Category Archives: The Writing Life

My experiences as a writer, and any advice I may have to give.

Crazy Restaurateurs And The Writing Life

Batshit Crazy

You’ve probably heard about, or seen, the batshit crazy Arizona couple who went on Gordon Ramsay’s show Kitchen Nightmares and were so relentlessly, hopelessly, stupidly terrible, both as restaurateurs and as human beings, that Ramsay, for the first time, wound up simply throwing in the towel and walking away. This was followed by an epic psychotic meltdown by the couple on Facebook.

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I’ve never seen this show, as I usually ignore reality shows of any sort, but curiosity got the better of me today and I watched the segment on YouTube. And folks, this is some juicy viewing, I tell ya. Being around people like this in real life would be horrendous; I wouldn’t be surprised if you got ulcers inside of fifteen minutes. I can’t believe Ramsay put up with them as long as he did. But watching them on this show, knowing that they are completely ruining their own business once and for all and reaping what they sow, is schadenfreude of the most delicious sort.

So what does this have to do with the writing life? Two things.

First, if you want to be a writer (or artist of any sort, really), you need to be able to take criticism. It can be tough to put aside your ego and listen to someone saying nit-picky or even awful things about the wonderful work you struggled so hard to birth into the world out of your very essence…but if you can’t do that, you can’t grow, and likely you’ll start shitty and stay shitty. Even if you disagree with the person offering criticism, you should honor their opinion and take it with grace. And unless their points are completely, patently stupid, you owe it to yourself to actually consider them before disregarding them. Nobody is perfect, and armoring yourself in ego or defensiveness will stunt your growth as an artist and a human being, just as we see in the video above.

Second, this video is a perfect example of just one of the many reasons why it’s a bad idea for authors to agree to read unpublished material by folks they don’t know. I’ve written about this before, rather colorfully and more comprehensively, and these folks are just some bloody kitchen knives short of the worst case scenario for this sort of thing. People you don’t know may be good writers or bad writers (odds tilt dramatically toward the latter), but they may also be neurotic, obsessive, crazy, or even violent. You just don’t know. And, as I wrote in the blog post linked above, when a lot of folks ask for you to critique them, what they’re really doing is asking for your praise. They don’t want actual critique. And they may react badly if you give it to them.

That was exactly what happened with Gordon Ramsay and these assholes. They had already damaged their reputation and business, and they invited him not to let him help them fix their restaurant  but to come in and use his show to give them praise so that they could be vindicated by an authority on TV. Then, blindly evil fucks that they are, they reacted horribly to his critique and dug themselves even deeper.

Good for them. Nobody deserves such a fate more than they do, except perhaps current GOP leadership.

For more on this, please do read “Why I Will NOT Read Your Stuff“. I’m pretty pleased with that post, but I’m open to criticism on it.

Are You An Asshole? On Satire and Offense

Evil Jester

“If you’re seriously contending that you get a free pass to be an asshole by calling what you write ‘humor,’ or that humorists are under no obligation to have any manners, think again.”

This is a comment from a discussion going on on someone else’s Facebook wall. I’d reply there, but the woman whose wall it is isn’t someone I know and she has already spazzed out about people disagreeing with her public post, which was an attack on the Onion for its story “Heartbroken Chris Brown Always Thought Rihanna Was Woman He’d Beat To Death.”  Her stance — and that of the guy I quoted above — is that satire shouldn’t offend.

Fuck that. If you’re not offending somebody, you’re not doing satire correctly, you’re just being amusing. And you’re not making a point, you’re just making a joke. The last thing a satirist, or a comedian of any stripe, or any goddamned artist of any sort, should be worrying about is whether they’re offending someone with their material, unless being inoffensive is, indeed, one of their goals as a creator. Sure, there are boundaries that you probably shouldn’t cross if you want to be a decent person (publicly attacking a child, for instance), but for the most part, nothing is sacred.

As novelist Tad Williams, who was also involved in this discussion, wrote, “There is no edge. The edge is a movable feast. A good humorist has to go with the gut, and sometimes the audience is in a slightly different place than expected. You can’t have ‘safe’ satire, because that’s not satire, that’s officially sanctioned merriment.”

