Month: January 2015

Translating John Sargent

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This post by J.A. Konrath originally appeared on his A Newbie’s Guide to Publishing blog on 12/19/14. Note that it contains strong language.

Often times it seems as if those who work in the legacy publishing world are so out of touch with authors that a translator is needed to explain the true meaning of what has been said.

Such is the case with John Sargent, CEO of Macmillan, in his recent public letter.

Sargent in crazy bold italics, the translation in common-sense normal font.

Dear Authors, Illustrators, and Agents,
There has been a lot of change in the e-book publishing world of late, so I thought it a good idea to update you on what is going on at Macmillan.

Translation: It will be easier to accept the bad news if I warn you first.

The largest single change happens today, December 18th. Today a portion of our agreement with the Department of Justice (called a consent decree) expires, and we will no longer be required to allow retailers to discount e-books.

Translation: Remember when we illegally colluded with other publishers to price-fix? We did that because we were worried that low-priced ebooks would harm our paper distribution oligopoly.

It doesn’t matter that we have a much higher profit margin on ebooks. It doesn’t matter that since forcing the agency model on Amazon, our authors made less money. What matters is that we foresaw a day where ebook sales surpassed paper sales, and we knew that would put us out of business because savvy authors wouldn’t need our value-added publishing services anymore.

Happily, Amazon won’t be able to discount our ebooks anymore, so we can charge high prices and protect the interests of our business and of the cartel at the expense of your financial situation.

Unless you’re one of the huge bestsellers we publish. Those huge bestsellers sell a shit-ton of paper books. Under this model, they’ll continue to get richer.

 

Read the full post on A Newbie’s Guide to Publishing.

 

My Top 7 Tips For Authors Who Want to Evolve into Book Publishers

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This post by Joel Friedlander originally appeared on his The Book Designer site on 1/19/15.

I’ve had a long love affair with book publishing. At this point I can’t quite put my finger on when it began, but growing up in a printer’s family probably didn’t hurt.

When I first moved back to New York City after my youthful travels, I started planning a series of cookbooks based on public domain works that I was going to sell through classified ads. Don’t ask me where I got this idea, but looking back, it’s probably better that I never got very far with it.

But eventually life and opportunities lined up with what my work made possible, and I published my first book in 1986. By that time it was more feasible to start publishing, since I was working for a book publisher, and had spent years in New York’s graphic design industry.

So, yes, I knew how to make a book, what goes into it, who you need to help.

I’ve told the story elsewhere about publishing that book and what came of it, so I’ll try not to repeat myself.

But one of the other results came a couple of years later when Jill and I started our own publishing company, based on our experience with that book.

Making the Leap from Author to Publisher

There’s an astonishingly huge difference between publishing your own book, and taking on other authors and trying to make a profitable business out of publishing their books.

As the indie publishing field matures, we’re starting to see more authors attempt this leap. Others are forming publishing cooperatives, and still others are acting on plans to create small presses.

These are all positive and expected evolutionary changes, as simple organisms develop into more complex ones, creating new opportunities for all concerned.

But even in the era of the 72-hour ebook (“Write it on Day 1! Prep it on Day 2! Publish it on Day 3!”) there’s a whole lot involved in making this transition from author to publisher.

So if you’re one of those authors who has caught the “publishing bug,” if you think you can take your success to the next level, here’s some guidance from someone who’s been up on the shore.

My Top 7 Tips for Going from Author to Publisher

  1. Get help—Although many authors do just fine as self-publishers by doing virtually everything themselves, it’s rarely a good idea to run a publishing company without help. What kind? Start with an author’s assistant or virtual assistant (VA). Pretty soon you will have many administrative chores that take up valuable time, and which could just as easily be done by your assistant. And you’ll be glad every time you launch a book that you’ve got help with the crushing weight of tasks that pile up around your launch. You can also have your assistant filter your email inbox, do basic research, and a myriad of other things that will help you in your publishing venture. Take this seriously.

