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polyrecsdaily_feedParty of Six, by Niobium. shrift: Food + team building: They wind up there, Tony thinks, because the red neon sign stands out in the gathering twilight.
otw_news_feedThe OTW Board will be holding its next public meeting from midnight to 1 a.m. UTC on July 20 (what time is that for me?).
This meeting will be held in the Board Discord server. The server will have a team of moderators, a set of rules (including question rules), and community guidelines. The server will remain open even after the meeting, but the channels for meeting and asking questions will be read-only. Board will be posting replies to questions that do not get addressed during the scheduled meeting two weeks after the meeting in the server’s #questions-answers channel.
The agenda will include:
Prior to this meeting, there is an opportunity to ask questions in advance to be answered as part of the meeting. This allows anyone who wishes to ask the Board questions, whether they will be able to attend the meeting live or not. (The Board will also accept questions during the meeting.)
Questions submitted to this Google Form will be accepted up to three days before the meeting begins or until 50 questions have been submitted. At that point, the form will be turned off. You need to be logged in to a Google account to submit a question. In the future, these rules may be amended to adjust as needed. Further information will be available in the OTW Board Discord server.
polyrecsdaily_feedGiven Name, by Azar. Nestra: A vampire and a crazy girl on Serenity.
otw_news_feedOpen Doors has nearly finished importing FictionAlley, a Harry Potter archive. With approximately 29,000 works imported so far, it is Open Doors’ largest import yet. You can check out all imported works at the FictionAlley collection. Unclaimed works are currently locked to logged-in AO3 users only, but per Open Doors’ agreement with the FictionAlley archivist, they will be unlocked 30 days after the import is fully completed.
All FictionAlley creators should have received one or more emails with links to claim, orphan, delete their works, or prevent the import of any additional works of theirs in the future. If you were a creator and did not receive this email, please contact Open Doors for assistance. You can also contact Open Doors if you would like to prevent future imports of your Harry Potter works specifically.
Open Doors has two other Harry Potter archives currently in their queue: HarryPotterFanFiction.com and MuggleNet Fan Fiction. If your email address has changed since you were a member of either archive, or you would like Open Doors not to import your works, please contact Open Doors. Please refer to the import announcements for a full list of how Open Doors can assist you with either import.
Accessibility, Design & Technology (AD&T) coordinated with Board and Volunteers & Recruiting to formally decommission the Quality Assurance & Testing (QA&T) subcommittee—thank you to everyone who has served on QA&T over the years. Quality assurance and testing of AO3’s code will continue under the oversight of AD&T’s new QA Supervisor role. AD&T’s latest releases have focused on various bug fixes, code clean-up, and monitoring improvements: check out the release notes. Also, Systems has installed some new Elasticsearch servers and repurposed the old ones as application servers! \o/
Open Doors announced the import of Absolution – The Inugrrrl Memorial, an InuYasha fanfiction memorial archive.
In May, Support received 3,177 tickets, while Policy & Abuse (PAC) received 3,763 tickets—a nearly 40% increase which is likely due to PAC’s recent TOS spotlight series. PAC worked with Legal and Communications’ News Post Moderation subcommittee to review over 1,700 comments across seven posts, with more than 400 comments receiving a reply. PAC will also be recruiting soon, so look out for the upcoming recruitment post!
In June, Tag Wrangling neared completion of phase two of three of their committee-wide guideline discussions on fandom metatags. They also launched a new procedure which streamlines creation of new “No Fandom” canonical tags, which are canonical tags not specific to any particular fandom. The committee plans to post announcements periodically detailing new tags, including one in a few weeks.
In May, Tag Wrangling handled over 610,000 tags, or over 1,200 tags per wrangling volunteer.
Fanlore’s Annual Bingo was a huge success! \o/ 25 participants completed at least one bingo, and 16 got a total blackout. Thanks to everyone who took part!
In July, Fanlore is running a themed month—Fandom in Color—which celebrates characters of color, the contributions of fans of color, and more! Check out their social media (Bluesky and Tumblr) for page spotlights throughout the month.
Communications is now overseeing the OTW’s Convention Outreach division, which was previously run by Development & Membership. If you have inquiries regarding OTW’s convention presence, Communications can be reached through their contact form on the OTW website.