So yeah, to put it in terms the guy I quoted used, you get a free pass to be an asshole and you’re not under any obligation to have any manners. That may cost you a fan or a friend sometimes, it may cost you a job, it may make you unpopular if you really touch a nerve. That’s why satire, why art, is brave. That’s one of the things that makes it matter. That’s one of the things that makes it real. That’s one of the things that makes it truth.

Sacred cows make the tastiest burgers.

Writers and Books and the Chain of Happiness

HAPPY! HAPPY!

For those following the evolution of publishing and assorted matters, blogger JW Manus has an excellent post, What Does A Self-Publishing Service REALLY Do?, riffing off the previous post by author David Gaughran, “The Author Exploitation Business,” which I shared last week:

In Traditional Publishing, the Chain of Happiness works like this:

  • WRITER has to make the EDITOR happy
  • EDITOR has to make higher-up editors, the marketing department and the accountants happy
  • Higher-up editors have to make MARKETING happy
  • The marketing department has to make REVIEWERS and the NEW YORK TIMES book editor happy
  • The sales department has to make BOOK STORES happy
  • Everybody has to make the PUBLISHER happy
  • The PUBLISHER has to make the STOCKHOLDERS and BOARD OF DIRECTORS happy

Contrast that with the indie’s Chain of Happiness:

  • WRITER has to make the READERS happy

Notice what’s missing in the first chain of happiness? If you said “readers,” give yourself a gold star. If that list gives you some hints about why traditional publishing is in such disarray and why some self-publishers are succeeding beyond almost everybody’s expectations, give yourself another star.

And yes, I know there are many traditionally published books that make readers very happy. The point I’m making is about focus and priorities. With most publishers, and especially the Big Publishing Houses, reader happiness is a side effect, not a priority.

A compelling idea, and an accurate one.

The rest of her piece is likewise very compelling,and not just about self-publishing services. Read it here.

Caveat Author: The Author Exploitation Business

Greedy Penguin

I’ve mentioned Penguin’s self-publishing scam before. In this blog post, novelist David Gaughran takes the publisher to task in much more detail. I’d say this is essential and important reading for any writer working in, or wanting to break into, the business these days.

And it’s not just Penguin, either. Many of the beloved traditional publishers, those stalwart protectors of lit’rature, nurturers of authors, are engaging in these practices. Go. Read. Remember.

And spread the word.

The Author Exploitation Business

The Jekyll & Hyde Conundrum: Writers And The Public Self

Jekyll & Hyde

We’re all Jekyll and Hyde.

We all have our sunny side, our pat-the-kids-on-the-head-with-an-eternal-smile-of-warmth side, our non-controversial I-breathe-oxygen, how-’bout you? side. That’s our Jekyll, our potential human paragon, our angel.

But we all have our Hyde, too, our goddamnit-won’t-those-kids-shut-the-hell-up side, our you’re-a-fuckwit-because-you-don’t-agree-with-me side, our good-lord-I-want-to-fuck-that-stranger-straight-through-till-sunrise-in-all-the-least-photogenic-ways side.

We’re all the whole Magilla Gorilla, a churning stew of human potential and passion and instinct and mind and soul (whatever the hell that is). And that’s not a bad thing, nor are all the qualities we might shove into the Hyde box actually evilwickedbad in and of themselves. Trying to completely squelch Hyde makes you, at best, neurotic, at worst a slavering hypocrite enslaved by the desires you dare not show. How many anti-gay crusaders have gotten caught with somebody’s dick in their mouth at this point? Probably a small fraction of those who will be.

Still, we all like other folks to think well of us, so we at least refrain from mentioning a lot of the things Hyde says in our heads, and hopefully retain rational control over our impulses and emotions and actions.

