Way to screw up, guys

M. Louisa Locke has a devastating post on how freaking impossible it is to get visibility on Barnes & Noble or Kobo. Anyone running or launching an e-book retail site needs to take that post and have it printed everywhere, including their own skin.

It's been said many times, but the devil is in the details: You can't just compete with Amazon by having a "me-too" site up; if you want your retail site to rack up Amazon-style numbers of indie book sales, you need to compete on author service. No one seems to be doing that.

Trolls, drama queens, and your time

April Hamilton had a recent post about getting into a fight on-line and feeling like she was finally being herself! And it turns out that crazy Ewan Morrison (brace yourself--this is a shocker) likes to fight people on Twitter! And they like to fight him back!

Le sigh.

I know some writers are fairly new to on-line socializing (or on-line socializing outside their real-life social circles), which means that they are new to on-line fights. I was an early Browncoat; back in the Days of Yore when Firefly was just a show that had been cancelled after half a season and had no geek cred whatsoever, we were actively and repeatedly targeted for on-line harassment by variety of groups (fans of other shows, random assholes who thought we should just shut up and go home, etc.). So I know quite a bit about on-line fights.

I'll tell you something about on-line fights: They are almost never undertaken in good faith.

What do I mean by that? Well, let's say I honestly think X and you honestly think Y, and we disagree. We could debate why I think X is right and why you think Y is right. Maybe one of us would change the other's mind, maybe that wouldn't happen, but that would be the end of it.

But that's boring!!! Neither of us is going to be an Internet fuckwad if we stick to a civilized discussion of the issues!

What usually happens is more like this: You honestly think Y. I don't actually care (the vast majority of Firefly trolls back then had never seen the show and had absolutely no opinion about it), but I feel like having a fight--maybe my boss treated me badly earlier today, maybe I'm 12, maybe I'm an undiagnosed and unmedicated paranoid schizophrenic. So I say, "Y? What kind of fuckwit likes Y!?! X is the only way to go!!!!! Anyone who doesn't like X should be shot and their body used as a latrine!"

Now, that's much more exciting! We could go for hours...days...even (and I've seen this happen) YEARS!!!! You could get a posse together, I could get a posse together, and we could avoid the painful business growing up and moving forward with our lives indefinitely!

And we could even brand ourselves this way, which is what Morrison is in all likelihood doing. Joe Konrath gleefully cops to being combative for his own purposes. It works for political pundits: Every time I read someone who writes "I can't believe what Rush Limbaugh/Ted Rall just said!!!" I roll my eyes--being an outrageous asshole is their job.

If it's not your job, and if you're not really getting anything out of it (and I mean really getting something out of it, not just an adrenaline surge), you're better off just moving on. You have better things to do with your time--or at least I hope you do.

I'm not saying that you can't be yourself or that you shouldn't stand up for yourself or that you should condone harassment (most sites have "report abuse" buttons, and you should use them). But the best way to do these things is usually not by engaging in endless rounds of argument with someone who will say quite literally anything to keep the fight going. (This is called "feeding trolls"--they just get more obnoxious because you're giving them what they want.) I thnk that's what people new to on-line socializing don't understand: Ninety-nine percent of the time, the fight itself is the point for these people--they don't want it ever to end, and they certainly are NEVER going to say, "Gee, yeah! Come to think of it, you're right!"

More on B&N's retail setup; making semi-decent advice suck

Edward Robertson is looking at Barnes & Noble now and deciding that it's going to be really hard to build an audience there because it's set up so that people who aren't already looking for your book are unlikely to come across it. Yup. Not that I've had huge sales anywhere, but I've had some sales everywhere except B&N.

And Passive Voice linked to an interview with Sue Grafton, in which she takes a kernel of semi-decent advice (don't publish before something is ready, which--hm, I could debate that one, actually, since as much as I love polish I think that as a practical matter you're better off erring on the side of getting it out there) and buries it in a truckload of horseshit about how self-publishing is lazy and stupid, and how you're better off spending six years being told that your stuff is great but they can't publish it anyway, because that is the sort of useful, high-quality, craft-honing feedback you can only get from traditional publishing.

