Tag Archives: writing

Bundled Up (Writing from Yellowknife)

8 Apr

You might think from my last couple of blogs that I know everyone in Canadian SF. While I have been kicking around the field for decades (I went to my first SF convention as a fan in Halifax in 1980) and sold my first SF short story in 1995 (after a few years as a playwright and ‘mainstream’ fiction writer) – there are still a lot of people active in the field I’ve never had the opportunity to meet.

Two of those are Sean Stewart and Karin Lowachee – though I do know them quite well through their work. Which is why I’m so happy to be sharing space with them in the Aurora Award Story Bundle. They are both great writers and these are great books.

Still, just because I haven’t met them doesn’t mean I don’t have a story to tell. The Canadian SF world is a small one – unlike most places we only need two degrees of separation to link us all up.

Karin was living in the Canadian North when she wrote Cagebird and while it’s not central to her story, the isolation and beauty of place leak into her work. As it turns out, I spent nine years in the North myself (though I’m not 100% sure we were there at the same time), but we never met. Even if we were there the same years, the North is, after all, a really, really big place but now that I’m sharing a Story Bundle with her, I sort of feel I can say: Congratulations, neighbour.

Cagebird Review

My connection to Sean may be even more ephemeral – all we really share is that we both won Aurora Awards. However, I did hear a great story about that. Apparently, Sean had to fly somewhere right after getting his trophy so he threw his trophy in his luggage and headed out. Anyone who has seen or touched an Aurora Award knows that wasn’t the wisest move; it’s not called the most dangerous award in SF for nothing. On arrival at his destination his shirts were in shreds. They say the packing instructions you now get with the trophy were written with that in mind.

Nobody's Son Review

So now you know these fine authors a little better – you should head over and buy the bundle. Great books at a great price.

Story Bundles

3 Apr Aurora 004

Aurora 004Winning or even being nominated for an award is a great thrill. I’ve now been nominated for the Prix Aurora Award (Canada’s fan-voted speculative fiction prize) 11 times and I’ve won three – most recently for the anthology Blood and Water, which I edited in 2012.

But the very best thing about awards is the company you get to keep. Virtually every significant writer of SF in Canada has either been nominated for or won an Aurora Award. I’m lucky enough to be able to count many of them as friends as well as colleagues.

Which was why I was happy to have Blood and Water included in a bundle of Aurora winning and nominated books now on sale at StoryBundle.com. It’s a great list of writers and books covering the gamut from fantasy to science fiction and includes novels, short stories and my anthology of Canadian writers.

The whole thing was put together by Douglas Smith who has been nominated for the prized trophy even more than I have. Doug and I do way back – to before we even met. We both sold our first story to Tesseracts 6, edited by Robert J. Sawyer and Carolyn Clink. We didn’t meet until I moved to Ontario and started to attend Ad Astra, the Toronto SF convention. Since then we’ve maintained a mostly digital (though occasionally face-to-face) relationship. And I still recall the great dinner I had with Doug and his family when we were both nominated for Canada’s juried SF Award, the Sunburst Award. Neither of us won – but just like the story bundle, we were in great company. Doug’s book was a collection of short stories, Chimerascope, which was also nominated for the Aurora Award that year and is a key part of the bundle. Doug is a fabulous short story writer and his stories have been translated and published in over 25 countries.

Chimerascope Review

Robert J. Sawyer and I go back even farther; he likes to call me his writing student (which is true) but I was the one who hired him for his first teaching gig, out in Calgary. We’ve been great friends ever since (he was a guest at my wedding in 2003) and he’s one of my favorite writers. I have all of his books – most of them autographed – and I even appear as a minor character in his latest. Quantum Night. So, I’m obviously happy to be keeping him company in the Story Bundle. Starplex is a great hard SF story but it’s also a mystery which puts it right up my alley. It not only won the Aurora Award but was nominated for the Hugo and Nebula as well. Rob has been called the Dean of Canadian SF and rightly so; he has won 14 Auroras and been nominated another 30 times. I was fortunate enough to award him his lifetime achievement Aurora a few years ago – a nice trophy to go alongside his Hugo, Nebula and John Campbell Awards.

Starplex Review

In the coming days, I’ll highlight a couple of other old friends, as well as some newer ones – and two writers I only know through their work. In the meantime, why don’t you head over to StoryBundle.com and pick up your summer reading?

