SO HERE IS THE WHOLE STORY (SO FAR).

I am on my knees begging you to reblog this post and to stop reblogging the original ones I sent out yesterday. This is the complete account with all the most recent info; the other one is just sending people down senselessly panicked avenues that no longer lead anywhere.

IN SHORT

Cliff Weitzman, CEO of Speechify and (aspiring?) voice actor, used AI to scrape thousands of popular, finished works off AO3 to list them on his own for-profit website and in his attached app. He did this without getting any kind of permission from the authors of said work or informing AO3. Obviously.

When fandom at large was made aware of his theft and started pushing back, Weitzman issued a non-apology on the original social media posts—using

his dyslexia;

his intent to implement a tip-system for the plagiarized authors; and

a sudden willingness to take down the work of every author who saw my original social media posts and emailed him individually with a ‘valid’ claim,

as reasons we should allow him to continue monetizing fanwork for his own financial gain.

When we less-than-kindly refused, he took down his ‘apologies’ as well as his website (allegedly—it’s possible that our complaints to his web host, the deluge of emails he received or the unanticipated traffic brought it down, since there wasn’t any sort of official statement made about it), and when it came back up several hours later, all of the work formerly listed in the fan fiction category was no longer there.

THE TAKEAWAYS

1. Cliff Weitzman (aka Ofek Weitzman) is a scumbag with no qualms about taking fanwork without permission, feeding it to AI and monetizing it for his own financial gain;

2. Fandom can really get things done when it wants to, and

3. Our fanworks appear to be hidden, but they’re NOT DELETED from Weitzman’s servers, and independently published, original works are still listed without the authors' permission. We need to hold this man responsible for his theft, keep an eye on both his current and future endeavors, and take action immediately when he crosses the line again.

THE TIMELINE, THE DETAILS, THE SCREENSHOTS (behind the cut)

Sunday night, December 22nd 2024, I noticed an influx in visitors to my fic You & Me & Holiday Wine. When I searched the title online, hoping to find out where they came from, a new listing popped up (third one down, no less):

This listing is still up today, by the way, though now when you follow the link to word-stream, it just brings you to the main site. (Also, to be clear, this was not the cause for the influx of traffic to my fic; word-stream did not link back to the original work anywhere.)

I followed the link to word-stream, where to my horror Y&M&HW was listed in its entirety—though, beyond the first half of the first chapter, behind a paywall—along with a link promising to take me—through an app downloadable on the Apple Store—to an AI-narrated audiobook version. When I searched word-stream itself for my ao3 handle I found both of my multi-chapter fics were listed this way:

Because the tags on my fics (which included genres* and characters, but never the original IPs**) weren’t working, I put ‘Kara Danvers’ into the search bar and discovered that many more supercorp fics (Supergirl TV fandom, Kara Danvers/Lena Luthor pairing) were listed.

I went looking online for any mention of word-stream and AI plagiarism (the covers—as well as the ridiculously inflated number of reviews and ratings—made it immediately obvious that AI fuckery was involved), but found almost nothing: only one single Reddit post had been made, and it received (at that time) only a handful of upvotes and no advice.

I decided to make a tumblr post to bring the supercorp fandom up to speed about the theft. I draw as well as write for fandom and I’ve only ever had to deal with art theft—which has a clear set of steps to take depending on where said art was reposted—and I was at a loss regarding where to start in this situation.

After my post went up I remembered Project Copy Knight, which is worth commending for the work they’ve done to get fic stolen from AO3 taken down from monetized AI 'audiobook’ YouTube accounts. I reached out to @echoekhi, asking if they’d heard of this site and whether they could advise me on how to get our works taken down.

While waiting for a reply I looked into Copy Knight’s methods and decided to contact OTW’s legal department:

And then I went to bed.

By morning, tumblr friends @makicarn and @fazedlight as well as a very helpful tumblr anon had seen my post and done some very productive sleuthing:

@echoekhi had also gotten back to me, advising me, as expected, to contact the OTW. So I decided to sit tight until I got a response from them.

That response came only an hour or so later:

Which was 100% understandable, but still disappointing—I doubted a handful of individual takedown requests would accomplish much, and I wasn’t eager to share my given name and personal information with Cliff Weitzman himself, which is unavoidable if you want to file a DMCA.