 

Read the full post on The Book Designer.<

 

2014: Some (Honest) Publishing Numbers, and (Almost) Throwing in the Towel

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This post by Kameron Hurley originally appeared on her site on 12/31/14. Note that it contains strong language.

About this time last year, GOD’S WAR, which had been out in the UK for a solid seven months, had sold just 300 copies there, and every single major publishing house had passed on THE MIRROR EMPIRE, the epic fantasy novel I thought was the most marketable thing I’d ever written.

I was, to be blunt, pretty fucking devastated.

A lot of people think that once you publish a book, that’s it – you go on publishing books. The publishing world opens its arms to you and welcomes every book like a precious squealing babe. The reality is that publishing your first book is when the real work starts. All that time you spent leveling up your craft, on dealing with rejection, on editing and revision: that was just a warm up for the crushing reality of life day-in, day-out as a published author.

In early January of this year, I was getting ready to shelve THE MIRROR EMPIRE and take a break from writing for  a while, and come up with something somebody wanted to read. I knew MIRROR EMPIRE was a good book, which was frustrating: it was just a good book nobody wanted to buy at the moment. I needed to wait for the market to shift. The plan was I’d just hold onto it until somebody at some house got a new job – new editors have different opinions. Maybe somebody would buy it some day. In the meantime, I had no project idea that was more marketable than this one, so… I was going to need to take some time to recover from my disappointment and write something new. Another slog of a year, I figured, with no new book coming out, again.

Like a lot of Night Shade Books debut authors caught up in the spiral of near-bankruptcy and eventual sale, my work had suffered from declining sales, especially the third book. RAPTURE had sold low, just 2,000 copies, only about 350 of which actually showed up on Bookscan. Low sales like that give editors on the fence about a project a good reason to pass. The performance of that third book was not helping MIRROR EMPIRE.

 

Read the full post on Kameron Hurley’s site.

 

Revisiting the Long Tail Theory as Applied to Ebooks

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This post by Marcello Vena originally appeared on Publishing Perspectives on 1/8/15.

The myth of the Long Tail for ebooks may be fading away as the digital book market grows, and it is operated by few mega e-retailers.

In a limitless world of digital goods, powerful search and recommendation engines, near-zero marginal cost of digital production, storage and distribution, niche products shall get much more market relevance. “Selling less of more” is part of what the “Long Tail” theory has been preaching.

Does it apply to the creative industries too? And how? Should digital book publishers reduce attention on blockbusters and increase focus on the Long Tail as the source of the most profitable growth? Is there a space for unlimited growth of niche ebooks? Who is going to consume a potentially unlimited supply of creative goods?

 

Long Tale Theory is a Decade Old

It is interesting to note that the Long Tail theory was first published — by Wired magazine editor Chris Anderson — 10 years ago (October 2004), a few years after the dot-com bubble, when Internet was still in its infancy (it was 11 years old then). Amazon had not yet launched the Kindle (that came at the end of 2007) and the ebook market was still waiting to ignite. The digital music scene was nascent, as Apple launched its iTunes Store only in April 2003, and that was the single most important booster to the digital music market in the years following. When the Long Tail theory was first popularized by Anderson, detailed sales data regarding the digital music in USA was not available yet. It was not until 2005 that Nielsen Soundscan made first sales data available and only at end of that year did Billboard start to take into account paid downloads in the music charts in US. In fact, the first edition of the book (published in 2006) does present some examples of digital music sale, but it doesn’t address the digital market as a whole. No data from iTunes or the entire market (Nielsen Soundscan) was incorporated.

 

Read the full post on Publishing Perspectives.

 

Why Traditionally Publish? A Response To A Comment

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This post by Chuck Wendig originally appeared on his terribleminds site on 1/19/15.

So, the other day I said something about how in publishing no real debate exists and hey isn’t it super-nifty that we have lots of options and all options are equal and valid in the eyes of WRITING JESUS and I dunno, I probably said something else but I tend to fade out.

