Murder in Paperback

Once upon a time mass-market paperbacks dominated popular fiction publishing. You could walk into book stores, drug stores, grocery stores, even cigar stores and lunch counters, and find spinner racks stuffed with paperbacks. Romance, mystery, thriller, sci-fi, westerns, historical epics, you name it.

It all began in 1935 when English Allen Lane had a brainstorm, allegedly after spending the weekend visiting Agatha Christie and her husband. He launched Penguin books with ten books in paperback, including Agatha Christie’s Murder on the Links. In 1939 Robert de Graff started the first American mass-market line when he began Pocket Books. As this 2014 New Yorker article by Louis Menand pointed out, “[t]he key to Lane’s and de Graff’s innovation was not the format. It was the method of distribution.”

From the 1940s into the early 2000s they were a big part of publishing, and where indeed everywhere.

When I began buying fiction as a teen in the 1970s, all my purchases were mass-market paperbacks. I had built a small library by the time I met my future wife (at an after school job we both had while in high school, no less) and loaned her some novels to read once we started dating, after having discovered we had a mutual passion for books.

A section of our custom book shelves, sized for mass-market paperbacks.

Mass-market paperbacks were usually 4 inches or so wide, and 6 to 7 inches tall. Paper quality even in the 1960s and 1970s wasn’t great, but by the 1980s it had improved quite a lot, being more durable and often better printed than previously. They were still quite popular. Many of us waited to buy the mass-market paperback version of a new release by a favorite author, which was usually a year after the hard cover was published. Non-fiction was also published in mass-market. That was the format I read Zen and the Art of Motorcycle Maintenance in while I was in college.

The thriving “paperback original” market persisted into the 1980s and early 90s. For a new genre author, it wasn’t uncommon to be initially published “only” in paperback.

So it surprised me when I began working at the library in 1987 that my branch had no paperbacks in its collection. None of the branches did. Apparently a decision had been made some time before I had been hired to stop buying them. This lasted for several years, so if a book was a paperback original we didn’t have it on our shelves. Patrons were disappointed, but the library had decided not to buy books in paperback because they wore out quickly. It cost money to put a new book in the computer system, as well as affix barcodes and spine labels. It wasn’t until sometime in the 1990s my library system began purchasing library books again.

It was hard because neighboring library systems did purchase them during that time, and we’d hear about it. Librarians want to provide “materials” (books, music, and later, video) which their patrons ask for and typically hate disappointing people.

We did have a collection of donated paperbacks, which we dubbed “Bring-Backs,” which filled a rollout cart with side shelving, and was a hit with our patrons, often being emptied out and needing to be restocked. Fortunately, we always seemed to have enough donations to keep it going.

When the library finally did resume purchasing paper backs in the 1990s, it was just a few at first. It took years for us to build up a collection. And yes, they did wear out faster than a hardcover. But if that was the only way a particular book in demand was available, we bought it. Patrons were pleased, save for the few holdouts who disapproved of the “pulp novels” and “lurid” romances we bought. Eventually, mass market paperbacks had a sizable presence on our library fiction shelves alongside hardcover and trade paper backs.

Mass-market paperbacks are still around, especially in romance and mystery, though sales continue to decline.

I’m self-published and all my print editions are 5.25 inches by 8 inches, so are close to the old mass market-size. We still have a large collection on custom built shelving at our house as well. Below is a photo of a part of those shelves:

Mystery and thriller readers still love to read in print, and that includes paperbacks, though more often the larger trade format is what is available.

I attended Left Coast Crime in Seattle this spring, and there were newly released paperbacks among the hardcovers. My haul of book giveaways included these paperbacks, one of which was the current “tall boy” mass-market paperback.

As an indie mystery author myself, I’ve been surprised to see my print sales being a greater percentage of my overall book sales, in contrast to when I published urban fantasy novels.

As far as I know, print sales are still a very substantial part of a traditionally published author’s sales. Publishers Weekly summed up print sales for 2023 in this article.

Now we turn to two excerpts from the Kill Zone archives dealing with paperbacks, by Michelle Gagnon and Mark Alpert.

Recently, Dorchester Publishing, one of the country’s oldest mass market publishers, announced that it is abandoning traditional print books in favor of digital format and print on demand.

That announcement reminded me of a conversation I had with an editor at a conference a few months ago. She predicted that in the coming digital shakeup, hardcover print runs would be smaller, trade paperbacks would boom, and mass market books would vanish entirely.

I was skeptical. After all, the great thing about mass market books is that they remain almost as cheap (or cheaper) than digital downloads, and they’re ideal reading material for all of those places you wouldn’t take your Kindle/iPad: the beach, the tub, the pool. So why would this be the first format to fall to the digital ax?

The fact that Dorchester is the first to make this shift is particularly bad news for Hard Case Crime, the imprint that has revitalized the pulp fiction industry with semi-ironic works by major novelists such as Ken Bruen and Stephen King. Going digital stands in stark contrast to what publisher Charles Ardai was attempting to achieve–a return to the era of dime store novels you could tuck in your pocket. (On a side note, how ironic is it that Ardai, who made his money via the dotcom boom, is deadset on producing books in print?) In response to the Dorchester move, he’s apparently considering moving the entire imprint to a different publisher.

I was encouraged to see that in the article, a representative from Random House expressed faith in mass paperbacks. These days, most midlist and debut authors are only offered a mass market release. If that shifts entirely to digital content, it would be a shame. For me, the best part of the publishing process was the day that I opened a box to find a stack of novels with my name on the cover. I’m not sure that opening a pdf file would convey the same thrill.

Michelle Gagnon—September 2, 2010

My third novel, Extinction, will come out in paperback on Tuesday. I’m a big fan of paperbacks in general; of all the books I buy, only about twenty percent are hardcovers. The main reason is the price difference. Whereas the list price for the hardcover of Extinction is $25.99, the price on the cover of the mass-market paperback is only $9.99. The difference isn’t quite so extreme after discounting — Amazon, for example, sells the hardcover for $18.80 and the paperback for $8.99 — but it’s still pretty significant for all but the wealthiest book-buyers.

Paperbacks are also lighter and more portable. They fit inside the pockets of my winter jacket. They’re easier to hide (in case you’re embarrassed about what you’re reading). And they take up less space on your bookshelves, which is an important concern if you live in a smallish apartment with a spouse, two kids and all their paraphernalia. (Electronic books would be even better in that respect, but I just don’t feel comfortable reading them. I can’t really relax when I’m holding a screen. I can’t ignore the screen’s presence, which makes it hard for me to get lost in the story.)

Don’t get me wrong — hardcovers have their place. When I buy a book as a gift, I never get a paperback if the hardcover is available. And I love certain authors so much that I just can’t wait for their paperbacks. (I’m talking about you, Lee Child. And you too, Dennis Lehane.) But I’m a pretty patient guy. I’m dying to read Gone Girl, but I’m willing to wait a few more weeks until the paperback comes out. I’ll bide my time by reading a classic or two. (I’m reading Blood Meridian now. What a freaking amazing book!)

Speaking as a writer now, I love being published in hardcover. I’ve been lucky to have gorgeous book jackets for all my novels. And it feels good just to hold the hardcover — it feels substantial, weighty, lasting. But I’m a relatively unknown writer trying to reach new readers, so publishing paperbacks is crucial to broadening my audience.