TWC is finalizing their upcoming general issue of Transformative Works and Cultures, volume 46, which will be published on September 15. They are still accepting submissions for their Latin American Fandoms special issue until January 1, 2026.
Elections announced the 2025 Election candidates; this year’s election is contested, with three candidates running for two open seats in this year’s election. Their platforms are available on the Elections website. Communications has been coordinating public posts, while Translation is working on translating candidates’ platforms.
2025’s OTW Board Election will take place on August 15-18. OTW Members who plan to nominate a proxy should contact Elections by August 6. Specific dates for Q&A and Candidate Chats will be made available on the 2025 Election Timeline page.
Development & Membership has been checking membership for Board candidates and donors who want to vote in this year’s election, while Finance has begun preparing for the 2024 audit.
Board uploaded minutes from the April 2025 Board public meeting to the OTW website. They also approved two new Finance Bookkeepers, held check-in meetings with Legal and the Paid Staff Transition Lead, and continued to work with the Organizational Culture Roadmap Workgroup. The Board Assistants Team’s work also continues on several projects, including the Procurement Policy and Board Discord Server Guidelines revamp.
Volunteers & Recruiting conducted recruitment for two committees—Tag Wrangling and Support—and two subcommittees—News Post Moderation and Internal Complaint and Conflict Resolution—this month.
From May 19 to June 22, Volunteers & Recruiting received 147 new requests and completed 139, leaving them with 53 open requests (including induction and removal tasks listed below).
As of June 22, 2025, the OTW has 944 volunteers. \o/
New Committee Chairs/Leads: 2 Organizational Culture Roadmap Workgroup Heads
New AD&T Volunteers: 1 QA Supervisor
New Communications Volunteers: 2 Convention Specialists and 3 TikTok Moderators
New Communications News Post Moderation Volunteers: Mossie, Vihi, and 1 other News Post Moderator
New Fanlore Volunteers: 90PercentHuman, Hobgirl, Sparrow, and 1 other Policy & Admin Volunteer
New Finance Volunteers: Scott and 1 other Bookkeeper
New Open Doors Volunteers: Bette, devinwolfi, Kelpie, korry, November_Clouds, Pat Zarzecka, scattered_coreopsis, Starlings and 6 other Import Assistants
New Organizational Culture Roadmap Workgroup Volunteers: 1 Goal Supervisor; megidola and 1 other Volunteer
New Support Volunteers: 2 Chair Assistants
New Translation Volunteers: 1 Volunteer Manager; Adri Jaimes, Lia404, ttom1323, and 5 other Translators
New User Response Translation Volunteers: Felipe and friki (Translators)
Departing Committee Chairs/Leads: Nary (Support) and 2 QA&T Leads
Departing AD&T QA&T Volunteers: runt and 1 other QA&T Testing Volunteer
Departing AO3 Documentation Volunteers: Leja, Evolcahra, and 1 other Editor
Departing Communications Volunteers: 1 TikTok Lead
Departing Development & Membership Volunteers: 1 Convention Specialist
Departing Fanlore Volunteers: 1 Policy & Admin Volunteer
Departing Open Doors Volunteers: 2 Import Assistants and 1 Technical Volunteer
Departing Policy & Abuse Volunteers: 1 Volunteer
Departing Support Volunteers: Sandra 002 (Volunteer)
Departing Tag Wrangling Volunteers: ladydragona (Supervisor); Daniailís, MFY11EP, Barbara Thomas, and 3 other Volunteers
Departing Translation Volunteers: 1 Volunteer Manager; Mirjam, DaisyJane, DanielUL, and 6 other Translators
Departing Volunteers & Recruiting Volunteers: 1 Volunteer
For more information about our committees and their regular activities, you can refer to the committee pages on our website.
polyrecsdaily_feedThe Course by Bone and Aristide. Shrift: A fabulous, believable and hot post-CotW story with a mouth-watering Fraser. I mean…wow. Makes me want to send these two chocolate and beer.
polyrecsdaily_feedBackup, by thatbroadcast. shrift: “You know, if there is ever gonna be a dog who develops telekinesis, it’ll definitely be you, buddy. But today is not that day.”
thefatnutritionist_feedIn spring of 2022, I tried out a kick scooter my husband randomly brought home, and loved it, which got me thinking about riding a bike. I needed something to do in the spring and summer, when ice skating is much less available. Back in 2020, I’d bought myself a little three-speed steel retro bike, with fenders and a Dynamo hub and a front rack, but I was too busy and stressed to re-learn how to ride a bike at that point.
