words

The Clarion West Write-a-thon

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Yes, it’s the solstice, and yes, I’ve signed up for the Clarion West Write-a-thon.

That link above will take you directly to my pledge page, but if you want more information, here goes.

Clarion West is a famous writing workshop in Seattle.

For nearly 30 years, Clarion West has been run for six weeks during the summer. As you might guess, it spun off from an older workshop with the same format in Michigan (I think) called simply “Clarion”. It’s taught by five writers and one editor, each trading off for a week, and writers come from all over to attend. They quit jobs, end relationships, lose apartments, and generally uproot their lives to spend a month and a half sequestered away from the world working on their fiction.

I’m not a graduate. I applied once in the 90’s but was turned down. However, the list of graduates is sure to include authors you love.

Clarion West has a reading series.

This is how I know the workshop. As part of the fundraising efforts, the workshop runs a reading series. It was the first place I ever heard a writer read, way back in the early 90’s (back when they held them in the basement of Elliott Bay Books), and it helped me find some terrific writers.

This year’s instructors are: Elizabeth Hand, Neil Gaiman, Joe Hill, Margo Lanagan, Samuel R. Delany, and Ellen Datlow. Too bad I have a kid or I would definitely be busing across town for these.

Clarion West still needs support.

Times are tough for everyone, including non-profits. To help raise money, CW is holding a “Write-a-thon” in which people pledge to walk a certain distance write a certain amount of words while the workshop runs.

Me, I’m hoping to wrap up the first draft of THE GREAT WAY in that time, so any pledges in my name will be considered serious and for real motivation.

Hey, it’s a good organization and a good cause. If you can bear to make a pledge, please do. #SFWApro

For writers, there is no being “inside”

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When people are calling me an asshole or a “tradpub defender” who’s simultaneously terrified of the future and incredibly lucky because I’m inside, I can’t help but laugh aloud. Seriously, I bust out laughing at my computer.

Why? Because writers are not on the inside. You write a book –> Someone likes it enough to offer you a contract –> You fill the contract –> If both parties want to, you get another offer.

That’s it. Writers aren’t insiders, they’re visitors. They’re free agents. Some are in great demand. Most are not. From the outside it might look like they’re insiders, but I’ve learned that ain’t so.

The point is (and we’re ignoring the odd stuff like celebrity books and such), the only difference between a writer who gets that pseudo-inside status and the one that did not is that the former wrote a book a publisher wanted to publish. That’s it. The so-called gatekeepers aren’t there to keep you out. They’re there to let you in once you have a book that meets their needs. They’re searching for your work.

But that doesn’t make you an insider. You’re still on the outside, proving your worth over and over again, every time you write a book. #SFWApro

Randomness for 6/17

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1) Father photoshops infant baby into crazy, magical pictures.

2) Put sand on metal plate. Add pitch vibrations to metal plate. At certain frequencies, the sand will form beautiful geometric patterns. Video.

3) How common is your birthday?

4) The smelliest places in New York (and other cities), a chart.

5) Writing advice from John Green, in cartoon form.

6) Ten Famous Filmmakers Pick Their Favorite Overlooked Movies.

7) Norway plans to build world’s first tunnel for ships.

Writing, Hard Work, Luck, and Some Personal News

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Author Kameron Hurley is procrastinating on her novel has written another interesting blog post, this one called UNPACKING THE “REAL WRITERS HAVE TALENT” MYTH. She makes a few points that are similar to ones I made in a previous post about talent and hard work, Teaching Writers To Be Talented, but she comes at it from a different perspective.

I especially like the way she emphasizes study as much as hard work. Sure, a writer can create page after page of prose, but unless there’s a continuous struggle to separate what works from what doesn’t, and unless there’s an open-minded willingness to study the form in depth, all that hard work may not mean actual improvement.

Yeah, it’s nice to have “talent”, whatever that is. I mean, I talk about talent in that old post I just linked to, but I’m surprised to see that I never used the term black box to describe it.

People call others “talented” based on what they create, but you can never really know the process that lead to that final creation. Was it a “natural gift”? Did they study the craft for years? Were they working in a parallel field then carried a few lessons over? Did they grow up in a home rich with language?

