decided to interview some of the staff on various speculative fiction magazines along with indie publishers to see how that works. The first people I interviewed were the staff of the humor sci-fi magazine, Space Squid.

JBJ: Thank you so much for your help. Let’s say I started a free online blog—which I could hopefully to turn into a literary magazine or publisher later. Would I need to make a contract with the people submitting to the blog?

SS: I wouldn’t bother for blog entries. You might want to keep the email thread in which they agree to write for you; we’re a little more formal since we’re publishing stories.

JBJ: What inspired you to create an online magazine?

SS: We’re frustrated writers. Also there’s not a lot of spaces for funny scifi/speculative.

JBJ: For other people who are interested in doing the same thing, what were the steps you took starting out?

SS: Hmm… well we published on paper first, using some old photocopiers. That was more work than it was worth. Today we’d either go digital right away or send it to a printer for better quality and less hassle. We do publish one paper issue per year for

As frustrated writers, we know a lot of other frustrated or semi-successful writers, and some of them were willing to send us material for our first issues. We reached out to some local bookstores and got some shelf space that way. But really, we’re marginally successful and we just kept doing it and publishing stuff we liked.

JBJ: What kind of services do you have to pay for to run a literary magazine?

SS: When publishing digitally, not much. We run our own WordPress site on a shared server. So the main costs are 1) the server and domain, 2) payments to writers, 3) the annual paper issue, and 4) time. 3 and 4 are the most expensive.

JBJ: Do you mind giving me a figure for a starting budget?

SS: Hmmm… maybe $200/yr for a digital-only publication?

JBJ: Would you especially recommend anyone or any website for the following services: legal, production, editing.

SS: I think we wrote our own writer contract. It’s clear enough to stand up in court, and that’s all we care about. Editing is our responsibility and kind of the core competency we bring to the table. For webhosting, we like; shared hosting is less than $3/month. Use our referral code,!

JBJ: What was your greatest challenge?

SS: Just keeping it going. It’s a tough time for writers and publishers. There’s a lot of apathy and we don’t get the kind of readership we’d like. Reading submissions and editing stories takes a lot of time and love.

JBJ: What is the most rewarding aspect of what you do?

SS: We do have a few dedicated fans who love our stories and style, and some writers like yourself who understand what we like. Occasionally we get a bit of acclaim or press. And of course we get energy from great stories and publishing first-time or enthusiastic writers.

JBJ: Is there anything else you would recommend for those who are just starting out?

SS: It’s good to have a clear niche picked out — some angle that you can cover better than anyone else because of your skills or POV or because it’s under served. It also helps a ton to have at least one other person onboard who’s as motivated as you are.

JBJ: What are your plans for the future?

SS: We’ve got plans for a premium membership plan that will deliver a lot of fun, useful services to our dedicated readers and writers. It’s called Squid Plus and we’ve got high hopes for it.

JBJ: Great. Thanks for the interview. Have a great day.


Bob and Beastman’s Honeymoon

Downloading Brunch

Moon Knight’s Weakness – Astronomy Apps (Plot Hole in Episode 3)

Twitter is abuzz today with the news that a second season of Moon Knight is in the making.

Moon Knight director Mohamed Diab and Oscar Isaac are currently in Cairo. When asked by a fan if season 2 was happening, Oscar Isaac replied, “Why else would we be here? (Source)”


Overall the first season was a major success. Oscar Isaac was able to show off his remarkable acting talent by portraying two very different personalities: Tough guy American mercenary Marc Spector, and the meek, mild mannered, British gift shop cashier, Steven Grant.

The Disney+ action filled super hero story of Egyptian mythos and gods was very fun. I was definitely entertained.

However, my only hang up about the show was what happened in episode three of season one. Something so silly and ridiculous I wanted to throw a gold plated scarab at my TV.

Marc Spector is in Egypt trying to locate Ammit’s tomb, all while vying for control over his and Steven’s shared body. It’s critical for them to find Ammit’s tomb quickly, or else Arthur (the bad guy) will get there first, and resurrect a very dangerous goddess into the world.

However, in order to find Ammit’s tomb, the good guys need to know how the night sky looked one millennia earlier.

So what do they do?

Does Marc Spector or Layla download an astronomy app like SkySafari to see what the sky would’ve looked like a thousand years ago? The app costs $5.


Instead, Khonshu, Egyptian lord of the moon and vengeance, changes the ENTIRE freaking night sky! This is a move so controversial it gets him imprisoned in stone by the other gods.

And all he had to do was pay $5 for an app.

Oh well. Their version was more dramatic than mine. Script called for it I guess.


Moon Knight Season 1 Episode 3 Recap (The Ringer)

Moon Knight Is Returning for Season 2, Oscar Isaac Suggests in TikTok (CNET)

When is the Best Time to Send an Email?

(Image Source)

This is a question that many writers ponder, along with marketing teams.

Much of the advice for writers says, “Just send your query when you are ready. Don’t wait around.” To a degree that is true. Every literary agent is different.

But there are some times that are better for the general person than others. I checked out some findings from mass emailer websites about when people are most likely to open an email based on when you send it.

LEAST LIKELY TO GET CHECKED: Holidays and weekends.

MOST LIKELY TO GET CHECKED: Tuesday, Wednesday and Thursday. Late morning.

See more resources below:

Advice From Literary Agents

Best Time to Send to a Literary Agent? (Literary Agents)

Funny You Should Ask: What are the best times to query a literary agent? (Writers Digest)

Seven Submission Tips From a Literary Agent’s Slush Pile (Well Storied)

Studies on Emails

What’s the Best Time to Send Email? Here’s What the Data Says (2022) (Drip)

Perfect Timing: The Very Best Time to Send Email Newsletters (Wordstream)

What 14 Studies Say About The Best Time To Send Email (Coschedule)

The Best Time to Send an Email [Research] (Hubspot)