So once I finally had the bandwidth, I took my bike out into the quiet parking lot of a closed doctor’s clinic on a Sunday, practiced mounting and dismounting (using a curb), and slowly got myself riding on quiet streets and getting my balance back. Riding a bike as a fat adult felt quite different than it had as an average-sized kid, and it took a while to get my muscle memory back. But with patience and letting myself go slow, it did come back. With a vengeance.
I started riding that granny bike everywhere, as fast as possible, on gravel trails and in the forest, and eventually for 50 km one summer’s day. Then I thought, “I’m gonna need a faster bike.”
All of this, from buying skates and taking lessons, to buying a bike and then needing a better bike, was all wildly intimidating as a somewhat shy person, but also as a fat person. Going into sports-focused stores does not feel comfortable as a fat person. I feel lucky that no one gave me a hard time, but they easily could have, and it would have been very discouraging.
I forced myself to go to a couple of bike shops and test ride some bikes…and then I fell in love, predictably, with the ugliest and most expensive bike possible: a Salsa Warbird with a carbon frame in millennial gray. I was immediately repulsed by the colour when they pulled it off the rack, but when I rode it, I found myself whispering sweet nothings to it, telling it how smooth it was, how fast it was, and how much I loved it, even though it was far too expensive for me. I went home and sulked for a week, and my husband told me to go back and buy the Warbird, so I did.
It was still ugly, and I still loved it more than I have ever loved an object before. It was and continues to be the most expensive thing I have ever owned. I rode it a bunch in the late summer and fall of 2023, culminating in an 85 km trip.
The following spring, I got hit by a car (thankfully it was a very slow, ridiculous crash and I was only a bit bruised), and had to replace a bunch of parts on my bike (which thankfully the driver’s insurance paid for), as well as the frame, which is now a beautiful, glossy black instead of gray. So now I’m even more in love with it, and that’s what I was riding this morning, yet another roller coaster in my life.
I did not think all this would happen when I decided to accept myself as a fat person and stop dieting in November 2000. I just wanted to experience peace in my body, stop caring so much about how I looked, stop experiencing the intense shame that I’d been taught to feel about my weight, and the guilt and confusion around food that came with it. I had no idea I was an athlete; I had no desire to become one. But somehow, learning to treat myself and my body with compassion allowed me to learn things about myself that had been hidden for years, decades.
As it turns out, I’m a small-time thrill-seeker, a diver, a skater, a cyclist. I’m still fat. Hills are hard, but I descend like a beast.
polyrecsdaily_feedSelf-Defense, by Punk and Tiffany Rawlins. shrift: This story is for all of you out there who have a kink about Lex boxing. I know you’re out there, because I am one of you. Punk and Tiffany write fabulously anyway, but when they write fabulously about Lex and his heavy… Continue reading →
polyrecsdaily_feedOne More Cup of Coffee, by shrift. Nestra: A birthday story for me, from shrift, and it’s mine, all mine! Except I give everyone else permission to read it. Danny and Rusty make planning look sexy. Ice cream is an added bonus.
otw_news_feedEvery month or so the OTW will be doing a Q&A with one of its volunteers about their experiences in the organization. The posts express each volunteer’s personal views and do not necessarily reflect the views of the OTW or constitute OTW policy. Today’s post is with Rhine, who volunteers as a volunteer manager in the Translation Committee.
How does what you do as a volunteer fit into what the OTW does?
As a Translation volunteer manager I mostly deal with admin work that surrounds the work our translators do – be it talking to other committees about things that are to be translated, preparing English texts for translation, making sure our version of the text is up to date, or getting texts published once they are translated – along with more general personnel stuff like recruiting new translators, keeping a clear record of who is supposed to be working on what and who is on break, checking in with translators and how they feel about their work, that kind of thing. Having been in this role for some time now, I also help with mentoring newer volunteer managers in how to do what we do, at the scale we do it.