Online, we get to fine-tune our public persona a bit. We have the time and distance to choose what we want to present, and how (though it’s all too easy to just hit SEND in an emotional moment and let your Hyde out for all to see; writer Hugh Howey had this happen to him recently and brought down a virtual enraged church picnic of self righteous wrath ‘pon his head). Some splash their personalities all over the internet like monkeys with paintbrushes, or even chimpanzees with machine guns. Some are naturally more guarded than others, and some have concerns beyond the simply personal when it comes to what they’re presenting.

Like writers.

I’ve pondered my own online Jekyll/Hyde mix for a few years now. Continue reading →

The Mother Fucking Space Marines

SPACE MARINES

So corporate bully boys Games Workshop are now insisting they own a trademark on the term “space marine,” which first appeared back in 1932 in the story “Captain Brink of the Space Marines” by Bob Olsen. They had a book by writer M.C.A Hogarth kicked off of Amazon for her use of this common, stock, standard, downright cliché science fiction trope.

From her blog:

Today I got an email from Amazon telling me they have stopped selling Spots the Space Marine because Games Workshop has accused me of infringement on their trademark of the word ‘space marine’.

If you go to the Trademarks Database and look up the word “space marine” you’ll find the Games Workshop owns a trademark on the term “space marine,” but it only covers the follow goods and services: IC 028. US 022. G & S: board games, parlor games, war games, hobby games, toy models and miniatures of buildings, scenery, figures, automobiles, vehicles, planes, trains and card games and paint, sold therewith.

Fiction isn’t included in that list, which means Games Workshop has no grounds on which to accuse me of trademark infringement.

I didn’t get my use of that term from Games Workshop. I got it from Robert Heinlein. Apparently the first use of the term was in 1932. E.E. Smith used it, among others. Also there are other novels on Amazon being sold that have “space marine” in the title. I don’t know why Games Workshop decided to complain about Spots in particular, but my guess is because the Kickstarter made it a little higher-profile than the average indie offering.

This is as bad as Marvel and DC Comics conspiring to share a trademark on the term “superhero,” barring all others from using it. It’s pointless and ridiculous and downright unfriendly to the creative community at large.

As for Games Workshop? Fuck those guys.

(Note: Like that cool pulpy cover I posted up there? You can make your own with the Pulp-O-Mizer at Bradley Schenck’s Thrilling Tales of the Downright Unusual website, which is a very cool place to visit…)

Tim Vs. Traditional Publishing

don quixote

Clarification time.

A friend and writer who I like and respect posted a status on Facebook this morning which referenced the indisputable fact that “there are a lot of dreadful books being produced” by self-publishers. I commented, “There are a lot of dreadful books being published by major publishers, and they sell them for a hell of a lot more money.”

He replied, starting by saying, “I actually expected this comment from you so much that I was going to write it for you right beneath my post.”

Which made me think. Am I that predictable? Am I that partisan, in the “battle” between traditional publishers (and traditionally published writers) and self published writers?

I’ve written quite a bit here and elsewhere about my experiences being traditionally published, and my decision to go indie. I’ve posted at length about the flaws in the traditional model and the strengths of the new one. I am absolutely pro-self publishing. But am I anti-traditional publishing?

No. I would say, rather, that I am pro-writer. And a writer’s first responsibility should be to himself and his work. He should choose the path, or paths, that best serve that responsibility, and whatever path he chooses, godspeed.

In the current ecosystem, I do think self publishing is a much more beneficial path for authors to take. Though it is a lot of hard work and there are no guarantees, if you build your audience (which all authors have to do), the potential gains  are much greater than those to be enjoyed via traditional venues. Unless you are one of those very rare writers who gets big advances and actual promotion and support from a traditional publisher, you aren’t even a respected cog in the great machine. Your opinions are of little value, you have little say in the presentation or promotion of your own books (not that they will be promoted), the pay is terrible, and they will drop you in a hummingbird’s heartbeat if you  miss sales goals by even a hair. And they won’t even miss you.

But it doesn’t have to be this way. Publishers can (and should) change their SOP, finding ways to actually nurture the talent on whose backs these companies ride. As I’ve pointed out before, everybody who works on your book gets a good salary and full benefits except you. The writer is Cinderella, scraping the floor clean for her step-sisters in publishing to walk on. But, again, it doesn’t have to be this way.