Over the past year I’ve noticed that a few very famous authors are eschewing the hardcover route for some of their books and putting out paperback originals. Stephen King did this last summer with Joyland, which was a fun read (definitely not weighty!) and had a great pulpy cover. Taipei, a serious literary novel by Tao Lin, also went straight to paper.

And there’s one more advantage to paperbacks that I haven’t mentioned yet: the teaser. After I finish reading a fantastic paperback, I love turning to the last pages of the book and getting a sneak preview of the author’s next novel. I’m pleased to say there’s a teaser at the end of the Extinction paperback, previewing the prologue and first chapter of my fourth book, The Furies. That novel will be published — in hardcover — next month.

Mark Alpert—March 22, 2014

***

  1. How about you? Did you read in mass-market? Do you still?
  2. What are you thoughts on the decline of mass-market paperbacks? Do you wish the format still flourished?
  3. When it comes to print books, do you prefer hardcover, trade or mass-market?
  4. If you are a published author, generally speaking how do your books do in print?

Novella Words of Wisdom

I wanted to follow last time’s Words of Wisdom on short fiction with a Words of Wisdom look at the novella. I’ve written several novellas, and have published three of them, and have been hankering to write another. So, it seemed like the perfect follow up to short stories.

It turned out that Steve Hooley did that, after a fashion, not quite two years ago. His own post had an excellent definition and history of the novella, and then listed bullet points from James Scott Bell’s 2012 post on writing the novella, as well as Jordan Dane’s look at the novella in 2016, as well two points from a 2015 Joe Moore post.

After some thought, I decided it would still be worth giving Steve’s, Jim’s and Jordan’s posts the full Words of Wisdom treatment, with excerpts from each for discussion. I hope you will find this return to the novella not too soon. Certainly it’s a perennial favorite of mine.

Definition

The word “novella” is the feminine form of “novello,” Italian (masculine) for “new.”

The novella has been described as “a short novel or a long short story.” Its length is listed as 10,000 – 40,000 words (some sources say 20,000 – 50,000 or even 15,000 – 60,000). The novella usually has a single plotline, is focused on one character, and “can be read in a single day.” It may or may not be divided into chapters, and white space is traditionally used to divide sections.

Examples of novellas that used chapters:

  • Animal Farm – George Orwell
  • War of the Worlds – H.G. Wells

During its history, the novella has been used in different ways. Let’s see if it is the “load-it-up-with-everything compact utility vehicle” or a “fast-sexy-Italian sports car.”

History

The Britannica entry for Novella (summarized) states that the novella originated in Italy during the Middle Ages, where its form was originally based on local events (humorous, political, or amorous). Writers such as Boccaccio, Sacchetti, and Bandello later developed it into a psychologically subtle and structured short tale, using a frame story to unify.

Chaucer introduced it to England with The Canterbury Tales.

During the Elizabethan period, Shakespeare and other playwrights used plots from the Italian novella.

The content and form of these tales influenced development of the English novel in the 18th century, and the short story in the 19th century.

The novella flourished in Germany (known as Novelle) in the 18th, 19th, and 20thcenturies, often contained in a frame story and based on a catastrophic event. It was characterized by brevity, a self-contained plot, and ending with irony, while using restraint of emotion and an objective presentation.

Examples of novellas:

  • Tolstoy – The Death of Ivan Ilich
  • Dostoyevsky – Notes from the Underground
  • Joseph Conrad – Heart of Darkness
  • Henry James – The Aspern Papers

Steve Hooley—April 22, 2022

 

Yes, a novella is obviously shorter than a novel. A rule of thumb puts the novella between 20k and 40k words.

Here are the general guidelines for writing a novella. I say general because, like all writing principles, they are subject to change. But ONLY if you have a good reason for the exception!

  1. One plot

The length of the novella dictates that it have one plot. It’s a too short to support subplots. That doesn’t mean you don’t have plot complications.It’s just that you are doing your dance around one story problem.

  1. One POV

It’s almost always best to stick with one point of view. Both of my novellas, Watch Your Back and One More Lie, are written in first person POV. That’s because you want, in the short space you have, to create as intimate a relationship between the Lead character and the reader as possible.

As indicated earlier, more than one POV is acceptable if you have a reason for including it. And that reason is NOT so you can fill more pages.

A modern master of the novella is, of course, Stephen King. A look at his collection, Different Seasons, reveals three novellas written in first person POV. The exception is Apt Pupil, which is about an ex-Nazi’s influence over a thirteen-year-old boy. The story thus has a reason for shifting between these two points of view. However, I note that Apt Pupil is the longest of these, and I actually suspect it’s over 40k words, making it a short novel.

  1. One central question

There is one story question per novella, usually in the form: Will X get Y?

In Rita Hayworth and the Shawshank Redemption, by Stephen King, the question is, will the wrongly convicted Andy Dufresne survive in God-awful Shawshank prison?

In The Old Man and the Sea: Will the old fisherman, Santiago, land the big fish?

A Christmas Carol: Will Ebenezer Scrooge get redemption?

  1. One style and tone

There are novels that crack the style barrier in various ways, but a novella should stick to one tone, one style throughout.

In the old pulp days, novellas were common and usually written in the hard boiled style.

My two novellas are done in the confessional style of James M. Cain––the narrator looking back at his past sins, detailing the consequences of same, with a twist ending.

Romance would have a different tone. Ditto paranormal. Whatever the genre, keep it consistent.

The Benefits of the Novella

Digital publishing has brought novellas back into favor. There are some story ideas that don’t merit 90k words, but may be just right for 30k. The suspense story is particularly apt for this form. One of the great masters, Cornell Woolrich, practically made his career on novellas of suspense.

An indie-publishing writer can charge 99¢ – $2.99 for novellas. They can obviously be turned out more quickly than a full length novel.

Some Suggestions for Writing the Novella

  1. Make sure your premise is rock solid

You don’t want to travel down the road of a flabby idea, only to find out after 15k words that it isn’t working. Come up with a premise that creates the greatest possible stress for the Lead character. For example, One More Lie is about a man accused of murdering his mistress. He’s innocent of the crime, but guilty of the adultery. A bit of stress, I’d say.

  1. Write in the heat of passion

Novellas are great for the NaNoWriMos among us. Getting the story down quickly releases that inner creativity we long for. And there won’t be the need for as much revision as in a novel, which has subplot complications to deal with.

  1. Use white space to designate scene changes

Instead of chapters, the novella usually employs white space between scenes. Some writers do break up a novella into sections designated by numbers. That’s a matter of style. Just don’t say “Chapter 1” etc. It’s not necessary and interrupts what should be the flow.

  1. Keep asking, How can it get worse?

Whether your novella is about the inner life of a character (as in The Old Man and the Sea)or the outer life of the plot (as in Double Indemnity) turn up the heat on the character as much as you can.

Think of the novella as a coil that gets tighter and tighter, until you release it at the end.

James Scott Bell—August 12, 2012

 

Challenges of Writing a Shorter Story:

I have always been a novel writer. I never started out on shorter material, thinking it would be easier to write, as some people might believe. In my mind, a shorter story is more challenging. It’s only been this year that I’ve written shorter stories for Amazon Kindle Worlds. My novellas have been 25,000-30,000 words, at my option. That length forced me to change how I write, but I didn’t want my readers to feel that I’ve short-changed their reading experience because my voice or style has been stripped down.

Personal Challenges:

1.) Plots must be simpler – This has taken some new thinking and conceiving of plots in advance while I’m planning my story. More intense story lines with complex layers have to be shed in order to peel back to the essence of a story.