What is a typical week like for you as a volunteer?
There isn’t one singular stereotypical week in this role, but some different modes with different focuses that are more or less typical for me:
What made you decide to volunteer?
I actually started volunteering at the OTW as an AO3 tag wrangler back in 2020, when lockdowns were on the horizon and I felt like I could pick up some extra stuff to do. Growing up bilingual and with some extra languages under my belt, I ended up hanging out in some of the spaces with lots of OTW translators. Then I found out that I could internally apply as a Translation volunteer manager, and the rest is pretty much history. At that point I was missing the feeling of doing some volunteer management and admin work anyway!
What has been your biggest challenge doing work for the OTW?
On a high level, I’d say it’s striking a balance between the expectations and the reality of the work the Translation Committee does, including the sheer scale. On a more concrete level, it’s like this: Being a translator in the Translation Committee is, by default, a relatively low commitment, with a number of optional tasks and rosters that we encourage people to take on, if they have the time and attention to spare. Part of how we ensure that is by dealing with as much of the overhead in advance as we can, as Translation volunteer managers.
This means that for instance, when the English version of a text is updated – which may take about two minutes in the original text – we go through each language team’s copy of the text, make the changes as needed in the English copy, highlight what was changed, and reset the status in our internal task tracker so that it can be reassigned to a translator. This way the changed part is clearly visible to the translator, so they can quickly pinpoint what they need to do and make the corresponding changes in the translated text.
For both the author of the original English text and the translator, this is a very quick task. On the admin side, on the other hand, it’s the same two-minute process of updating our documents repeated over and over, about 15 times on the low end for frequent news post series that we only assign to teams that consistently have some buffer to absorb the extra workload, and almost 50 times on the high end for some of our staple static pages that (almost) all teams have worked on, meaning it’s something that takes somewhere between 30 minutes to almost two hours even when it’s a tiny change and you’re familiar with the workflow.
(And that’s before getting to very last-minute changes and emergency news post translations with less than two days’ turnaround time, where we manually track everything across around thirty teams, usually. Each time that has happened, everyone’s dedication has blown me away. Thank you so much to everyone who answers those calls, you know who you are!)
What fannish things do you like to do?
I like to read, especially if it’s something that plays around with worldbuilding or other things that were left unsaid in canon. I wish there were more hours in the day so that I can pick up some of my creative projects again. I suppose some of my coding projects like my AO3 userscripts and my AO3 Saved Filters bookmarklet also count as fannish?
Now that our volunteer’s said five things about what they do, it’s your turn to ask one more thing! Feel free to ask about their work in the comments. Or if you’d like, you can check out earlier Five Things posts.
The Organization for Transformative Works is the non-profit parent organization of multiple projects including Archive of Our Own, Fanlore, Open Doors, Transformative Works and Cultures, and OTW Legal Advocacy. We are a fan-run, entirely donor-supported organization staffed by volunteers. Find out more about us on our website.
polyrecsdaily_feedRed Beans and Rice, by Janissa11. shrift: Dean learns how to cook, because someone has to. Oh, Dean. (I spend most of my time in this fandom saying, “Oh, Dean.” And I love it.)
thefatnutritionist_feedIn 2018, I discovered I had a craving for INTENSITY. This was very curious and strange to me, though again, looking back to my childhood, there were signs. I was a somewhat cautious kid, but I also had some small-time adrenaline junkie energy. I loved roller coasters, I had dreams of racing go karts, I loved going fast on my bike, jumping high on a trampoline, or diving into swimming holes.
I spent most of 2018 just considering my options, without doing anything in particular. I thought about a trampoline gym, go kart racing, bowling, aerial silks or acrobatics, taking drum lessons…there were so many possibilities of things I could do to experience excitement and intensity. I took a trip to a local amusement park, but was not able to fit on the most interesting rides. I rode what I could (honestly, it was just a single ride, far too tame for my tastes) and walked around the rest of the day, feeling sad and disappointed. Instead of blaming myself or feeling intense shame about my body, I took it as a sign of what I wanted and craved. And I clearly wanted to do something exciting. I thought about what could give me that experience outside of an amusement park.