 

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Planning to wri…

19 Jun

Planning to write is not writing. Outlining, researching, talking to people about what you’re doing, none of that is writing. Writing is writing. ~E. L. Doctorow

 

Sadly though, it is the research — the learning about stuff — that is so much fun and so distracting. When I’m doing that, I sometimes forget the fun of putting one word after another. What about you?

Some Thoughts on Money

15 Jun

Hardly a day goes by without another debate between those who believe in self-publishing versus those who opt for traditional publishing. Despite the best efforts of some writers to shed light on the fiscal realities, information remains sparse and, mostly, anecdotal. Methodological pitfalls abound and, in the end, all the data points are idiosyncratic.

I can’t judge the current efforts to quantify the economic viability of any particular path to success (or, more usually, lack thereof) but I can comment on my own situation as a writer and publisher.

Before I do that I will make a few general observations about making money in the arts and, especially, in the literary arts.

Writers, like everyone else, are sometimes reluctant to say what they make. They are, after all, freelancers or, if you like, small businesspersons. Even the question of what constitutes income can be difficult for writers — gross income versus net income is often quite different because writing (full-time at least) is a ‘tax-deductible’ life.

Publically reveling one’s private income can have consequences, (attention one from the taxman, for example). If it happens to be high, it can draw requests from family, friends, even complete strangers. If it is low, there is the stigma attached to all activities that generate low incomes.

In any case, for some people income is a private matter. I used to do opinion surveys for a living and questions of income were always the last asked. Ask it first and a lot of respondents refuse to answer any questions at all.

Some people, for reasons of ego, even inflate their income. Given that most surveys of writers are non-mandatory, with respondents self-selecting, one might suspect that these ‘braggers’ will be over-represented.

The only real data we have is contained in the census and statistical analysis of tax data. What that shows is that both the gross and net income of all artists, including writers, is remarkably low. Visual artists do slightly better, dancers somewhat worse and writers are somewhere in the middle. But the average artist is better educated, works more hours and receives less pay than the average worker. That has certainly been my experience over the years as I’ve moved from public and private sector jobs to the arts and back again. More anecdotal data.

But it is a nice lifestyle.

Personally, I’m inclined to think the choice between self-publishing and traditional publishing is a lifestyle choice. If the reality is a relatively low rate of return for their efforts — it does come down to what you want to spend your time doing.

Some people want total control over the final product; others love the marketing process. But many writers want to be left alone to write or make the occasional public appearance or blog entry. The former are likely to be more attracted to self-publishing; the latter to the traditional route. Some people have gone the self publishing route because they had to and jump at the chance to have someone else do all the design and marketing work when the opportunity presented itself. Amanda Hocking comes to mind.

But what about all those people who make a fortune from self-publishing?

Think of it this way: there are well-over a million e-books on Amazon. The limited data we do have is that an average e-book will make about $500-1000 over its lifetime, many make much less. Still, if 1 book in a hundred makes $50,000, that means there are 10,000 happy writers, at least some whom are out there shouting about how easy it is to make a living from self-publishing.

Writing has an income curve similar to professional sports. There are a few people in every sport who make $5M or more a year; quite a few more who make a million. But for every one of them there are dozens perhaps hundreds making a lot less. Some are playing for $50 a game and a meal allowance. Why? Because they are doing what they love. Sound familiar.

Not everyone can make the major leagues. There isn’t enough room at the top.

So do what you love; do it as well as you can and hope that the combination of talent, persistence and luck eventually pays off. Because you need all three if you’re going to make good living or even a modest one in the arts.

The final thing I’m going to say on the subject of money is about the amazing profitability of publishing — especially small press publishing. Now I have your attention, there’s this bridge I’d like to sell you. It’s located on prime real estate in a Florida swamp.

There are, of course, the big five. They do make money — more in fact than they ever have. This is not because of an explosion in the popularity of reading. Rather it is a direct result of corporate consolidation. When there were more publishers and the difference between big and small was less pronounced, a Return on Investment (ROI) in publishing of 8 to 9% was acceptable. With the increasing involvement of big capital, ROIs had to rise—by head office fiat—to 12% or more. This was accomplished by cutting marketing and other budgets and by cutting loose any authors whose books didn’t sell well enough. It was viewed as a far better risk to publish five new writers — who couldn’t command high advances— than to continue to publish mid-list authors with known sales limitations. Which is why so many writers now have two book careers.

Some of the displaced authors wound up in mid-level houses — thus displacing their mid-list writers— and so on down the line.

