When Alexie “clarified” his stance, this caught my eye:

Having grown up poor, I’m also highly aware that there’s always a massive technology gap between rich and poor kids. I haven’t yet heard what Amazon plans to do about this potential technology gap. And that’s a vital question considering that Bezos wants to change the way we read books. How does he plan to change the way that poor kids read books? How does he plan to make sure that poor kids have access to the technology? Poor kids all over the country don’t have access to current textbooks, so will they have access to Kindle? (Sherman Alexie)

Right there, in a nutshell, is a point that gets lost when people on the Internet talk about ebooks. The hidden costs of buying that cheap digital edition–why aren’t more people talking about this rather than hating on Franzen for having an opinion? (Admittedly he comes off as somewhat of a pretentious knob in that Telegraph piece, but still.)

It sent me off on a (quelle ironic) Twitter rampage.

Why doesn’t anyone factor in platform and obsolescence costs for ebooks? I.e., the ebook reader and its updates.

Frex, the laptop or ereader you’re using, and the cost to charge it and replace it for wear and tear, not to mention updates.

Until we get wetware that can jack the book right into our brains, there are still going to be platform costs.

A paperback’s cover price takes into account production and platform costs; an ebook’s price does not.

These are the discussions we should be having, not hating on writers who have Opinions About Publishing.

And certainly not stroking the turgid egos of highly-paid anomalies on the Internet, either. (My Twitter feed)

After having a great deal of fun with the phrase “turgid egos” I really warmed to my theme.

Ebooks are not “cheap” or “free”. They are *convenient* for certain socioeconomic strata.

There is not nearly enough attention paid to the hidden costs, like hardware, platform, obsolescence (planned or otherwise) of hardware–

–replacement costs, access to electricity, etc., etc.

This is the kind of conversation I wish we were having about ebooks, not “So and So is elitist because they have Opinions about Self-Pub.”

Or “So and So gives their books away so piracy is always OK.” (Hint: this one REALLY irks me.)

Or, “Big Name Author has enough money/brand recognition not to worry about lost sales, so they say piracy isn’t a problem.” (My Twitter feed)

At that point I started getting a lot of “But I LIKE my Kindle/Nook!” And I’m happy that they do, but that was not the point I was making OR the conversation I was inviting.

There is a narrative out there saying “digital=free.” I’d like to see discussion that doesn’t use that equation, because it’s untrue.

Most of the human species can’t afford a desktop/laptop/Kindle/Nook/monthly smartphone bill/startup smartphone investment.

Those that can tend to think their experience is ubiquitous, because it FEELS ubiquitous. The curse of the Internet, you could say.

An examination of the underpinnings and the hidden costs is more productive than hating on ebooks or Authors With Opinions. (My Twitter feed)

At that point Stephen Blackmoore made the great observation: “Not to mention there are still places in the world that don’t even have electricity.”

Discussing the real costs could help us bend our considerable energies to raising literacy, not getting all hatey on the Internet.

Why is this not a blog post? Because I don’t think I can refrain myself from ranting without Twitter’s character limit. *sigh* (My Twitter feed)

I’m glad I waited, but so many people asked me to collect those tweets I decided to put them all here.

There were a number of responses that I should probably answer right now:

* “But I LIKE my Kindle/Nook/ebook reader!” Well, see above. That’s GREAT. It’s WONDERFUL that you like it. I’m not arguing that you shouldn’t. I’m saying that when we talk about publishing and ebooks, we should be talking as well about the hidden costs of the platform used to decode/store/show the digital “book.” Because those costs are more than you think–not just electricity, and the initial investment in the platform (desktop computer, laptop, ereader, smartphone, tablet) but also things like the monthly cost of an Internet connection or the cell phone bill, the cost of upgrading the hardware every few years (because of the pace of technology and obsolescence both planned and unplanned) not to mention the social costs of slave labor to make it, pollution from the making of it, pollution from the electricity used to power it—the list goes on and on.

* “I’m disabled and the ebook reader makes it easier for me to read!” Often accompanied by “Alexie is ableist!” (I shit you not.) It’s great that this technology is helping you, I am very happy for you. But I am mystified at how this was even a response. I don’t think it’s “ableist” of Alexie to point out that poor kids and their families can’t invest in this kind of technology as easily as others can, or of me to say that talking about the hidden costs might help us find a solution.