One such comment on that post was the following, by addadinsane:

You think that’s just vanity publishing? There’s no difference between how much work you have to do in marketing whether you’re trad published or self-published. The only authors that get a marketing budget nowadays are the huge sellers. (Even my friend who is A-list doesn’t get one – he’s still not big enough.)

It was funny, I was on a panel a couple of months back with a bunch of traditionally published authors and someone in the audience brought this up, said to me “But don’t you have to do all the marketing yourself?” So I turned to the other five panellists and said “Hey guys, how much marketing do you have to do?” Answers ranged from “Loads” to “All of it”.

And trad publishers take a lot more than 50%. One wonders what for.

I’m all in favour of “no debate” but I think people should be accurately informed about the truth of traditional publishing rather than looking through rose-tinted spectacles. Then they can make an informed decision.

Frankly I don’t know why anyone goes trad published to be honest. The only reason I’ve heard recently is that they want to be a “proper” author. And if that isn’t vanity, I don’t know what is.

And I wanted to respond to it. But I started to write up my response and found it too long for a mere paltry comment, and figured, hey, well, I’ll take up some oxygen at the blog, proper.

 

Read the full post on terribleminds.

 

Is Reading a Right or a Privilege?

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This post by Cathe Shubert originally appeared on Ploughshares on 1/27/15.

After almost a year of protests by free speech advocates and famous authors, the UK’s Ministry of Justice is going to give prisoners the right to receive books in parcels from family, starting in February. Perhaps the most curious aspect of this case is not that books, among other items that a family member might send via packages as personal property, were banned, but that this case saw lawyers demanding that law be more nuanced with regard to determining whether books are rights or privileges.

Obviously (perhaps more obviously to those of us who have inhaled two seasons of Orange Is The New Black) prisons restrict what is allowed on their premises to prevent the smuggling of drugs and other paraphilia—and it must be noted that the public library system in British prisons was never in danger of being removed. But this case still feels like a victory for free speech and art in one society’s most limited venues.

And it makes me wonder about our prison system in the United States. I did a tiny bit of research and found out that in Florida, inmates often are restricted to having only four books in their possession, and those books must come directly from a publisher or mail distributor—if a family member attempts to send a book via a package service (like UPS) it will be rejected, just as books were restricted in the UK before the amendment to prison policy.

 

Read the full post on Ploughshares.

 

Among The Disrupted

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This essay by Leon Wieseltier originally appeared on The New York Times Sunday Book Review on 1/7/15.

Amid the bacchanal of disruption, let us pause to honor the disrupted. The streets of American cities are haunted by the ghosts of bookstores and record stores, which have been destroyed by the greatest thugs in the history of the culture industry. Writers hover between a decent poverty and an indecent one; they are expected to render the fruits of their labors for little and even for nothing, and all the miracles of electronic dissemination somehow do not suffice for compensation, either of the fiscal or the spiritual kind. Everybody talks frantically about media, a second-order subject if ever there was one, as content disappears into “content.” What does the understanding of media contribute to the understanding of life? Journalistic institutions slowly transform themselves into silent sweatshops in which words cannot wait for thoughts, and first responses are promoted into best responses, and patience is a professional liability. As the frequency of expression grows, the force of expression diminishes: Digital expectations of alacrity and terseness confer the highest prestige upon the twittering cacophony of one-liners and promotional announcements. It was always the case that all things must pass, but this is ridiculous.