After 2008, big publishers claimed the recession was killing them (not clear that it was) and asked even their A-list writers to take less cash. They were surprised when they agreed. Since then advances have remained low and big publishers have become more and more attracted to sure things, such as successful self-published authors. Sometimes loving your work too much is not a good financial decision.

Meanwhile, mid-level houses were facing ever more difficult times. With fewer physical outlets to sell their books and Amazon always trying new ways to squeeze their margins, they too had to reduce publishing plans, cut back on advances and make ever more use of eager young interns, working for little or no pay. If Hachette— one of the big five— can barely stand up to Amazon, you can imagine what clout a mid-sized publisher has in a fight with Amazon or for that matter the few remaining bookstore chains.

So where does that leave the small press publisher. Pretty much the same place as everyone in the low end of the arts: living on hope and the day job. Some of us make money from year to year; others subsidize the company from their owners’ bank accounts, hoping that one of their books will be a breakout publication to let you move both into the black and up to the next level of business operations. It is again a labour of love and, as my wife says, cheaper that a blond and red convertible.

In the meantime, we all seek solutions to endemic cash-flow problems, trying to cut non-fixed costs and discover effective marketing tools that don’t cost more than they deliver in the way of sales.

Many of us rely on arts grants from government agencies or private foundations and, increasingly, on crowd-source funding activities like Kickstarter, Indiegogo, and Patreon.

Bundoran Press didn’t get a Canada Council grant this year (not that we got one before despite 3 applications but one always hopes) and our sales aren’t substantive enough yet to qualify for Ontario Arts Council grants Our recent Indiegogo campaign didn’t reach its target. Because it was a ‘fixed’ campaign, we will receive none of the generous contributions people made (it all gets returned to them). I’ll blog about that later —after the bruises heal.

Which is all to say that, while our August book, Javenny by Al Onia, will come out as scheduled, the two books that were scheduled for November 2014 will now be pushed back to next March. The anthology, Second Contacts will proceed but will pay semi-pro rates and be published a few months later than originally planned.

We carry on but at a more modest pace. It would be nice to go faster but the only way to do that is to sell a few more books. Check out our catalogue on our web-site. You can buy them direct from us or from your favorite on-line or physical retailer.

OMG, it’s Literature (and other random thoughts)

23 Mar

Literature – it’s a real thing!

Could it be that all the kerfuffle that has rocked SFWA over the last year has nothing to do with politics? Could the fight between racist misogynist neo-Nazis and pin-headed liberal elitist fem-Nazis have nothing to do with politics and everything to do with art?

Well, maybe not everything. Politics comes into everything and, in America (and increasingly in the rest of the western world), everything seems polarized between left and right. Conversations — especially on-line — soon degenerate into shouting matches and name calling.

Mostly there aren’t any conversations as social media algorithms make sure we only see ourselves reflected back to us. And, of course, conspiracy theories abound about how one group or another is dominating awards programs or controlling publishing to the exclusion of the other group(s). I’m reminded a bit of the old Proclaimers’ song, What Do you Do? The rotation of Pareto’s Foxes and Lions also comes to mind. A First World Problem.

Be that as it may, I was struck recently by a tweet wherein it was reported that an Amazon reviewer had criticized a book by saying, essentially, ‘we don’t need no stinkin’ literature — we want galactic empires.’

So there you have it. The real enemy is Literature. We don’t want human feelings, realism, social criticism, cultural cross-breeding — we want Big Ideas that mess with our heads and more fun (usually defined in ways only some people find fun).

Don’t get me wrong. I, too, have often railed against the insertion of MFA lessons into my fiction. (Or as Danny Kaye put it so brilliantly, choreography into my dance routines.) I want good stories more than anything else. But good literature is always about good stories. And fun and big ideas can go hand in hand with emotional richness and character development.

It’s true that wasn’t what the good old days focused on — but then the good old days weren’t good for everyone. The world has changed — but the good news is, you don’t have to change with it! You can stay mired in your own particular enclave of galactic empires and wooden dialogue. Or whatever.

So here’s what I suggest. Read the things you like and don’t read the things you don’t. There’s plenty of variety to go around. But quit whining that the stuff you like isn’t dominating the publishing or awards scene. Cause, as the Proclaimers said, sometimes ‘minority means you.’ And all the bellyaching and vicious attacks in the world aren’t going to change that.