Even if you were to ask the author directly, you could never be sure their answer is accurate, not when writers say things like “I didn’t have talent. I had hard work.” and “I just sat down to write a book and a publisher picked it up!” People have a tendency to overlook important factors like years of fanfic/journal writing, or even something as simple as a house full of books.

Hurley’s post is worth reading, not least because she gives hard concrete examples of the way she learned. “Blindly groping along” I think is the way she put it, which covers so many of us.

To take this even further, consider artist Molly Crabapple’s post Filthy Lucre:

Meritocracy is America’s foundational myth. If you work hard, society tells us, you’ll earn your place in the middle class. But any strawberry picker knows hard work alone is a fast road to nowhere. Similarly, we place our faith in education. Study, and the upper-middle class will be yours. Except the average student graduates $35,000 in debt.

Artists too have their myths. The lies told to artists mirror the lies told to women. Be good enough, be pretty enough, and that guy or gallery will sweep you off your feet, to the picket-fenced land of generous collectors and two and a half kids. But, make the first move, seize your destiny, and you’re a whore.

But neither hard work nor talent nor education are passports to success. At best, they’re small bits of the puzzle.

Also:

It’s easy to ignore luck, privilege, and bloody social climbing when you stand onstage in a pair of combat boots. It’s easy to say that if people are just good enough, work hard enough, ask enough, believe enough, they will be [successful].

She’s coming at things from the fine arts, so her concerns are somewhat different. She needs funds to create her artwork, while for writers the main constraint is time. Time to read, research, write, and revise. Time to make the work and do it without interruption. For me and most writers I know, the major limitations on our time come from the paying work we must do to support ourselves and our families, and the time we have to spend caring for our loved ones (addendum: we need loved ones; being lonely can kill you).

Even with talent and hard work, there’s always a chance of failure. Money helps. Luck helps. Lots of free time helps. Supportive people help. Success comes from a mix of some or all of those things, and the more of them you have the better.

However, just to re-emphasize the point:

Hard work + self-awareness + perseverance = MAYBE

That’s a quote from Scott Lynch’s post from today. It’s another long one, but again worth reading.

The big takeaway is that, you have to work hard, you have to be lucky, you have to stick it out, but even if you do everything “right” there are still no guarantees.

Speaking of which, if you’ve read this far you’re entitled to a little news. Here it is:

THE WAY INTO CHAOS, aka A Blessing of Monsters, aka Epic Fantasy With No Dull Parts, has gone the rounds of New York publishes and found no takers. The very last rejection came this morning, which is why I dredged up this post from the pile of unfinished ones in my dashboard.

The reasons giving in those rejections are interesting if not instructive. Today’s pointed out that the current market favors fantasy that’s very dark, while TWIC is not. (So much for being ahead of the curve).

In any event, yes, I will have to finish the book, then self-publish it (with some crowd-sourced help to pay for editing and cover art). That’s some weeks away still, but damn.

There are no guarantees.

I am a dummy sometimes: marketing as luck-seeking behavior

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As a followup to yesterday’s post about our bias toward survivors, skill, luck, and the creating of luck, I wanted to make one little note here about how wrong I’ve been on one aspect of book marketing.

It’s often said that publicists and marketers will do all sorts of things to get the word out about a particular book, but they know that 90% of it will be wasted effort–they just don’t know which will be in the 90%, so they do it all.

For me and a lot of other people, I suspect, this sounds like a poorly-researched, poorly-planned activity. How can you not know what works and what doesn’t? Why not just find out what’s effective? Do polling/market research/whatever to answer questions like: Do book reviews in Locus sell copies? Do convention appearances? Do radio interviews?

Obviously, this wouldn’t be easy but it sounds doable. What’s more, there’s money on the line and if there’s one thing that begs for careful research into the acquiring of it, it’s money.

But that’s because I hadn’t really thought about it correctly. As mentioned in yesterday’s post, people who are lucky tend to put themselves into new situations often. They’re flexible. They don’t try to control situations. They try new things.

Yesterday, while I was mulling over the prospect that it was my own damn choices that made the Twenty Palaces books so unlucky, it dawned on me that the whole point of “90% is wasted effort” is that it’s luck-seeking behavior. It’s putting information out into the world hoping that it starts catching people’s attention in a big way. People will say things like “I took out an ad on Reddit Fantasy” or “I did a guest post for [Name Author]” or “I got a nice review on [Non-Book Site]” but that’s a kind of suvivorship bias, too. The book was marketed and publicized in a lot of ways, but those were the times that luck hit.