If you're wondering why writing professionals need to stay on top of their industry, this is why--so you can give advice to young writers that won't harm them. Grafton's advice reminds me of when I was graduating from college and wondering how to start a career, and my mother suggested that I should move back home (to a place with truly epic rates of unemployment) and do charity work (until I got married, of course, at which point all of my problems would be magically solved forever). She gave me this advice in 1992, not 1962, if you're wondering. Anyway, it wasn't just quaint and old-fashioned--it was truly terrible career advice, and had I followed it, I simply would have never had a professional career. Grafton's advice is equally out of date and equally pernicious.

Uf!

Another day lost to the new computer--it will be worth it in the end to get rid of all the 10-to-15-year-old tech I have cluttering my office, but man, the clearing out is a major undertaking, especially if you're not content to just chuck it all in the trash. I'm gonna swing by FedEx and the thrift shop, and then I will be ALMOST done.

How to kill sales

Dean Wesley Smith has a great post on the importance of cover design and description in selling your book. I have to agree that it's surprisingly difficult when you're in the midst of writing a book to figure out the kind of book you wrote--it's just a major shifting of mental gears.

Ergonomics

So, part of the reason getting a new computer is such a pain for me is that I have to worry about stuff like the exact height of my monitor and how wide my keyboard is. (The old keyboard works with the new computer, BTW. The box for the "MADE IN THE USA!!! USA!!! USA!!!" shelving unit, which was supposed to contain two shelves and two end units, actually contained one shelf and four end units ("USA!!! USA!!! USA!!! We've got the best weed!!!"), but with the help of my trusty screw gun/drill, I was able to turn it into something even better suited to the task than the original.)

Anyway, you might think that stuff like that isn't worth it to worry about. I had a boss like that once, about 10 years ago. That's why I have to wear wrist braces while I type.

Actually, that's both too mean and far too kind. Said boss wanted to help. Everybody who heard about how my workstation was hurting my wrists (it was set up so that my wrists were bent as far back as they could go, and there was no apparent way to adjust it) thought that was really bad and really wanted to help fix it.

Unfortunately, it was a completely dysfunctional office, so of course my wrist pain (like everything else) had to spark a major turf war that took SIX MONTHS to resolve.

You heard me: SIX MONTHS.

Of course, by the end of it, my wrists were permanently damaged. And I took shit for wearing wrist wraps, despite the fact that at least two-thirds of the staff wore wrist braces of some sort, a level of RSI that I have never seen in any other workplace.

That, by the way, was the very last full-time job I ever worked.

I've been my own boss since then. I wear braces when I type, I'm careful about my set up, and as a result I no longer have constant wrist pain.

When we talk about writing--how to write, writing habits--we often don't talk about the fact that we're as dependent on our hands and wrists as any athlete. Don't assume, like I did, that the soreness will go away--stop it from happening to begin with. However much control you have, exercise it so that work doesn't hurt you. Don't try to tough it out or assume it's nothing worth worrying about. I wish I had started wearing stiff wrist braces the very first day, when I looked at that keyboard setup, thought, "Jesus! This is a mess!" and could not fix it. It would have cost me less than $30, and it would have saved me a world of pain and worry.

Progress report

With computer stuff, I wrote a mere 300 words today, but I also outlined the next chapter, which performs the rather important task of getting me out of Exposition Land and into A Plotville, so I'm glad to get that straightened out. As in Trust, handling the exposition is kind of a challenge--right now I'm sort of just roughing it in, you know, "Philippe goes here DESCRIBE STATION." (I'm a big fan of PRIMITIVE ALL CAPS in early drafts.) My hope is that this will help me dole out the exposition in reasonable dollops later--for example, if I see "He walked into the room and saw DESCRIBE PATCH DESCRIBE GEORGE DESCRIBE SHANTI" maybe I can split those things up a bit, especially if there's another DESCRIBE PATCH later on.

