Creating vs. receiving

You may recollect that, when I first tried to figure out what kind of book Trang was, I failed miserably. I thought it was "fun action adventure!" which it was clearly not. And I'm not the only one who has had these problems.

I mentioned this difficulty once to my sister, specifically this notion that Trang was fun action adventure. She immediately said, "What? Oh, no. I could see why maybe it was that way to write, but to read? No."

I've been watching The IT Crowd, which is excellent. One episode, "Something Happened," really applied here: In the episode, an IT guy named Roy (who is vaguely social and is played by Bridesmaid's Chris O'Dowd) confesses to another IT guy, Moss (who totally has Asperger's and is played by Richard Ayoade), that when he got a massage, the male masseuse ended the session by smooching him on the fanny.

Roy was quite traumatized by this and is afraid to tell anyone because he is terrified that people will find it funny. Of course, the audience did and does and always will. Roy confesses all this to Moss, who stares at him, without responding, for what O'Dowd later describes as a "giant pause." The longer Moss pauses, the funnier the scene becomes, because the audience is just waiting for him to start laughing. It's completely on par with the schawarma scene in The Avengers--the longer the silence lasts, the funnier it becomes.

Buuuuuuut...if you watch the blooper reel, you discover (8:12) that the giant pause was because O'Dowd forgot that the next line was his.

So, if you're O'Dowd, that episode is "The one where I totally blew it, and they left the mistake in to keep me humble, I guess." If you're the viewer, it's "The episode where Ayoade proves, without a doubt, that he is the on the same level as Gene Wilder as a comic-pause genius!!!"

You just never know. Everyone totally loves the scenes in Trust that are told from the point of view of an alien, and yet I was very nervous about those scenes, because they're such a departure from the rest of the book. But even though I was nervous about it, I went for it. I think you have to, because what people really love about, say, The Avengers is the weird, quirky shit--the schawarma--not the fact that it's a competent action movie.

Oh, hello, wall

The writing has been going so well! It's been getting easier and more fun every day, I have a great sense of where things are going, everything's just humming along.

So of course I get kind of lost in it and forget that I'm going to have to stop. Like, today.

I can bargain, try to keep the momentum going, get in dribs and drabs while I can. Sunday and Monday I may be able to write some. Tuesday, Wednesday Thursday, Friday and Saturday are completely out of the question, however. Maybe I can get a little in Sunday, but Monday the kids become my full-time responsibility until school starts.

We can pretend I'll write on the weekends, but let's face it--I'm going to be spending the time lying very quietly in a dark room. I love those kids, but God they're noisy.

After the kids go back to school, I get to spend the greater part of September babysitting an aged relative who wishes to cross things off a bucket list. I may have fun, or I may spend a great deal of time in the waiting rooms of various hospitals--we shall see. I'm trying to suspend all expectations.

In any case, I'm grateful for the progress I've made, which has been substantial. Not only have I written quite a bit, but I've largely gotten over that initial "How do I start this thing!?!" hump and am into the A plot, which is a good place to be. Not that I won't be utterly freaked out when I start writing again in late September/early October.

Coming up

I have GeekGirlCon this Saturday--should be fun! I'll be making sure my flyers are actually in the freebie bags and reporting back on any interesting artists or panels. And Jane Espenson is going to be there--her blog is actually a really good resource for writers, even though she stopped updating it two years ago and it's specifically about television. Still, there's a lot of really useful stuff there on pacing, characters, plotting, and dialogue.

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.