Meanwhile the discussion of culture is being steadily absorbed into the discussion of business. There are “metrics” for phenomena that cannot be metrically measured. Numerical values are assigned to things that cannot be captured by numbers. Economic concepts go rampaging through noneconomic realms: Economists are our experts on happiness! Where wisdom once was, quantification will now be. Quantification is the most overwhelming influence upon the contemporary American understanding of, well, everything. It is enabled by the idolatry of data, which has itself been enabled by the almost unimaginable data-generating capabilities of the new technology. The distinction between knowledge and information is a thing of the past, and there is no greater disgrace than to be a thing of the past. Beyond its impact upon culture, the new technology penetrates even deeper levels of identity and experience, to cognition and to consciousness. Such transformations embolden certain high priests in the church of tech to espouse the doctrine of “transhumanism” and to suggest, without any recollection of the bankruptcy of utopia, without any consideration of the cost to human dignity, that our computational ability will carry us magnificently beyond our humanity and “allow us to transcend these limitations of our biological bodies and brains. . . . There will be no distinction, post-Singularity, between human and machine.” (The author of that updated mechanistic nonsense is a director of engineering at Google.)
Read the full essay on The New York Times Sunday Book Review. Note that The New York Times may move this material behind a paywall in the future.

 

Sex Scenes In Novels: Autobiographical or Imagined?

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This article by Jon Stock originally appeared on The Telegraph on 3/5/13.

Authors risk the ridicule of friends whenever they write about sex, even if it’s pure fiction, says spy writer Jon Stock.

Authors are often urged to write about what they know, but does this apply to sex scenes? Should they be based on personal experience – cue sniggering from friends, family and fellow authors – or drawn from the realms of pure fantasy?

The novelist Julian Barnes claims in an article today that modern writers feel a commercial obligation to include sex scenes and then struggle to write them. Chief amongst their many fears is the assumption that readers will conclude they are in some way autobiographical.

According to Barnes: “Writing about sex contains an additional anxiety on top of all the usual ones that the writer might be giving him- or herself away, that readers may conclude, when you describe a sexual act, that it must already have happened to you in pretty much the manner described.”

I noticed that people began to look at me in a very different way after the publication of my 2009 espionage thriller, Dead Spy Running. The genre has certain requirements: exotic locations, gritty hero, labyrinthine plotting and, of course, sex.

 

Read the full post on The Telegraph.

 

Self Editing for Fiction #9 ~ Sophistication

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This post by Stef Mcdaid originally appeared on WriteIntoPrint in October of 2014.

Sliding off of his bunk, Richard slipped on a dirty T-shirt that lay on the floor and hastily acquired a fresh pair of boxer shorts from his bedside table before circumnavigating the accumulated piles of junk strewn all over his bedroom floor to find out who the f*ck was bothering him at this ungodly hour. Ricky was not the tidiest of people, and certainly not a morning person.
As he looked at his Rolex Cosmograph Daytona wristwatch, he went into the kitchen and splashed some water over his pounding head. If only that f*cking jerk would stop ringing the doorbell! he thought.

This passage I cobbled together contains quite a few style sins. I will list them in order.

 

‘as’ and ‘-ing’ constructions: starting too many sentences with these is nowadays regarded as hack writing by some industry professionals – plus, the simultaneity they sometimes suggest makes many of them technically impossible. In the first sentence Richard dons a T-shirt and rummages in his bedside table *at the same time* as he slides off his bunk. Similarly, in the second paragraph he’s looking at his wristwatch all the while he’s going to the kitchen and splashing water over his head. There are, of course, instances where they are suitable, but be careful not to overdo their use, and look out for simultaneity paradoxes.

 

Word order:

 

Read the full post on Write Into Print.

 

Setting Up A Regular Writing Schedule

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This post originally appeared on Creative Caravan Club on 1/8/15.

Are you trying to write a novel within the next few weeks or months, but you just can’t seem to stick to a regular writing schedule?

The following tips will work for anyone who wants to write a book within a short period of time:

 

1. Set up your writing time as a regular appointment with yourself.

Plan specific times you will write each week, then write down these times on a calendar or day planner, just the way you would any other appointment.

 

2. Break down your novel, short story, or article into small chunks.

If you’re writing a novel, break down each chapter into scenes. Then schedule time to write just one scene at a time.

 

3. Give yourself some slack while you’re committed to completing a big writing project, like writing a book.

Save some of your other writing for later. You want to plan, start and finish your book within a short period of time. You won’t be able to do that if you also try to write a million other things.