A few months later, a couple of (rad fat) friends invited me swimming at an indoor pool (as is rad fat tradition), and I went. I waded and floated around for a bit, then ended up climbing up the ladder and diving from a diving platform roughly a million times, in line with a bunch of hyperactive little kids. That night, I went home and slept like a baby.
Diving reminded me that I could still physically do the things I used to love as a kid, even now as a fat, nearly 40-year old adult. I started to think about what else I used to do as a kid, and that’s when it occurred to me: I used to love skating. I was even kind of good at it. But that was Oregon in the 80s, and it was roller skating. I now live in Toronto, in the 21st century, where there is very little roller skating, but an absolute glut of ice skating. I’d always watched figure skating on TV. I decided then and there to buy a pair of ice skates, since it was December, and to attempt ice skating.
I got the skates and went to a little outdoor ice rink that was completely empty, on a weekday morning, and tentatively stepped onto the ice, gripping a nearby fence for dear life. I stood up. I did a little penguin march, still holding the fence. I did not fall (yet.) My blades slid forward about one inch on the ice. It was the greatest feeling I’d ever felt, and I knew I was home.
I started taking skating lessons, and started skating five times a week, purely for fun. It was just like being on a roller coaster, maybe better. It’s now six and-a-half years later, and I’m a decently good skater. A baby-beginner figure skater, but a figure skater nonetheless. I do little spins and tiny hops on two feet. More importantly, I have something that gets me outdoors on cold winter mornings and reminds me that there is more to life than just anxiety or work or the news. I get to have communion with the little animal inside of me that wants to have fun, at least a little bit, every day.
I’m usually the only fat person present, and I don’t care. I’ve had people make fun of me for that, and I don’t care. I have joy, and I am free.
polyrecsdaily_feedthe ghost king’s bride, by arahir. shrift: Xie Lian is a god of scraps. He lives off expired offerings, sleeps in the street—nothing is unworthy of him. Nothing, though he might be unworthy of this. Hua Cheng has it backwards, but if Xie Lian is what he wants, he will… Continue reading →
crooked_timber_feedI’ve held off posting this in the hope of coming up with some kind of positive response, but I haven’t got one.
When I wrote back in November 2024 that Trump’s dictatorship was a fait accompi there was still plenty of room for people to disagree. But (with the exception of an announced state of emergency) it’s turned out far worse than I thought possible.
Opposition politicians and judges have been arrested for doing their jobs, and many more have been threatened. The limited resistance of the courts has been effectively halted by the Supreme Court’s decision ending nationwide injunctions. University leaders have been forced to comply or quit. The press has been cowed into submission by the threat of litigation or harm to corporate owners. Political assassinations are laughed about and will soon become routine. With the use of troops to suppress peaceful protests, and the open support of Trump and his followers, more deaths are inevitable, quite possibly on a scale not seen since the Civil War.
The idea that this process might be stopped by a free and fair election in 2026 or 2028 is absurdly optimistic. Unless age catches up with him, Trump will appoint himself as President for life, just as Xi and Putin have done.
None of this is, or at least ought to be, news. Yet the political implications are still being discussed in the familiar terms of US party politics: swing voters, the centre ground, mobilisation versus moderation, rehashes of the 2024 election and so on. Having given up hope, I have no interest in these debates. Instead, I want to consider the implications for the idea of democracy.
The starting point is the observation that around half of all US voters at the last three elections have supported a corrupt, incompetent, criminal racist and rapist, while another third or more of US citizens have failed to vote at all. And Trump’s support has not been diminished to any significant extent (if at all) by his actions since returning to power.
Any claims that might be made to exonerate Trump’s voters or mitigate the crime they have committed don’t stand up to scrutiny. The US did not face any kind of crisis that might justify such an extreme outcome (as, for example, Germany did in 1933). Unemployment was at historically low levels. The short-lived inflation resulting from the pandemic was well below the rates of the late 20th century, crime was far below those rates. And so on. The only real driving factor was the resentment and hatred felt by Trump’s voters for large groups of their compatriots.