* “But I have a computer/laptop anyway, adding the ebook-reading function is free.” It’s not “free.” Adding that functionality presupposes the investment in the platform; it is convenient, certainly, but you pay the hidden costs for that convenience whether or not you engage it. It is the fact of the hidden cost we’re talking about, not whether or not you feel like added functionality is something you want to use.

* “Paper books have hidden costs too!” Well, those are rather elegantly included in the cover price, so they’re not so “hidden.” The cover price of a paper book takes into account the price of the paper and distribution, and has for a long time because of the built-up infrastructure. You could argue that bookstores are the purview of a higher socioeconomic stratum too, and that there’s invisible privilege there, but I don’t think it’s quite as germane. For one thing, there’s the used books factor; for another, there’s few upgrade costs with paper books–if you read them to pieces and get another one, that’s an upgrade cost, but it’s not nearly as huge as upgrading an ereader every couple years or a laptop every four-five years. There’s also the marvelousness of libraries, which even the field a bit for some poorer strata of society.

Of course, it’s incredibly hard not to snark observations such as:

Franzen said he took comfort from knowing he will not be here in 50 years’ time to find out if books have become obsolete.

“I’m amused by how intent people are on making human beings immortal or at least extremely long-lived,” he joked.

“One of the consolations of dying is that [you think], ‘Well, that won’t have to be my problem’. Seriously, the world is changing so quickly that if you had any more than 80 years of change I don’t see how you could stand it psychologically.” (Telegraph)

Somehow I think the world will carry on, Jonathan dear.

But I would really like to see more discussion of hidden costs, platform costs, access differences between socioeconomic strata, etc., instead of hating on an author for having a goddamn opinion about developments in the industry they’re working in. Doctors have opinions about developments in their field; bricklayers and pizza delivery people, retail workers and scientists have opinions about their chosen (or just career) field. People have goddamn opinions about everything, as evidenced by the jackasses who know nothing about publishing but try to school me about the industry.

But that’s another rant, and this is already long enough. Let’s talk about the hidden costs of ebooks and eplatforms instead.

Over and out.

Related posts:

1. Food, Politics, And Hidden Costs
2. Hidden Hinges, and the Messy Death of a Metaphor
3. Link Salad, and Stealing

I hear this frequently, and it always irks the bejesus out of me. What annoys me is not the assumption that self-publishing is better. For some writers and some books (Chuck Wendig’s and Laura Anne Gilman‘s writing advice books spring to mind) it IS the best path. And it is awesome. No, that’s not why, when I hear any of the hundred versions of this hoary chestnut, I immediately start taking EVERYTHING the speaker says 300% less seriously.

Take the number of books sold on that royalty statement. Now we’re going to play a game of takeaway!

* Take away the sales to people turned off by a low-cost self-pubbed cover. Even the worst of Big Six covers is preferable to a Poser monstrosity.
* Take away the sales to people buying in stores serviced by the distribution companies the trad publisher has good agreements with. Consider the ease of returns and the likelihood of a buyer taking a chance on a book from the known quantity of a trad publisher vs., let’s say, Greenlight or nonreturnable items from a POD (or God forbid, a vanity) press.
* Take away sales to people who have been priced out on, say, a $20 trade paperback of middling quality from a self-pubber using a POD press. Now, you could say, “But I’ll price my book at $.99!” Great. You get a slice of a miniscule price from miniscule sales.
* Take away sales to people who are turned off by indifferent editing/copyediting. Oh, but you’ll pay to have that done? News flash, cupcake: that’s an out-of-pocket expense you need to balance against that royalty check. Either way, that $X000 takes a huge hit.
* Take away the sales the trad publisher gained through marketing/publicity of any type. Now, rare and fortunate is the author whose publisher gets them all sorts of good, high-cost publicity. Most authors get bundled together in catalogs and on lists, but guess what? Those catalogs and lists are invisible publicity that ups the chance of your book being on the shelf somewhere people can see it. Self-pubbing doesn’t have the “invisible” publicity a lot of readers don’t see but feel the effects of, which then reflects on the royalty statement.

These are just five things wrong with a one-to-one comparison. There are at least fifty on my list. (We could be here all fucking day, but I don’t have the patience.) Most of the time, when I bring one or more of them up, the response is a blank stare shading into immediate hostility. (It could be that I lack patience the umpteenth million time I hear this shit spouted, granted.) Self-publishing is not a replacement for trad publishing. It’s a different tool.