2.) Minimize subplots – Subplots can still be done, but they are more of a challenge, so I try to limit the way I think out a story. The subplot must be integral to the overall story and enhance the pace or suspense.

3.) Setting descriptions and prose must be simplified – Getting straight to the bare emotional elements of a scene or a story will stick with readers and provide them with a solid reading experience, without making them feel that the writing is too sparse. I must be truly selective on what images I choose and the wording I use to create the most impact.

4.) Novellas are like screenplays – My shorter stories are more like screenplays with a focus on dialogue and major plots movements, less on back story and lengthy internal monologue.

5.) Novellas are like the visuals of film – I like this aspect. Give the reader a visual experience as if they are watching a movie. The scenes must have memorable images to tap into their minds quicker, using fewer words to do it.

Jordan Dane—April 21, 2016

***

Thanks for revisiting the novella today. Now it’s your to weigh in.

  1. Do you enjoy reading at the novella length? Do you agree with the definition of novella that Steve shared above?
  2. Do you write novellas? What tips do you have ?
  3. If you do write at the novella length, what challenges have you encountered? How have you overcome them?
  4. Have you published a novella, traditionally or indie? If so, how has it gone? What differences, if any, do you see in how novellas are marketed versus novels?

Deadline Words of Wisdom

Deadlines have helped me publish. They can also stress me out if I’m not careful, as my wonderful, very patient wife can attest, and give me tunnel vision when it comes to priorities. I have a set of new deadlines now for my current work-in-progress, and am hoping to accomplish them without being unduly stressed out and still being able to participate in my various family responsibilities.

Today we take a deep dive into TKZ’s archives. Kathryn Lilley discusses deadline behaviors, Clare Langley-Hawthorne talks about setting and managing deadlines, and John Gilstrap takes us with him as he goes through a deadline crunch. As always, the full articles are date-linked from their respective excerpts.

Then I started thinking about all my other deadline behaviors that could be considered annoying, or even strange, by family and friends. My crazy-writer deadline behaviors include:

The Big Tune-out

It’s not that I deliberately don’t listen to people (Okay, sometimes it is deliberate), but I frequently tune them out. This mostly happens when I’m on a deadline, which means it happens a lot. I might even respond to someone during a conversation, but not remember it later. It’s kind of like brain on auto-pilot.

To Kill a Magpie

When I’m out and about with my husband, I frequently dive for a pen and write detailed notes about our surroundings: the full moon hovering between two palm trees at night, a bag lady sitting in a bus shelter, the timbre of silverware clatter–I take notes about anything I can use later in my writing. Inevitably, I have left my notepad at home, so I drag home notes scribbled on scraps of things: a napkin, a flyer, even the back of a business card. My husband must think he lives with a magpie.

Hair on Fire 

It’s predictable: Six weeks before any deadline, I go on a tear. This means that I’m a) Constantly hunched over the laptop, muttering, b) Setting the alarm for 4 a.m., then groaning my way to wakefulness over the course of several Snooze cycles, and c) Bounding out of bed at odd hours of the night to tap out some problem-solving idea that struck me.

I do not talk very much during this time. And when I do, it’s not pleasant.

So there it is. I could go on, but the length of the list is starting to make me feel bad about myself. I would like to feel that I’m not alone in my crazy-writer deadline syndromes. Have you any to share?

Kathryn Lilley—July 27, 2009

Deadlines make you both accountable and responsible. But what does that really mean when you aren’t as yet published? It means you know that in order to achieve your larger goal (writing the novel, getting it published etc.) you need to divide the task into manageable chunks and (here is where it gets tricky) you need to meet the deadlines you impose upon yourself. Otherwise you’re just like the billions of amateur writers whining about how ‘one day’ they will write a book but (insert excuse here…) they never seem to get around to it. In today’s post I want to deal with both publisher as well as personal deadlines.

Publisher Imposed Deadlines:

As John said in his blog post on Friday, these deadlines are pretty much inviolable. If, as the author, you miss these then there is a cascading effect on the whole publication cycle. Worse case scenario the publisher views it as a breach of contract and pulls out of the deal. Best case scenario you inconvenience a whole lot of other people. So if you do need to extend, you’d better have a pretty good excuse.

My rather strict view of deadlines also extends to how you fulfil them. I’ve heard of an author who views the submission date with her publisher with a bit of a shrug – sure, she gets them the manuscript, but she’s not too concerned about making it perfect as she knows the editor will get back to her with comments, so she views the deadline as a necessary evil and continues to work through the book even while waiting for the editor to peruse and comment upon it. I differ on this in that I go into each deal with the belief that, whatever I submit has to be as damn-near-perfect as it possible. To me this is how professionals fulfil their obligations – not with a half-hearted shrug but with a commitment to demonstrating their craft to the highest degree possible.

Of course when it comes to an authors first book, the initial draft manuscript is what was acquired but any amendments to this (based on editorial feedback) should be treated with the same level of professionalism and adherence to deadlines. If an editor doesn’t provide a deadline (which would be highly unusual) then I would request or set one – that way the author remains on track and accountable to a timetable.

So what do you do if you have to seek a deadline extension?

This is where a good agent can act on an author’s behalf to mitigate against this – but the author must still have a genuine excuse for seeking an extension given the potential impact it has on the publisher. When it comes to agents, I would also recommend setting deadlines (for the agent as well as yourself) to ensure there remains a level of responsiveness and accountability that demonstrates an author’s professionalism.

Self-Imposed Deadlines

As a professional writer I like to set myself specific goals for my WIP to keep me on track. Typically I lay out a timetable to complete certain chapters or parts of the books to ensure I don’t face the overwhelming panic of producing a novel. When the tasks ahead are in manageable chunks the path seems far less onerous (or scary). The first thing I do is also set the date I want to get the draft manuscript to my agent and then work backwards from there.

Sometimes I give my agent an initial deadline for the first 5-10 chapters and the proposed plot outline so I can get his read/feedback on the project ahead. Then I always tell him the date I propose getting the complete manuscript to him – it helps establish my own timetable as well as alerting him to my goal (and, I hope, demonstrate I am tackling it in a serious, professional manner).

As a terrible procrastinator, self-imposed deadlines are vital to keeping me on track as a professional writer.

Clare Langley-Hawthorne—March 19, 2012

One constant in my life for more than a decade now has been a September 15 deadline for the next Jonathan Grave book.  I plan my entire year around that deadline.  A second constant is a July 1 publication date for the book that was submitted the previous September 15.  That early July drop date is important because of its proximity to ThrillerFest, and the boost in publicity brought by that.  But July is also Gilstrap Beach Vacation Month, so that’s another week gone from the ten weeks leading up to my deadline.  (I bring my computer and writing pad to the beach, but if I get 1,000 words written over those seven days, I’m lucky.)

On the far side of my deadline is Joy’s and my wedding anniversary, which almost always includes an exotic trip to somewhere.  This year, it was 16 days in Scotland, commencing September 12.  That shortened my deadline by three whole days!  That means there was no possibility of overshooting the deadline by only a day or two.  It was either submit two days early or four weeks late.  In my world, we call that “motivation.”

Because I’ve been doing this for so long, I’ve figured out a system that (almost) always works.  If I can be at the 200-page mark by the opening of ThrillerFest, I can be at 70,000 words by August 1.  Given a 100,000-word manuscript length, that makes August busy but doable.  Plus, by then, I’m transitioning to the third act, which for me is the easiest to write.  I can usually have a polished first draft done by the first week in September, which leaves me 10 days or so for final revision.