 

Read the full post on Creative Caravan Club.

 

Give it to Me Short n’ Dirty: Bulletpoint Query Tips (III)

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This post by Saundra Mitchell originally appeared on her Making Stuff Up For A Living blog on 1/26/14.

Maybe you don’t feel like reading an essay about queries. Why would you? You need to get one written, RIGHT NOW OMFG EMERGENCY NOW NOW NOW. Okay, yo. Cool. I can give you a short n’ dirty query bulletpoint list so that you can skim it real fast and get back to work.

– A query letter is a BUSINESS LETTER. If you’re sending it by postal mail, format it exactly like your standard business letter. That link there will take you to Purdue University’s guide.

– If by e-mail, you’re going to start with the salutation and leave out all contact information with your signature except your name, your e-mail address, and your URL.

– WRITE IT LIKE A BUSINESS LETTER. Don’t print it on sparkly paper, don’t enclose confetti, don’t scent it with your favorite Axe spray, don’t. Don’t enclose food, bugs, hair, MONEY, character family tree– seriously. The only thing that goes in that envelope is the letter and SASE.

– WRITE IT LIKE A BUSINESS LETTER. Do not attach documents, pictures, totally cute cat JPGs, no GIFs, do not doge or lolcat the subject line, do not ask people to follow links to your query letter which is elsewhere, do not ask them to read the book that’s posted on your website.

– WRITE IT LIKE A BUSINESS LETTER. Don’t tell the agent about your aunt Suzie or how much your kids like your book. Nobody cares.

– Do tell them if Oprah Winfrey personally promised to endorse your book and include her assistant’s e-mail address so they can verify that.

 

Read the full post on Making Stuff Up For A Living.

 

Kindle Unlimited Not a Great Deal for Readers or Authors

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This post by Marion Stein originally appeared on her Marion’s Blog on 1/12/15.

One of my Goodreads friends recently asked if he could find my works on Amazon’s recently launched Kindle Unlimited scheme. Here is what I told him:

My books aren’t enrolled in Kindle Select and won’t be. Authors who participate are mostly losing money compared to before. Authors who aren’t in it are also seeing sales drop. Everyone is losing money but Amazon. There are now 700,000 books on Kindle Unlimited. That may sound like a lot, but unless you only read indies, most books you want to read are not there. Traditional publishers can put books into Kindle Unlimited and still sell those books in other venues like Nook Books and Kobo. However, indies have to also be enrolled in Kindle Select to be on Kindle Unlimited, which means they have to sell those ebooks exclusively on Kindle, and many authors (and readers) feel that that lack of competition is not a good thing.

Here are some more reasons why Kindle Unlimited is bad for authors:

Readers can use Indie Select as a private (but expensive) library. They can borrow your book, but if they don’t bother to actually read it, you get NOTHING. If they do read more than 10%, you get something, but it’s far less than if they bought it.

 

Read the full post on Marion’s Blog.

 

Fired Old Man Angry at World, Ranting About Something or Other

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This post by Ken Wheaton originally appeared on The Word O’ Wheaton on 1/18/15.

Leon Wieseltier, recently run out of The New Republic as a gang of Silicon Valley nitwits took over and tried to fix it, has a piece in The New York Times Sunday Book Review that starts thusly:

Amid the bacchanal of disruption, let us pause to honor the disrupted. The streets of American cities are haunted by the ghosts of bookstores and record stores, which have been destroyed by the greatest thugs in the history of the culture industry. Writers hover between a decent poverty and an indecent one; they are expected to render the fruits of their labors for little and even for nothing, and all the miracles of electronic dissemination somehow do not suffice for compensation, either of the fiscal or the spiritual kind. Everybody talks frantically about media, a second-order subject if ever there was one, as content disappears into “content.” What does the understanding of media contribute to the understanding of life? Journalistic institutions slowly transform themselves into silent sweatshops in which words cannot wait for thoughts, and first responses are promoted into best responses, and patience is a professional liability. As the frequency of expression grows, the force of expression diminishes: Digital expectations of alacrity and terseness confer the highest prestige upon the twittering cacophony of one-liners and promotional announcements. It was always the case that all things must pass, but this is ridiculous.

