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Have a Nook? In the UK? Back up your books

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If you’re in the UK and you have a Nook (there must be at least ONE of you out there) be sure to back them up. Nook is pulling out of the UK market and relying on a third-party to take over for the Nook books people have already bought.

Personally, I don’t put a lot of trust in maintenance arrangements with third parties.

Details here.

Authorial Self Sabotage: first in an informal series

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The common wisdom is: if you publish in the genre, go to conventions. Here:

Now, to clarify (because this has bitten me in the ass before) I’m quoting Kameron Hurley to talk about her assertion, not to blindly agree with it.

I’m going to relink the article she’s linking above because it’s worth reading, and I’m going to quote it, too.

Check this part out:

Here’s another wrinkle: at least in SFF writerdom, there is really no meaningful distinction between friends and colleagues. Which, sure, is true of a lot of fields. But these relationships are particularly close, and the professional utility of these friendships can be very high. There are costs to missing out, to not being at the right place at the right time to meet the right person. Missed connections are a real thing. Because here’s another wrinkle: it’s not just about being talented. It’s about being noticed.

Which calls back to some other, previous posts of mine about luck. (Don’t roll your eyes, people, I’m going to be brief this time.) If you maximize your interactions with other people and with new experiences, and you remain open to new opportunities, you increase your chances of a “lucky” break. That’s why people who say you can’t control luck are wrong. You can’t control luck in any specific situation, but you can increase the chances that something lucky will happen over the long term.

Therefore: conventions, where you meet colleagues who become friends. The benefits of that are unpredictable but they’re there. The costs are there, too.

See this post by Chuck Wendig listing the upside and downside of attending. As Chuck says, the point is to meet people you like and be liked in return. It’s a professional opportunity to make pals, not to cynically acquire names and resumes who will give your career a lift. Chuck also makes an extensive list of the downsides, one of which is cost. Marko Kloos broke down the cost of attending Confusion, an event he really enjoyed and which is apparently the cool new thing.

Clearly, $1,888 isn’t chump change, and it’s clear that no one is going to make back that money on the weekend itself. The money I just paid to Bookbub was not tiny, but the extra sales more than made up for the cost. But that’s short-term thinking. That almost-nineteen hundred dollar ConFusion expenditure will pay off, if it pays off at all, in the long-term benefits that come from the friendships formed at the event.

For example: we’ve all seen writers pushing their books on social media, and most of us know that, while it works once in a while, it’s not an effective way to sell. You reach your core followers, they buy the book, and the positive effects of future promotion nosedives.

But being promoted by other writers to their followers, with a personal recommendation? That’s gold. Meeting an editor who remembers you as smart, funny, and sensible the next time your agent submits your work? Making a good impression on a handful of fans who decide to try your books, then love them so much that they evangelize for them? Also gold.

And it can’t be predicted or forced. It’s like the old saying: “If you want to find someone to love, be someone worth loving.” Authors just have to go, spend the money, the energy, and the time, and hope good comes of it.

For those who have found benefit that way, great. I’m glad Kameron Hurley’s career is doing well and I hope she becomes a best-seller (or whatever her goal is). But it’s important to be wary of Survivor Bias. My own experience at big meetups is not all that positive. Usually I leave feeling that I should have spent that time writing.

And then there’s this:

No conventions. Hear that? They don't attend many conventions

Excerpt from ‘The Career Novelist’ by Donald Maass

That advice is more than 20 years old and it’s the exact opposite of what authors are told now. Conventions may have been around for a long time, but could things have changed so much?

I’m open to the possibility that social media magnifies the effects of creating a F2F friendship with your colleagues; it’s possible that folks who witness fun and funny online exchanges between pros would be willing to sample the work of a whole clique. I also suspect that’s where “cool kids” rhetoric comes from (as in “I’ll never be one of the cool kids”). In social media, casual expressions of camaraderie are a public act and it’s easy to feel excluded when it looks like everyone but you gets to take part in the fun (Not to mention getting the reviews, the blurbs, the nominations…)

Then again, what looks widespread and pervasive on social media is usually neither. The ongoing drama in one person’s circles goes completely unnoticed by the world at large. And those people that look like they’re among the “cool kids” are struggling with their books and their insecurities just like any other writer. The only difference is that their circle of friends has a high(ish) profile.

Still, the idea that long-lasting sales comes to those who don’t waste time on the social stuff is very very tempting.

Back and forth. Back and forth. Is it worth the time and money? How many cons does it take to start making friends? Is it even worth it for me, a guy who hates to be jostled, who can’t hear in noisy environments, and is terrible at recognizing faces? (also names?)