Maybe that’s obvious to everyone in the world but me, but this is my blog, so…

Here I’ve been thinking that most marketing is Not Useful. Maybe I should rethink.

Time to dig out my Holmes & Yoyo fanfic! (Crowd-sourcing tie-in novels)

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Check this out: Amazon is setting up Kindle Worlds, which is a way for people to write fanfic and sell it with the IP creator’s consent. So far they’re only going public with three of the shows (and all three are TV shows) they’ve licensed–GOSSIP GIRL, PRETTY LITTLE LIARS, VAMPIRE DIARIES (yeah, I know the last was a book first)–but obviously there are going to be more.

Some thoughts: First, they’re going with their onerous 65% sales commission, which is understandable, I guess, since they’re paying the owner of the IP as well as themselves. Don’t forget that’s based on the net revenue. Quote: As with all titles from Amazon Publishing, Kindle Worlds will base net revenue off of customer sales price

Still, it’s good to see that they’re going to be paying monthly, which is the first of the five big changes Tobias Buckell hopes to see in publishing as a whole.

Second, the books will not be commissioned by Amazon. It’s all spec submissions. You can check out their rough guidelines for the program as a whole and see that they will not be accepting anything with graphic sex[1] or offensive language[2].

They also won’t accept crossover works, or works that contain a whole bunch of brand names (presumably because they think the writer is getting paid to do so[3])

Third, they reserve the right to reject work for things like bad ebook formatting and shitty covers.

Yeah, that’s right. The authors are expected to create their own covers for work being published with the consent of Warner Bros. I can’t help but wonder if they’ll turn a blind eye to using actors’ publicity shots.

Fourth, I can’t believe I didn’t see this coming.

So… okay. The way it works is simple: You write (or more likely “have written”) fanfic within a licensed setting out of love for the show. Amazon opens its doors to Kindle Worlds. You create a cover and format an ebook file, then submit it.

At that point, someone at Amazon actually reads it–when they’re explaining that poor customer experience will get a book rejected, they say: “We reserve the right to determine whether content provides a poor customer experience.” I’m going to assume that means they have a reader on staff vetting projects before they’re published, not that they publish everything and take it down later based on reader complaints. Frankly, it’s what I would expect if I were Warner Bros.

If it’s approved, it goes on sale and you start getting the ka-ching (they set the price).

One thing I’m not clear about is whether they acquire all rights to your work on publication or submission. It’s not as though you can sell your GOSSIP GIRL novella somewhere else, but you could certainly change the names around once it’s been rejected for the sexy, and Amazon could make trouble for you if they have your submission in a database somewhere.

As for how I feel about it, honestly I’m conflicted. Some years ago before I was published, I wrote and submitted a story for an open Star Trek anthology. It was a prison story starring that transporter-accident clone of Riker, after he’d been captured by the Dominion and, while I was proud of it at the time[4] and while my rejection was personalized (and quite nice) the damn thing was much too specific to file the serial numbers off.

I think it’s great to open up settings in this way for the fans, and I hope they take advantage. At the same time, writing tie-in novels used to be a way for writers to make a bit of money (and have a bit of fun) between their own projects. With luck, a successful HALO or Star Wars novel would draw in new fans to their original work.

So, does this signal the end of the pro tie-in novel? Probably not entirely, but there is going to be pressure on the market by people willing to write the books (and make their own covers!) on spec.

And for the people publishing their fanfic, it seems like playing small ball. Yes, there will undoubtedly be people who make good money through this program, but I can’t help but think they’d be better off in the long term by filing the serial numbers off and striking out on their own, as in 50 SHADES…

Personally, I don’t have any fanfiction I could even submit. (There was the SIX MILLION DOLLAR MAN thing I did in 4th grade) because I’m not part of that community, but it does open up other ideas: will authors be allowed to list their own IP[5] with Kindle Worlds, allowing fanfic in their settings be sold online? Personally, I think that would be cool.

So we’re turning fanfic into media tie-in novels.

It’s an exciting time, isn’t it?