This year, reality bitch-slapped me.  ThrillerFest didn’t start until July 13, easily a week later than usual, and from July 19-23, I was on the faculty of the Midwest Writers Conference in Muncie, Indiana.  When all was said and done, I’d effectively lost 16 writing days in July.

And September 12 still sat there, immovable.

I hit my 70,000-word milestone on August 8, three days after I taught an all-day seminar at the Smithsonian, and the one day after an all-day charity signing event.  Math was beginning to work against me.  I needed to write 10,000 words a week for the next three weeks in order to give me the cushion I needed for final revisions.  Sounds horrible, but doable.

Then came the long lunch with a grieving friend who reached out because he didn’t want to be alone.  And the long overdue birthday dinner with another friend.  The un-turn-downable invitation to a luxury suite at the Washington Nationals.  Let’s not forget the long-standing three-day commitment to the always-fabulous Creatures Crimes & Creativity Conference from September 8-10.

Tick and Tock were both laughing at me.  In fact, they were mocking me.

Oh, and God forbid the book actually pull itself together at 100,000 words.  Perish the thought.  The final count came in at 112,230 words, and I clicked send for Scorpion Strike on the evening of September 11, 2017.

Never in my life have I written so much in so little time.  That’s 42,230 words in what was effectively 14 writing days (as opposed to editing/revision days).  If I wrote evenly, that would be over 3,000 words per day, but that’s never how it works for me.  The last two writing days were each 6K-plus.  It was exhausting.

As I jetted off to Scotland, I fully expected to receive a polite but scolding email regarding the revisions that would be necessary.  And that was fine, because that’s what revisions are for.  Instead, the email from my agent included the phrase, “best book you’ve ever written.”  Surely, she was pulling her punches so she wouldn’t ruin my vacation.  No, she promised, she and her assistant both read it through in one long gulp, loving it the whole way.

When we returned from our trip, my editor called and told me that they were sending Scorpion Strike straight through to copy editing.  For the first time in the history of history, there would be no editorial letter.  No structural changes, no punching up of this character or toning down of that one.  Just spelling and continuity.

So . . . what the f-bomb?  How could my most hurried book turn out to be my least-flawed, in the eyes of my writer universe?  I don’t have an answer–not even close–but if I were one to be introspective about my creative process (have I mentioned that I hate that phrase?), it might be worthy of consideration.

John Gilstrap—October 11, 2017

***

  1. Do you find deadlines a help, a hindrance, or both?
  2. Do you have any “deadline behaviors?”
  3. Do you set self-imposed deadlines? Any advice?
  4. If you do have deadlines, how do you handle the deadline crunch?

Does it Matter When You Release a New Book?

Strategic timing of a book’s publication date can give it a boost and have a major impact on its long-term success. Commercial publishers and booksellers have known this forever.

*Full disclosure: I wrote this post for Writers Helping Writers, but I thought you could also benefit from my research.

Are certain days, months, or dates better than others?

Well, it depends on the book.

January – March

The first quarter of the year is the perfect time of year for business, self-improvement, health, and writing craft books, as people are eager to stick to their New Year’s resolutions.

Genre fiction also does well in the first quarter. For many of us, the first quarter means terrible weather (I’m in New England). We’re looking for new books to pass the time while stuck indoors. Also, many readers received new tablets, e-readers, or gift cards for gifts. Shiny, new books become irresistible.

Peak reading and buying season are very much tied to the weather. February and March are generally good times to release a novel because the weather’s not great. Snow and ice forces readers to browse the web for their next adventure.

The exception is children’s books. If you’re a children’s book author, wait for the second quarter of the year. Kids received books during the holidays and parents feel they’ve spent enough already. Also, they’re back in school, which leaves less time for pleasure reading.

April – June

The second quarter is another perfect time to release genre fiction, as people are going on vacation and finally getting to that book they’ve been dying to read all year. It makes sense to release a genre novel in the spring, so momentum can carry over into the summer.

What about children’s books? Easter is the second busiest time of year for kids and gifts. Parents are looking for various things to occupy their kids’ time. Books offer a great way to keep children learning and occupied. Activity books for kids also do well during this time.

July – September

In the third quarter, business books and self-help books become popular again. Releasing virtually any book ahead of the holiday season is a smart idea. August isn’t ideal for two reasons. First, readers are often away, and things are quiet. Vacationers have already purchased their beach reads. Second, media outlets are slower to respond in August, if you’d hoped to advertise or score a review.

October – December

October is a terrific month for horror, thrillers, and mysteries—these genres dominate the marketplace, the darker the better. A cozy mystery or HEA romance may not do well in October. Historical fiction, depending on the subject matter, or dark romance might be all right. Really think about your genre and when you tend to buy books. It will help you understand the best time of year to release your book.

If you wait until the latter half of November, you might be too late unless you’re targeting a niche market.

December is the worst month of the year for new books. Even if you’re releasing a Christmas-related title, you’re better off planning for Christmas in July (and use the hashtag!).

If this logic doesn’t make sense to you, consider this: When do stores change their seasonal displays? They don’t wait till December, do they? Nor should we. Even if you write a series with eager fans, try to hold off till after the new year. Your readers are too busy with the bustling holiday season to read and review a new release.

Niche Markets

Whenever possible, try to find a niche for your new book baby. Consider the themes, locations, and plot of your book. Character flaws, race, worldviews, etc. can also fall into niche markets. Is there an element of your book that you can tie to a holiday or commonly known date? Think: Romance novels releasing near Valentine’s Day.

Dig deeper than the holidays. What if the protagonist is a 9/11 survivor? Or the heroine lost her life partner in the bombing? A September release makes sense, right? If your MC is a new bride, release during peak wedding season and show the connection in your marketing.

I found this calendar on Self-Publishing Review to help spark new ideas for you.

Does the Day of the Week Matter?

Big 5 publishers release on Tuesdays. Since major bestsellers are compiled on Tuesdays, some say a Tuesday release gives the title a full week to gain traction before the weekend. Readers and booksellers look forward to Tuesdays because of the hot-off-the-press releases. Why not take advantage of the buzz?

That’s up to you, of course, but let’s look at why the beginning of the week—Monday, Tuesday, or Wednesday—tends to work better than the end.

In addition to the Big 5 releasing on Tuesdays, movies come out on DVD on that day as well. So, it’s a well-accepted day to release new material into the hands of eager readers. That said, many indie authors agree that Monday, Tuesday, or Wednesday are all beneficial. While Tuesday may be more traditional, we don’t need to stick to tradition, do we?

The beginning of the week works best because of the way Amazon records weekly sales. If you’re shooting for a bestseller category, you’ll want time to garner sales before the weekend.

The same holds true for monthly sales.

Releases in the first two weeks of the month gain better traction than books released during the last two weeks because of how Amazon records sales (I learned this the hard way). Also, readers are more willing to spend money at the beginning of a month. But again, if you’re releasing series novels and your readers are foaming at the mouth, you may want to publish as soon as they’re ready, regardless of the date.

Do you consider the date of book launches? What month/day/date worked well for your books, and why?

Readers, does timing influence when you buy books?

Check out the amazing “Poe Pen” Steve created for monthly giveaways for my newsletter subscribers!