“My book is awesome but I can’t get an acceptance from an agent or publisher!” Well, look at why. Do you have a problem with following submissions guidelines? Is your craft–grammar, punctuation, etc.–spotty? Is your book impossibly niche–like, say the vampiric flatworms that live only in the urethras of one tribe of the Antarctic Red-Jacketed Tundra Sparrow? (If so, drop me an email, there’s an academic press that might be interested.) Have you not polished your query letter since you first submitted *mumblemumble* years ago? Writing well requires a time investment, are you investing? Are you using the hard sell and stinking of desperation? Are you just not targeting your queries or networking attempts at people who might be interested? Have you revised your finished work and figured out where it would be shelved in a bookstore (its genre, if you will,) and hence, who in the industry might handle it to bring it to market? Do you know who the publishers and editors in your chosen genre(s) are? If you can’t answer those questions, well, your chances of acceptance are not maximized as well as they could be. Knowing this shit gives you an edge, both in trad and in self-publishing.

I’m going to reiterate, because I can just tell there are going to be a lot of comments on the “But you get a bigger percentage with self-pub, you elitist gatekeeper, you!” I LIKE SELF-PUBLISHING. It’s a good choice for some writers. It is a great choice for other writers. The problem is, it’s a kumquat and trad publishing is a tomato. They are both fruits, yes. But they are not the same thing, and they don’t behave the same way when you cook them. You will not get the same results, and comparing them inappropriately will only bring you grief. A bigger percentage of a tiny number is…still a tiny number. Self-publishing is not the get-rich-or-famous scheme a lot of people unconsciously think it is. And that “bigger percentage” has to be balanced against the sales you can reasonably expect AND the out-of-pocket initial outlay you’re going to spend. Less outlay, less professionalism, less sales; more outlay, more professionalism, bigger sales but a bigger debit in your ledger to begin with, too.

Speaking of not getting the same results, let’s please skip the “But so-and-so was a HYOOOGE SELF-PUBLISHING SUCCESS!” That’s great, and I’m happy for them. But those successes should come with that same disclaimer you see in the fine print of infomercials: Results not typical. There’s the self-pubber who had a huge web presence and parlayed that into profitable self-publishing. There’s the odd raw talent who was lucky and marketing savvy and could spend tons of time growing their “overnight success.” There’s the Big Names In Trad Publishing who use that name recognition and their financial gains from said recognition to springboard self-pub projects–and that’s another thing, a professional writer with connections to editing and experience with the publishing process and what makes a quality project is NOT going to have “typical” results. They have experience they have invested in it, and it shows. Results. Not. Typical. Okay?

Muddy, uncritical thinking is not your friend when it comes to writing or business, or the business of writing and publishing. And, frankly, these are the kinds of discussions and numbers I’d love to see more of when it comes to talking about self-pub, instead of the usual round of Internet hateration and shaking pitchforks at mythical “gatekeepers”.

Speaking of hateration on the Net, tune in next time for my reprise on the hidden costs of ebooks. I did a series of tweets yesterday on the subject and have been convinced that I should put them in a blog post for ease of reading.

See, occasionally I can be bribed. Or swayed.

Over and out.

Related posts:

1. Publishing And Misplaced Punishment
2. On Publishing, Philosophy, Expectations, And Cookies
3. Writers And Their Money, Parted

Instead of the Snowpocalypse we feared (and that Seattle is currently suffering under the spike heel of) we’ve got rain. Lots of rain. Well, this is the Pacific Northwest, and I happen to like rain, but I wish the weather would make up its mind. Heavy wet snow yesterday, melt and easily an inch of rain today, branches down everywhere and my morning run more like a swim–oh, I know I could have used the treadmill, but Miss B was inside all day yesterday, which meant it was either get her out for a run or go to the dog park and stand in mud up to my knees. An appetizing choice, indeed.

Plus, the Little Prince became, once more, Sir Pewksalot last night. All of which is a roundabout way of saying my temper and nerves are equally frayed, and I decided on a Three Things post because if I start on a rant or two now there will be nothing but a smoking crater left where my computer used to be. (Expensive.) Not to mention with all the biting and snarling going on all over the Internet about Authors Daring To Speak, so to speak, and a rant doesn’t seem like a good idea. For lo, if I strap on my armor now and go all Don Quixote after Idiot Entitled Jerks On The Internet, I may never stop. And I’ve writing to do, so…yeah. Three things. Let’s see.

