What we publish,
and what we don’t.

The whole premise. You can write anything in any genre, at any length, as bleak or as gentle as you like, and nobody will ask you to justify the subject.

Where the line is: It has to be yours. Reusing your own previously published work is fine and needs no permission from us — you own it. Reusing someone else's is the fastest way to lose an account, and it is checked.

Publishes, labelled with the source. Transformative work is a legitimate tradition and we are not going to pretend otherwise.

Where the line is: It comes down at a rights holder's valid request, and we will tell you when that happens rather than quietly unlisting it. Original characters in someone else's setting are safer than the reverse; a serial numbered to continue a living author's series is not.

Using a model to break a block, rename a character, or clean up grammar is a tool, and tools are your business. Say so in the description if a model wrote prose that stayed in.

Where the line is: Generated prose submitted as your own writing is refused, and it is refused as dishonesty rather than as a quality judgement. Review reads every word by hand; a shelf where that effort goes into unattributed machine output is a shelf that is lying to its readers about what it is.

Fiction is allowed to hurt. Nobody has to be redeemed, nothing has to mean anything, and the dog does not have to live. Label it and publish it.

Where the line is: Depicting cruelty is not endorsing it. The line is instruction and incitement, in section 06 — not darkness, and not discomfort.

Written about seriously, at any length, from inside the experience if that is the book. Labelled separately from everything else, because a reader avoiding one of these should not have to give up the rest of the catalogue.

Where the line is: Work depicting suicide or self-harm carries support resources at the end — we add them if you have not. Method detail written so that it functions as instruction is removed, and that is the only edit review makes to a text without asking.

A racist character may be racist on the page, in their own words, without a narrator arriving to correct them. Historical settings may be as ugly as they were.

Where the line is: The question is whose position it is. A book that understands what it is depicting publishes with a label. A book whose own argument is that a group of people are less than human does not, and that is a hard line in section 06.

Children exist in fiction, because they exist. They can be protagonists, they can be in danger, they can die. A book about childhood is not a suspicious object.

Where the line is: They are never in sexual content, in any framing, at any remove. That is the first hard line and it has no edge to find.

Write your position. Write against ours. Nothing on this page is a viewpoint test, and no work has ever been refused here for being uncomfortable to the people who run it.

Where the line is: Argument is fine; the hard lines in section 06 are not viewpoints, they are conduct.

Chapters that are advertisements, keyword pages, affiliate funnels, crypto pitches, and serials that stop to route readers somewhere they can be charged.

Where the line is: Linking your own newsletter, shop or tip jar in your profile is fine and always will be. The line is a work that is not a work.

Politicians, executives, the famous. Criticism, satire, caricature and outright contempt are all long-standing uses of fiction and all publish.

Where the line is: Fabricated crimes and fabricated statements presented as fact are defamation rather than satire, and they come down. If a reasonable reader could take it for reporting, it needs to stop looking like reporting.

Write about the war, the crash, the trial. Historical and recent both. Fiction is one of the few things that processes these properly.

Where the line is: Identifiable victims are people with families who read. Using a real named victim's suffering as the engine of a story needs a reason beyond wanting the charge of it, and using it as erotic material is refused outright in section 06.

Memoir, autofiction and settling scores in print are all legitimate and all published widely. You are responsible for what you publish about a private person.

Where the line is: Change what identifies them, or be prepared to stand behind it. A complaint from someone recognisably depicted is taken seriously, and details that let a reader locate them are removed on sight.

Writing under another author's name, implying an endorsement that does not exist, or presenting a work as the continuation of someone else's series with their blessing.

Where the line is: Pen names are fine and encouraged. The line is a pen name chosen to be mistaken for a specific real writer.

Comments and ratings are for honest reactions, including harsh ones. A one-star rating with a reason is criticism working correctly, and no writer is owed a kind review.

Where the line is: About the book, not the person who wrote it. The difference is not subtle and reviewers do not find it hard to see.

Following someone across works to attack them, coordinating pile-ons, sexual comments about another user, threats of any kind, and contacting someone who has asked you to stop.

Where the line is: This applies to writers going after commenters exactly as it applies to commenters going after writers. Being the author of the work does not come with jurisdiction over its readers.

