Category: Industry


Book Prices

World-famous, multiple-time New York Times bestselling author Larry Correia recently posted a rant. This is nothing new; he rants a lot, though the difference between him and your average Internet Joe is that his rants are educational snark and not simply complaints. (Well, other than stuff like complaining about government bureaucracy, but hey, if my wife were treated that way, I’d be ticked off too.)

This particular rant was about something I talk about a lot too: the pricing of books. You can click here to read what Correia wrote (language warning), but the gist of it was that someone posted a review of one of his novellas without reading it, simply so he could complain about the price. It seems that a 30,000-word novella written by a very big-name author in a moderately big-name IP (Warmachine), with full-color illustrations and accessible to people who know nothing about said IP, is not worth the huge, huge cost of . . . five bucks.

Similarly, there’s a member of a Facebook writing support group I’m in who has said multiple times that he won’t bother reading any ebook priced higher than $3.99, because “That’s how much mine is and I doubt anyone worked any harder than me.”

Continue reading

You may or may not have heard the latest faux controversy about J. K. Rowling. No, it has nothing to do with her characters. Instead, it’s a Huffington Post writer named Lynn Shepherd complaining that Rowling is such a good author that she’s crowding out everyone else. She tells Rowling that she should just stop writing and give other people a chance. If you don’t want to click on her article, here’s the summary: Rowling has too much of a market share, which means every book she publishes is a book overlooked from another author who hasn’t become famous yet.

There has been a lot of pushback so far. I won’t post more than one link, mainly because the BBC’s article has more than enough links from successful authors who say this is ridiculous. I wasn’t even going to do more than link to that article, because every single point has been refuted multiple times by the authors linked there, and that’s just a small sample so far. What could I add? Continue reading

Stories with Messages

Currently, the SF&F blogs are embroiled in a mild (well, for some of them, very much not mild) tizzy over whether or not stories should be written with a particular cause in mind. I’m not going to mention what the specific argument is, because 1) if you don’t already know, you probably don’t want to be involved in the first place; and 2) it really doesn’t matter, because I want to talk about cause-fiction in general.  Continue reading

Submission Stress

One of my authors just submitted a book. Well, I say she’s one of mine, but so far we haven’t engaged in actual financial business. She’s an old friend that I give advice to and help craft things. I haven’t had time to go over her book, but I’ve seen her writing and I hand-picked her for an upcoming series I’m managing next year (so she will be one of my authors, officially, in about six months). I’ve also helped her craft her cover letter, pitch, and so on.

She just bit the bullet on a submission she’s been putting off for literally years now. Now she has to wait for up to a year to get a response. It can be an intimidating thing. In fact, it can be a stressful thing — for good reason, though not a “good enough” reason. Continue reading

Having just spotted another one, I decided to detail this particular peeve. I can’t say it’s a personal one, because I’ve never met an editor who said they didn’t mind it.

If you send in a query letter and/or manuscript and say that your work is copyrighted, I’m 99% certain to reject it. It’s very insulting and shows that you are an amateur. Continue reading

Elevator Pitching

You’re at a convention, doing what everyone at such an event does sooner or later: waiting on the elevator. While engaging in small talk with the lady next to you, you find out she’s a senior editor at your favorite publishing house. You decide to pitch your book to her. Problem is, you’ve only got a few moments while you both step into the elevator — and she’s probably heard pitches about books just like yours. Can you describe your novel in thirty seconds and still make it interesting? Continue reading

I live in Montgomery County, MD. When I was a kid, there was a Crown Books just up the street. It was small, but I could walk to it and throw my allowance and odd-jobs money at new books. Then Crown went out of business.

Then there was Bonifant Books, a large used-book store a bus ride away. I expanded my collection considerably using that place. And then they went out of business too, while I was off at college. The same went for all used-book stores in my area save one. (At least, those which carry stuff I’m interested in, which is mainly SF&F.)

While I was in college, downtown Silver Spring got built up. It’s pretty much the only thing the county government has had a genuinely good idea about since, well, ever. (I don’t have a high opinion of them, but that’s a separate topic.) It had a dinky mall without a bookstore, but the area around it got beautified and expanded, with a better movie theater, more parking, great restaraunts . . . and a Borders! Their cafe was my favorite place to go work. And then, of course, they closed down.