* Kickass is not a prerequisite. It’s not even a requisite. I swear to God, someday I am going to write about Milquetoast von Constipated, a potbellied, balding vampire with bowel issues who lives in Minnesota and, whenever there is an incident of violence, he *gasp* alerts the authorities! Together with his werecow buddy, Milton Morton (who is not only vegan but gets tipped every full moon), they do not fight crime willingly. Rather, they sort of bumble through and the police take care of things on their own. (As to why he has bowel issues when he’s on a liquid diet, I’ll just say, have you ever tried to live on protein shakes? HAVE YOU?)

Sounds amusing, doesn’t it? But it’s sparked by a frustration of mine: where is it written that I can’t write anything other than kickass leather-clad wiseacres? I mean, I’m very glad people connect with my kickass heroes and heroines, but that isn’t all I write, it isn’t all I am. It isn’t all the world consists of. I dislike it intensely when I write a character whose strength is internal and am immediately subjected to a “but your fans won’t recognize…” Screw that. They will recognize, and those who send me venomous screeds about how I should just stick to writing kickass chicks even though I don’t do so very well (seriously, it’s like the writers of these things all got together in a room somewhere) can just go…fly kites. Yes. fly kites.

The point of this is: If you’re used to writing one thing, and you want to write another thing, go ahead and do it. You may have to attempt a couple times before you get a salable piece, but it will teach you things about writing that staying in your comfort zone will not. I’m fairly okay at writing angst and violence, but you know what I would really love? I would love to be talented at writing comedy. Comedy is hard effing work, it doesn’t come naturally to me. (Unless it’s bleak black macabre humor. Heh.) It doesn’t stop me from wanting and trying, and from seeking other types of characters and stories to play with. What you’re good at writing and what you want to write may be two different things, but you should try them both.

* The Levenger catalog is pure crack. I mean, their 3X5 cards are incredibly useful while revising or making grocery lists, both things I do at my computer. My bag lust is inflamed every time I see their briefcases. And, oh my God, the desk sets. The desk sets. It’s nice to reward myself with some lovely tools after slogging through a zero draft. I nerd all over their paper, and one day, one day, I will have a Levenger desk. I’ll save my pennies, by God, and I will have it.

Other things I keep within easy reaching distance while I’m writing: a statue of Ganesh writing, some Climb On creme, cell phone, tarot cards (Rider-Waites, for those curious), Moleskine notebook, a couple pads of paper both legal and Levenger, scissors, pens and sharpened pencils, rubber bands, a Keep Calm and Carry On paperweight, two pink plastic flamingos, six dictionaries, two thesauri, two visual dictionaries, assorted other reference works from encyclopedias of military arms to herbals and Jack the Ripper books. Also, two copies of Jane Eyre, plus six or seven DVDs of different treatments of Jane Eyre, and a few Wuthering Heights. (Don’t ask.) Also, tissues, ibuprofen, and Carmex. Because you never can tell.

The flamingos are for practicing dialogue with. (But that’s another blog post.)

* Beware of great ideas. “A million cat clocks! That’s a GREAT idea!” Then some of them started looking a little odd because their tails weren’t moving. And I had to find more batteries. This just goes to show you, great ideas are only great until one gets to the care, feeding, and administrivia involved. (Note: I have six cat clocks, all on my living-room wall. And I want more.)

What does this have to do with writing? Simple. Beware of great ideas. Sometimes they happen halfway through a zero draft, and you either have to go back and alter what you’ve already written to account for the Great Idea, or you just go ahead and write as if the Great Idea has been there all the time, which means the first half of revising the zero draft is likely to send you to the booze cabinet sooner rather than later. Sometimes the Great Ideas happen during revision, and one should be careful because they are like pebbles thrown into a quiet pond. (BOOT TO THE HEAD!) The ripples spread throughout the entire book, which may mean you have to go back and deal with tweaking everything before and after in subtle and overt ways. Rippling tweakage is another thing that will send you to the booze cabinet during revisions. Or to banging your head against a brick wall, whichever is handier. (Also, Rippling Tweakage is my new indie band name.)

Great ideas are great, but there is no Great Idea that fixes everything without a lot of work. If the Idea is Great Enough, the work, while frustrating, is also a process of simplification. If it’s a Mediocre Idea masquerading as Great, or even just a Garden-Variety Idea Of Some Magnitude But Hardly Greatness, well, booze cabinets and brick walls, or whatever coping mechanism works for you, STAT. It doesn’t make the Rippling Tweakage any easier, but it can dull the gnawing pain between your temples somewhat.

…I just looked at that last sentence and cannot believe I typed that. Some days, I really love my job.