I decided to take it to Reddit, hoping it would gain traction in the wider fanfic community, considering so many fandoms were affected. My Reddit posts (with the updates at the bottom as they were emerging) can be found here and here.

A helpful Reddit user posted a guide on how users could go about filing a DMCA against word-stream here (to wobbly-at-best results)

A different helpful Reddit user signed up to access insight into word-streams pricing. Comment is here.

Smells unbelievably scammy, right? In addition to those audacious prices—though in all fairness any amount of money would be audacious considering every work listed is accessible elsewhere for free—my dyscalculia is screaming silently at the sight of that completely unnecessary amount of intentionally obscured numbers.

Speaking of which! As soon as the post on r/AO3—and, as a result, my original tumblr post—began taking off properly, sometime around 1 pm, jumpscare! A notification that a tumblr account named @cliffweitzman had commented on my post, and I got a bit mad about the gist of his message :

Fortunately he caught plenty of flack in the comments from other users (truly you should check out the comment section, it is extremely gratifying and people are making tremendously good points), in response to which, of course, he first tried to both reiterate and renegotiate his point in a second, longer comment (which I didn’t screenshot in time so I’m sorry for the crappy notification email formatting):

which he then proceeded to also post to Reddit (this is another Reddit user’s screenshot, I didn’t see it at all, the notifications were moving too fast for me to follow by then)

... where he got a roughly equal amount of righteously furious replies. (Check downthread, they're still there, all the way at the bottom.)

After which Cliff went ahead & deleted his messages altogether.

It’s not entirely clear whether his account was suspended by Reddit soon after or whether he deleted it himself, but considering his tumblr account is still intact, I assume it’s the former. He made a handful of sock puppet accounts to play around with for a while, both on Reddit and Tumblr, only one of which I have a screenshot of, but since they all say roughly the same thing, you’re not missing much:

And then word-stream started throwing a DNS error.

That lasted for a good number of hours, which was unfortunately right around the time that a lot of authors first heard about the situation and started asking me individually how to find out whether their work was stolen too. I do not have that information and I am unclear on the perimeters Weitzman set for his AI scraper, so this is all conjecture: it LOOKS like the fics that were lifted had three things in common:

They were completed works;

They had over several thousand kudos on AO3; and

They were written by authors who had actively posted or updated work over the past year.

If anyone knows more about these perimeters or has info that counters my observation, please let me know!

I finally thought to check/alert evil Twitter during this time, and found out that the news was doing the rounds there already. I made a quick thread summarizing everything that had happened just in case. You can find it here.

I went to Bluesky too, where fandom was doing all the heavy lifting for me already, so I just reskeeted, as you do, and carried on.

Sometime in the very early evening, word-stream went back up—but the fan fiction category was nowhere to be seen. Tentative joy and celebration!***

That’s when several users—the ones who had signed up for accounts to gain intel and had accessed their own fics that way—reported that their work could still be accessed through their history. Relevant Reddit post here.

Sooo—

We’re obviously not done. The fanwork that was stolen by Weitzman may be inaccessible through his website right now, but they aren’t actually gone. And the fact that Weitzman wasn’t willing to get rid of them altogether means he still has plans for them.

This was my final edit on my Reddit post before turning off notifications, and it's pretty much where my head will be at for at least the foreseeable future:

Please feel free to add info in the comments, make your own posts, take whatever action you want to take to protect your work. I only beg you—seriously, I’m on my knees here—to not give up like I saw a handful of people express the urge to do. Keep sharing your creative work and remain vigilant and stay active to make sure we can continue to do so freely. Visit your favorite fics, and the ones you’ve kept in your ‘marked for later’ lists but never made time to read, and leave kudos, leave comments, support your fandom creatives, celebrate podficcers and support AO3. We created this place and it’s our responsibility to keep it alive and thriving for as long as we possibly can.

Also FUCK generative AI. It has NO place in fandom spaces.

THE 'SMALL' PRINT (some of it in all caps):

*Weitzman knew what he was doing and can NOT claim ignorance. One, it’s pretty basic kindergarten stuff that you don’t steal some other kid’s art project and present it as your own only to act surprised when they protest and then tell the victim that they should have told you sooner that they didn’t want their project stolen. And two, he was very careful never to list the IPs these fanworks were based on, so it’s clear he was at least familiar enough with the legalities to not get himself in hot water with corporate lawyers. Fucking over fans, though, he figured he could get away with that.