That may sound anti-traditional, but it’s actually loving critique. I love the book business. My experience with Putnam wasn’t a nightmare, it just wasn’t very satisfying or lucrative. I want the book business, at all levels, to thrive. I just want publishers to start treating writers the way they ought to be treated. Writers are the dream makers, they should at least get a bigger cut of the dream.

A Note From Doc Wilde’s Workshop

Wondering about what’s happening with Doc Wilde?

You’re in the right place. As you may know, I pulled the series from Putnam in order to use the tools of the new indie publishing revolution to produce the books the way I’d originally envisioned them, including covers and a lot of incredible interior art by comics maestro Gary Chaloner. The original plan had been to have three of Doc’s adventures out by the end of this year, but as I’ve explained previously, this plan has fallen to Murphy’s Law.

I’m not at all happy with that, but the situation is what it is. Gary and I are working steadily on getting the first book, the re-release of Doc Wilde and The Frogs of Doom, out in time for Christmas. I’d say even sooner, but such statements seem to like to come back and bite me on the ass.

As you can see above (as well as in previous posts, and in my “Doc Wilde” photo album on Facebook, which is viewable by the public), the work Gary is doing is amazing, and well worth the wait.

In other exciting news, we’ve added a brilliant new member to Team Wilde, taking an important step toward global domination. My lovely friend Nydia Macedo has contracted to translate Doc Wilde and The Frogs of Doom into Portuguese for release in Brazil. The Brazilian edition will include the same Gary Chaloner design and art as the English edition, and will be just the start of worldwide availability of Doc Wilde’s astonishing adventures.

Welcome to the family, Nyd.

Regarding Harper Voyager’s Submission Portal

Harper Voyager has put out a short-term call for unagented submissions:

Yes, it’s true! We are delighted to announce an exciting joint venture that will offer talented aspiring writers the chance to join our global science fiction and fantasy imprint.

The submission portal, http://www.harpervoyagersubmissions.com, will be open from the 1st to the 14th of October 2012. The manuscripts will then be read and those most suited to the global Harper Voyager list will be selected jointly by editors in the USA, UK and Australia.  Accepted submissions will benefit from the full publishing process: accepted manuscripts will be edited; and the finished titles will receive online marketing and sales support in World English markets.

Voyager will be seeking an array of adult and young adult speculative fiction for digital publication, but particularly novels written in the epic fantasy, science fiction, urban fantasy, horror, dystopia and supernatural genres.

See? The impact of ebooks and Amazon is having yet another positive effect on the publishing ecosystem for writers: a big publisher is actually open to unagented submissions (imagine that) if only for a limited time (two weeks, feh), with the successful submissions going on to be released digitally.

It’s an obvious attempt to adapt, which is to be respected (and hopefully emulated by other publishers), though I would look VERY closely at any contract they offer, particularly as regards the royalties paid (this is a royalty only deal, no advance), lifespan of the agreement (since it’s all-digital, it’d be all too easy for Harper to keep books “in print” forever and lock in a paltry royalty), and attendant rights (this is digital only, but do they restrict the authors from taking full advantage of print and other rights?). I’d also look for guarantees of some real level of promotion and marketing; if they’re just going to throw the books out there like they usually do, with little or no actual support, the author is gaining very little beyond short term gain (mainly editorially, and perhaps in cover design) for long term commitment that will no doubt pay most of its profits back to Harper.

I suspect new authors are better off doing it themselves, but for those who can only believe in their abilities if they’re officially allowed to join the club, it’s good that more opportunities are starting to appear. Thank Amazon: publishers know they have to stay viable, and that they have to start recruiting more raw talent (a lot of established writers will be leaving their houses over time to do things themselves) and taking full advantage of digital platforms. But if the authors are getting anything less than at least 50% of the profits, they’re not doing themselves much of a favor by going this route.