Maybe it would be worth it, but feh. I’m terrible at that stuff. We only get 52 weekends a year, and I don’t want to use one of mine on socializing when I could be working on a book.

I could be shooting myself in the foot with that decision, but it wouldn’t be the first time.

Today’s Twitter Confession

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Sometimes I squelch the urge to say things that are true but seem obvious. I probably shouldn’t.

And this is why Wren, an app that lets me send Tweets without being distracted by reading anyone else’s, is a great way to let off steam when I’m writing.

Death… I mean, Obscurity stands at your left shoulder and whispers “Soon.”

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I should have put this here instead of on Twitter, but I got into a roll and what the hell.

Here it is, my short essay on obscurity:

I wish I could edit tweets.

Anyway, re: #18, here’s Jaime Lee Moyer talking about her series being cancelled after Tor pulled her first two books just as book 3 was coming out and here’s Patrick Swenson talking about Tor dropping him after one book. Those forgotten bestsellers I mention in tweets #6 & 7? At least they made a little money first. For too many of us, even that’s beyond our grasp.

I have also been thinking about George RR Martin, who recently announced that his next Westeros novel will be delayed. It reminded me of an article I read about JK Rowling, and the pressure she felt while trying to finish the last few Harry Potter books. Those authors have had amazing success, obviously, but they still feel Imposter Syndrome. They still worry that readers will be turned off and turned away. That readers will move on.

Anyway, that’s what I’m thinking about lately, as I watch the Bookbub sales bump fade, and wonder if those readers will move past the 99 cent promo novel to my other work.

Hey new readers, if you want to keep up with my future work, why not sign up for my newsletter? I only send it when I have something new out.

Also, it helps keep the specter of Obscurity a few paces behind.

Writer Perspective v. Reader Perspective: Is Fantasy a Plot Element?

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Holy crap, you guys, I have so many browser tabs open to read/link to/comment on and no enthusiasm for the job. I’m tempted to just create a giant link salad so I can be rid of them and their spinning beach ball of death.

But first, there’s a post I’ve been meaning to respond to for exactly one year, so I’m going to get it out of the way today, 365 days after it was posted.

My original post: Superheroes Are Not a Genre, in which I said that fantasy was defined by a plot element.

The response: Fantasy is not a plot element, by LJ user barbarienne (who not so incidentally did the interior design work for The Great Way, who helped me find a printer and cover designer, and was generally indispensable during the publication process. She’s the reason those books look as good as they do.)

My original post was about genres and how to combine them. Genres are defined in different ways: how they make the reader feel, what sort of plot question they have, where they’re set. What barbarienne didn’t like was that I defined fantasy by plot and not by setting.

Her post largely focuses on the importance of worldbuilding. For ex: But it is only in genre fantasy where the created setting is why the readers came here. [I removed a footnote from the middle of that sentence.] Note that she wrote “created setting” because there are several genres where the setting is central to reader interest, such as westerns and historicals, but those settings are re-created. Only science fiction blah blah blah, she covered that in her post, which I hope you’ve read.

And I agree with most of what she says. For the most part, fantasy readers love setting above all else, and some are seeking novelty while others are seeking the familiar. It’s why so many fantasy novels seem like travelogues. Even urban fantasy that’s supposedly set in our world contains sections that read like The Smart Tourist Guide To Secret Places.

But the thing is, I wasn’t talking about the reader’s experience of fantasy. I was talking about the issues a creator has to consider when mixing genres. For example, if you’re creating a fantasy/western, you could just add magic to a story set in Dodge City. You could, if you wanted, create a pseudo-Old West map in the way that other writers create pseudo-medieval maps, but you don’t have to. The magic a writer adds to Dodge City changes the type of story you can tell there, and while it might change some of the characters (gun-slinging wizard?) it doesn’t have to. But it will always change the way the plot progresses. Even if they’re stock western characters with nothing fantastical about them, if they’re facing a dragon or cursed dueling pistols or telepathic cattle rustlers, the fantasy elements affect the plot.

Fantasy readers, with their particular reading protocols, may not experience it that way. “It’s the old west with dragons!” they’d say, as though it was an entry in one of Rick Steve’s books. Fantasy can be defined in several ways, but among the fans of the genre, they’re looking for a interesting fantastical setting, but from the outside, readers think of it in terms of a story containing things that “aren’t real” (often with the implication that they are risible, childish, or a waste of time).