Over and out!

Related posts:

1. Doing NaNo This Year
2. If You Need Permission, Babe, You’ve Got It
3. The Synchronous Mailbag

So, there’s been some brouhaha in the book-reviewing world. Mostly, it’s been yet another edition of Authors Behaving Badly, and I’ll just point you at Cleolinda’s rundown and my own hoary old advice. Of course writers shouldn’t respond, positively or negatively, to reviews. Of course it’s wrestling a pig in mud–the pig loves it, and you just get dirty and look like an idiot. Of course. Of course.

But.

Look, it would take the patience of a saint to put up with some of this shit. And writers are most definitely not saints. Neither, dear Reader, are you.

In any group of people, X% are going to be assholes. It’s like the speed of light–it’s a fucking constant, so let’s get used to it and go on from there. Even those who are not assholes as a matter of course can sometimes act in an asshole manner, given the right conditions. Sometimes, we’re all assholes. You, me, that guy over there, everyone.

I have to tell you, though, sometimes I just don’t blame authors as much as you’d think. There are “review” sites that only serve to aggrandize their owners’ precious little pretensions, and there are “review” sites that should have a sign attached saying “LOOK, JUST FEED MY ENTITLEMENT COMPLEX BECAUSE OTHERWISE I’LL BADMOUTH YOU!”. Then there’s Goodreads–which I use myself, as a means of tracking my reading, and to be available, to a certain degree, to fans. Which is all fine and good, but just like EVERY OTHER SOCIAL NETWORKING SITE, there are some corners of Goodreads that might as well be 4chan. That’s all right if you like 4chan, and of course, if I claim the right to say whatever the hell I want here on this corner of the Internet that I pay for and maintain, I can certainly allow it to “review” sites that appear to be someone’s shallow little reproductions of high-school cliquishness. C’est la vie, c’est la guerre, c’est the fucking marmalade.

A lot of times, however, when I see an Author Behaving Badly On Teh Interwebs–I’m not talking about harassment, I’m not talking about plagiarism–I see a writer getting mad at some deliberately provocative pieces of horseshit. There are “review” sites that keep waving red flags and waiting for the moment a writer, any writer, will snap. They get a charge off this, and I don’t precisely blame some writers for responding. It turns into a situation that only ends well for the petty little provocateur, because they end up getting the emotional charge and the hit count. It never, ever ends well for the writer.

So while I don’t precisely blame the writer sometimes, I do wince. And I do sometimes privately agree with the kernel of some of their rants. I am, and plenty of other writers are, in the position of not being able to offer agreement publicly or professionally, and I think a lot of “review” sites and Mean People on social networking sites bank on that. It’s like the Speshul Snowflakes who decide to be rude to retail or food-service workers. They get the emotional charge and get a kick out of being the “injured party” or merely the Stirrer Of The Shit, and their stink spreads far and wide.

The point of all this is, sooner or later a writer is going to be tempted to respond. If the idea of taking the high road and behaving professionally isn’t enough to stop you, just think about what it means to descend to the level of the jackass who’s trying to taunt you into reacting. Is it worth being just like him or her? Is it truly worth it, when you know you’re just going to end up covered in shit while they laugh at the fact that they made you respond while basking in their brief Internet celebrity? Is it seriously worth it?

This isn’t to exonerate every writer who behaves badly on the Internet. It’s just to say that sometimes, you know, I don’t exactly blame the ones who do snap under the provocation. There but for the grace of God goes anyone, really.

It would do well for us all to remember that.

Over and out.

No related posts.

It’s a bright cold morning, and what isn’t frozen is close to it. Including me. I find myself in a curious abeyance today; Miss B is quiet and watchful as if she senses a change in the weather. Of course, it could just be that we’ve been too busy to be believed lately, and she’s been right with me during all of it. I bless the day I visited the shelter and saw her sweet doggie face. I know every owner thinks their dog is the best, but I’m sorry, my girl has them all beat.

Anyway, the Bandit King revisions proceed apace. I am really wishing I could have killed this protagonist early and saved myself all this fuss. I normally don’t like my heroes much (there’s an exception in Jack Gray, who I actually kind of admired, and Darik isn’t bad but he still has a long way to go) but it’s rare for me to dislike them to this degree. My mild irritation with this hero has turned into outright flaming hatred, which means my notes for revision are covered in little Post-Its saying I can kill him, please tell me I can kill him!, or Idiot asshole or even, Why did I think writing from his POV was a good idea? In the time it takes me to scribble one of those little notes, I could be making changes…so I suppose it’s just another avoidance tactic.