So, basically, from where I live, I have to drive half an hour to get to a decent bookstore. I live in a major metropolitan area, and I have to drive half an hour to browse shelves. I have a choice between three Barnes & Nobles and a Books-A-Million. Go figure, the one that’s easiest for me to get to is the B&N in Virginia.

Of course, said store is at Tysons Corner, which I pass by semi-frequently to go to meetings with Chesterton Press or visit friends. It also has a Lego Store. (Granted, the Books-A-Million is at Arundel Mills, which also has a Lego Store, but I almost never drive up there anymore.) The problem, of course, is that since I usually only go there on trips with other things to do, I rarely stop in at Barnes & Noble and usually I’m in a hurry anyway.

This last Saturday, I had a chance to actually browse while waiting for someone. I’d literally forgotten how much fun it can be to just go through the shelves and see what catches my eye, pick it up, and try to decide if it’s something I might be interested in. I found a bunch. Probably more than I can afford (not just financially, but in terms of time as well), but I took down a lot of titles to look at later.

It was nice to just be able to pick up a real, physical book. Something I can hold, flip through — and yes, smell. I like ebooks. They’re cheaper and more convenient for me, particularly since I’m in front of the computer all the time and am one of the lucky people who never gets eyestrain or other ill effects from staring at a screen all day. (Actually, my energy-efficient lightbulb lighting my workspace is the only thing that gives me eyestrain. I need a different lighting method. Probably LED or full-spectrum.)  But there’s something about the feel of a book in your hand that just can’t get replicated by any other method. It’s a tactile experience that, while not vital, still adds something.

Plus, considering my preferred ereader is actually my laptop, it means that a dead-tree book edition doesn’t come with email and Facebook popups. Unplugging is necessary from time to time.

I did wind up buying one book: Graceling, by Kristen Cashore. I can’t remember the last time a book swept me up while still in the bookstore. I read the whole first chapter there, and had to stop myself from reading more. It was an excellent price for a trade paperback (even considering that mass-market YA novels are usually priced slightly cheaper), so I decided to splurge even though my reading list is already full.

The thing that grabbed me wasn’t the action sequence or the magic system, though both were interesting; it was the introspective young girl, gifted with a supernatural talent for violence, and how she viewed the world. That first chapter painted a picture of a young girl with a talent that made people afraid of her, that trapped her in a life she didn’t want, but who still tries to do as much good with her abilities as she possibly can.

I hope to have time to finish it and write up a review this week. In the meantime, I have a book to write, manuscripts to evaluate, marketing releases to craft, a workshop to teach, and a Lego display to prepare for the National Air & Space Museum next month.

Probably a good thing I don’t have a bookstore to browse in all the time.

Mostly.

Not really.

I’ve had this blog for more than seven months. I’ve averaged about three or four posts per month. That’s bad enough, but in all that time, I’ve kept putting off telling you about Writing Excuses.

Writing Excuses is an award-winning weekly podcast (two time Parsec, two time Hugo nominee, also nominated for a Podcast Award) that covers creative writing. It’s a bit over five years old now, and its archives are nearly 100 hours deep. If you listened to an episode every day starting now, you’d finish in just under one year (counting the new episodes that will be released weekly over that time).

Does that sound daunting? Don’t worry. Each episode is only fifteen minutes (well, okay, sometimes they run over) long — because, as they say, “you’re in a hurry, and we’re not that smart.”

The “in a hurry” part is correct. It’s hard to make time when focusing on writing, because you really have to treat it as a full-time job. Most of us already have full-time jobs, or in many cases two or more part-time jobs. Some of you are in college, which is more than a full-time job. (Hint to you college students: if you’re not devoting about sixty hours a week to school, you’re either not a full-time student or you’re in some really easy classes.) The podcast format makes it very easy to listen to a full episode, maybe two, during your commute, while you’re on your lunch break, or while you’re cooking or doing your dishes or vacuuming the house. (Though you might need earbuds for that last one.)