"There’s a chance for authors to charge more"

I'm still dealing with moving to a new computer, but this (via Edward Robertson) is another Forbes interview with Mark Coker that specifically focuses on indie book pricing. (The first two interviews are here and here.)

Of course, it's important to remember that Coker has access only to Smashwords' data, which is not necessarily applicable to anyone else. But Amazon appears to be pushing authors to raise prices.

And I think that's a good thing. I don't think self-published authors should raise e-book prices to $14 a copy or anything, but I think some writers get very hung up on differences in prices that really don't mean much to readers. Trang sells more now than it did when it was 99 cents, Trust didn't sell more at $3 than it does at $5, and people will even pay for a book when I'm trying to give it to them for free.

I once read a post by Dean Wesley Smith where he pegged $5-and-under as "the impulse buy range." And I thought, Oh, there he goes again, Smith always overstates things, how could he possibly know what "the impulse buy range" is?

Of course, a few days later I was in a store and I saw something cute that I didn't really need, and I looked at the price and thought, "Hot damn! That's not even $5!" and I dashed over to the cashier and bought it. Then I realized what I had just done....

So my feeling is that once you get below a certain number--$5, $10--the actual price doesn't matter so much. You might as well charge $3 as charge $1, or $5 as $3. It's kind of all the same to readers.

And there's good reason not to price extremely low. Obviously, with Amazon you make significantly more money above $3. The problem with making 35 cents a copy (aside from the fact that you may be training yourself to devalue your work) is that you're making so little that it's extremely hard to turn a profit on marketing costs.

Another thing to think about is promotions. If your normal price is super-low, you won't be able to afford to run promotions--but that's not all. Retailers routinely inflate the "normal" price of something so that they can post an attractive markdown. (Anchoring!) If you really feel like it's unfair to charge $5 for your book, price it at $5 and constantly offer coupons or put it on sale. People will be even happier to buy it because they're getting a deal.

Plus, you may surprise yourself and sell more at the higher price--it happens. Remember, the market decides what price is "fair." You really have surprisingly little control over it (You'd really rather pay for it? I've got a free coupon right here!), so go with the flow.

And there goes my day!

I managed to do some revision, adding some color to what was already written, but soon the keyboard and the height of the monitor began to bother me. Honestly, it's freaking impossible to find a hutch-type thing to raise a monitor--with my old monitor, I stuck it on a couple of phone books, but this is a new all-in-one computer, so I wanted something more stable. I think I found it (technically, it's shelves for shoes), but I had to go to six different stores to find it (that didn't actually surprise me, since phone books weren't my first choice before). I also went to the Apple store, thinking I could buy an ergonomic keyboard--joke's on me, since the store isn't the sort of place where you can actually buy things. I was told to go on-line, so I did, and apparently my old keyboard (which is actually pretty new) can work on a Mac as well, despite having the Windows logo prominently displayed on it. I'm going to assemble the shelves first and then take a shot at the keyboard. Wish me luck.

New computer!

The new computer is up and running--my goodness, everything is so advanced these days. So far, most everything is working on it (although I may replace the keyboard--this one is small, and my wrists go wonky if I'm not careful), with the notable exception of the scanner. Adobe Acrobat doesn't work on it because I bought it for a PC and this is a Mac--hello, that was kind of expensive software, you think for that kind of money that they'd accommodate both platforms--but the new computer can print to PDF all by itself, so it kind of doesn't matter. Alas, the free art software I had on my old computer (and possibly the one before that) is no longer supported--shocking, I know. I'll have to see how the new free art software works.

Progress report

Back in the saddle! Wrote 1,600 words today.