Kate Elliott’s Omniscient Breasts

I’m usually annoyed when someone pulls out the “male gaze” concept in a discussion of art and culture. While the idea has undeniable merit, it is often wielded as a bludgeon of ABSOLUTE TRUTH. In other words, men like looking at sexy women and it ruins the world, do not pass go, do not collect two hundred dollars.

I happen to think that much of this sort of thing has its roots in the innate differences in men’s and women’s cognitive wiring. That doesn’t mean we should just accept the baseline set by our neurology as the sole standard to consider, but it does mean that there’s probably nothing wrong with men liking to look at sexy women, or vice versa, or even having art that caters to such desire.

Still, just as we aspire to more than simple orgasm in our relationships, we should aspire to higher levels of cultural relationship as well. At the very least, we should think about these things, and consider how the ways that we think and create impact the way we relate to each other.

Author Kate Elliott has written a very balanced, thoughtful post considering the male gaze (and other gazes) in fiction, and I recommend it for everyone, but particularly for writers. She avoids the fanatic’s tendency to use the concept as a blanket condemnation of men and their wicked staring eyes, which I appreciate as a man with a finely tuned male gaze of my own, and shares some insights I’ve never considered. I’m a better person, and likely a better writer, for having read it.

You can read it here.

Fear of a Writing Planet: On John Green, Self-Publishing, and Amazon

A thoughtful post by novelist John Green is making the rounds today regarding self-publishing and Amazon:

I wanted to criticize Jeff Bezos, the CEO of Amazon, because I felt that in his introduction of the new kindles, Bezos repeatedly peddled the lie that a book is created by one person, and that therefore a book’s author should be the sole entity to profit from the sale of the book. (Aside, of course, from Amazon itself.)

Bezos and Amazon are consistent in their promotion of this lie, because it encourages the idea that the publishing landscape today is bloated and inefficient and that there is a better, cheaper way to do it—a way where all books can cost $1.99 with most of that $1.99 going to the author. Readers and writers both win then, right?

Well, no. Because the truth is, most good books are NOT created solely by one person: Editors and publishers play a tremendously important role not just in the distribution of books, but in the creation of them…Without copyeditors and proofreaders, my books would be riddled with factual and grammatical errors that would pull you out of the story and give you a less immersive reading experience. Publishers add value, and lots of it, and without them the overall quality and diversity of books will suffer.

Unfortunately, as fair-minded as Green obviously tries to be, at least toward self-publishing in general if not toward Amazon, he falls into the same trap a lot of defenders of traditional publishing fall into. He assumes that the current publishing infrastructure isn’t replicable within a self-publishing paradigm. This is flatly untrue. Continue reading →

Are Self-Published Books Crap?

I really do wish this self-publishing ebook market would implode. It’s loaded to the gills with idiots, fools, and just by-Jove lousy writing. The purveyors of this monstrosity are, quite frankly, a bunch of jerks. I hope they all get ass-cancer and die horrible, painful deaths.

Thus spake writer James Robert Smith on his blog a while back. There are quite a few folks out there who share his view, and Smith often posts this sort of thoughtful musing about self published books and the presumably malignant souls who write them. Because what could be more malignant than putting out a book that inspires some good man to wish you get ass cancer and die an agonizing death?

To be fair, there is a great deal of utter crap being self-published, and unless you act as a rational consumer you can drown in it. But if you exercise roughly the same amount of care it takes in a bookstore to find something worth reading among the stacks of largely mediocre books, you can largely avoid buying shitty books.

Look at the cover; if it looks crappy, the author didn’t bother with doing better, and odds are the same holds for the writing. Read the reviews; yes, there are some slimy writers out there gaming the review system, but overall it’s still useful. Finally, before committing to buy, make sure you download the free reading sample offered by online vendors; if the writer can’t write, you’re gonna know that very quickly. Then, please, whatever your opinion of the book, review it on the site, even if you only write a few lines. A good review will help a writer who entertained you; a bad review will help warn others away.

It’s a time of great change in publishing, and self-publishing is the wild west. But it’s actually great for writers, and for readers, as I’ve written about on this blog (check the “Publishing” category in the sidebar), most notably here.