It’s all about the Dopamine

I’ve been working hard to try to figure out social media. I’m sure we all have. When does it work and why? The biggest mistake people make, I suspect, is that they focus on the media and not on the social. Twitter becomes like broadcast advertising — ‘Buy my book!’ or more recently, ‘This person here thinks you should Buy My Book!’ or, if you’re really sophisticated, “I’m interested in astronomy — see this neat link — and my book has astronomy in it so you should Buy My Book!”

This message, I increasingly think, fails. I mean, who buys things because a random stranger calls you on the phone and asks you to buy something. Actually about 4-6% of the population will do that at any given time — that’s why telemarketing exists. The other 95% of us have to put up with the noise. So tweeting Bye My Book! is nothing but noise to 95% of your followers.

Which, of course, is why people are desperate to have a 100K followers. 5% of that gets you 5000 people who might Buy your Book. And 95000 who simply ignore the noise.

But maybe it would be a lot more effective if we focused on the social and ignored the media (or, I would argue, the medium). My friend, Robert J. Sawyer, advised that you should never sit on a panel at an SF convention with your book propped in front of you. It gets between you and your audience and, what’s more, tells people that you aren’t interested in them; you only want them to ‘Buy Your Book!” The key is to build a personal relationship — be ‘social’ — and if people find you interesting and pleasant, they might well DECIDE to buy your book. This article explains it pretty well — it’s all about the social process of self-reward.

Places and People and other self-promotion

Speaking of Robert J. Sawyer, we will be appearing together this June at the NorthWords Festival in Yellowknife (along with another of Bundoran’s partners, Elizabeth Westbrook-Trenholm). We will be wearing our writing hats more than our publishing ones.

Even sooner you can see all three of us, as well as our third partner, Mike Rimar, at Ad Astra in Toronto where we will be launching Breakpoint:Nereis by Alison Sinclair and Strange Bedfellows edited by Hayden Trenholm. I’ve provided links so you can “Buy My Book!”

A bit of non-Bundoran writing news, the French translation of my book ‘A Circle of Birds’ from Anvil Press was reviewed in Le Devoir.

Finally another great article from Kristine Katherine Rusch that sounds an awful lot like my life at Bundoran Press.

 

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“I write to fin…

27 Feb

“I write to find strength.
I write to become the person that hides inside me.
I write to light the way through the darkness for others.
I write to be seen and heard.
I write to be near those I love.
I write by accident, promptings, purposefully and anywhere there is paper.
I write because my heart speaks a different language that someone needs to hear.
I write past the embarrassment of exposure.
I write because hypocrisy doesn’t need answers, rather it needs questions to heal.
I write myself out of nightmares.
I write because I am nostalgic, romantic and demand happy endings.
I write to remember.
I write knowing conversations don’t always take place.
I write because speaking can’t be reread.
I write to sooth a mind that races.
I write because you can play on the page like a child left alone in the sand.
I write because my emotions belong to the moon; high tide, low tide.
I write knowing I will fall on my words, but no one will say it was for very long.
I write because I want to paint the world the way I see love should be.
I write to provide a legacy.
I write to make sense out of senselessness.
I write knowing I will be killed by my own words, stabbed by critics, crucified by both misunderstanding and understanding.
I write for the haters, the lovers, the lonely, the brokenhearted and the dreamers.
I write because one day someone will tell me that my emotions were not a waste of time.
I write because God loves stories.
I write because one day I will be gone, but what I believed and felt will live on.”
― Shannon L. Alder

 

Why do you write?

Becoming Zen in a World in Upheaval

23 Feb

After two weeks of exaltation, heartbreak, struggle, pain and triumph, the Olympics come to a close today. Russia emerged victorious — though Canada got double gold in the only sport that seems to matter to them. Sport has been buried in metaphor.

In nearby Ukraine, the central square of Kiev rests in an uneasy peace as the dead are buried and the wounded are treated in nearby hospitals. Civil war still lurks as the country wavers between East and West.

Syria continues to boil; the G20 argues over restraint and recovery; the rich continue to blame the poor for their problems (WTF?).

Meanwhile, in more important developments, the Science Fiction and Fantasy Writers of America (SFWA) snaps and snarls over petitions submitted about things that apparently never happened and flame wars burn through the Interwebs over who makes more money: self-published authors or ones who go the traditional publishing route.

Really?

With respect to the former, I have no dog in the hunt (or any other clichéd relationship to the organization either) but I do know some members, most of whom seem inclined to agree with what Jim Kelly had to say about it on Facebook. I’m not sure how to link to that so I’ll take the liberty of copying it at the end of this blog.