After yesterday when I decided that I couldn't possibly write because I had to buy groceries, I realized that I was resisting my dharma.

Some people have a low tolerance for yoga-speak, but as someone with perfectionist traits, I find the philosophic elements of it tremendously helpful (and doing yoga is great if you sit all day). In this case, I found it more useful to think in terms of resistance than to think in terms of laziness, because let's face it, sometimes it's as much (if not more) work to not do something than it is to do it. If I cleaned the linoleum (which was really gross), then I'm not lazy, am I? I'm working hard, doing something very unpleasant! But what I'm really doing is the work of resistance. Likewise it's a form of resistance when I choose to focus on outcomes (or, as Dean Wesley Smith would put it, to focus on dreams instead of goals).

Writers and speculative politics

As you may have already heard, Gore Vidal has passed away. He was, of course, a very political writer, and I usually found his writing reasonably entertaining. But I didn't agree with much of what he wrote, and it wasn't a simple, "Oh, he's on THIS side of the liberal-conservative political divide and I'm on THAT side" kind of thing. It was because Vidal really embodied a way of political thinking that I think a lot of fiction writers tend to embrace: His was a speculative approach to politics.

What do I mean by "speculative"? Well, think of something that's happening (say, global warming), and then imagine that it becomes this HUGE problem that more or less renders the planet uninhabitable. Congratulations! You've just written Philip K. Dick's The Three Stigmata of Palmer Eldritch as well as any number of other fine dystopian novels.

Is that likely what's going to happen with global warming? Hmmm.... Well, the nation's decision-makers are based in Washington, D.C., and lately summers in D.C. have been quite unpleasant. Winters haven't been a picnic, either. Oh, and hurricane season's getting worse and worse--that affects them, too. All the carbon in the air is acidifying the oceans and causing the oyster crop to fail, so if you like fine seafood, it's going to be a rough year. Meanwhile, in the country as a whole, there's a big drought, which is going to drive up the price of all kinds of food--and voters just LOVE it when that happens.

In short: Carbon air pollution is starting to cause some really annoying problems. When a type of pollution starts to become a hazard and a nuisance, people actually do have a pretty good track record of halting its production--this is why we haven't all died from lead poisoning or acid rain, even though we're all still living in cities and driving cars and whatnot.

But that's the economist/journalist view of the future: You know, the one that's profoundly grounded in reality and that acknowledges the power of small, incremental changes. If you ask me, "What do you think is going to happen?" and you are asking that about the real world, that's the kind of answer I'm going to give you.

Writers like Vidal (and many other fiction writers) don't think this way, because it's not just exciting or dramatic enough. Vidal loved conspiracy theories--those are fun! He loved this idea that the world was teetering on the brink of collapse!!! Nothing ever made him happy: An African-American is elected president (something he thought Americans were far too racist ever to do), and he said, “We’ll have a military dictatorship pretty soon."

But while I really, really do not agree with Vidal's thinking as it applies to real life (if the choice is between changing out lightbulbs and committing suicide in a survivalist bunker, I'm gonna go buy me some CFLs), I can't argue that the speculative approach doesn't have value to the writer of fiction. I mean, Philip K. Dick made Gore Vidal seem like a calm and reasonable fellow. Aldous Huxley and George Orwell both wrote novels that they genuinely thought reflected what the future was going to be like. The imaginative habit of taking Trend X and extrapolating it to an extreme is key to speculative fiction--even fantasy creatures tend to be extensions of traits you see in yourself and other people. And what is an insane conspiracy theory other than a rip-roaring story?

It's a marathon, not a sprint

Summer's not an easy time to write, is it? It's the lack of regular schedules for people. Anyway, come August 11th I get SLAMMED--young people, old people, all requiring full-time care--until the end of September. The perils of having a family, I guess.