The “not that smart” part is . . . debatable. These guys are good. The podcast hosts are New York Times bestselling fantasy novelist Brandon Sanderson (yes, that guy who finished The Wheel of Time and wrote the Mistborn series), supernatural horror novelist Dan Wells (author of the seriously wonderful John Cleaver novels, starting with I Am Not a Serial Killer, which deserves a review from me sometime), professional puppeteer and historical fantasy/alternate history novelist Mary Robinette Kowal (author of The Glamourist Histories; she joins the podcast full-time in Season Six), and science fiction cartoonist and humorist Howard Tayler (who writes and draws the award-winning and record-breaking Schlock Mercenary).

I’ve met all four in one way or another (the first two in real life, the other two via webcams, Facebook, and email). They know their stuff and they’re great to talk to. I’m not saying I agree with everything they say, mind you; just 99%.

Well, okay. 98%. That’s my final offer.

Give them a listen. Even if you don’t write fantasy, horror, or science fiction, you’ll find plenty to learn from them.

Tomorrow night, I’ll be on a Google Hangout with the other editors and writers who worked on Fate Core. Unfortunately, I don’t have a link to give you. I’ll update this post when I know.  The hangout is supposed to take place at 9pm Eastern.

Edit: And just after posting, I get the link. Come on by!

One more thing!

Always listen to Uncle!

Who says you can’t learn anything from a Saturday morning cartoon? Uncle’s timeless advice always pops up when I get excited about research. (Mind you, it’s usually accompanied by the mental image of an old man whacking me on the side of my head with two outstretched fingers.)

And yes, research can be exciting. If you’re not eager to learn new things and insert them into your craft, you’re probably in the wrong business. Not all research is fun, of course — but from the number of authors and editors I see who share things they find on social sites, it’s fairly obvious that I’m not the only one who likes finding new things.

And I not only enjoy it, but I’m actually good at it, which is why it’s one of my offered services to authors and publishers . . . and one that a lot of people take me up on.

Someone tried taking me to task on that at Balticon, though, claiming that it’s not the job of an editor to do research for an author. Aside from the fact that I get paid for it in addition to more traditional editorial services, I had to explain to him why he’s wrong. And while I’ve talked about the importance of consulting experts already, I figure I ought to give another concrete example.

Almost exactly one year ago, I brainstormed out a YA contemporary fantasy series (The Chronicles of the Ruahim) with my friend and sometime client Regina Doman, and that series is currently coming together. For the sin of coming up with the idea, I’m the managing editor and (technically) senior author on the series. Since it deals with myths all around the world, I find even my childhood fascination with comparative mythology can’t keep up, and I’m constantly doing more and more research on different cultures, different creatures, and different versions of particular legends. Apache, Irish, Norse, British, French, German, Polish, Russian, Jewish, Egyptian, Arabic, Indian, and Japanese have all come up in the context of this series, and we’re just getting started. It also means we have to find words in various different languages, sometimes all for the exact same creatures and concepts.

That’s only part of it, of course. The first book deals with sword techniques, (Irish, Norse, and German techniques, plus modern foil as well), and while I’m pretty knowledgeable on the subject of “real” swords, I know I can always learn more; and of course, I’ve never formally studied fencing, but fortunately I have a good friend who actually teaches it.

The second book (being co-authored by Elizabeth Hausladen of Confessions of a Seamstress) in the series takes place entirely in Paris, which means a lot of research into more mundane matters: maps of the city, Parisian habits, art history, Versailles, the French Revolution, and even life in a convent.

The man who tried telling me off for doing research for an author has obviously never done a typical book project before. I’ve talked before about how an editor is concerned with more than just grammar; an editor’s job is to make the book as high-quality as possible in the time available. That means fact-checking, because you never want your book to contain an error so egregious that experts and knowledgeable amateurs alike will find themselves just talking about what you got wrong.

What I just described for The Chronicles of the Ruahim is merely the most obvious research topics, and only what’s come up so far.  It’s too much for one person. I’m not even talking about the man-hours here; the person doing the research has to process it, translating it into what is necessary to tell the story correctly. Time isn’t so much a factor here as just dealing with all the mess of information that pours in once you open the research floodgates.

Sure, you as an author need to do your own research, but the editor’s job is — among other things — to make certain your work is consistent. If you’re lucky enough to have one already, or you’re willing to hire a freelancer like myself to help out, do it. No one person can do it all alone.

One more thing: listen to Uncle!