Okay. Let me backtrack a bit to my own books: when it was clear that Child of Fire was popular among fantasy readers who also loved mysteries and thrillers, Del Rey tried to push the book by sending it to mystery/crime reviewers, too. It’s a novel that crossed genres! Why not expect it to beyond the overlap of fantasy and crime into readers of crime novels?

But it didn’t. Crime/mystery readers and reviewers were mostly uninterested. (I say “mostly” because I got some very nice feedback from readers who wouldn’t ordinarily touch a fantasy novel; they only read it because they knew my wife and were surprised by how much they enjoyed it.) Why? It wasn’t the setting. It wasn’t even the general plot questions (Two people arrive in town to find and kill a very bad man). It was the fantastical elements that made up the plot: the spells, the spell book, the monsters, etc.

And if you think Spell books that summon monsters are part of the worldbuilding, you’re not wrong. But they are also elements of the plot, and powerful influences on the characters. In fact, they are all those things at once; as a writer, I can’t think of them in any other way. The temptation that Frodo feels to put on the One Ring is not just a question of character (Frodo can resist where others can’t) and it’s not just a plot question (can he resist temptation for the whole journey) and it’s not just evidence at the way magic works in the setting of Middle Earth. It’s all those things at once, and they are inextricable.

So, to sum up:

1. Speaking generally, fantasy readers read fantasy because they are looking for setting.
2. Speaking generally, fantasy readers experience fantastical story elements as worldbuilding first, character and plot elements second, because as much as they love great characters and exciting plots, setting is the commonplace attraction.
3. Speaking generally, non-fantasy readers experience fantastical story elements in a variety of ways, but typically as elements of the plot. In other words, fantasy readers -> “This is a school where kids learn magic!” / other people -> “These kids overcome their problems by casting spells.”
4. Search your feelings. You know number three is true.
5. For a creator who is combining fantasy with other genres, the fantasy elements may be related to the setting but it’s more likely that the fantasy elements will be plot-based.
6. If it’s unclear what I mean by “plot-based” well, consider questions like: “How can the characters achieve their ends?” “What obstacles interfere with the characters’ efforts?” “What goal are they trying to achieve?” Those are plot questions.
7. For example: Among all the space ships and robots, Star Wars has wizards who use telepathy, precognition, telekinesis, and can shoot blue lightning from their fingertips. When a creator is trying to decide what a character should do next, all those (fantastical) elements are on the table.
8. Some people will try to argue that the presence of fantastical elements indicates a fantasy setting. Those people are wrong. A book set in our New York City, but with jewelry thieves who are secretly dragons, is a fantasy plot in a mundane setting.
9. Which means I believe writers can/must sometimes do fantasy worldbuilding in mundane settings.
10. Those fantastical plot elements can be a tough sell to readers outside the genre, but not as tough as it used to be.

Now I remember why I put off responding to this post, because it’s so much easier to cruise Twitter reading jokes like:

Randomness for 12/3

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1) Skimp or Spend, an Illustrated Mens’ Style Buying Guide

2) Seven Things I Learned Reading ISIS’s Magazine.

3) She can write like a man, they said, by which they meant, She can write.

4) Piecaken

5) I dressed like Cookie (from EMPIRE) for a week to get over my Impostor Syndrome.

6) Purple Rain, remade in a language without a word for “purple”.

7) That history of the Mork and Mindy show you didn’t know you wanted.

Huge delay in my next book

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As I mentioned in a previous post, I’m not going to hit my NaNoWriMo goal. No big deal; I was just using it as a goad to pick up momentum with ONE MAN, my current WIP which has stalled.

It was a new thing for me, and it didn’t work.

What I realized on Wednesday was that I needed to start over. I plan to keep most of the 65K I’ve written so far, but I need to revise it extensively. The protagonist need to be someone else. I’m even going to give him a new name.

So today is the second beginning of my book. It’ll be a deeper, stronger story, and I’ll be able to make serious progress on it.

Sometimes I wish I could be one of those writers who finish a paragraph, tweak it here or there, then never look at it again. Sometimes I would like to be one of those writers to takes five years for a single book, and just keep revising like mad until it’s perfect.

Unfortunately, I’m me, and tossing a book so I can start over is part of how I work.

Divers Matters (aka N things make a post)

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With all the terrible news in the world right now (along with the deeply awful responses) I’m going to write about some personal stuff.

1. One of the regular features of this blog is the recurring Story Seeds posts: when I get a story idea that starts taking over too much of my thinking, I give it away here on my blog for anyone to use. Well, as I mentioned before, a writer ran with one of those ideas and sold his story. And now the anthology is out: Caped: An Anthology of Superhero Tales. His name is Stephen Kotowych. Check it out.