I was really stressing myself out about wanting to get, oh, I dunno, 100,000 words done on the novel before August 11th. And then I was like, Jesus Christ, relax. The stress isn't helpful (I was even freaking over the positive reviews of Trust, because what if Trials isn't as good? ACK!), that's a totally unrealistic goal, and this isn't like a push to finish a layout that's over in a matter of days. I'm going to be working on this thing for months, I'd better figure out a sustainable work schedule for myself. It's like exercise--the best exercise routine is the one you actually do, so if you unleash the insane inner perfectionist, set a bunch of crazy goals for yourself, and make yourself miserable, you'll burn out.

Anyway, the new computer is here, but I'm still waiting on one component. Soon I'll have to figure out the transition from one to the other, since not everything is going to be compatible.

The difference between a bubble and a new industry

I'm about to engage with Ewan Morrison again--rest assured, I realize that he's either 1. a complete idiot, or 2. pretending to be a complete idiot because it gets him press coverage. But I think it's worth doing, because once again he's expressing a more-extreme version of what a lot of less-obviously-insane people seem to think.

Case in point: He wrote, "I’m convinced that epublishing is another tech bubble, and that it will burst within the next 18 months."

This whole concept that self-publishing or e-publishing is some kind of bubble that will burst (you know, when readers get tired of the poor quality...yadda...yadda...yadda...any minute now, it's a-gonna go) is something you see a lot. It's usually coming from people in traditional publishing who have a vested interest in the status quo, and they tend to sound like someone who is convinced that, any day now, their ex--who left the state, married someone else, and now has five kids--will come back to them.

But putting aside the agendas, how do you tell the difference between a tech bubble and something like the Internet or cell phones--a new technology that alters the way people do things in the long term?

Well, for starters, let's discuss what a bubble actually is. Remember the Internet bubble of the late 1990s? (No? Shut up.) Remember how people thought the Internet would completely change the way we communicated and did business?

Remember how they were right?

It wasn't really an Internet bubble or even "another tech bubble." It was an investment bubble. People were throwing money at Internet companies like there was no tomorrow.

Let's look at another investment bubble that is usually easier for people to grasp--the recent real-estate bubble. You buy an OK home in an OK neighborhood for $200,000. Three years later, it's worth $500,000.

Is your home suddenly bigger and nicer? No. Has your neighborhood drastically changed? No. Has the value of a dollar drastically declined overall? No. Has the price of your home changed a lot? Yes.

A bubble is when people start throwing money at something with no regard to the underlying value of the asset. Your house's inherent value as a place to live didn't change during the real-estate bubble. Its price really, really did.

A similar thing happened during the Internet bubble. There was this new industry happening. It was clearly worth...something. People threw money at every company in the neighborhood of that new industry with no regard to their actual value.

People threw money at companies that were losing money and had no real prospects of ever making any. People threw money at companies that were making very little money and had no real prospects of ever making more. I remember reading an article about an Internet company whose stock had a price/earning ratio of 2,000 (P/E ratios are more normally in the teens)--and the article suggested that the reader run out and buy as many shares as they could. I'm sure many did.

Did that investment bubble mean that the Internet wasn't a real thing? No.

How is e-publishing a bubble? Well, I'm sure someone like Morrison would point to the rapid increase in people e-publishing and making money e-publishing as a sign that it's a bubble. But people flocking to adopt a new technology, like cell phones, or a company selling lots of a hot new technology, like cell phones, isn't the same as investors throwing wads of money at cell-phone companies. When someone buys a cell phone, they're switching over to a new technology--they're going to use that cell phone, at least until something better comes along. They've changed their habits and behavior, and it's going to take some pushing to get them to change again, much less change back. Investment money is a completely different animal--the habit is throwing money at a hot trend, so the money will jump from investment to investment much more easily.