**A note about the AI that Weitzman used to steal our work: it’s even greasier than it looks at first glance. It’s not just the method he used to lift works off AO3 and then regurgitate onto his own website and app. Looking beyond the untold horrors of his AI-generated cover ‘art’, in many cases these covers attempt to depict something from the fics in question that can’t be gleaned from their summaries alone. In addition, my fics (and I assume the others, as well) were listed with generated genres; tags that did not appear anywhere in or on my fic on AO3 and were sometimes scarily accurate and sometimes way off the mark. I remember You & Me & Holiday Wine had ‘found family’ (100% correct, but not tagged by me as such) and I believe The Shape of Soup was listed as, among others, ‘enemies to friends to lovers’ and ‘love triangle’ (both wildly inaccurate). Even worse, not all the fic listed (as authors on Reddit pointed out) came with their original summaries at all. Often the entire summary was AI-generated. All of these things make it very clear that it was an all-encompassing scrape—not only were our fics stolen, they were also fed word-for-word into the AI Weitzman used and then analyzed to suit Weitzman’s needs. This means our work was literally fed to this AI to basically do with whatever its other users want, including (one assumes) text generation.

***Fan fiction appears to have been made (largely) inaccessible on word-stream at this time, but I’m hearing from several authors that their original, independently published work, which is listed at places like Kindle Unlimited, DOES still appear in word-stream’s search engine. This obviously hurts writers, especially independent ones, who depend on these works for income and, as a rule, don’t have a huge budget or a legal team with oceans of time to fight these battles for them. If you consider yourself an author in the broader sense, beyond merely existing online as a fandom author, beyond concerns that your own work is immediately at risk, DO NOT STOP MAKING NOISE ABOUT THIS.

Again, please, please PLEASE reblog this post instead of the one I sent originally. All the information is here, and it's driving me nuts to see the old ones are still passed around, sending people on wild goose chases.

Thank you all so much.

Gadge authors

Here’s an ongoing list of authors who have written Gadge with links to their accounts. We’ve tried to include authors from Tumblr, Archive Of Our Own, and Fanfiction.net.

Listed alphabetically:

andinify (ffn: andinify)

ffn: anonstalker [Indonesian]

aquarpisc (ffn: aquarpisc, ao3: aquarpisc)

ffn: averyge

belle453 (ffn: belle453)

ao3: BinkyRinnie

ffn: Blueberrychills94, ao3: Blueberrychills94

ffn: Canidae

ffn: Can’tBreatheIfYourNotHere

catreadsbooks (ffn: Catreadsbooks)

coeurseul

combatpragmatist (ffn: andeemae)

ffn: cutemara

d3ndroica (ffn: dendroica)

damndonnergirls (ffn: DamnDonnerGirls)

departmentofgadge (ffn: solaryllis)

ffn: Dis-Appearing-Writer

ffn: District 12 and Dauntless

dorsalfinnick (ffn: hakanaii, ao3: hakanaii)

ffn: Ellenka

estrunkgal (ffn: EStrunk)

ao3: ETNRL4L

faithlehanez (ffn: emptyvessels, ao3: emptyvessels)

feministpeeta (ffn: arollercoasterthatonlygoesup, ao3: arollercoasterthatonlygoesup)

finnickodone

ffn: ForeverEverdeen

fortunefaded2012 (ffn: FortuneFaded2012, ao3: FortuneFaded2012)

ffn: Funkypurplerhino

flying-carpet (ao3: flyingcarpet)

ffn: Flyza

ffn: guiltyformysins

ffn: Hawkins437

hawthornewhisperer

hawtsee (ffn: hawtsee)

ffn: Hel-T [Spanish]

ffn: Hibari-sempai [Spanish]

ffn: HoeLittleDuck [Spanish]

ffn: iAnka

ffn: iheartliamhemsworth

ffn: ILoVeWicked

ffn: ilovenutella99

ffn: IsForWinners

jahannamason (ffn: Person456)

juniorstarcatcherfiction (ffn: juniorstarcatcher)

kattomas (ffn: kattomas)