[1] Big surprise, right? Don’t bother pasting that mpreg into Caliber just yet.

[2] As my theater improv friends put it, the work will have to be “TV clean.”

[3] “I am Jack’s attempt to publish fanfic with an anti-consumerist message.”

[4] No way am I looking at it again.

[5] At the moment, the only IP I have available are my Twenty Palaces series. The first book is only $2.99.

Randomness for 5/19

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1) Decoding the Range: The Secret Language Of Cattle Branding.

2) If you’re going to deface a textbook, this is how to do it. (Although I’m dubious about the adverb “geniously”)

3) Funny, mean reviews of Dan Brown’s Inferno.

4) Banned SF/F novels.

5) Girl makes jacket out of Ziploc bags, wears sandwich and snacks where ever she goes.

6) Why Manhattan’s Green Roofs Don’t Work–and How to Fix Them

7) Theres a Question Mark Hanging Over the Apostrophes Future. (I see what you did there.)

Why does a reader pick one book over another?

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Chuck Wendig hosts a discussion on what gets people to buy a book and (this is one of those times when you should read the comments) the results are interesting. A lot more people rely on blurbs than I would have expected, and several people say that glance at the first page or paragraph to decide yay or nay.

I reminded me of kicking back with my son to watch movies from the 80’s. When ESCAPE FROM NEW YORK starts, there’s nothing but a black screen, synth music and the credits, because it was made for a time when you bought the ticket and sat down in a theater. Nobody was holding a remote in their hand, thumb over the FF button.

When I pointed this out to my son, he asked to skip the credits but I wouldn’t. “This is the movie,” I told him.

Anyway, I understand the value people place on first pages, but sometimes they can be misleading. I really enjoyed THE NAME OF THE WIND but I only persevered past the “three kinds of silence” opening because people assured me the style would change.

For myself, I buy books mainly because of the author, the book is a classic of a genre, or a recent(ish) book is so widely lauded that it seems likely to become a classic. I read very slowly, so I can’t just be grabbing stuff willy-nilly.

Internet Fast Still Ongoing

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In the meantime, check out this post from last weekend by Toby Buckell on the evolution of book blogging. He makes a good argument for the way our tastes and responses change as we read more and more.

Also, there’s a Kickstarter I’m involved with: the second volume of the WALK THE FIRE anthology. If it gets funded, I will be writing a story for them (and getting paid, which would be nice, too) but if it doesn’t, then no. It hasn’t been doing great in the way of pledges and I hope that changes.

Premise: there are certain people (Ferrymen) who can travel to anywhere in time and space. The far future on distant planets. The ancient past. Anywhere. What’s more, they can bring people with them.

The table of contents for the first anthology was all dudes, but I spoke to co-editor John Mierau about that and he said a number of authors begged off at the last minute, including the women they’d invited. Things would be different for volume 2, so I signed on. A quote:

The second Walk The Fire anthology will feature stories by two-time Campbell nominee Mur Lafferty, Hugo nominee Paul Levinson, Philippa Ballantine, Harry Connolly, JRD Skinner, Steve Umstead, Matt Iden, WJ Davies and more.

The interesting thing is that several of the authors in the first volume were Kindle bestsellers–basically, successful self-published writers. Me, I hadn’t heard of them before. It’s weird how many social groups can be like a parallel world.

Anyway, check out the Buckell post and consider a pledge, if you will. I’m writing this the day before the fast starts, so I can’t say how well it’s going. Hopefully, it’s so great that I can take a second week and really finish things up.

Randomness for 5/3

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1) Miyazaki talks about why his films go beyond good and evil, in comics form.

2) What happens if you mix Silly Putty with a generous amount of iron oxide and put it next to a magnet? Slo-mo blob attack. Video.

3) Eleven of the world’s most unusual elevators.

4) Linguists excited about the introduction of a new conjunction to the English language (purists will gag, slash I think it’s cool).

5) Cartoonist does 100 self-portraits, each in the style of another cartoonist.

6) Thirteen creepy things a child has said to a parent. Number 3 would be a great start to a story.

7) Why Iron Man 3 Director Shane Black Was Once Hollywood’s Hottest Screenwriter. Word-smithing can be a little different over on the screenplay side of things.