Writers sometimes send manuscripts to an editor hoping the edit will “make it work.” But when the foundation of the story is cracked — weak character arcs, passive scenes, or conflict happening offstage — no amount of line editing can fix it. Editing refines what already works; it doesn’t rebuild the structure. Knowing the difference can save writers money, frustration, and a lot of misplaced hope.
The Once and Future Hearts hardcover Kickstarter closed at 660% funded. That number isn’t just exciting — it’s enabling. Because of our readers, we’re not just printing books. We’re creating beautiful, permanent editions meant to last for decades. This project didn’t run on ads or algorithms. It ran on trust, shared love of story, and people who wanted something meaningful to exist.
Ideas don’t arrive fully formed. They start as small, sideways questions — the kind that won’t leave you alone once they land. That’s where stories actually come from.
“Small press” gets used as shorthand for all sorts of assumptions — temporary, amateur, stepping stone. But size isn’t a synonym for casual. A real small press is a business with systems, strategy, and long-term intent. Here are five of the biggest myths people still get wrong — and what actually matters instead.
Dictation can capture the natural rhythm and momentum of storytelling—but spoken language doesn’t always translate cleanly to the page. Here’s why dictated manuscripts need a different editorial approach, and how careful editing preserves the author’s voice while shaping it into clear, compelling prose.
Some weeks, the stories don’t stall — they simply make room for other word-work. Editing, shaping, refining someone else’s manuscript is still time spent inside the craft. And when you finally return to your own blank page, you bring sharper instincts with you.
For years, I assumed my growing frustration with certain fantasy novels was a personal failing—shorter attention span, impatience, age. It turns out it wasn’t me at all. Fantasy has quietly split into two different kinds of books doing two very different things: story-first fiction and immersion-first fiction. Neither is wrong—but when you don’t know which one you’re reading, disappointment is almost guaranteed. This post is about naming that divide, understanding where it came from, and giving readers permission to stop blaming themselves when a “perfectly good” book just doesn’t work for them.
Everyone’s teaching authors how to spot scammers with lists of red flags and warning signs. But none of that works if your mindset is wrong. Because if part of you still wants the “easy way,” you’ll explain away every clue. Here’s why modern scams work — and the one shift that makes you almost impossible to fool.
Why do indie author books never show up on “Most Anticipated” lists? It’s not about quality—it’s about how the indie world works. From short release timelines to direct-to-reader communication, indie publishing plays a different game entirely. Here’s why that’s actually a very good thing for readers who love immersive series, creative freedom, and stories that don’t wait for marketing schedules.
Publishing evolves. Tools change. Platforms come and go.
But some things at Stories Rule Press are non-negotiable.
Story comes first. Readers are respected. Authors are partners.
We don’t chase trends, we don’t play games with urgency, and we don’t let algorithms decide what gets published.
We believe in thoughtful growth, careful attention, and direct relationships with the people who actually read the books.
Because if it doesn’t serve the story, the author, and the reader—we don’t do it.