ffn: kismet4891

ffn: krola [Spanish]

lightning5 (ao3: Lightning5)

lluniwrgeiriau (ffn: Lluniwr Geiriau)

ffn: Lottielue1

madgesundersee (ffn: jennycaakes, ao3: jennycaakes)

madgundersee / miserellawrites (ffn: miserella, ao3: miserella)

ffn: Medea Smyke

melika-elena (ffn: Melika Elena, ao3: MelikaElena)

mereditheo (ao3: butmostlymeo)

ffn: MockingCody

mockingjayflyingfree (ffn: MockingJayFlyingFree, ao3: MockingJayFlyingFree)

ffn: MoonNRoses

ao3: MTK4FUN

nursekelly0429 (ffn: NurseKelly)

queen-of-the-wallflowers15 (ffn: Queen of the Wallflowers)

ffn: qunnyv19 [Indonesian]

ffn: RoryFaller

radcherishiseve (ffn: radcherishiseve)

@rumaan, ffn: Rumaan, ao3: Rumaan

shansey21 (ffn: Shansey21)

shewhodraws (ffn: GraphiteGirl)

sohypothetically (ao3: sohypothetically, ffn: sohypothetically)

soldierundersee (ffn: soldierundersee)

spadekingsr (ffn: yoonyurrr)

ffn: stella brillare

ffn: SrpiaEahn

ffn: Starrygirlb

ffn: Super V

ffn: Sweet.dreams.86 [Spanish]

swishywillow (ffn: swishywillowwand, ao3: swishywillow)

ao3: The Fountian Pen

ffn: Thoughts of a Fangirl

ffn: through-the-eye-of-a-needle

to-be-strongx (ffn: MissyFretser123)

twilightnicolas (ffn: sngsngsryrslp)

ffn: UrbanLegend645

ffn: ViiickyHerrera [Spanish]

writingsofaseventeenyearold (ffn: Fangirlindenial17)

Latest updates (new authors, new pseudonyms, etc.) are in bold. Last updated May 13, 2015. If we missed any, let us know!

159 notes View Post

ireadfanfictionstuff

1 month ago

REALLL

(fuck i can't even say real without it being a hunger games reference)

okay i finished sotr already. that shit was life-ruining. suzanne collins is a genius and i am forever indebted to her. i think i need to read it again.

The Fortune-Teller does not deserve the hate it has received. It's actually a great episode that people misunderstand. Let me explain.

Kataangers love the episode for it says Katara is destined to be with Aang. Zutarians hate the episode for this reason along with forcing Katara into a pigeon hole. I stand between these warring tribes and say that they are both wrong.

To be clear, I am a Zutarian. If we would've had a Book 4 like the head writer had intended, this episode would've been integral for that book.

"But the 3-act story structure!" some may argue. A 3-act story structure is just a 4-act story structure in disguise.

Anyways, let's continue.

The destiny that Aunt Wu foretells does not give names and is vague in nature. She tells Katara that she is to be married to a powerful bender. She didn't say the most powerful nor did she say bender of all four elements. One doesn't have to be the Avatar to be a powerful bender.

Come Aang's fortune, she foretold of a great battle between good and evil that will determine the fate of the world. We immediately think of Aang battling Firelord Ozai to end the 100 year war. However, this fortune is vague and could foretell another battle after Ozai has fallen.

When Aunt Wu learns that Aang wants to learn about his future about love, she cheers him up by giving him a vague, seemingly harmless white lie to satisfy him. "Follow your heart and you will be with the one you love." Since Aang is 12, he can easily misconstrue infatuation for love.

I believe The Fortune-Teller is a giant red herring that many people in both Zutara and Kataang sectors have fallen for. But wait, what is a red herring?

In literature, a red herring is a device to throw the characters and the audience off the scent of future events. It's meant to distract and deceive.

At the end of The Fortune-Teller, Katara believes she is destined to be with Aang and Aang believes it as well. Throughout the remainder of the series, Katara's emotional bond with Aang is challenged. Then by The Ember Island Players, Katara is confused, unsure about her feelings, unsure about her destiny.

What other character struggled with his perception of his destiny?

For the majority of the series, Zuko falsely believed that his destiny was to hunt down the Avatar and regain his honor. We know that this destiny was forced upon him by his father, Ozai.