One part of this is fear of immigrants, particularly but not exclusively, asylum seekers and other undocumented immigrants. But this fear has long been a winning issue for the political right, in many countries including Australia. It has not produced anything like the turn to dictatorship we have now seen in the US.
In this context what matters is not the marginal groups of swinging voters who have absorbed so much attention: the “left behind”, the “manosphere” and so on. It’s the fact that comfortably off, self-described “conservative”, white suburbanites, historically the core of the Republican base, have overwhelmingly voted for, and welcomed, the end of American democracy.
This is something that, as far as I can tell, is unprecedented in the history of modern democracy, and threatens the basic assumptions on which democracy is built. While the last 200 years of modern (partial or complete) democracy have seen plenty of demagoguery, authoritarian populism and so on, these have invariably been temporary eruptions rejected, relatively quickly, by an enduring democratic majority. The idea that a party that has been part of the constitutional fabric of a major democracy for more than 150 years, would abandon democracy and keep the support of its voters was inconceivable. That’s why so many have refused to admit it, even to themselves.
Nothing lasts forever, but there is no obvious way back from dictatorship for the US. Viewed in retrospect, the the Republican party was a deadly threat to US democracy from the moment of Trump’s nomination in 2016 and certainly after the 2021 insurrection.
With the benefit of hindsight, Biden might have declared a state of emergency immediately after the insurrection, arrested Trump, and expelled all the congressional Republicans who had voted to overturn the election. But this would itself have represented an admission that democratic norms had failed. It was far more comfortable to suppose that Trump had been an aberration and that those norms would prevail as they had done at previous moments of crisis. That is no longer possible.
As I siad, I’ve held off posting this in the hope of coming up with some kind of positive response, but I haven’t got one. The best I can put forward is that the US, founded on slavery, has never been able to escape its original sin, and is unique in that respect. Every country has its original sin and a dominant group with its racist core. But only in the US (so far) has that core secured unqualified majority support. The downfall of American democracy should serve as a warning. For conservative parties, flirting with fascism is a deal with the devil that must be avoided. For the left, the nostalgic appeal of the “white working class” (implicitly male and mostly old) should not tempt us into pandering to racist and misogynist reaction.
I don’t know whether that will be enough to save us. At least in Australia, Trumpism is political poison. But until we understand that Trumpism is not an aberration but the course Americans have chosen, we will not be able to free ourselves from our past allegiance to an idea which is now an illusion.
polyrecsdaily_feedVox, by Sophia Jirafe. Nestra: There’s a lot you can say on the phone that you can’t say in person.
otw_news_feedThe Policy & Abuse committee (PAC) is responsible for enforcing the AO3 Terms of Service (TOS). To help users better understand the TOS, we’re posting a weekly spotlight series about the TOS and our policies. We’ll also be reading comments and answering questions on this and our other spotlight posts.
For our last post in this series, we’ll be talking about our non-commercialization policy. AO3 doesn’t allow users to engage in commercial promotion of any type, which includes everything from paywalls to tip jars, and quite a lot in between. In this post, we’ll discuss why AO3 doesn’t allow commercialization, what kinds of activities are considered to be commercial promotion, and what to do if you see commercial promotion on AO3.
Please do not start searching for works to report after reading this post. We know that commercial promotion frequently appears on AO3. However, when people deliberately search for works to report, we end up getting a lot of duplicate tickets about works that have already been reported. Every ticket we receive is reviewed by a PAC volunteer, so we only need one report in order to investigate an issue. We know it seems like sites only respond to mass reports, but on AO3, duplicate and mass reports increase the time it takes our volunteers to investigate.
Commercial promotion covers all references or links to commercial sites, monetized features of non-commercial sites, and anything else that makes it clear someone is asking for or has received financial contributions.
On AO3, you can’t encourage anyone to give other people money, or talk about anyone having given people money in the past. This applies whether you are promoting yourself or a friend, or even if you’re collecting donations for other people or causes. If there is money changing hands, then it likely violates AO3’s TOS.