I’m sure after reading that bit of succinct and too-the-point prose, you’re just dying to read the rest of it. Good luck with that. You see, Leon is what I’d call a writer’s writer — or, as he’s also known, the “last of the New York intellectuals” — someone much more interested in showing off — his skill, his education or his connections — than getting to the point already. There is, of course, a way to do both without looking like you’re trying to hard to do either. But Leon, who IS a smart guy whose writing I’ve enjoyed in the past, isn’t getting it done here. He also seems to be suffering from selective historical amnesia.

 

Read the full post (which is actually about the need for editors) on The Word O’ Wheaton.

 

How Jessica Mitford Exposed A $48m Scam From America’s Literary Establishment

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This post by David Gaughran originally appeared on his Let’s Get Digital site on 12/16/15.

Jessica Mitford took on the American funeral industry, the California Department of Corrections, and the Ku Klux Klan, but it was her 1970 exposé of The Famous Writers School which led to Time calling her “The Queen of the Muckrakers.” And if a courageous editor hadn’t reversed his decision to kill her story, it might never have happened.

Mitford had been aware of The Famous Writers School’s existence for some time. Anyone who was a frequent reader of newspapers, books or magazines would have seen its ever-present advertisements, inviting aspiring writers to cut out and apply for the free aptitude test. While Mitford was suspicious, she didn’t have anything concrete until her lawyer husband took on a new client.

Bob Treuhaft was approached by a 72-year old widow, living on Social Security, who had cleaned out her bank account to make a down-payment to The Famous Writers School. On the same day Mitford heard the widow’s sorry tale from her husband, she received a book in the mail for review: Writing Rackets by Robert Byrne, which also mentioned the school.

Mitford had lunch with Bill Abrahams not long afterwards – then the West Coast editor of The Atlantic. She shared tales from Byrne’s book on literary frauds and the story of the cheated widow, and Abrahams asked her to write a short piece for The Atlantic covering both.

The following day Abrahams called to say that the editor-in-chief of The Atlantic, Robert Manning, had decided not to run the piece after all. While Manning agreed that the bold claims made in The Famous Writers School’s advertising were “probably unethical,” he pointed out that The Atlantic had made “many thousands of dollars” from those self-same ads and felt it would be equally unethical to run a piece criticizing the school.

 

Read the full post on Let’s Get Digital.

 

Science Fiction Romance – Caught Between A Rock And A Hard Place

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This post by Greta van der Rol originally appeared on her blog on 1/20/15.

Talking about what constitutes ‘romance’ seems to be a bit like climbing over the fence into the lions’ compound knowing they haven’t been fed for a while. But I have to say I find the debate a little bit perplexing when it comes to the genre I mostly write – science fiction romance.

On the one hand, the born-again romance readers insist that without a HEA (happily ever after ending, for those not in the know) or at the very least a HFN (Happy For Now) then the story doesn’t qualify as ‘romance’. On the other hand there’s more than a suggestion from the science fiction fraternity (I use the word deliberately) that all that soppy love stuff doesn’t belong in science fiction.

I’m not really a romance reader and I’d be the first to say that my stories are SF action/adventure with a strong romance arc. Mostly. I think. And we get back to the old question of genre.

Back in the very recent past we didn’t have a science fiction romance genre. You had a choice: science fiction or romance. So you took your chances. Have your book panned by the hard-line SFers who didn’t want any of the smulchy squishy stuff, or have your book panned by the romance die-hards who protested your story wasn’t a romance because it wasn’t the raison d’etre of the plot.

Let’s consider my latest effort, Crisis at Validor, because… just because.

Is it a romance?

 

Read the full post on Greta van der Rol’s blog.