There is money being invested here, to be sure. But it's not being invested by some fund manager who doesn't care what they put the money into, as long as the company's stock price is going up. It's being invested by consumers who buy e-readers, tablet computers, and smart phones. It's being invested by writers who are effectively starting their own businesses. It's sticky money--the vast majority of the people investing in self-publishing aren't going to suddenly decide to throw all their assets into shares of Australian gold mines instead (which is the kind of thing fund managers do when they need to meet their quarterly numbers).

And of course, if self-publishing is a bubble, the question is raised, how is this bubble going to pop? What happens with true investment bubbles is that prices suddenly (and savagely) fall to something more in line with the actual value of the underlying asset.

So, what is the actual value of a book? By Morrison's logic, the actual value of a book is where traditional publishers price it--somewhere in the neighborhood of $15-$20. So when this bubble pops, the prices of books will increase by $10-$15.

That will be amazing to watch. Millions of consumers will say, "I'm tired of paying $3 for a book! I want to pay $20! That is the true value of a book!" It will completely upend a central tenant of classic economic theory. It will make history.

OK, fine--it's not going to happen. (It would be pretty awesome, though.) Morrison is either 1. a complete idiot, or 2. pretending to be a complete idiot because it gets him press coverage. Possibly, he's 3. so painfully ignorant he doesn't realize that authors make as much money off a self-published $3 book as they make off a traditionally-published $20 book, so supply isn't going to be affected by these low prices, or of course, 4. pretending to be so painfully ignorant because it gets him press coverage.

Actually, I do think there's something of a bubble here, just not where Morrison thinks it is. I think there's a bubble in the price for publishing services, which will deflate as writers learn more about self-publishing.

Bezos gives an interview

So Kindle Nation Daily has an interview with Amazon CEO Jeff Bezos (via PV). Of course he's very vague and gives no numbers. ("eBooks have become a huge fraction of the books sold," but how huge, Jeff, how huge?) I would love for some indication of how self-published books are doing, but given Amazon's secretive culture, I guess we have to take what we can get.

The other thing to remember is that CEOs are masters of spin--that's pretty much a job requirement--so you kind of have to take what they say (we are wonderful people! our growth has no limits!) with a grain of salt. But there was still some stuff I found interesting, namely:

[Jeff Bezos:] We do still offer our 3G version of the Kindle. And that is a very popular choice, in fact people who buy that Kindle are the people who read the most.

[Len Edgerly, the interviewer:] Why do you think that is?

JB: I suspect it’s probably some that they are the more serious readers, so they want the very best Kindle. But we also see that their reading increases even more than people who buy the other Kindles. And the reason, I think, for that is that it makes getting books even more frictionless, makes it even easier. You don’t have to look for a WiFi hotspot. You can just get them wherever you happen to be. And it roams globally at no charge, so people can figure that out, too, and get it wherever they are, even if they’re traveling around the world.

LE: It’s amazing how that small of an additional convenience would translate into more sales and reading.

JB: Exactly right, and we see this in everything. Many years ago we did this thing called One-Click Shopping, and tiny, little improvements can drive people to do more of something, just because you’re making it easier.

This is what the people who wail about the decline in literary culture are missing. If you actually want people to read, it's not helpful to have books be expensive, and it's not helpful to have a system where you have to go a specific kind of store in order to purchase a book. If you make reading harder to do, fewer people will do it--they'll turn on the TV instead.

This is extreme, but....

I debated about posting this, because it's SO insane, but there's this article in The Globe and Mail (via PV) that's sort of an exciting new low for reporting on the changes in the publishing industry.

It was so bad that, in all honesty, I couldn't read the whole thing. Here's as far as I got:

Ewan Morrison is an established British writer with a credit-choked resume and a new book out, Tales from the Mall, that the literary editor of the venerable Guardian newspaper hailed as “a really important step towards a literature of the 21st century.”

By his own account, Morrison is also being driven out of business by the ominously feudal economics of 21st-century literature, “pushed into the position where I have to join the digital masses,” he says, the cash advances he once received from publishers slashed so deep he is virtually working for free.