The wood dates back to 1850 (“1850 Antebellum Cherry”) and the rings are burned into the pen by wrapping copper wire halfway around the pen while the pen is turning, creating friction, and thus heat. They represent crow talons (like my imprint name), as if a crow picked up the pen. Love it! The crow “Poe” he branded into the wood.

Gorgeous, right?

Traditional Publishing Words of Wisdom

Our wonderful family here at TKZ runs the gamut in terms of how we are published. Some of us walk the self-published “indie” path, others the traditional. I get the impression a few are “hybrid,” journeying on both paths.

I showcased evergreen self-publishing words of wisdom last month, and wanted to do the same with traditional publishing today. While I am an indie, I have many author friends who are “tradpubbed.” For almost all of them working with an agent remains a vital part of their careers. For new writers who want to be picked up by a publisher, especially one the Big Five, an agent seems more essential than ever.

So, with that in mind, I found a post on agents by John Gilstrap from 2012, another from 2013 by James Scott Bell, and a 2016 post by Kathryn Lilley on avoiding pitfalls when querying agents. As always, the full posts are date-linked at the end of their respective excerpts.

I also want to highlight that JSB does an annual post on publishing, which is well worth reading.

What role does your agent play after the publishing contract is signed? 
Understand that a lot of negotiation goes into what a publishing contract looks like.  What rights will be sold?  More importantly, what rights will be retained by the author?  Is this a one-book contract, or a multi-book contract?  What will the pay-out schedule be?  If it’s a multi-book contract, will they be individually accounted or jointly accounted?  (Joint accounting means that Book #1 would have to earn back its advances before you could start earning advances on Book #2.  It’s by far the least preferable method, but first-timers often don’t have a lot of heft there.)

The agent is the go-between for all uncomfortable transactions.  For example, in fifteen years, I have never discussed money issues with an editor, and no editor has had to tell me to my face that I wasn’t worth the money I was asking for.  The agent keeps the creative relationship pure.  Beyond that, if everything goes well, the agent doesn’t have a lot to do after the contract is negotiated.

But things rarely go well.  What happens if your editor quits or gets fired?  What happens if you really hate the cover, or if the editor is getting carried away with his editorial pen?  On a more positive note, the agent will continue to pursue foreign publishing contracts, movie deals, etc.

What kind of deadlines are there? How firm are those deadlines? 
Deadlines are part of the negotiation process.  You’ll have to agree to respond to your editorial letter by a certain date with a corrected manuscript, and then you’ll have copyedits and page proofs, all while making your commitment to deliver the next book in the contract if it’s a multi-book deal.  I consider deadlines to be inviolable.  I’ve had to push the delivery date by a couple of weeks once, but I hated doing it because it inconveniences so many people, and it makes me look unprofessional.  Here is another instance where a track record of performance keeps people from losing faith in the author.  For first-timers, blowing a deadline can kill a career.  Remember, by blowing the deadline, you technically violate the contract, which the publisher would have the authority to void.

Writers need to understand that publishing calendars are set 12 to 18 months ahead.  Working backwards from those dates are the in-house deadlines for the production side of things (cover design, copyedits, publicity, ARCs, reviews, and a thousand other details).  If a deadline is blown by as little as a month, publishers may pull the author’s book from the calendar and replace it with another, thus potentially adding months to the publication date.

John Gilstrap—March 16, 2012

 

Seriously, those agents I know are good ones: caring deeply about the success of their clients, hurting when they can’t place a project, or when a client is dropped by a publisher. But they know this is the duty they signed up for. They are professional about it.

That’s a key word, professional. In any business relationship, no matter how warm, there are duties. So it’s proper to ask what each party owes the other.

What do writers owe their agents? I think they owe them productivity, optimism, partnership and patience. There will be times, of course, when concerns must be expressed and details hashed out. Time for phone calls and complaints. But these should be rare in comparison to the positives.

A writer needs to listen. Part of a good agent’s job (we’ll get to bad agents in a moment) is to guide a career, and the writer (who ultimately makes the decision about direction) ought to consider and attend to an agent’s wisdom.

And just plain not be a “pill” (slang, 1920s, “a tiresomely disagreeable person.”)

I said we’d get to bad agents, and here’s all I have to say: it is better by a degree of a thousand for a writer to have no agent than to have a bad agent. A bad agent is one who will make you pay fees up front before reading or submitting something; who will slough you off to an editorial service which kicks back a finder’s fee to the agent; who provides no feedback on projects or proposals; and who throws up anything against several walls to see if it sticks. How does one find the good and avoid the bad? The SFWA has a post that’s very helpful in this regard.

Now, what does an agent owe a client? Honesty, encouragement, feedback. But I think there is one thing above all, and that is what prompted this post today. Over the years I’ve heard from writer friends who are frustrated and sometimes “dying on the inside” because of lack of this one thing:

Communication.

When I was an eager young lawyer I took a course on good business practices from the California Bar. One item that stood out was a survey of clients on what they most wanted from their attorneys. At the very top of the list, by a wide margin, was communication. Whether it was good news or bad, they wanted to know their lawyer was thinking about their case or legal matter.

Writers are the same way. Even more so, because the insecurity of the business is an ever-present shadow across their keyboards. So if a writer sends in a proposal or list of ideas to his agent, and the agent doesn’t respond within a few weeks . . . and writer sends follow-up email or phone call, and still doesn’t hear from agent . . .this is not a good thing. In fact, for a writer, it is close to being the worst thing.

So I would say to agents what the California Bar says to young lawyers: just let the client know what’s going on from time to time. Especially if the client has sent something to you.

Now, I know from my agent friends that there are times when they can’t drop everything to communicate immediately. They have other clients, and things may be popping for one or more of them. It may be that the writer has submitted something that is going to take a lot of time to go over and assess. The agent may be off at a conference or maybe, gasp, needs some personal family time. All understandable.

But communication can be brief, even if it is just a short email acknowledging receipt.

James Scott Bell—May 5, 2013

Before there is an Agent and a Publishing Deal, there is every writer’s dreaded obstacle and Final Wall: the Query Letter. Here is  a list of the top five reasons a query letter is rejected by an agent.

  1. Perilous Protocol

Manners and professionalism count. Your query letter will be met with an instant “No” if it doesn’t meet the minimum requirements of query letter protocol.

What is “protocol”?

It almost goes without saying, protocol requires you to pay close attention to an agent’s posted Submission Guidelines. Here are some links to excellent discussions about some other how-to basics of crafting a query letter.

The Complete Guide to Query Letters That  Get Manuscript Requests, by agent Jane Friedman.

How to Write a Query Letter by agent Rachelle Gardner.

Query Shark (a site where where you can post your query letter for review, discussion, and critique)

  1. Misses and Misdirection

This point sounds obvious, but you must send your query letter to an agent who represents your manuscript’s genre. Do your homework. Research which agents are actively seeking new manuscripts in your chosen genre. (Genre-blending works are frequently problematic here–if you can’t pinpoint which genre your story belongs in, it makes it that much harder to attract an agent).

  1. “Good”, But Not Good Enough

The Truth: Agents aren’t looking for good writing. They’re looking for great writing. They’re looking for compelling, fresh writing that sizzles. “Good” (AKA amateur) writing simply won’t cut it in the current marketplace. So before you submit your query letter, make sure your writing meets that mark. You have to be brutally honest when judging the merits of your own writing. Compare your first chapter to some best sellers in your genre, and then ask yourself: am I there yet?