As for the issue of money — the vast majority of people who get published, whatever the format, make very little money. Anyone who makes a lot is an outlier. I have looked at Hugh Howey’s Author Earnings and I did read the critiques of its contents. Having spent most of my career as a policy analyst, trying to figure out what can be concluded from incomplete data, I tend to agree that the methodology sucks and most of the conclusions can’t legitimately be made. Ultimately only one group of people can really say how much money writers are making and that’s the IRS (the CRA, in Canada) and even they probably would have difficulty sorting out exactly what the source of that income is: self-publishing, traditional publishing, teaching or other related work.

Anecdotally, it is almost certain that some people are making a lot of money from self-publishing (Howey himself, for example) and lots are making boatloads from traditional publishing (let’s pick James Patterson). Some do well from both streams (you do the research). Each and every one of them are outliers — part of the 1% or 10% who do well in the entertainment industry. Studies done by Statistics Canada (back when we still had a long form census) consistently showed that artists (including writers) had higher than average educational levels, worked more hours per week and had some of the lowest incomes in the country — even when you counted in all the really successful ones.

It’s a bit like arguing which is the best route to the major leagues in baseball — college or minor league ball. The fact is, whichever route you choose, the chances are, you won’t make it.

And if your only measure of success is how much money you make — you’re probably in for a miserable life no matter how it turns out. Though, if you do make a lot of money, your suffering may be ameliorated.

For the last fourteen months, I’ve been buried in the publishing business. I’ve worked hard (over-worked, according to my wife) and spent pretty much every waking hour strategizing how to do this job as best I could, how to make this business succeed. I will undoubtedly continue to pour my efforts (and money) into that task.

But…

In the process of planning for the future, of promoting my brand, of proselytizing for the value and potential of small presses, of working, working, working, I forgot one of my basic life rules.

Enjoy the day.

This past week, I’ve written every day. For thirty minutes, an hour, three. I’ve almost finished a story — my first new work in nearly a year. It feels good. The writing is a symbol of something bigger, is part of something bigger. I’m enjoying the day.

A friend of mine who is in his seventies and has faced a number of health problems over the last half decade, told me last summer that he had stopped thinking about the future, or, at least, the far future. Each Sunday as he fills his pill box with the week’s medication, he asks himself, what am I going to do this week that will make me happy? If he finds there is nothing on his list — he deletes things he doesn’t really want to do and adds things that will achieve his primary goal. As for the past, it is dead and gone — try not to dwell on the things that hurt; focus on the memories that give you pleasure.

I’ve decided that it isn’t a bad way to live your life.

Of course, there are always unpleasant tasks to be done (I need to clean the kitchen later today) and duties to be fulfilled (my year-end bookkeeping looms) and one needs to be responsible about all that.

But if there is no joy in the entire week — what is the point of living it? Life ticks on and, whether you are twenty or eighty, there are only so many weeks in front of you. You need to work — work in itself can be a joy — but you need also to be.

Peace out, man!

Jim Kelly’s comments:

“Maybe there has been too much written about the current SFWA wildfires. Every time you think it is sputtering out, a new conflagration starts to rage. I have kept silent in public in part because I have served on the committee looking into how the Bulletin might be improved which makes my opinion suspect in some quarters, and in part because I have writing to do. But even as the various sub-issues have been debated (to death), the real issue has come increasingly clear. A generational change is going on. And here is what I have to say about that: Although some members of my generation are resisting change, I do not stand with them. And there are lots of 50-60-70somethings who feel the same way. Others have pointed out the irony of writers who spent careers imagining the future complaining about the future we actually got. There are problems to address in our world in general and in our genre in particular, but there are many of my generation who believe that SFWA’s policy of inclusivity is not one of them. 

One of the best of our traditions is that established writers welcome new and aspiring writers to our genre. Amazing writers who I read as a teenager helped me find my place in science fiction when I started submitting. I honor what they did for me by doing for others when I can. Where is the profit for tomorrow’s science fiction and fantasy by excluding new writers or driving them off by endorsing hurtful speech in our official publications? 

I feel sad when I read on the internets of writers who plan to leave SFWA because of the current controversies. But then I read of many more writers who are announcing that they are planning to rejoin or join for the first time to show solidarity with those who seek to bring our organization into the Twenty-first Century. Maybe this latter group isn’t getting the attention that the former is getting, but to them I (and many, many of my friends of a Certain Age) say, “Welcome!” and “Welcome back!” 

We need you.”

News of the Week:

One less nook for e-books

Turning movies into books?