Rating rings, alternate accounts voting on your own work, mass down-rating a rival, or inflating reading time to move a title up a shelf.

Where the line is: Statistics that describe a group are the only reason statistics are shown at all. Manufacture them and they describe nothing, so the ratings are removed and the account is actioned.

Multiple pen names on one account are fine. Multiple accounts to look like more people than you are, or to return after a suspension, are not.

Where the line is: If you have a reason for a second account — a wholly separate body of work under a different name — ask first and it is usually fine.

Any orientation, any configuration, any level of detail up to the fifth band. Consensual, and written as consensual — the characters want to be there and the prose knows it.

Where the line is: Every character in a sexual scene is unambiguously an adult. Not implied, not inferable — unambiguous on the page.

Including pain, restraint, humiliation and dominance, where consent is established in the fiction and holds through the scene.

Where the line is: Consent is depicted, not assumed. A scene that opens mid-act is fine; a scene where consent is never established anywhere in the work is not.

Fiction is allowed to go to bad places. Coercion, pressure and assault can be written about seriously — as harm, with weight, from any point of view including the perpetrator's.

Where the line is: The difference is whether the work presents it as harm or as an aspiration. Written to be arousing on the strength of the victim's non-consent, it is refused. This is the judgement call reviewers make most often, and the one they will explain at length if asked.

All of it publishes. None of it needs to be moralised about by the narrative, and none of it needs a redemptive ending.

Where the line is: Age-gap means two adults. Any framing that leans on one of them reading as a child is refused under the first hard line below.

Not in every paragraph, and not as a contract read aloud. Somewhere in the work it has to be legible that the people in the scene chose to be there — before it, during it, or in how they are with each other afterwards.

Where the line is: A scene opening mid-act is fine. A refusal that is overridden and then enjoyed is the case reviewers look hardest at: written as a scene the characters negotiated, it publishes with the consensual non-consent label; written so that the refusal itself is the appeal and nothing in the work knows that, it is refused.

In sexual content, at every band, described in whatever language the characters use for themselves. This needs saying because plenty of places make it conditional, and here it is not.

Where the line is: The body is not the plot twist. Work whose sexual charge is a character's body being discovered or revealed against their will is refused — the same rule as any other non-consent framing, and it is the form of it we see most.

The long tail of it, from the commonplace to the very specific. All of it publishes at the appropriate band with a label, and none of it has to be justified to a reviewer.

Where the line is: Label it specifically rather than hiding it under a general one. Someone is looking for exactly this, and someone else is avoiding exactly this, and both of them are badly served by vagueness.

Monsters, aliens, shapeshifters, anthropomorphic characters. A long tradition, and it publishes.

Where the line is: Two conditions, both absolute. The character reads as an adult person rather than as a child, and reads as a person rather than as an animal. A dragon who thinks, speaks and chooses is a character; a wolf is a wolf however the scene is framed, and that is a hard line in section 06.

Impact, marking, and the sharper end of negotiated play. Depicted at any band where the fiction establishes it as chosen.

Where the line is: The ceiling is the fifth band, and it applies here as everywhere: permanent mutilation or death as the sexual payoff is not a band-six work, it is a refused one.

Violence, substance use, self-harm, suicide, abuse and the rest carry their own labels, on the 18+ shelf exactly as on the main catalogue.

Where the line is: Set out in section 01 and listed in section 08. A reader who came for one thing and is avoiding another should not have to choose between them.

Drawn work may depict nudity, masturbation and sex, at the same bands and with the same labels as the text. Illustration is not held to a lower ceiling than prose — a book is a book.

Where the line is: It has to be yours. You drew it, or you hold written permission from whoever did and can produce it. Traced work, redrawn work, and anything routed through a generator trained to imitate a named artist are all refused as the same failure. Photographic and photo-real depiction of sex is not published in any form.

A cover may carry nudity — a figure, a body, the human form treated as an illustrator would treat it. Plenty of the best work on the shelf has exactly that.

Where the line is: Covers are held to a stricter standard than interiors, and the reason is structural rather than prudish: a cover is seen before anyone has opted in to anything. It appears in rails, in saved lists, on a phone on a train. So depicted sex acts, genitals as the subject, and anything that reads as an advertisement rather than as a book do not go on the front. Inside the book, all of it may.