Kathryn Lilley—February 23, 2016

***

There you have it—posts on agents and querying them. I would love to hear your thoughts.

  1. Are you traditionally published, or aspiring to be traditionally published?
  2. What advice do you have on finding and working with agents?
  3. Have things changed since 2016 in terms of how advice on query letters?
  4. Do you have any other insights or advice on having a career in traditional publishing, or as hybrid author?

How to Earn Short-Term Rewards During the Long Haul

Author Debbie Burke and Buffy

No, this picture is not Photoshopped clickbait. It’s me and a real bear. Details below. 

 

By Debbie Burke

@burke_writer

 

In your real-world job, would you be willing to work for two or more years before receiving a paycheck? Probably not.

Yet, as authors writing books, that’s exactly what we do.

Writing a novel is often likened to a marathon. It takes months, if not years, to complete a book. Traditional publishing tacks on another one or two years before you see your book for sale. Indie-pubbing speeds up the process but it still doesn’t happen overnight.

Thirty-plus years ago, I was stuck in the endless loop of writing novels, submitting them, and being rejected. Lather, rinse, repeat.

Because fiction was my passion, I didn’t really consider writing nonfiction until a couple of journalist friends offered their help and encouragement. I dipped my toe into article writing and made the happy discovery that nonfiction was much easier to publish than fiction (not to mention it paid better).

At last, I had the satisfaction of seeing my words in print.

One magazine gig led to another. As my file of published clips expanded, editors began to call me. Article assignments took a little sting out of the rejections that my novels continued to collect.

Many more years would pass before I reached the ultimate reward of a published novel but, along the way, articles were small consolation prizes. They encouraged me to keep moving toward my goal.

My journalist friends taught me another neat trick—take the same article but re-slant it for different markets. Do research once and get paid several times.

For instance, a story about how to run a successful garage sale could be pitched to community newsletters, antique/collectible magazines, and senior-interest markets as tips for retirees to earn extra money.

An article about gold mines might fit in a travel magazine, a state historic journal, and a niche publication for hobbyist prospectors.

Often, during research, I ran across interesting people and wrote personality profiles about them.

One in particular led to a number of offshoot articles plus a memorable experience with the stunning bear in the above photo.

At the Flathead River Writers Conference in the 1990s, I met Ben Mikaelsen, a kid-lit author who had his own bear. Buffy had been a research cub that couldn’t survive in the wild. To save him from being euthanized, Ben adopted him. Life with Buffy inspired Ben’s award-winning novel Rescue Josh McGuire and several other books.

Side note: Ben does not advocate keeping wild animals as pets. He went to great effort and expense to build a suitable home for Buffy that was approved by state and federal authorities.

The unique friendship between an author and a bear was a story idea that begged to be written. Ben graciously invited me to his home near Bozeman, Montana, for an interview and to meet Buffy

Yes, that really is me feeding Wheat Thins to the 700-pound black bear. Fun fact: He didn’t use his teeth or tongue to take the treat but rather his prehensile lower lip, similar to an elephant’s trunk. I watched in awe as his bottom lip gently folded around the cracker in my hand.

The amazing encounter resulted in multiple articles that were published in Writer’s Digest (including a reprint in their annual children’s writing guide), several Montana general interest magazines, and international nature and wildlife magazines.

This experience was definitely not a consolation prize but rather a once-in-a-lifetime opportunity for which I’ll always be grateful.

Back to the marathon. While I wondered if I’d EVER have a novel accepted, articles were like short sprints where the rewards of publication and payment were only months away rather than years. Those helped sustain me through decades of discouragement.

In addition, writing nonfiction helped hone my craft.

Here are a few things I learned:

Write concisely and clearly. If an editor said 500 words, that’s what has to be turned in.

Choose what’s necessary and what should be cut. No matter how fascinating the research might be, it can’t all be crammed into the allotted space.

Always meet deadlines.  

Most important, I learned about storytelling and pacing to keep the reader engaged.

The 21st century changed the market for short nonfiction from print to online. As the internet expanded, magazines went out of business.

Nowadays my articles are mostly digital content. Fewer trees give their lives. I no longer have to buy sample print copies to study magazines’ style and focus. Finding outlets to write for is as easy as asking Mr. Google.

The downside is online markets often pay little to nothing because there is so much free content on the net. To make significant money, one needs to find particular niches that pay for specialized content.

However, there’s a different kind of reward: Publication is fast. As soon as authors hit submit, their writing is available to an audience of millions. 

On top of that comes the gratification of immediate feedback. I really enjoy reader comments on my posts for TKZ.

Steve Hooley recently asked me if research for an article had even sparked an idea for a novel. Not yet. But the research I do for articles often finds its way into my plots.

The second book in my series, Stalking Midas, concerns elder fraud. I attended seminars presented by local and state watchdogs to learn about that growing, insidious crime. Unfortunately, research turned personal when my adopted mother was victimized by a caregiver. Her experience became a True Crime Thursday post.

Several newspapers published my elder fraud article. It also formed the basis for a talk that I give to senior groups. Additionally, I revamped parts of Stalking Midas to incorporate what I’d learned.

I started writing articles to counteract discouragement during the long marathon of trying to get novels published. Articles became short sprints refreshed by water breaks of publication. They helped keep me going toward the ultimate finish line.

In 2017, my thriller Instrument of the Devil was published.

Seven novels later, I’m writing more articles than ever because…

A funny thing happened during that decades-long marathon. I discovered I like writing nonfiction as much as fiction.

Especially when I get to meet a bear.

~~~

TKZers: Do you write fiction, nonfiction, or both? How important is getting published to you? What sustains you during the long haul of writing a book?

~~~

 

 

DNA is supposed to prove guilt or innocence. Instead, it reveals deception and betrayal in my new thriller, UNTIL PROVEN GUILTY. Please check it out at these online booksellers.

What I Wish I’d Known When I Started Writing

by James Scott Bell
@jamesscottbell

Next year will be my 24th as a professional writer.

When my first book hit the shelves nobody used a cell phone (Seinfeld had that big brick handset with the antenna, remember?) O.J. Simpson had been found not guilty and Bill Cosby was still America’s most beloved dad. Microsoft released Windows 95. And a guy named Bezos launched a website that was purportedly going to sell books to consumers right over the internet! Everybody thought he was nuts.

For the seven years previous I’d been studying the craft of screenwriting and fiction, and writing every day. I devoured books on writing and gobbled up each monthly issue of Writer’s Digest. I have several shelves of my beloved writing books (and binders full of WDs), all highlighted and sticky-noted in some form or fashion. Every so often I like to pull one off the shelf to see what I highlighted, and relive some of the excitement of discovering something that worked for me.

The other day took down The Complete Guide to Writing Fiction by Barnaby Conrad, published by Writer’s Digest Books. It’s a collection of articles and interviews from the famous Santa Barbara Writers Conference, which Conrad directed for many years.

There was something tucked inside the book. It was a pamphlet titled 12 Things I Wish I Had Known When I Started Writing by Ben Bova, the science-fiction writer and editor. I think this came as a freebie with a book ordered from the Writer’s Digest Book Club, of which I was an enthusiastic member. So I had another look at Bova’s lessons and thought I’d reflect on them with you today. The first two are unsurprising:

  1. Write every day.
  2. Read widely.

All serious writing students know this, though I would edit the first one thus: write to a weekly quota. Figure out how many words you can comfortably write in a week, then up that by 10% for your goal.