AO3 was created and is managed by the Organization for Transformative Works (OTW), a nonprofit organization committed to the defense and protection of fanworks from commercial exploitation and legal challenges. The OTW is entirely staffed by unpaid volunteers, and AO3 is itself entirely non-commercial. No one involved in AO3’s creation or management profits from it. The site is made available free of charge to all fans who wish to share their works with other fans and fan communities.
We understand that many people today choose to monetize their creative activities. However, in order to keep AO3 as the non-commercial space it was designed to be, users are not permitted to engage in any commercial activity on the site.
When you use AO3, you agree to follow our Terms of Service, which includes the non-commercialization policy. This applies to all parts of the site, whether you’re posting a work based on an existing source or creating content entirely original to you.
Real-world commercialization is banned everywhere on AO3. This includes:
It’s okay for fictional characters in fanworks to talk about fictional monetization. For example, it’s fine if a character has a fictional OnlyFans or Patreon within the story, as long as that commercial reference doesn’t direct the reader to a real-world OnlyFans or Patreon account for the work creator or anyone else.
There is a wide variety of things that are not allowed under AO3’s non-commercialization rules.
Links or references to any commercial site or service. A “commercial site” is any site whose primary purpose is to facilitate the transfer of money. This includes, but is not limited to:
Links or references to the monetized features of non-commercial sites. This covers any site that has features you can enable or opt-in to earn revenue, but the primary purpose of the site is social media, sharing artwork, or anything else that isn’t inherently payment-focused. This includes, but is not limited to:
Previews and other promotions for paid content. This covers situations like excerpts or teasers shared in an attempt to entice people to purchase a book or become a paying subscriber. It also includes references to paywalled or early-access content (e.g. “Patreon subscribers get the new chapter one week early before I post it on AO3”).
Advertising content or services involving an exchange of money, such as buying merchandise, collecting donations, offering paid commissions, or selling published works.
Any other language which one might interpret as requesting or having requested financial contributions, whether for yourself or others. This covers indirect references, euphemisms, or other language intended to get around the TOS. Some examples of this include:
Commercial activity is not permitted on AO3. It doesn’t matter if you’re promoting yourself or a friend, or even if you’re collecting donations for other people or causes.
This means that if you paid an artist to create artwork for your fanfic, you’re not allowed to mention that they have a Patreon or use any other language that suggests people should also commission or donate to them. If you like a book by a particular author, you are certainly welcome to gush about what a great book it is, but you can’t link to the Amazon page where it’s for sale or encourage others to buy it.
As mentioned above, a commercial site is a platform that is first and foremost intended to facilitate the exchange of money. For example, while you can use Ko-Fi as a blog, the site’s primary purpose is to encourage people to give each other money. Ko-Fi’s social features are secondary to its purpose as a donation and paid membership platform. This means you cannot link to or mention your or anyone else’s actual Ko-Fi on AO3 whatsoever.
An example of a non-commercial site that has monetization features is DeviantArt, an art gallery that is mainly intended as a place to share artworks. DeviantArt also allows its users to opt-in to additional monetization features, such as the DeviantArt Shop. Because DeviantArt’s paid features are both optional and not the primary reason people use the site, you can talk about or link to DeviantArt on AO3 – as long as you aren’t directing anyone to a paywalled post or referencing DeviantArt’s paid features in any way.
You’re allowed to link or mention social media like Tumblr or personal websites like WordPress, even if you sometimes post about commercial activities on those sites. However, you cannot reference commercial promotion on AO3 itself, nor may you link, mention, or give instructions for finding an account, page, or post that is solely promoting paid content.
Statements such as “Follow me on social media” or “Check out my Linktree” are fine. Directing people to an Amazon author page or to the Ko-fi link in your Twitter bio would not be allowed. This includes things like “Check out my Linktree to learn how you can support me” in cases where you are clearly referring to monetary support.
While you cannot promote, solicit, or otherwise ask for donations on AO3, you are allowed to add your work to a collection or otherwise briefly mention why you created a fanwork, as long as you do so in a non-commercial manner. This means you can say “This was created for [Event]” or “Originally Written for [Name of Person/Zine]” as long as you do not directly link to a donation page or ask others to donate to them.
Keep in mind we also do not permit mentions of monetary transactions, regardless of when they occurred. A note such as “This was a $100 bid for Fandom Trumps Hate” would still be considered commercialization.