Here’s a thought experiment for you: Continue reading →

For A Muse… (Song of the Week, 9/5/2012)

O Divine Poesy, goddess, daughter of Zeus, sustain for me this song…Make the tale live for us in all its many bearings, O Muse…    –Homer, The Odyssey

Happy is he whom the Muses love…   –Hesiod, Theogony

The ancient lass pictured above is Calliope, daughter of Zeus and Mnemosyne (the goddess of memory), and the Muse of epic poetry and writers. She was mother to the great lyre player and singer Orpheus, and creative inspiration to Homer.

Now, thanks to the loving craft of my sweet friend Nydia Macedo in Brazil, Calliope has come to live with me in the Byrdcave, to inspire me in my daily writing. Nydia, whose work you can see (and purchase!) on Facebook under the name “Carioca Witch,” specializes in handcrafting poppets and ornaments based in spiritual and mythological symbology. She researches her topics, finding appropriate colors and design elements to incorporate and herbs to use for scents, then brings her own artistry to the task of playfully evoking these ancient resonances through beautiful stitching. Each piece is a labor of love, and photos don’t capture just how cool they really are. I encourage you to visit the Facebook page linked to above and surf through her albums to see the variety of things she creates, from gods and goddesses to Christmas and Halloween ornaments to superheroes…

Yesterday, I received the poppet of Calliope that Nydia made for me:

She’s beautiful and will have a permanent place of honor in my home.

As tribute to sweet Calliope, and sweet Nydia, I offer this Song of the Week from Django Reinhardt, “La Mer (Beyond The Sea)”…

A Visual Guide To Publishing*

*Traditional publishing, that is.

Author Nathan Bransford has posted a clever visual timeline of a writer’s experience in writing and publishing a book. It’s funny and accurate, though he left off the parts at the end where you don’t get any promotion for your book and it probably falls out of print before your next one is ready for release. Or the part where they don’t pick up your next one because they blew their budget for this quarter on Snooki’s new magnum opus.

Also, it’s amazing how many of these steps disappear if you publish as an indie, and how much more quickly your book is available even if you do the necessary things you ought to do, like making sure it’s properly edited…

The Publishing Process in GIF Form

Doc Wilde Is On His Way!

The end of August is nigh. According to our original plan, the first two books in the Doc Wilde relaunch should be out by now. That hasn’t happened, as I’ve explained previously, because of schedule conflicts artist Gary Chaloner had to deal with.

I hate that the plan has gone awry, not just because I’m losing possible income every day that goes by without these books being available, but because I feel bad that I said I was going to bring them out now and failed to do so. I was too optimistic, or unrealistic, or both. And it’s conceivable that had I made certain choices I might have managed to stick to the schedule, or at least closer to it. I could have found another artist for the books, and that might have sped things up…though maybe not, because I’d have had to find them and negotiate the deal with them and familiarize them with the world of the books, and then might have had timing issues on their end as well. And it would have meant not having Gary’s art in the books, which would have been a shame.

I could have opted to forego the interior illustrations, and just have covers by Gary. We almost certainly could have had the books out on time doing that, but I promised illustrated books all through the Kickstarter, and I’m wedded to doing it that way because I want the books to be everything they can be. That was part of the big appeal in going independent in the first place.

So the decisions I’ve made have been to the detriment of the original schedule, rather than to the detriment of the books themselves, and I think most would agree that’s the wise choice. I’m loathe to give a publication date at the moment, considering the way things have gone, but Gary is hard at work finishing up the interiors for Doc Wilde and The Frogs of Doom and painting the cover of Doc Wilde and The Mad Skull. Here’s an early peek at that, complete with cackling skull, unfriendly dead people, and snakes made of fire:

We’re also producing a book of supplemental Wilde material including deleted scenes, historical notes, personal essays, and lots of Chaloner art tracing the artistic development of the characters and their action-packed world. And we’re going to give a free digital copy to every one of our Kickstarter friends as a token of appreciation for your patience.

