Thank Goodness For The Fairer Sex

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This post by Michael W. Sherer originally appeared on The Crime Fiction Collective blog on 4/23/14.

There are hundreds of reasons I love women, but one of the most important is how much smarter they are than men. (Unfortunately, too many women don’t give themselves credit for it, and more unfortunately most men will never admit it.) I believe one of the reasons they’re smarter is because they read more than men do.

The statistics are out for 2013, and once again women surpassed men in the number of books they read. According to Pew Research, 76 percent of all adult Americans (18 and over) read at least one book last year. But that breaks down to about 69 percent of men and 82 percent of women.

Not only are more women reading than men, they also read at greater rates than men do. The average number of books read by all adults last year was 12, and the median number was five (meaning half of all adults read more than five and half read less). Both numbers are higher if you include only adults who read at least one book—a mean of 16 books and a median of 7. But here again, women outpaced men by a substantial margin. Women read an average of 14 books, compared to 10 for men.
– See more at: http://crimefictioncollective.blogspot.com/2014/04/thank-goodness-for-fairer-sex.html#sthash.WQM33fDw.dpuf

 

Click here to read the full post, which includes some informative charts, on The Crime Fiction Collective blog.

 

Everybody Arcs! How to Use Emotional Growth to Propel the Story and Capture the Reader

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This post by Kristen Lamb originally appeared on her blog on 4/24/14.

I’ve heard people say some books (or genres) are plot-driven and others are character-driven. My POV? This is a fallacy. All good books are character-driven and plot is what makes that possible. Characters have to make us give a hoot about the plot. If we don’t like or empathize with the characters, we don’t care about their problems.

Conversely, plot is the delivery mechanism and crucible for character (even in literary fiction). Characters can only be as strong as the opposition they face. Weak problems=weak characters. In a nutshell, character and plot can’t be easily separated.

For instance, in the Pulitzer-Winning The Road, the plot is simple. Man and Boy must make it to the ocean. Yet, since this piece is literary, the plot goal is subordinate to character goal.

It is less important that Man and Boy make it to the ocean than how they make it to the ocean. The world has been obliterated, killing every living thing other than humans. Many have returned to the animal state, resorting to cannibalism to survive. The question in The Road is less “Will they make it to the ocean?” and more “How will they make it to the ocean?” If they resort to snacking on people, they fail.

But I will say that while plot is great, characters are what (who) we remember. We have to be able to empathize. We want to love them, hate them, root for them and watch them fail, then overcome that failure. As the late Blake Snyder said, “Everybody arcs!”

Often, this is the trick with series and why early books generally are more popular. Once our main character evolves, we are left with three choices:

 

Click here to read the full post on Kristen Lamb’s blog.

 

On Their Death Bed, Physical Books Have Finally Become Sexy

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This article by Mireille Silcoff originally appeared on The New York Times Magazine site on 4/25/14.

A few years ago, I started noticing a small wave of a new kind of book: highly displayable coffee-table books about the display of books. They had names like “At Home With Books” and “Books Do Furnish a Room,” and felt a bit like an adjunct to that classic, recursive “Seinfeld” gag: Kramer’s coffee-table book about coffee tables that could double as a coffee table.

It has shown little sign of flagging. There was, more recently, “Bookshelf,” another book about the creative storage of books, and “My Ideal Bookshelf,” a collection of drawings of the spines of famous authors’ favorite books. This rash of metabooks felt prescient in a way, so prescient as to be slightly depressing in fact, because they seemed such a clear sign of physical books’ imminent death. When a book becomes pure décor, it ceases to live its intended life. So in this way, every fabulous wall of curated volumes in the loft of the TriBeCa bond trader who reads one rock biography a year is held together with coffin nails — an end of an era, described in furniture.

The Death of the Book has loomed over so many other eras, but today it seems more certain, at least when it comes to the physical book, because the e-book has been outselling the paper kind on Amazon since 2011. With reading, we all know what direction we’re now going in — it’s bright-at-night, it’s paved with e-paper, it’s bad for focus, it’s incredibly convenient. Those of us — myself included — who can’t yet bring themselves to read on a Kindle or an iPad feel increasingly fusty saying the same old thing: “I just like the feel of paper in my hand! The intimacy!” We preface the words with that thing about not being a Luddite. We talk about the fixity of real books, and the frightening impermanence of one you can download in seconds. We feel our sentences grow stale the second they leave our mouths.