You are allowed to gift your work to someone else or otherwise briefly mention why you created a fanwork, as long as you do so in a non-commercial manner. Because not all commissioned fanworks were created for pay, we do permit usage of the word “commission” as long as there is no indication that a monetary transaction was involved in the creation of the work or that you are available to create other paid commissions.
For example, phrasing like “This is a commission for X” is acceptable, but “Commission for my Gold Tier Patron, Julie” or “My client agreed to let me post the first chapter of their commission” isn’t. The context makes it clear that both “patron” and “client” are references to a paying sponsor.
As our TOS FAQ explains, we don’t review content until it’s reported to us. You may have seen somebody else mentioning their paywalled content or otherwise engaging in commercial activities on AO3, but that doesn’t mean that it’s allowed. All it means is that nobody has reported that content to us yet, or that we haven’t finished processing the report.
First, we’ll review the reported work to confirm that you violated our TOS by engaging in commercial activities on AO3. If we determine that you did, we’ll send you an email telling you to remove the violating material.
If your work can be edited to fix the issue, you’ll be asked to edit the work. Your work may be hidden from other users until you do. If you choose not to edit the work, or if your work cannot be edited into compliance with the TOS, it will be deleted.
PAC will only ever contact you by email, and only after we’ve determined that your work violates our Terms of Service. We will never comment on your work or contact you through social media. Please make sure to keep your account’s email address up to date and check it regularly (including your spam folder), or else you may miss our warning email.
If you repeatedly post works that violate our commercial promotion policies, you may be temporarily suspended. Continuing to violate the TOS will result in your being permanently banned from AO3. You can learn more about warnings and suspensions in our TOS FAQ.
You can give the creator a heads up by politely commenting on their work and linking to the TOS FAQ or this post. Alternatively, you can report the work to us.
The best way to deal with spam comments, commercial or otherwise, depends on whether the comments are from registered accounts or guests.
Although we ask that you do not deliberately seek out commercial promotion to report, if you come across commercial activity while browsing, you can report it using the Policy Questions & Abuse Reports form, which is linked at the bottom of every page on AO3.
Please don’t report more than one user at a time or submit multiple reports about the same user. When reporting multiple works by the same user, please submit only one report with links to each work you’re reporting, so that all information about that user is in the same place.
Please tell us exactly where in the work the commercialization is. The best way to do this is to give us a description or short quote that we can search for in order to immediately find the content. If you are reporting multiple works by the same creator, please group all the works into one report and provide this information for each work.
Link to the page you are reporting: https://archiveofourown.org/works/00000000
Brief summary of Terms of Service violation: Commercial promotion
Description of the content you are reporting:
This work by USERNAME advertises a ko-fi in the end notes of chapter 3.
If you are reporting additional works, please include all relevant links and other information in your report description:
Description of the content you are reporting:
This work by USERNAME advertises a ko-fi in the end notes of chapter 3.Some of their other works also contain commercial promotion:
https://archiveofourown.org/works/23456789 encourages readers to purchase their book on Amazon: “If you’re curious what else I’ve been working on or want to support me elsewhere, check out my new short story on Kindle Unlimited!”
https://archiveofourown.org/works/34567890 contains an embedded image with a Patreon watermark. Underneath, the sentence “If you want more like this, click here” takes you to their commissions price sheet.
You can add more details if you like, but this example provides the basic information we need:
You’ll receive an automatic email confirming that we received your report, and our volunteers will investigate when they get a chance. Please be patient and do not submit another report about the same work. While PAC investigates every report we receive, it can take several months for us to process a report, and not every report will receive a reply.
PAC follows a strict confidentiality policy. Therefore, while you are welcome to ask general questions in the comments of this post, we will not give information on specific cases, publicly rule on a work, or update you on the status of a report you have already submitted. Comments on this post that discuss specific works or users will be removed.
If you think you’ve found commercial promotion on AO3, or if you want to know whether a particular work contains commercial promotion, please report the work to us as described above. For more information, you can read our TOS FAQ on Commercial Promotion.
If you are still uncertain, you can comment below or submit a question through the Policy Questions & Abuse Reports form.
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