Today we talk to Izzy of Weasel Press to see what some of the challenges and pleasures are when producing furry content, especially with a more erotic or horror twist.
Tell us a little bit about yourself, and the publisher you are representing.
My name is Izzy, also known as Weasel. I’m an aspiring dildosmith, poet, gaymer, and the owner of Weasel Press and everything housed underneath it.
What is your favourite thing about the furry fandom?
I’m tempted to use the Marge Simpson meme of “I just think it’s neat!” But honestly there’s a lot of self-expression, whether it’s SFW or NSFW. That freedom to be able to discover yourself through your own character, through your friends, your art, etc – it’s very punk.
What made you decide to get involved with the furry publishing scene?
That’s a hard question. I’m mostly a publisher of poetry and horror. When I ventured into furry, I didn’t even know what I wanted to publish. Furry was becoming more a part of my life, so I figured it was time to venture in. I got some good experiences, some misses, it’s been an interesting ride to say the least.
What do you believe makes a good story?
Character. As people we’re so flawed at everything. As a writing, knowing how to exploit those flaws makes for some really good stories. You could have the most interesting world, or plot, but if you’re character is poorly written or even just mediocre, the rest will fall apart.
What are some of the biggest challenges with publishing in a relatively niche market?
Honestly, it’s money. I don’t want this to sound woe is me or some shit, but with lack of sales it makes it difficult for me to want to continue publishing in furry. I’m unemployed at the moment, so the press is on the tightest of rope.
What are some of the best parts of publishing furry books?
The best part of publishing for me is the formatting/layout design. I can do that all day, honestly.
What is the ideal writer to work with like?
I don’t have an ideal writer. I prefer to get a long with most folx, unless they’re problematic in some way. There are very few folx that I won’t work with.
Novels vs Anthologies. Which do you prefer working on, and how do they compare in terms of sales?
I love anthologies for the variety, but they’re a complete money pit. You can put in $500-$600 but make a few bucks back. Maybe others have more positive experiences, and I think that’s great. At this point in time, I can’t afford them.
What do you believe is the biggest misconception about the process of publishing, either specific to furry publishing or generally?
I generally try to lay out the process for folx when they reach out to Weasel Press. I’m not always on top of my game. Running an entire publishing house and being only 1 person doesn’t help either, lol! I think most folx believe publishing the book is a lot faster than it actually is. But aside from that, I don’t typically have issues with authors I work with.
It’s always said “don’t judge a book by its cover”, but just how important is cover art to the success of a book?
The whole design of your cover is important. You want good art, good typesetting/font design, good back cover descriptions and blurbs. If your book cover looks like shit, it may get meme attention, but it won’t help your book. If you need help with your cover, Fiverr is a good affordable resource.
Is there anything you would like to see more of in furry fiction?
More horror, but I think it’s slowly on the rise!
What has been your favourite book to work on recently? Why?
#ohmurr! Is always a treat to work on. Pulling together several communities, from furry to pup/pony/pet play, to toy and gear makers, it’s a place where folx can read a fun story, or learn something new, or maybe even just find a maker that has toys that work better for them. I’m happy to ride this train for as long as it lasts.
Tomorrow we return to one of our authors, who did a reading of her upcoming release at Oxfurred Comma. We hope you’ll come by again to see what she has to say.