But as Iroh has said, "Destiny is a funny thing." Iroh had believed he would have been in Ba Sing Se as a conqueror but instead, he had liberated Ba Sing Se from Fire Nation occupation.

Zuko had turned against his father and his supposed destiny and set out to aid the Avatar instead. After this, Zuko's new belief is that it is his destiny to help Aang in defeating Ozai instead. Truly, destiny is funny that way.

But why is this only applied to Zuko? Why isn't this the same message given to Katara's arc? Is she truly destined to be with Aang and she cannot fight against this fate? Is this strong female character destined to be reduced to servitude?

The same girl that inspired imprisoned earthbenders to fight back? The same girl that fought against gender roles in her own culture? The same girl that didn't give into despair and led her crew out of the desert? The same girl that aided in healing a Fire Nation village? The same girl that rose above her mentor and used bloodbending to save her loved ones? The same girl that went toe to toe with Azula and won?

I SAY NAY!

Imagine, if you will, what Katara's continued arc could've been like in Book 4. Katara would've defied the destiny that was forced upon her and determined her destiny for herself. But in the end, destiny is a funny thing for this action only plays into fate. Zuko is a powerful bender after all. 👀

Now, I must depart before I give too many spoilers for my writing. Fare thee well, until we meet again!

223 notes View Post

ireadfanfictionstuff

4 months ago

Katara's Story Is A Tragedy and It's Not An Accident

I was a teenaged girl when Avatar: The Last Airbender aired on Nickelodeon—the group that the show’s creators unintentionally hit while they were aiming for the younger, maler demographic. Nevermind that we’re the reason the show’s popularity caught fire and has endured for two decades; we weren’t the audience Mike and Bryan wanted. And by golly, were they going to make sure we knew it. They’ve been making sure we know it with every snide comment and addendum they’ve made to the story for the last twenty years.

For many of us girls who were raised in the nineties and aughts, Katara was a breath of fresh air—a rare opportunity in a media market saturated with boys having grand adventures to see a young woman having her own adventure and expressing the same fears and frustrations we were often made to feel.

We were told that we could be anything we wanted to be. That we were strong and smart and brimming with potential. That we were just as capable as the boys. That we were our brothers’ equals. But we were also told to wash dishes and fold laundry and tidy around the house while our brothers played outside. We were ignored when our male classmates picked teams for kickball and told to go play with the girls on the swings—the same girls we were taught to deride if we wanted to be taken seriously. We were lectured for the same immaturity that was expected of boys our age and older, and we were told to do better while also being told, “Boys will be boys.” Despite all the platitudes about equality and power, we saw our mothers straining under the weight of carrying both full-time careers and unequally divided family responsibilities. We sensed that we were being groomed for the same future.

And we saw ourselves in Katara.

Katara begins as a parentified teenaged girl: forced to take on responsibility for the daily care of people around her—including male figures who are capable of looking after themselves but are allowed to be immature enough to foist such labor onto her. She does thankless work for people who take her contributions for granted. She’s belittled by people who love her, but don’t understand her. She’s isolated from the world and denied opportunities to improve her talents. She's told what emotions she's allowed to feel and when to feel them. In essence, she was living our real-world fear: being trapped in someone else’s narrow, stultifying definition of femininity and motherhood.

Then we watched Katara go through an incredible journey of self-determination and empowerment. Katara goes from being a powerless, fearful victim to being a protector, healer, advocate, and liberator to others who can’t do those things for themselves (a much truer and more fulfilling definition of nurturing and motherhood). It’s necessary in Katara’s growth cycle that she does this for others first because that is the realm she knows. She is given increasingly significant opportunities to speak up and fight on behalf of others, and that allows her to build those advocacy muscles gradually. But she still holds back her own emotional pain because everyone that she attempts to express such things to proves they either don't want to deal with it or they only want to manipulate her feelings for their own purposes.