 

Click here to read the full article on The New York Times Magazine site.

 

MacAdam Cage Authors Look to Resolve E-book Dispute

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This article by Calvin Reid originally appeared on Publishers Weekly on 4/23/14.

Despite complaints from former MacAdam Cage authors that they have not received e-book royalties or regular statements for years, Mark Pearce, publisher of MP Publishing, the publisher and e-book distributor that controls their e-book rights, claims all royalties have been paid and all statements are up to date. Pearce blames the legacy of problems at MacAdam Cage on its late publisher, David Poindexter, although he is urging former MacAdam Cage authors to contact him to resolve disputes over post-bankruptcy e-book rights to their titles.

At the same time, Jan Constantine, general counsel at the Authors Guild, who has examined the e-book agreement, told PW that the e-book rights agreement negotiated between Poindexter and Pearce in 2009—Pearce purchased the e-book rights to the bulk of the MC list for the life of copyright—is legitimate and survives the MacAdam Cage bankruptcy. All print rights reverted to former MC authors in March of this year, 60 days after MC filed for bankruptcy.

However, she also emphasized that Pearce must “comply with the agreements in the contract. If he doesn’t then he’s in breach and the authors can reclaim the rights to their books.” Constantine urged former MacAdam Cage authors to immediately demand “back dated and current royalty statements” from Pearce and to “make sure he is in compliance.” The Authors Guild is also circulating copies of the original MC/MP Publishing e-book agreement and amendment to authors and urging them to examine the licensing agreements. The Authors Guild will monitor the situation.

 

Click here to read the full article on Publishers Weekly.

 

The Significance of Plot Without Conflict

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This post originally appeared on the still eating oranges tumblr on 6/15/12.

In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.

The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.

Kishōtenketsu contains four acts: introduction, development, twist and reconciliation. The basics of the story—characters, setting, etc.—are established in the first act and developed in the second. No major changes occur until the third act, in which a new, often surprising element is introduced. The third act is the core of the plot, and it may be thought of as a kind of structural non sequitur. The fourth act draws a conclusion from the contrast between the first two “straight” acts and the disconnected third, thereby reconciling them into a coherent whole. Kishōtenketsu is probably best known to Westerners as the structure of Japanese yonkoma (four-panel) manga; and, with this in mind, our artist has kindly provided a simple comic to illustrate the concept.

 

Click here to read the full post on the still eating oranges tumblr.

 

Ten Rules Of Writing

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This post by Alan Baxter originally appeared on his Warrior Scribe site on 4/23/14.

People are always posting rules of writing and it annoys me. I have opinions about many things, and this is definitely one of them. If you’ve read my blog for any length of time, you’ll know I think writing rules are generally a load of bollocks. They often contain good advice, but “rules” can go and get fucked. So, [engage irony mode] [irony mode engaged] [remove hypocrisy filter] [hypocrisy filter removed] here are my ten rules for writing. They’re the only rules you’ll ever need. See if you can spot the pattern.

1. WRITE

No matter what, if you write, you’re a writer. If you don’t write, you’re not a writer. Wanting to write, intending to write or really loving the idea of writing is not writing.

2. WRITE

Doesn’t matter when, where, how or how often, just do it. Once a day, once a week, once on month, whatever. Sit your arse down somewhere and write. The more often you do it, the better you will be.

3. WRITE

You won’t find time to write. No one has time to write. You make time to write. Can’t make time? Then you don’t want it badly enough.

 

Click here to read the full post on Warrior Scribe.

 

Is It O.K. to Mine Real Relationships for Literary Material?

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This article by Francine Prose and Leslie Jamison originally appeared on The New York Times Sunday Book Review on 4/22/14.