This career is full of those.

Anyway, it’s time to dive back in. If I can’t outright kill this guy I can stab, burn, heartbreak, and eye-mutilate him. He won’t be nearly as pretty when I finish with him, dammit, and it serves him right. *quietly fumes*

Over and out!

No related posts.

The Dames have been answering a lot of questions lately, and I’m going to join the fun. I often get emailed the same questions by a number of different people at once; they seem to come in waves. Here are the three questions about writing I’ve been asked by more than five people in the last two weeks, and my answers. Enjoy!

* How do you get your ideas/How do you know if an idea is good enough for a book/What do you do when you don’t have an idea of what to write? (And various permutations thereof.)

I get asked this in spates, usually about every three months. It kind of puzzles me.

Ideas are not the problem. The discipline to sit down and finish something is the problem. Being worried about “not having ideas” is kind of like living in the Pacific Northwest and being worried there isn’t enough mold. If there’s one thing I’ve never had to worry about, it’s a paucity of shiny things to mentally play with. If you’re reading this, you’re a thinking monkey with an actively-producing-ideas few pounds of meat inside your skull; if you want to be a writer, you always have ideas swarming around inside said skull screaming to get out. There are ideas lurking in your kitchen junk drawer, in the face of every passerby, in every daydream or what-if question. Believe me, the there are enough ideas around to keep everyone busy until the sun explodes, and we won’t even have scratched the surface.

How do you know if an idea is “good enough”? Short answer: You don’t. Longer answer: You don’t until you attempt it. After a few years of constantly attempting stories, you can develop a feel for those ideas that have some meat and legs to them, weight and heft and complexity enough for a short story or a novella, or a novel entire, or a series. You also learn, in the course of those attempts, how to scratch below the surface of a story and discover the complexity in even the simplest of ideas. This can only be learned by doing, like so much else in this line of work.

As for “not having an idea of what to write”…I have never understood that. Is that an attempt to resuscitate the old canard of writer’s block? (There’s a cure for that.) Is it saying “I have so many ideas I can’t pick one?” That’s time-wasting, and a way for your Inner Censor to keep you chasing your own tail. Pick one and go. Is it saying “I don’t want to sit down day after day and do the boring typing?” Well, okay, but that defeats the purpose of being a writer, doesn’t it? Writers write. It doesn’t matter what you write, it matters THAT you write, and if you “can’t find” an idea, the problem isn’t with writing or the ideas. The problem is not opening your eyes and seeing the crowd of ideas that’s screaming “PICK ME! OOOH, PICK ME!” You can go to a mall or a casino and people-watch, you can open up your kitchen drawers, you can watch a few random scenes from a movie or listen to some random songs on shuffle. The genesis of story idea is usually a “What if/Why…” question, and getting into the habit of asking yourself “what if” and “why” about things is sort of the magic set of goggles that will allow you to see that invisible crowd.

* I am a new/young writer, do you have any advice?

This is an every-six-months sort of question. I’ll get twenty of them in a row every half-year, usually for summer and winter breaks. I kind of want to do a form letter to send back saying “Yes. And yes. And yes. I can only add: pay attention, and do the work.”

* “How much research do you do?”

Every month I get one of these. Short answer: a LOT. Longer answer: well, everything I read is research, every movie I watch is research, every new song I find is research, every time I cook it’s research. All things feed the work. If you’re asking me how many or how few hours of research go into each book, I can’t tell you.

For example, some of the things I researched for the Valentine series included: leaf springs (for hovers), ballistics, brushing up on human and canine anatomy and physiology, the geography of Prague, the battle of Blackbird Fields, legends of the Nephilim, the Goetia, demonology, friction, strata, relative weight of a dotanuki, ethical systems–and other things, too varied to count. The research ranged from simple questions that were answered in a few minutes by looking something up to month-long binges of reading in a particular subject, strip-mining everything I could lay my hands on. I probably research less than most authors of historical fiction, who go deeply into their chosen era, but I range pretty widely. I’m more a magpie researcher; everything I pick up goes into the storeroom and moulders into a fertile sludge there. Your mileage may vary, but I am (as is pretty evident here) a big believer in creative ferment, and in everything that goes into my head serving some sort of purpose, even if only as ballast.

So there you have it, three questions I’ve received numerous times over the last few weeks. I expect a new crop by the turn of the year…

No related posts.