  1. Write about WHO you know.

Bova stresses the importance of well-rounded characters. Basic, of course, but coming from the sci-fi genre Bova knows it’s a temptation to overemphasize world-building.

  1. Character + Problem = Story.

I would change Problem to Plot, where plot is defined as a life-or-death battle which the character meets by strength of will.

  1. No villains.

This is Bova’s most important tip. The “villain” does not see himself that way. “Every tyrant in history was convinced that he had to do the things he did, for is own good or for the good of the people around him,” Bova writes.

I always counsel writers to know the bad guy’s “closing argument.” If he were on trial, what would he say to defend himself? And mean it?

  1. Start in the middle.

My heart sang. Had Bova anticipated Write Your Novel From the Middle? Ahem. No. He was talking about the opening pages, and he echoes one of my constant refrains: act first, explain later. Bova explains:

[Start] your story in the midst of brisk, exciting action. Start in the middle! Don’t waste time telling us how your protagonist got into the pickle he’s in. Show him struggling to get free. You can always fill in the background details later.

Particularly in a novel, it’s tempting to set the scene, explain the protagonist’s background, describe how she got to where she is. Cut all that out. Or, at least, save it for later. Start in the midst of action. Hook that reader right away or you won’t hook him at all.

  1. The chain of promises.

Don’t present a problem on page one and then solve it. Pile them up. “Each problem you present to the protagonist is a promise to the reader that there will be suspense, excitement, adventure in solving that problem.”

  1. Use all five senses.

Bova rightly notes that writers tend to favor sight and sound. Add touch, taste, and smell.

  1. Point of view.

Bova makes a case for close 3d Person, so you can be intimate with a character in one scene, then cut away to another character, and so on. He does not favor First Person because he finds it too limiting. Hmm. Tell that to Raymond Chandler.

The last three tips come from another world, when hard-copy manuscripts were submitted to agents and editors. Imagine that!

  1. Make your manuscript readable.

“Typed, whether on a typewriter or a computer printer.”

Remember when that was an actual choice?

  1. Study the markets.

“Publishers think in categories. You must too.”

  1. Cover letters.

“And always remember to include the SASE.”

(For you kids out there, SASE stands for “Self-Addressed Stamped Envelope.” Ask your parents what that means.)

All this got me thinking: what is something I wish I’d known when I started out? I’ll give you a twofer:

  1. Scene Structure.

I wrote four or five screenplays that didn’t generate any interest. What finally broke me through was an epiphany while reading Jack Bickham’s Writing Novels That Sell. Specifically, his chapter on scene and sequel. More specifically, understanding the scene beats of Goal, Conflict, Disaster. No more weak or meandering scenes after that. The next script I wrote got me an agent.

  1. The Mind is as Important as the Keyboard

The initial thrill of being published eventually ran into a new set of challenges familiar to all writers who make it inside the gates of the Forbidden City. Stuff like comparison, envy, self-doubt, bad reviews. All of which interfere with the joy of writing. Faith and family were in place for me, but I also studied specific topics like gratitude, contentment, focus, and discipline. So important are these that I wrote a book to help writers prepare for and deal with the mental game of writing.

So, TKZers, if you’ve been around the block, what is something you wish you had known when you were starting out?

And if you are just starting out, what is something you want to know? Ask away, and one of our crack team of bloggers will take a flyer at an answer—for I am in travel mode today and my check-in may be sketchy.

 

Beating Free

monk

February 1973 was a month of uncertainty for me. I was ready to graduate from college in a few months and had absolutely no idea what I wanted to do when I “grew up” (a state of mind which continues, verily, to this very day!). I somehow found myself being interviewed by the head of an insurance firm, a very nice guy who sensed almost immediately, as I had, that putting me in his office would be inserting a round stick of dynamite into a square…well, office. We had a cordial conversation anyway, and at the conclusion of it he showed me a blocky machine that was hooked up to a television. “This,” he said, “is the future.” He picked up a rectangular object that looked like an audio cassette on steroids, inserted it into the machine, and turned on the television so we could watch a gentleman nervously give a lecture about actuarial tables and premiums and whole life insurance and the like. What I was being shown was something called a VCR in U-Matic format, the forerunner to Betamax and VHS and the grandparent to DVDs and yes, streaming. I was assured that within a few years there would be one of these machines, or something like it, in every home in the country. My new friend probably had no idea how that machine, and its descendents, would change things. I didn’t either, but I felt that ground move. This thing was a game changer.

I had the same feeling, and not in a good way, when I was wading through my emails yesterday and found a news release about a company named CzurTek (pronounced “SEE-zer Tek”) which has developed a relatively high-speed book scanner called “Czur” (just like Julius) which it appears to intend to sell for around $169.00 and which it is attempting to bring to market by crowd-sourcing.

czur scanner

The video of it is impressive, for sure; Czur does involve some human interaction, but nothing that a semi-sober fraternity brother couldn’t handle. There is a lot of talk about algorithms and the like that I didn’t understand but the legal part of me got went on high alert: the bad kind. I remember what happened, and is still happening, to the music industry, when CD players and copiers started appearing as basic equipment on home computers. “RIP AND BURN!” became the catchphrase of the day. It used to be that if you wanted to have a bestselling album you had to sell a million copies or more in a week. A lot of people did that, too. Now, not so much. You can hit the top of the charts on some weeks by bringing home unit sales of five figures. People don’t buy a lot of music anymore; they go to peer-to-peer sites or they stream it but they don’t buy a lot of it. It’s tough to beat free. It didn’t happen overnight, but it happened fast enough that no one knew what was happening. I think that we are about to see the same thing happen, and with books this time. And it comes at a time when the industry, including the publishers and authors, can’t take the hit.

The folks at CzurTek know exactly what they are doing. The video I have linked you to above seems benevolent enough — there’s talk of copying rare and delicate manuscripts to preserve them, for but one example — but when you go to their Facebook page the 800-pound bear in the room is too much to ignore. Witness this, taken from the August 30, 2015 post off of CzurTek’s site, which infers that the idea for Czur sprung from the high cost of textbooks:

Normally one textbook is more than 100 dollars, and sometimes a professor will ask us to buy 6 or 7 of them.

In order to solve this problem, some of my schoolmates would buy second-hand books, or photocopy them. I once borrowed my roommate’s camera to take pictures of an entire book. It was really tiring, and hard to get high-quality pictures when the pages are curved.

Two years later….

in Shenzhen, we decided to have a go at solving this problem. After several attempts, we found that digitizing the books seemed to be the best approach. However, a book scanner costs tens of thousands of dollars, which is beyond the reach of ordinary people. So we decided to create one ourselves! Over the past 3 years, in the course of visiting numerous factories and testing our algorithm hundreds of times, we have turned ourselves into specialists in this area.

Now….

In other words, if a book is too expensive, just copy it. If it’s due back at the library and you’re not done with it, copy it. If the books are too darn heavy, copy them. Edit the text and put it in your essay! The CzurTek website even talks about building your own library for free, of course.

I’m not without sympathy, up to a point. College textbooks are extremely expensive. There are reasons for this, particularly with respect for those dealing with higher mathematics, biology, and physics, but that’s a topic for another time. But does the cost — or that they’re too heavy, or due back at the library — make it okay to steal them? Just copy them.

