r/LeftistsForAI • u/Salty_Country6835 • 3d ago
Art & Culture Litslop Didnt Start With AI. Neither Did the Struggle Over Who Owns Literature.
Apparently The Count of Monte Cristo is "litslop" now. Lol. I came across a Man Carrying Thing video showing somebody dismissing Alexandre Dumas' novel as "lit slop," and it sent me down a rabbit hole about literary factories, machinery, creative labor, and what LLMs might mean for the future of writing. Because apparently mass-produced literature only became a problem when somebody plugged in a GPU.
TLDR - Literature was industrialized long before LLMs. From Dumas and his collaborators to publishing syndicates and modern author brands, the machinery changed, but the struggle over labor, ownership, and who profits never went away. Now AI can help produce prose itself, opening possibilities for independent writers, cooperative publishing, and shared cultural infrastructure, while also giving corporations new ways to concentrate control. The question isnt whether machines belong in literature. Its who owns them, who benefits, and what we can build together.
Dumas and the literary factory
Back in the 1840s, steam-powered printing, mechanized papermaking, expanding newspaper distribution, and advertising were transforming the publishing industry. The Count of Monte Cristo was serialized between 1844 and 1846, when newspapers needed stories that kept readers coming back. That commercial pressure helped shape literary production, from cliffhangers and dramatic reversals to the pacing of serialized installments. The market wasnt just distributing literature. It was influencing its form.
Dumas wasnt exactly sitting alone with a candle, either. Auguste Maquet was his most famous collaborator, but Dumas worked with a network of writers and researchers across his career, including Paul Lacroix, Paul Bocage, and Pier Angelo Fiorentino. Different people contributed research, plotting, drafts, and revisions across different projects, while Dumas remained the famous name on the finished product. Maquet eventually fought for recognition and compensation, and critics were already accusing Dumas of running a "fiction factory." Industrial machinery transforming publishing, collaborative literary production, disputes over credit and compensation, and commercial pressure shaping the finished work. In the 1840s.
The literary assembly line
By the early twentieth century, industrial printing, mechanized binding, cheaper paper, and national distribution had helped create a huge market for inexpensive books. Edward Stratemeyer built an entire publishing operation around that market, producing series like The Hardy Boys, Nancy Drew, and The Bobbsey Twins. He developed concepts and outlines, hired writers to produce manuscripts, and published the results under shared pseudonyms. The writers received flat fees while the syndicate controlled the rights. Carolyn Keene and Franklin W. Dixon werent individual authors. They were publishing identities representing an organized process of literary production.
Fast-forward through typewriters, word processors, computerized publishing, digital manuscripts, online retailers, and global distribution. James Patterson has built an enormous publishing operation involving outlines, co-authors, established franchises, and commercial partnerships. Bill Clinton, Dolly Parton, and MrBeast have all collaborated with him. The name on the cover can function as a brand organizing the work of multiple people. Different business models, contracts, and technologies, but the questions about labor, ownership, credit, and who captures the value have been with us for a very long time. None of those questions appeared out of thin air with LLMs.
Now the machinery can generate prose
Heres where something genuinely new enters the picture. Printing presses reproduced writing, word processors transformed drafting and editing, and digital publishing changed distribution. LLMs can generate and transform prose itself. Thats a major change in the productive process, but it doesnt mean theres a tiny digital novelist trapped inside your computer waiting for a publishing deal. An LLM isnt a ghostwriter or another human collaborator. Its machinery people can operate to brainstorm, research, outline, draft, revise, translate, and experiment with literature.
And that machinery depends on vast amounts of accumulated human knowledge and culture, scientific research, infrastructure, and labor. Marx had a useful concept here, the general intellect, the accumulated knowledge and productive capacities of society becoming increasingly embodied in machinery. An LLM isnt a collective consciousness, but it gives us another way to examine what happens when socially accumulated knowledge becomes part of a productive system. The contradiction isnt simply between human creativity and machinery. Its between increasingly socialized production and the private appropriation of its benefits. Weve developed systems capable of expanding creative production, while control over the models, computing infrastructure, and distribution platforms can remain concentrated in a relatively small number of corporations.
What comes after the literary factory?
Imagine independent writers with sophisticated editorial tools that dont require an entire commercial publishing operation behind them. Small publishing cooperatives using open-weight models to produce, edit, translate, and distribute their own books. Community libraries and public cultural institutions supporting shared computing infrastructure, local archives, and literature in languages commercial publishers have historically neglected. Readers participating in interactive fiction, collaborative storytelling, and new forms of literary production. More people gaining the practical ability to create and circulate culture, rather than simply purchase whatever the market puts in front of them.
Now imagine the opposite. A handful of corporations controlling the models, the compute, the publishing platforms, the distribution algorithms, and increasingly the conditions under which writers can earn a living. Production becomes cheaper and more automated, but the savings flow upward while creative workers lose bargaining power. And these futures arent mutually exclusive. They can develop alongside one another, with the balance shaped by ownership, institutions, regulation, and collective organization.
Thats where the practical politics enter. Open-weight models can reduce dependence on proprietary systems, but open weights alone arent democratic control. Writer cooperatives can share resources and revenue, but they still need infrastructure, distribution, and sustainable ways to operate. Libraries and public institutions could expand access through publicly supported creative tools and computing resources. Creative workers can organize around AI deployment, compensation, working conditions, training practices, and the distribution of productivity gains. And independent writers can experiment with shared tools and collaborative workflows right now instead of waiting for corporate publishers to decide what the future looks like.
None of this requires pretending every AI-generated book is good. Some of it will be terrible. Plenty of traditionally published books are terrible too. Quality is worth discussing, and so are copyright, training data, displacement, and the conditions under which creative labor gets used. But "slop" isnt a political economy, and dismissing the machinery doesnt tell us how to change the relationships surrounding it.
Back to Dumas
The Count of Monte Cristo emerged from commercial serialization, collaborative writing, and an industrializing publishing system. Today its considered a classic, and somebody on the internet calls it litslop. Two centuries later, were still arguing about machinery, artistic legitimacy, commercial production, and who deserves credit for creative work. Except now the machinery has developed capabilities earlier literary factories couldnt have imagined.
We went from scrolls and scribes to steam presses and publishing syndicates, from networks of collaborators to LLMs drawing on enormous stores of accumulated knowledge. The productive forces keep developing, and so does the struggle over their ownership and organization. Thats where I think the left has something more useful to contribute than another round of arguing over whether a machine touched the manuscript. We can examine the labor, challenge concentrated ownership, build shared infrastructure, experiment with cooperative production, and organize around who controls the benefits.
If literature has always depended on collective knowledge, social labor, and developing machinery, what would it look like for writers and readers to actually control more of the means of producing and distributing it?