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Posts Tagged ‘self-publishing’

It’s time to admit it. I’m 8000 words into my new novel, Marauders from the Moon, the fourth book in the Nemesis series, and the damned thing is going to be written regardless of my personal feelings on the matter. I am still gamely attempting to write my short story at the same time, but I have a sinking feeling that it is going to take second place, and a distant second, at that.

Now, this may not be such a bad thing. After all, I am writing, which is the number one priority. And maybe the short story just isn’t ready; “Rights and Wrongs,” which was published in Orson Scott Card’s Intergalactic Medicine Show, took me three years and several versions to get done, and then they sent it back with an R&R request (revise-and -resubmit) that took me another two yearsand I ended up re-writing the entire second half from scratch. I believe when a story is ready, it will write itself.

But I don’t want to take five years to write this story; I have one already that’s been half-done since 2015. Hey, it’s my process. I don’t have to like it, but there it is.*

So at least Marauders is progressing. After a quick start, it bogged down, but tonight I wrote 1100 words, and significantly, I did not stop at the end of a chapter; I wrote the first paragraph of the next chapter. If you’re a writer, you will understand what that means. (And if you’re a writer who has not tried that trick, I recommend it.)

Now, I re-read these words as I struggle to find a closing, and I am reminded that the hardest advice to take is that which you give yourself. Example: Three paragraphs ago I said, “…when a story is ready, it will write itself.”

Marauders from the Moon was busy tonight, writing itself. I guess it’s ready. I guess I’d better be ready, too, or who knows where these characters are going to go if I’m not there to ride herd on them?

 

 

*Yes, I understand the irony that I can write a novel in two months but I can’t finish a short story in three years. It is what it is.

#SFWApro

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Hello, my name is Brian, and I’m a writeaholic.

Some time ago, I sadly announced that, due to extrinsic factors beyond my apparent control, I was discontinuing my planned series of neo-pulp adventure novels starring my mysterious hero, Nemesis. Some time later, I announced that I had been having some difficulty commencing a new project, but that I was feeling optimistic. I was going to overcome my own self-doubt and write as good a story as I could. Self-publishing was out, magazine stories were in.

I am not only a writeaholic, I am quite naive.

Contrary to writing novels to the exclusion of short stories for magazines, or short stories to the exclusion of novels, I am now doing both simultaneously. You have to understand, that’s not how I work. I don’t do simultaneous projects. I am not one of those writers who has six different ideas in play at once. I work on one thing, then another.

And yet here I am. I am writing a short story for the money and fame. (Ha! That’s a good one, son!) And I am writing another Nemesis novel, Marauders from the Moon, simply because that is what I want to do. And I am writing both at the same time.

Setting myself a short schedule taught me that I could write a novel very quickly. How I learned to do this thing I’m doing now is an open question. Whether I have learned to do this thing I’m doing now is likewise a question.

I feel like a newly-minted superhero exploring his own powers. I’ll try not to destroy the world.

#SFWApro

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This episode of our (apparently) ongoing series of Don’t Pay, Don’t Play? posts is entitled: “Don’t Pay, Don’t be Played.”

I recently received an email from a podcast called Speak Up Talk Radio, offering me an opportunity to be interviewed for a book program. This being the kind of thing that authors live for, I eagerly read through the email to see what sort of gig they had in mind. It wasn’t until I reached the fourth paragraph that I discovered they meant a paying gig.

The problem was, they wanted me to pay them.

They would put me on the radio for “small hosting donation” which would go to the charity they support. In fact, if I made a slightly larger (or rather larger) donation, I would receive more coverage and their charity would receive more money. What a win-win!

Uh, no. First and foremost, if you want to sell me advertising (which is what this amounts to, the chance to make my own commercial), you need to tell me up front. Lots of people offer me advertising deals all the time. Some I have actually taken them up on. But I knew from the start that they were selling me something. None of them waited until half-way down the page to mention there was a cost.

Second, there are lots of podcasts which will interview authors for free. And they’re more focused than this one apparently is (since by their own admission they will talk about any kind of book). If you’re writing genre fiction, you want a show that talks about genre fiction, like Krypton Radio. Otherwise you’re wasting your breath with 90% of the audience.

The more I thought about this pitch, the less I thought of it. I’ve been around a long time, and I’ve seen the schemes and scams come and go. But like the Writers of the Future contest, newer writers don’t know what they’re getting into. They may not know that things like reading fees, or upfront payments to agents, or radio interview “donations” are not things you should be paying. Markets pay you, agents take commissions, and radio hosts interview people who will increase their market share. It would be like a convention offering to make you a “special guest” for a fee.*

If you self-publish a book, you’re going to pay for a cover, editing, and advertising. It’s part of running a business. But this, this is someone trying to give you the business. And that don’t play.

*I really hope that nobody else has ever thought of that.

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I was discussing modern art with someone the other day, and she mentioned that she felt the problem with modern art was that, “There are no standards.” In previous times, when there were recognized art academies, they “regulated” art by their favor or disapproval. While this equated to a definite conservative approach, it also maintained a level of quality (insofar as the members could agree on what that meant). They acted as gatekeepers. (Eventually, the academies fell out of favor, and the laissez-faire “whatever moves you” concept took over. Hence, we have “art installations” which stretch the concept of Art. There are far too many to number, but we all know of examples.*)

I, of course, immediately said: “Like self-publishing.” Because the same argument exists there: While traditional publishers had a chokehold on the industry (and you can argue about their taste, political leanings, economic policies, etc.), they did act as gatekeepers to ensure (in most cases) that a certain minimum level of quality was maintained. Now that gate has been torn open.

No one knows how this is going to play out; self-publishing as a popular phenomenon is only about 10 years old. But some trends are already evident, primarily the flood of new works, many of which would never have appeared anywhere under the old, gatekeeper-controlled system.