2. Everyone’s buzzing about the latest new awesome video game, so let me mention one I played right before my Portugal trip: it’s called PORTAL. Very fun and funny! I played Portal 2 immediately after, which was also fun and funny, although not as much. The cake is a lie! Right?

My kid has other ideas, and convinced me to preorder Fallout 4 for him. With our terrible internet, it took 2 days to download, but he’s been playing it regularly ever since and he loves it. Do you love post apocalyptic settings? You might like it, too, but if you wait ten years you can probably pick it up cheap and play it on an old computer.

3. For the first time ever, I figured I’d try NaNoWriMo, because I was having trouble getting momentum on the book after a month away. I’m supposed to write 50,000 words during November, and today is the 15th. The halfway mark. How many words have I gotten done? 8,000.

That would be fine if they were all excellent words in great scenes, but there’s at least one pivotal scene that I know I screwed up in a big way.

4. I mentioned this on social media, but I’m almost psyched to watch Jessica Jones on Netflix. I say “almost” because I don’t really have strong expectations, and might be deeply disappointed, but I still plan to start watching at midnight when it airs, just as I did for Daredevil.

This is the way I enjoy big corporate entertainments: I see them as quickly as I can, with little to no enthusiasm. This lack of excitement is why I usually find myself deep in online discussions of movies or shows without feeling even remotely like a “fan.” I think it’s also why online disagreements about a show, which usually feel clinical to me, can be so upsetting to other people, especially now that everyone has decided that casual conversations are “attacks from fans”.

5. The other video game that is taking over my life is Sentinels of the Multiverse, which started as a cooperative card game but was turned into a virtual card game last year. It’s a complex game, and frankly I found all the conditions impossible to keep track of when I had to jot them on pieces of paper. I much prefer to have the software keep track of all that for me, not to mention how much easier it is to read the cards on my screen.

Steam assures me that I’ve played this game for 83 hours this year, which doesn’t cover the many hours I played the version on my wife’s iPad. And while the graphics are colorful and the knock off superhero characters (pseudo-Flash, pseudo-Iron Man, etc) are cute, the different decks interact in interesting ways. Winning games becomes a matter of working out each deck’s strengths.

Anyway, Handelabra has created a free version of the game that you can download. You can play the free version with a tutorial that teaches you the game or you can turn that off. And while the paid version of the game comes with four villains, four environment decks, and ten hero decks, the free one has only a single villain and environment deck, with four heroes to oppose him.

So if you want to see not-Superman, not-Flash, not-Batwoman, and not-Iron Man take on not-Lex Luthor on Dinosaur Island, try out that game for free. There’s no time limit on it and you can play it as many times as you like.

Randomness for 11/12

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1) Icons Unmasked. I liked the Goku one.

2) Theater from the back of a car during a traffic jam. Video.

3) The top ten Lifehacker posts of all time.

4) “If you were with me, you’d suffer.” Australia falls in love with Chinese dating show.

5) What it’s like to drive the worst car ever built.

6) Every country where James Bond has spied.

7)

Portugal posts on hold, plus gaming and other stuff

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My kid is downloading Fallout 4, and we’re already into day 2 and it’s only half done. Our internet is bullshit, but I hate the idea of upgrading to a cable company for better. So while that’s using up our internet, no uploading pictures, so no posts for a short while.

My gaming group is about to start up a new game with a new system: BREACHWORLD. It’s been a while since we started a game with practically helpless level one characters. I’m concerned. My PC has zero fighting skills and the magical healing skill that’s his whole justification has a 16% chance of success.

I’m currently reading The Luck Factor by Richard Wiseman. There’s all kinds of woo woo bullshit around being lucky, but (as I’ve mentioned before) a lot of luck seems to boil down to specific psychological traits and behaviors, like being open to meeting other people and so forth.

I’d like to be lucky. I’m giving it a try.

My NaNoWriMo is still bullshit. What I need to do is ruthlessly cut out everything from my life for a week or so just to get back into it. It doesn’t help that I have all kinds of distracting crap going on–not all of it bad, but still distracting. For example, our dishwasher broke and the landlord replaced it. The guy who put it in tore the front off our cabinet (and I didn’t even notice at first). Plus, I keep thinking I need to put together a Bookbub proposal and whip up reddit ads for my trilogy.

Stuff! There’s so much stuff all the time, and I just want to write my book.