This isn’t the future. It’s already here. There are a bunch of book scanners on the market right now that don’t quite do the job well, but have the basics down. If Czur isn’t the gamechanger it appears to be, someone else will make one that is, and make it soon. The issue then becomes whether you want to spend a year of your life creating something that gets copied and probably illegitimately disseminated as soon as it is published, with no compensation to you. To go back to the music business: musical artists have found other revenue streams, such as licensing their music to film projects, tee-shirts, bumper stickers, tours, and the like. Their music? The newbies give it away, in the hope that someone will come to their concerts and buy merchandise. What are authors going to do? Tours? Please. Do you really think that someone is going to buy a ticket to listen to (fill in the blank) read or give a talk. Tee-shirts? C’mon.

I’ve prattled on a bit too long on this, and I apologize for that. I see this, however, as a significant problem. Am I Chicken Little? Or am I Dr. Miles Bennell? If I’m right, what are we — you, me, and the publishing industry — going to do about it? You tell me. And as for you folks at CzurTek…how would you feel about someone reverse engineering Czur, and giving it away for free? Sound good?

 

Is Our Writing Culture In Mortal Danger? Part I

Kant_fotoThe philosopher Immanuel Kant was sipping his morning coffee one day, reading the philosopher David Hume. That’s what philosophers used to do––drink coffee and read each other’s work.

At some point, Kant slammed his mug down with a great thunk, for what he was reading was an outright challenge to the whole enterprise of philosophy. Hume, the great skeptic, was saying, in effect, “Dudes, you can’t really know anything. Deal with it.”

Kant would later write that this provocation awakened him from his “dogmatic slumber.” He had to answer! So he went out and wrote one of the towering works of all Western philosophy, The Critique of Pure Reason.

I was thinking about good ol’ Immanuel the other morning as I quaffed my own warm brew. I’d traveled over to that great writing blog Writer Unboxed to read a post by my friend Porter Anderson. Porter is one of the more astute observers of the publishing scene.MwNaNqJY_400x400 You can and should check out his work here.

This day Porter pulled a Hume on me. Like the Scottish skeptic, Porter has doubts. They are somewhat evident in the title of his post: The Dreaded Training Debate: What If It Can’t Be Taught? By “it” Porter means the art and craft of writing fiction. Since I am one of those who believe it can be, he definitely had my attention.

There is a lot of material in Porter’s wide-ranging and expressive rant. He challenges the notion that it’s the best time on Earth to be a writer, suggests a definition of writing “success” that seems to me too restrictive, and intimates that “better books” and indeed our “writerly culture” itself may be doomed.

My coffee mug came down with a thunk. I was awakened from my own dogmatic slumber. I would have to reply! I left a comment, but deferred a fuller critique until now.

This is Part I.

I see the issues raised by Porter this way:

Issue 1 – The Toadstool Effect

Issue 2 – Is It The Best or Worst Time to Be a Writer?

Issue 3 – Is the Party Over?

Issue 4 – What Counts as Writing Success?

Issue 5 – Can Fiction Writing Be Taught?

It’s always good to begin a discussion like this with points of agreement, and that’s what Issue #1 provides. Porter writes:

“Like toadstools,” one seasoned observer called it in a note to me recently — this sudden proliferation of “author services,” especially the ones there to teach you, instruct you, train you. They’re everywhere, these kitchen-sink companies, and many of them seem to be peddling (or claiming they do) parts of the job we’re not even sure can be taught.

As he made clear to me in the comments, Porter is concerned about the onslaught of less than “adroit” training:

I do believe, however, that we have generated here an overheated “training wing” attached to this new everybody-into-the-pool stage in the industry’s development. I think the mushrooms are getting pretty thick on the ground and that many, many offerings are neither as adroit nor as potentially valuable as yours. Beyond the buyer-beware rule, always good, is an implication that I think overstates what many people believe they can learn to do on the receiving end of instruction.

Porter and I agree on this, though I don’t find the “toadstool effect” unique to writing. The digital age has unleashed a veritable planet of multiplying fungi, making promises about everything—business, sex, health, wealth, writing, acting, plumbing, fame, “dogs and cats, living together. Mass hyseria!”

The only antidote to this in a free market is the ancient and wise admonition, Caveat emptor. A writer-in-training simply must be about due diligence in these matters. How?

Look at samples of the work. Look for recommendations. Distinguish mushrooms from toadstools.

I note in this regard that none other than Mr. James Patterson is offering an online course on writing for $90. Were I a newbie I would reason thus: James Patterson has sold a few books. He seems to know how to tell a story. The course is 22 lectures. The price is quite reasonable. People who’ve taken the course seem to be pleased. If I’m going to invest in being a writer, this looks like a winner. Sign me up!

But what about some high-falutin offer by someone I’ve never heard of? I’d look at what’s being offered, the cost, and the background of teacher. From Porter in the comments:

So I’m saying that if someone is instructing other writers but has not had the experience of success AS a writer — if they’re teaching you fiction but their own fiction doesn’t sell — then I think, yes, that’s reason to stop, think, and carefully assess whether this is the person to study with.

Completely agree. Which, I quickly add, does not rule out taking a flyer on someone whose artistic output is limited. Some of the best teachers are like that. Michael Hauge in screenwriting. Lee Strasberg in acting. You just have to dig a little deeper to make an assessment. Look for what other students say about them. How have those students fared themselves?

As far as dollars go, you can spend a lot for a course, but relatively little for a book. I love books on writing. My shelves (and my Kindle) are filled with them, all highlighted. My philosophy has always been if I learn only one thing from a book, and it helps my writing, it’s worth it.

I can think of only two writing books out of the many hundreds I’ve read where I did not learn something. Exercising mercy, I shall not name those books.

A further note. There are toadstools that are extra toxic. Right now there is a class action lawsuit against one of these services. Such services will always be with us. The Alec Baldwin from Glengarry Glen Ross could have run one of these, believing as he did that people are “sitting out there waiting to give you their money! Are you gonna take it? Are you man enough to take it?”

Well, we’ve only covered Issue #1, and I’m happy to say a general agreement has been reached.

Next week, not so much.

So what is your view of “author services” out there? Good, bad, ugly? How can you tell the difference?

Shorter is Better

By Joe Moore
@JoeMoore_writer

Recently, Science Fiction publisher TOR published an article on why novellas are the future of publishing. They based their theory on one important element: time. For the modern electronic reader, time is a precious commodity. If the reader can sit down with a Kindle or Nook and read a novella on a cross country plane ride or over a rainy Sunday afternoon, they can become just as satisfied as trudging through a 120k word novel. The enthusiasm of publishing novella e-books is spreading throughout the traditional publishing industry. Lower costs, quicker turnaround, more product in the pipeline.

A novella can fall anywhere between 17,500 and 60,000 words. There’s a lot of latitude in that gap and publishers are going to give some wiggle room with word count. No agent or publisher is going to reject your book if you missed the count by 1k or 5k or even 10k, especially if the story blows them away.

Have you ever written a novella? Thought about it? Have you read one? Did you get as much fulfillment out of it as a full-length novel? Is your reading time becoming more precious to you than ever? Chime in and let us know.

For those who wonder about word count, here’s a general rule of thumb guideline to counting words:

  • Epic: A work of 200,000 words or more.
  • Novel: A work of 60,000 words or more.
  • Novella: A work of at least 17,500 words but under 60,000 words.
  • Short story: A work of at least 2,000 words but under 7,500 words.
  • Flash fiction: A work of less than 2,000 words, usually under 1,000.