Katara continues to do much of the work we think of as traditionally maternal on behalf of her friends and family over the course of the story, but we do see that scale gradually shift. Sokka takes on more responsibility for managing the group’s supplies, and everyone helps around camp, but Katara continues to be the manager of everyone else’s emotions while simultaneously punching down her own. The scales finally seem to tip when Zuko joins the group. With Zuko, we see someone working alongside Katara doing the same tasks she is doing around camp for the first time. Zuko is also the only person who never expects anything of her and whose emotions she never has to manage because he’s actually more emotionally stable and mature than she is by that point. And then, Katara’s arc culminates in her finally getting the chance to fully seize her power, rewrite the story of the traumatic event that cast her into the role of parentified child, be her own protector, and freely express everything she’s kept locked away for the sake of letting everyone else feel comfortable around her. Then she fights alongside an equal partner she knows she can trust and depend on through the story's climax. And for the first time since her mother’s death, the girl who gives and gives and gives while getting nothing back watches someone sacrifice everything for her. But this time, she’s able to change the ending because her power is fully realized. The cycle was officially broken.

Katara’s character arc was catharsis at every step. If Katara could break the mold and recreate the ideas of womanhood and motherhood in her own image, so could we. We could be powerful. We could care for ourselves AND others when they need us—instead of caring for everyone all the time at our own expense. We could have balanced partnerships with give and take going both ways (“Tui and La, push and pull”), rather than the, “I give, they take,” model we were conditioned to expect. We could fight for and determine our own destiny—after all, wasn’t destiny a core theme of the story?

Yes. Destiny was the theme. But the lesson was that Katara didn’t get to determine hers.

After Katara achieves her victory and completes her arc, the narrative steps in and smacks her back down to where she started. For reasons that are never explained or justified, Katara rewards the hero by giving into his romantic advances even though he has invalidated her emotions, violated her boundaries, lashed out at her for slights against him she never committed, idealized a false idol of her then browbeat her when she deviated from his narrative, and forced her to carry his emotions and put herself in danger when he willingly fails to control himself—even though he never apologizes, never learns his lesson, and never shows any inclination to do better.

And do better he does not.

The more we dared to voice our own opinions on a character that was clearly meant to represent us, the more Mike and Bryan punished Katara for it.

Throughout the comics, Katara makes herself smaller and smaller and forfeits all rights to personal actualization and satisfaction in her relationship. She punches her feelings down when her partner neglects her and cries alone as he shows more affection and concern for literally every other girl’s feelings than hers. She becomes cowed by his outbursts and threats of violence. Instead of rising with the moon or resting in the warmth of the sun, she learns to stay in his shadow. She gives up her silly childish dreams of rebuilding her own dying culture’s traditions and advocating for other oppressed groups so that she can fulfill his wishes to rebuild his culture instead—by being his babymaker. Katara gave up everything she cared about and everything she fought to become for the whims of a man-child who never saw her as a person, only a possession.

Then, in her old age, we get to watch the fallout of his neglect—both toward her and her children who did not meet his expectations. By that point, the girl who would never turn her back on anyone who needed her was too far gone to even advocate for her own children in her own home. And even after he’s gone, Katara never dares to define herself again. She remains, for the next twenty-plus years of her life, nothing more than her husband's grieving widow. She was never recognized for her accomplishments, the battles she won, or the people she liberated. Even her own children and grandchildren have all but forgotten her. She ends her story exactly where it began: trapped in someone else’s narrow, stultifying definition of femininity and motherhood.

The story’s theme was destiny, remember? But this story’s target audience was little boys. Zuko gets to determine his own destiny as long as he works hard and earns it. Aang gets his destiny no matter what he does or doesn’t do to earn it. And Katara cannot change the destiny she was assigned by gender at birth, no matter how hard she fights for it or how many times over she earns it.

Katara is Winston Smith, and the year is 1984. It doesn’t matter how hard you fight or what you accomplish, little girl. Big Brother is too big, too strong, and too powerful. You will never escape. You will never be free. Your victories are meaningless. So stay in your place, do what you’re told, and cry quietly so your tears don’t bother people who matter.

I will never get over it. Because I am Katara. And so are my friends, sisters, daughters, and nieces. But I am not content to live in Bryke's world.

I will never turn my back on people who need me. Including me.

3K notes View Post

ireadfanfictionstuff

2 months ago

not as many as rainsford x zaroff lmao read the pregnancy one i cried

We’re reading Lord of the Flies in class right now and uh

I might be delusional but what do you mean Simon “shyly stroked” Ralph’s arm

anyways uh interesting book ig

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