Each week in Bookends, two writers take on questions about the world of books. When Robert Lowell used his ex-wife’s letters for his poetry, Elizabeth Bishop told him, “Art just isn’t worth that much.” This week, Francine Prose and Leslie Jamison discuss what they make of mining actual relationships for literary material.

By Francine Prose

Writers need to be careful about putting their children in memoir or in fiction. We’re their custodians.

I’ve been asked this question so often I’ve begun to assume that the world is teeming with aspiring writers wondering what Thanksgiving dinner will be like after they publish that lightly fictionalized exposé of Mom’s actionable parenting skills and Dad’s affair with the babysitter. When asked, I usually reply: “Write what you want. People rarely recognize themselves on the page. And if they do, they’re often flattered that a writer has paid attention.”

Do I believe this? Yes and no. I’m reasonably certain that John Ashcroft didn’t recognize himself disguised as the evil high school guidance counselor in one of my novels. But like so much else, this thorny matter requires consideration on a case-by-case basis. In Mary McCarthy’s story “The Cicerone,” Peggy Guggenheim, the important collector of modern art, appears as Polly Grabbe, an aging, spoiled expatriate slut who collects garden statuary. Guggenheim did recognize herself and was definitely not flattered; it took years before the two women were friends again. Write what you want — but be prepared for the consequences.

 

Click here to read the full article on The New York Times Sunday Book Review.

 

How To Be Prolific: Guidelines For Getting It Done From Joss Whedon

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This article by Ari Karpel originally appeared on FastCo Create in June of 2013.

The writer-producer-director who made Much Ado About Nothing while editing The Avengers, and who’ll return to TV this fall with Agents of S.H.I.E.L.D., knows a bit about “getting things done.” In fact, he cites David Allen’s book of that title as an important guide–even if he never finished reading it.

Note: This article is also included in our year-end creative wisdom round-up.

Few people get things done in as consistent and impressive a fashion as Joss Whedon. His Avengers was the rare superhero movie to break box office records as it garnered critical acclaim. And while he was editing that Marvel-Disney monster, he secretly shot a version of Shakespeare’s Much Ado About Nothing at his own house with friends from many of his previous movie and TV projects, including Clark Gregg (The Avengers), Nathan Fillion (Firefly), Amy Acker (Dollhouse), Fran Kranz (A Cabin in the Woods), and Alexis Denisof (Buffy). Meanwhile, he’s the man behind the much-anticipated Marvel TV series, Agents of S.H.I.E.L.D., also starring Gregg.

As Much Ado hit theaters and kicked indie-film ass, Whedon sat down with Co.Create to lay out how he manages to juggle so many projects. His secret? Identifying concrete steps, friends, and tough love.

ROCK A LITTLE DAVID ALLEN
In other words, get specific. When I asked Whedon to share some tips for being prolific, he had one question: “So do you want to go macro or micro?” I chose micro. Here’s what he said:

 

Click here to read the full article on FastCo Create.

 

The Full-Time Writer

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This post by Chuck Wendig originally appeared on his terribleminds site on 4/22/14.

This is one of the questions most frequently asked of me.

How do you become a full-time writer?

I am, and have been, a full-time writer (on and off) for the last ten years. The most recent “off” period, many moons ago, was simply because I was trying to get a mortgage on a first home, and the bank was like, “OH YOU’RE A FREELANCE WRITER SURE, SURE, WE KNOW WHAT THAT IS, EXCEPT THERE’S NO BUTTON ON MY COMPUTER THAT SAYS ‘GIVE FREELANCER A MORTGAGE NO MATTER HOW MUCH HE EARNS,’ OH WELL, SO SORRY, GOOD LUCK.” *toilet flushing sound*

This past year, 2013, was my most financially successful year yet.

You want to know how you become me.

In the loosey-goosey full-time sense, of course. To actually become me means cutting clippings of my beard, dipping them in a saucer of my heartsblood, reciting a thousand words of vulgarity that haven’t been heard by human ears since Caligula was prancing about, then eating the bloody beard puffs. With milk. Whole milk, not two percent, c’mon.

And it’s gotta be velociraptor milk.

Whatever.

Point is, full-time writer status: you want it.