Like modern art, many embrace these new works. Others still distrust this open system, and with some support. It is more difficult to judge whether a new author is worth your time because no one has done the grunt work of weeding out the incompetent and unreadable. There are new gatekeepers in place, the rating and review systems available on Amazon and Goodreads, for example, but these depend on volunteer labor and are vulnerable to tampering. (Ask 20 of your friends to review your book favorably and suddenly you look like a star.)

So again we are left without standards. Anyone can now publish a book. And while if fiction is bad, you can toss a novel away and no one is harmed, if you get bad advice from a self-published non-fiction “expert,” you could be hurt.

There are arguments on both sides: free expression versus limited outlets. The ability to seek one’s entertainment widely rather than from a limited set of corporate-approved (but likely more professional) options. I like the self-publishing revolution; I’ve taken advantage of it. But that doesn’t mean that all self-published novels are good; it doesn’t even mean that my self-published novels are as good as they could be. What it does mean is that there are no longer any standards…and whether we ever again agree on what constitutes Art remains to be seen.

*Discussing the relative artistic merits of these efforts, or whether such merits even exist, would occupy far more time than I have to spend.

#SFWApro

 

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One of the bad things about being a writer is that you are your own workforce. If you take time off, no one picks up the slack. You also have to live with your decisions, good or bad.

One of the good things about being a writer is that you are your own boss. You set your own goals, your own hours. You want to take a week off, you don’t have to ask anybody. And if you want to change your business model, you don’t have to run your new plan by a committee.

So I’m changing my business model. And while I don’t have to run it by a committee, since it’s sudden and runs smack into the plan I was publicizing as late as a week ago, I felt like I should say something.

I am taking an indefinite hiatus from self-publishing. It’s for the obvious reason: economics. I have proven to myself that, given the proper motivation, I can write a lot faster than I had been, which is essential to self-publishing. You have to push a lot of product to the market. Unfortunately, this is only half of the equation, in that once you have put product on the market, someone has to want to consume it. And therein lies the rub.

The most formidable obstacle to successful self-publishing is discoverability. This is not a writing problem, this is a business problem. According to the numbers, I do not have the business acumen to make a go of self-publishing. It takes about twice the time I was putting in before, and it provides about the same money. I may not be a business genius, but even I can see this makes no sense.

So I’m going back to writing short stories, and with any luck I’ll be able to apply some of the lessons that I gleaned while learning to write a novel in two months. My backlist will remain in print, of course, so theoretically I will soon have two income streams.

Being the boss means sometimes you have let go of an employee. Or a business. I’ll miss being a self-published writer; I just won’t miss being a self-publisher.

Okay, I’ve got to go. My boss is yelling at me to write something. Short stories or novels, some things never change.

#SFWApro

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I wasn’t planning to write one of these, but it occurred to me, almost too late, that while 2017 has been a horrible year for many people (for reasons outside the scope of this blog), for me, professionally, it has been not only successful, but actually profound. This was the year that everything changed, maybe forever. With that in mind (and because, like all writers, I’m just obsessive about these things), I’d like to list some of my achievements over the past twelve months.

Summarily, I sold five short stories this year, one of which was a reprint. I had four stories published, mostly those I sold last year. Just as importantly, however, I sold a record number of copies of my various self-published books, particularly in the fourth quarter. I hope to see this trend continue in the new year.

But sales were only part of the story, and not the largest part. Where a novel used to take at least a year, in 2017, I published two, and am dangerously close to finishing a third. One was written in less than two months. This represents a huge leap forward in my production, and opens up an new business model where self-publishing may become a viable part of a hybrid career path (self-published novels/traditional short stories).

I also expanded my authorial presence this year, appearing on three panels at my second consecutive Loscon as a guest. At no time did I faint, get horribly sick, or otherwise condemn myself to 1 million hits on Youtube.

And last but not least, two of my stories appear on the Tangent Online Recommended Reading List for 2017.

All in all, I’m pleased. I’m writing, I’m selling, and I still have a few ideas on the drawing board. So to all of you out there who support me, or support other writers, and especially to those who are trying so hard to make it when all the odds seem to be against you, have a Happy New Year. Make 2018 the year you want it to be.

#SFWApro

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Balancing Act

There is only so much time in a day. The trick is to make the best use of that time. Hence my problem.

I have switched in the past year from writing short stories to self–publishing novels. This creates difficulties, because it turns out that writing novels on a self-publisher’s schedule requires even more time than writing a respectable number of short stories in a year. (This is exacerbated by the fact that no one expects you to write short stories on a schedule.) It requires, in my case, about twice the time.

Given this, I have abandoned writing any new short stories for the foreseeable future. I still have a catalog of unsold stories, however, and I am still trying to sell them. In our wonderful Internet age, new markets spring to life every month, unlike the Dark Ages of the Nineteen-Mumble-Mumbles when I started. So all those stories that haven’t yet found a home need constant attention in case a new possibility opens up.

But what happens when a new market opens that fits a story in your inventory perfectly–except that the story’s the wrong length? Can you extend a too-short story? You can, but it’s a tricky and dangerous game. Cutting down a too-long story is easier, but not easy, particularly when (as in the example which prompts this post) you’re talking several hundred words (a typewritten double-spaced page).

On what do you spend your time? The short story, which if sold will generate a few hundred bucks, or the novel, which is going to be published but each copy will only generate a couple of dollars and whose ultimate sales numbers are as speculative as that story sale? Not only that, but the story market has a finite closing date, whereas your book has a publishing schedule that you’d really like to keep.

If I were a best-selling novelist, this wouldn’t even a issue, but I’m not and it is. I know which way I’m leaning…

#SFWApro

 

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