So last night, sweating and excited, I typed finis at the end of DAMNATION. There’s a sheriff with a hidden past, a schoolmarm with a secret, a gold claim, and zombies. Lots of zombies, and some bonus vampire action. I need to go back and layer in a lot of stuff now that I know the shape of the finished work, and it may be a crappy trunk novel nobody will ever buy, but at least it is no longer a crappy unfinished trunk novel nobody will ever buy. Plus, it features a death by skillet and the immortal line “He ain’t gettin any fresher.” Also, horses, and a group of “frails”–saloon whores–who want to learn to read and figure so they can open their own fancy houses OR stop being cheated by the saloon manager.

…Yeah, I had fun.

I am also thinking of getting bids for help in putting some of the SquirrelTerror saga into, say, a nice thin trade paperback. It would need editing and copyediting, and perhaps an index, and I’m sure I would want to add some footnotes. And a map. So editing, CE, and formatting/design. I’m not sure if it would be viable; I’d probably spend more on the editor than I’d ever make on the damn thing, but it would please me. At the moment, it’s just a thought.

I have further decided I’m not going to run until next Monday. I’m told that every once in a while you have to stop beating on the flesh and give it a slight rest so you can shock it more effectively when you restart. I am sure my body will appreciate this, though the rest of me will be cranky.

And that is all the news that is fit for something, I guess, or at least all the news I can give right now. Next year promises to be very exciting. Maybe another trunk novel will fall out of my head?

*shakes Magic 8 Ball*

Ask again later? What kind of crap is that?

Over and out!

Related posts:

1. I Get A Day Off
2. Read For Free!
3. Time To Wheeze Out The Old Brain

“Do you ever take a day off?” a health professional asked me today. “Do you ever take a vacation?”

“Not often,” I replied. “I can’t go for very long without writing. It itches under my skin, the words have to get out. It’s physically uncomfortable.”

“But everyone needs some time off.”

“I guess. Sometimes I just look through and tighten what I did the day before. That means I only write about 200 fresh words, sometimes, but it’s tweaking and tightening everything else that scratches the itch.”

“Weekends too?”

“Weekends too. Except then I get up and wander away to spend time with the kids, then come back when they’re done.” I paused. She was looking at me in a most peculiar manner. “I’m not crazy, I just like my job.”

I’m the picture of health, actually, other than some anemia. My pulse is a nice even 60 per minute, my blood pressure is extraordinarily low because of the running, and I’m reasonably fit. The bloodwork says my liver is healthy, for which I give a great deal of credit to that glass of red wine with dinner. (You’ve got to stretch those cells out, keep ‘em flexible.) But all of a sudden she’s looking narrowly at me.

I’m not crazy. I just don’t take a lot of time off. My job is a vacation, for heaven’s sake. Each day I get to do the thing I was designed and built for. It lowers my stress to sit down and write.

I’m between books right now. Kind of. I have some revisions staring at me, but I am coyly refusing to return their gaze. (We’re in the let-the-edit-letter-rest section of revisions.) After the crunch of three books at once earlier in the year (who else was seriously questioning my sanity? OTHER than my writing partner, editor, and agent? Why, that would be ME. Anyway.) I deliberately built a little bit of time into my schedule to decompress. But am I lying about on some tropical beach? Hell no. Sand would get into my laptop.

I’m writing. A trunk novel about zombies, a cowboy, a schoolmarm, and a gold claim. Not to mention vampires and a pawnshop and chartermages. I am having a ball with it. Nobody will ever read it, of course, I don’t think it would ever sell…but I like it. I giggle with glee every time I open the document. I wriggle with joy at a neat turn of phrase. I outright chortle every time I throw another obstacle in the sheriff’s way.

This is a vacation, dammit. And the little dopamine glows I get from, say, a well-turned phrase or the wordcount reached for the day just reinforce it. I get a reward each time I sit down to write. Yeah, some times it’s like chipping hardened cheese out of wooden scrollwork, but there’s even some joy in that. In a job well done and polished at the end of the day.

Slight digression: I advocate daily writing because it builds discipline, not because I happen to get a glow from it. Some professionals can take a few weeks between books, or need to refill the well with time spent away, or days when they’re not dragging the words out into the ring and making them dance. (Isn’t that a lovely mental image.) That’s perfectly okay–one size does not fit all. And yet I advocate daily writing, and will continue to do so, because it’s very easy to mistake laziness or fear for the much more pleasant-sounding “needing some time off” or “vacation.” The professionals who take time off know that it’s hard to get back up onto the horse, and they have their own tips and tricks for doing so. YMMV.