But, I want you to slow down, hoss. Ease off the stick, chief.

You want to jump off the ledge and land in the pool 20 floors below. But it doesn’t work like that. I mean, it can — you might get lucky, you might survive the jump. Or, you might crash into some portly lad bobbing about on an inflatable Spongebob raft and kill the both of you.

Do not quit your day job.

I know. Your butthole just clenched hard enough to snap a mop handle. You hate your day job. The fact you call it a “day job” is a sign that you basically despise it as a grim, necessary evil.

But I’ll repeat:

Do not quit your day job.

Not yet.

If you’re going to become a full-time writer Cylon, you need a plan.

 

Click here to read the full post on terribleminds.

 

Why Indie Authors Need A Team

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This post by Bruce McCabe originally appeared as a guest post on The Creative Penn blog on 4/16/14.

People often ask me about how to be a successful indie author, or what’s the best way of marketing. I seem to be replying in the same vein every time these days – it’s all about collaboration and about personal relationships.

I have a team of people I work with in my business. I have editors, a cover designer, an interior book designer, a graphic artist, a transcriber, a book-keeper, outsourced contractors for specific projects, a creative mentor, a community of twitter & blog friends and many more. Without these, I would not be able to do what I do. This is also why I self-identify as an indie author, NOT as self-published, as I am far from doing it all myself these days.

Today, author Bruce McCabe reiterates the importance of concentrating on people. His indie-published debut novel, ‘Skinjob,’ has just been acquired in a two-book deal with Random House.

I’ve been privileged to [have] spent most of the last twenty years hanging out with people vastly smarter than myself – inventors, mavericks, scientists and innovators. Here’s a lesson from these wonderful people that I’ve found helpful on the writing journey:

 

It’s always about the who.

By which they mean the most important success factor in Silicon Valley is not the earth-shattering idea, nor the technology, nor money, nor access to resources, nor a myriad of other things, it is the composition of that core group of people, often very small, who truly believe in a goal and are emotionally dedicated to bringing it to fruition. Good teams care. They roll up their sleeves and get things done, take bad ideas and remake them into something worthwhile, find resources where there are none. When good teams fail they pick up the pieces and start over. Good teams, eventually, break through.

The corollary being: put most of your time into getting the who right and the rest falls into place.

 

People are your best investment.

 

Click here to read the full post on The Creative Penn.

 

The Library ebook Situation is Appalling

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This post by Michael Kozlowski originally appeared on Good Ereader on 4/20/14.

Publishers have been heavily resistant about selling their catalog of eBooks to libraries in the US and Canada. It took years of lobbying from the American Library Association and companies such as 3M and Overdrive to finally sway them over. Now, in one way or another, every major publisher has a pilot project or distributes select titles to libraries.

In 2013, both Macmillan and Simon & Schuster, which had not been selling ebooks to libraries, began pilot programs which were eventually expanded. Macmillan now sells its entire back-list of 11,000 titles to libraries nationwide and Simon & Schuster expanded its first pilot to a dozen libraries. Penguin Book Group ended its embargo policy so that all ebook titles would be available to libraries at the same time as in the consumer ones are issued. Hachette Book Group made all its ebooks available to libraries at the same time as print books. Smaller publishers such as Smashwords have also got involved in the distribution of eBooks from their wellspring of self-published content.

Major publishers still see libraries as devaluing their digital product by giving it away for free.

 

Click here to read the full post on Good Ereader.

 

New Non-Scientific Information About Not Good Enough Syndrome

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This post by Andrew E. Kaufman originally appeared on The Crime Fiction Collective blog on 4/16/14.

I’m reaching a point in my current manuscript where I feel as though I’m starting to get a handle on things.

Well, that’s a relative term.

One never truly has a handle on things when one suffers from what is known as Not Good Enough Syndrome. You may have heard of this affliction. It’s non-specific, widely undocumented, and for the most part, difficult to diagnose.

Symptoms may include:

• Self doubt

• Self-loathing

• Second-guessing everything.

• Not liking anything.

• Lack of inspiration, ideas, or sanity.