“I’ve been making culture professionally for 20 years, and going back to working on spec again seems to be a very retrograde step,” Morrison says. “But it’s something a lot of established writers are having to do.”...

Many will cheer, Morrison admits, including the more than one million new authors who have outflanked traditional gatekeepers by “publishing” their work in Amazon’s online Kindle store. “All these people I’m sure are very happy to hear they’re demolishing the publishing business by creating a multiplicity of cheap choices for the reader,” Morrison says. “I beg to differ.”

Of course Scott Turow weighs in at this point (I mean, of course), and the article is kind of a hilarious admixture of warnings that publishing is going to become "feudal" and "winner-take-all" and warnings that the "masses" (who are "publishing," not publishing) are going to take over--it's like they couldn't decide whether the left-wing bugaboo or right-wing bugaboo would scare people more, so they went with both.

But the thing that amazed me the most was Morrison. He's quite a wonder. I mean, a million writers are delighting many millions of readers with their books, but everyone should just knock it off because it's an inconvenience to him. Oh, sorry--I'll go unpublish my novels right now, sir!

The whole "I've been making culture professionally for 20 years" quote is remarkable as well. Morrison has been "making culture" (in his socks, presumably) professionally for 20 years and he's never had to adapt? He's never had a publication go under, or had an editor jump ship and be replaced by someone who insists on using their "own" writers? The man who created "a really important step towards a literature of the 21st century" never had to adjust his writing to stay relevant? Wow...Canada really is a wonderland! *

Oddly enough, when I think of someone who is a professional, I think of someone who gets paid to work in an industry, most typically because this is how they themselves pay for food, shelter, etc. And when your survival depends on you getting paid to work in an industry, you have to keep up with the industry. Health-care professionals read medical journals. Manufacturing professionals explore outsourcing and automation. Retail professionals scan bar codes.

You do that because if you get lazy, you wind up not being able to bring anything to the party that anyone thinks is worth paying for.

But I guess professional makers of culture are the exception. Or, given what's happening to Morrison's finances, maybe they aren't.

The thing is that Morrison's attitude is only an extreme version of one shared by a hell of a lot of people. Writers who believe that their "life simply does not allow them to learn yet another new thing." Writers who want to have mass sales without having to cater to mass tastes. Writers who are still producing documents the way they were taught to in seventh-grade home ec class in 1965. Writers who think that progress is a bother that is best ignored.

* Someone pointed out that Morrison is, in fact, British. So that should read "Great Britain really is a wonderland!" except for the whole part where I'm really talking about a magical land in Morrison's head that is completely disconnected from reality.

Progress report--chapter ornaments edition

Team Grown-Ups is back up to full strength, thank God, so today I switched out the chapter ornaments for Trang. I was thinking of just doing that whenever, but then I realized that after all that work to do flyers for GeekGirlCon, I should make sure the book looks it best before I give away those coupons. And this way Jaye Manus won't think poorly of me. (Oh, like I'm one to talk--polish matters, at least to me.)

It was pretty easy to do. I made a little black and white JPEG of the portal:

And inserted it, centered, wherever I had a break within the chapter. I also bolded the chapter heads, which I hadn't done before. I looked at it in the various formats from the various retailers both on my desktop and on my phone. It's surprising to me what a difference there can be between, say, a Mobi file from Smashwords and one from Amazon, or how they look in Mobipocket vs. Kindle for the PC vs. Kindle for the iPhone--one reason I wanted to do this now is because the Mobi from Amazon looked a little funny on the iPhone. (Some writers buy Kindles just to see what stuff looks like on there. I haven't done that--do you then have to buy a Nook and an iPad and an Android tablet?--but I can see the logic. Maybe when they're all in the thrift shops I'll do that--it won't be long now.)

Anyway, the little portal is sometimes bigger compared to the text and sometimes smaller, but it's all within an acceptable range. So yay! I'll do the Trust e-books tomorrow.