“I hated writing in school,” she said, finally, taping the cotton ball over the bright tear of blood on my inner arm. “Your job sounds like my idea of torture.”

“Likewise.” I grinned. You’re sticking needles in me. I would be unhappy if I had to do that all day. “If I had to do what you do I’d go mad. Well, madder than I already am…”

“I don’t think they’ll commit you just yet,” she laughed.

But I got out of there quickly anyway. You never can tell.

And now, back to scratching the itch…

This Saturday I’m at the Author Faire at C2C books in Battle Ground! Also, check out the Hedgewitch Queen–my first e-only release, and $2.99 in the US for the entire month of December.

No related posts.

* To those of you asking for a Hedgewitch Queen/Bandit King spot in my fan forum, success! Here it is.

(See below)* I am informed there are some copies of Reckoning floating around out there with a printer error. As in:

Just finished reading Reckoning. Very confused. Book pages screwy? After p278 went to p215 with repeat through p246 then ended.– A fan on Twitter

There was a printer error, and they thought they caught all of them, but such is obviously not the case. My editor is asking around about how to solve the problem. So, hang in there–as soon as I know more, I’ll share it here.

* This last Saturday my friend Zen E. participated in the Portland Boulder Rally at the Circuit NE. I was on hand with the video camera, and it was a great event! I am constantly surprised by how supportive the climbing community here is. Out of all the people I’ve met since I started climbing, there’s only been one outright-nasty person. The rest of them have been kind, thoughtful, polite, cheering on everyone and just generally being good sports. It’s amazing. Anyway, Zen stuck her last route of the day, one she’d been working for a while during the competition, and it was great to see. (The video of the occasion holds audio of me whooping with you when she makes the last move and her hands stick at the top. I was Very Excited.) Thanks to everyone who made such a great event possible!

* I’m getting a lot of mail about Steelflower lately. Guys, even if I had time to write the second in the series, there are other considerations. I know you want to read about Kaia and her troupe heading off to Rainak Redfist’s homeland to take back his birthright, but it might not happen for a while, and being angry with me won’t help or solve anything. I have the last two books of the series in my head–the third book deals with Kaia and Darik’s return to G’maihallan. But like I said, it may be a while. I am looking at a number of different options. That’s all I can say.

Coming up this week: my thoughts on epub-only, the Pyrrhic Victory of Pelennor Sunroom, and possibly (if I can figure out how to meld the music into it) a podcast. Not sure about the podcast, though. It takes me a while, and much swearing, to get those right…

Over and out.

ETA: Heard back from the publisher–no more than 200 copies escaped with the error. If you received one of them, contact the publisher’s Customer Service directly. If you can’t take the book back to the bookstore from whence it came, they can send you a new copy. (Note the “IF.”) Thanks for letting me know about this, guys–I got six emails in a 20-minute span about it on Monday, and about had a heart attack. Whew.

No related posts.

Yep, you guessed it. Edit letter time! That marvelous moment when one receives a letter detailing every way your cherished manuscript is ugly, needs work, or just doesn’t make the grade. To be fair, every editor I work with understands to give me a sweet little bit of fruit, something they liked about the story first–before getting down to what needs to be done to make it better. I understand the editor just wants to make it better. I want it to be better too. After a week of muttering and grousing, I’ll be ready to roll up my sleeves and start tweaking, shaping, filling holes and fixing highlights.

But there’s a good deal of thrashing about that happens at the moment an edit letter lands in my inbox. My writing partner is rolling her eyes apace, God bless her.

I’ve written before about my method of dealing with the beasts. It doesn’t get any easier, though it is fractionally more familiar each time. This time around, I want to keep picking at the letter like a scab, when I know–believe me, I know–that the best thing to do is just put the damn thing down and don’t look at it for a week. I give myself such very good advice…

I had a post planned about moving goalposts, and the crazymaking that happens with that, but all the running around today has just scrubbed anything substantive clean out of my pointed little head. So I’m going to shut off the wireless, get a glass of water, and return to the world of the zombie cowboy story I’m consoling myself with now. It’s the only proper course. I hear the edit letter, locked in its little drawer, tempting and taunting me. Not gonna respond, though. Just not going to do it.

Not even a little peek.

Famous last words, right? Wish me strength.

No related posts.