• Isolated episodes of global panic (with intermittent aspirations of world-building).

• Private, self-contained tantrums, which can range in severity.

And there are subcategories, and of course, I have a few of those as well. Currently I’m in the throes of, There Aren’t Enough Damned Twists in this Book! (Yes! There is an actual exclamation point at the end! A demarcation of severity!)

 

Click here to read the full post on The Crime Fiction Collective blog.

Why Ebook Authors Need to Embrace New Technologies

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This post by Jason Matthews originally appeared on The Book Designer on 4/16/14.

“Knowing what you know now…”

I work with new writers online and at events. They ask a myriad of smart questions including this one: how would you publish differently if you did it all over again? As the saying goes, hindsight is 20-20. I’d do dozens of things differently than the blind assault to digital publishing I debuted with.

But that’s true for most authors. This industry has evolved so much in just a few short years; even the “experts” have had to learn the ropes on the fly.

You’ve probably heard most of the common answers that follow I wish I had:
◾ been more involved with social media
◾ blogged sooner
◾ invested in a great cover
◾ done more market research
◾ worked with a professional editor or two
◾ learned more about SEO (search engine optimization)

Here’s another answer you may not have heard as much, but this would have helped me immensely and is still true for many writers today:

◾ embraced the technologies available for use in ebooks

There’s a common dilemma in this digital author business: most writers are of advanced age, and the technology they need to succeed is easier learned by the younger crowd.

This is a generalization of course, but I see a lot of frustration behind threads of gray hair when discussing issues related to blogging, social media, converting documents and more.

The tech learning curve is something we all experience since nobody knew anything about this stuff several years ago. That’s when Amazon introduced the first Kindle (circa 2007) and the ebook revolution really took off.

 

Dealing With the Pace of Change

 

Click here to read the full post on The Book Designer.

 

How Indie Authors Sell Foreign Rights

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This post by Orna Ross originally appeared on ALLi on 6/6/13.

The good news for us, as indie authors, is that rights issues are greatly simplified. We own our rights and we can decide what we want to do with them. We are not bound by a publisher’s overall policy and loyalties to other titles.

The bad news is too often we don’t know how to deal with translation rights. Here are some suggestions of ways you might handle them.

~~~

1: Sell English Language eBooks in International Book Stores.

Amazon has a number of Kindle stores in different countries:
Amazon.co.uk,
Amazon.com,
Amazon.de,
Amazon.fr,
Amazon.it,
Amazon.es,
Amazon.co.jp,
Amazon.com.br,
Amazon.cn and
Amazon.ca.

Once you load your books, they are automatically for sale in all stores. Those countries that do not have their own store are included in one of the bigger stores. e.g. customers in Australia in Amazon.com. (Note: This information subject to change as Amazon extends into more territories)

Other companies like Apple and Kobo are also aggressively pushing into overseas markets.

 

Click here to read the full post on ALLi.

 

Why We’re Removing Comments on Copyblogger

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This post by Sonia Simone originally appeared on Copyblogger on 3/24/14. As longtime readers know, Publetariat had to take this same action when the site was brought back following a hacker attack last year.

“Would you ever consider taking comments off Copyblogger?”

When the question was posed during our editorial meeting, my immediate reaction was, “Absolutely not.”

I wasn’t even interested in considering it, because I like conversations. I enjoy seeing what people think of different posts. I like the quick view of what people react to (positively or otherwise), and what seems to need more explanation.

While the comments on the big CRaP websites are mostly pretty awful, I’ve always enjoyed managed comments on real content blogs. Conversations, after all, are typically more interesting than monologues.

But the team and I got together and talked about it. And as we talked, I started to see it differently.

Here’s the distillation of that conversation — the one that led me to say, Okay, let’s do this.

 

First, the conversation doesn’t end

If you’ve been running your own blog for awhile, you probably noticed that comments started to become less frequent when Facebook and Twitter really started to come into their own. (And that’s only picked up speed with the incredible growth of the other social platforms like Google+ and LinkedIn.)

Why? Because the conversation moved to a wider public platform.

 

Click here to read the full post on Copyblogger.