We’re sorry for the delays, but we remain excited about the Wildes and committed to producing all the books as promised in as timely a manner as we humanly can. When the books are in your hands, I’m confident you’ll think they were worth the wait.

DOC WILDE: Building A Better Hummingbird

For those who are curious about what’s happening with the relaunch of my Doc Wilde series (particularly our wonderful Kickstarter supporters, who have I told you are wonderful?), I figured it was time for another update. The first book, Doc Wilde and The Frogs of Doom, was scheduled for release last month. Unfortunately, Gary Chaloner, artist extraordinaire and official Doc Wilde visual wizard, got caught up in another (more immediately lucrative) project which dragged on and on and ate a lot of the time he’d been planning to put into working on the Wildes.

Now he’s hard at work on Frogs of Doom (as well as the cover painting for the second book, which is looking awesome), and it was worth the wait. Gary gets the Wildes. Gary is also damn good at what he does.

I’m enjoying watching the visual pieces for Frogs as he develops them, and figured I’d share a bit of the behind-the-scenes interplay between artist and author so you can see some of what’s going on, and get an idea of the process.

Understand that the interaction between us is atypical for publishing, and one of the benefits I’ve gained by leaving big publishing and going indie; I have more dialogue with Gary about specific things like what a particular dart gun looks like than I had with anyone at Putnam over an entire book cover. And I never had any contact, at all, with their actual cover artist, which led to a nice cover with characters who didn’t quite look right and details that were off.

Gary’s more than a hired hand on these books, he’s a creative partner. He makes sure of the details, and he also brings his own vision which enhances mine. When you see his art, you can be sure that not only are you seeing what I, as the author, want you to see, often you’re seeing something I like even better than what was in my head when I was writing.

Which brings me to the Colibri… Continue reading →

This Is Why I Don’t Like You

Last night, I saw that I was going to lose another friend.

This was vexing, but not as vexing as it might have been. The friend is a friend on Facebook, a friend I have some positive feelings about, but also a friend I don’t actually know, even by the standards of social media. She’s a writer, and I’ve enjoyed her posts and had an occasional bit of casual interplay with her, but that’s about it. So, little lost, except perhaps the opportunity to actually become friends down the line through further interaction.

The reason I’m losing her as a Facebook friend? Because she’s switching from her personal account, which is limited to 5,000 friends, to a fan page, which has no such limits. By doing this, she opens up her page to many more potential readers she can talk to, and hopefully sell books to, which is completely understandable.

The thing is, the key words in that last sentence are “talk to.” She can talk to them. And when she does, they can even respond, getting into pleasant chats on her page about whatever it is she wanted to post about. Nice, right?

Fuck that.

What’s lost by doing this is the very thing that elevates Facebook to something more than solipsistic whining and self promotion: community. My writer friend is removing herself from the community of friends and acquaintances she has built so far in order to better advertise her brand. Before making this change, she could see the posts made by all her friends, and they could see hers, and many a discussion could occur. Now, community dialogue will be replaced with authorial monologue.

Her current friends will be automatically converted into fans. Facebook will add her page to the things they have “Liked” without letting them know it’s doing so, or that there has been a change. They’ll still see posts from the writer in their feeds, as if she is still their friend, but she’ll see nothing they post unless they comment on the things she posts on her page. They will be diminished from equals to advertising targets who’ve been opted in without their consent.

Me, I’ll probably un-Like her. Nothing against her, but I accepted her friendship in the first place not because I’m a fan, but because she was a peer I thought I might like and learn something from. I thought she might become an actual friend. It happens. Now, I’m forced to be a fan, and as interesting as her posts might be at times, apparently my posts, and the posts of all her other friends, are worthless to her. Frankly, I’m on Facebook for dialogue, not monologue.

I interact daily with people who found me through my writing, and with writers I’ve been reading most of my life, people who entertained me even as they taught me bit by bit via osmosis how to write. Some of them have become pretty good virtual friends, commenting frequently on my posts even as I comment on theirs. Am I interested in the latest news about their work? Yep. But that’s not the gold in them thar Facebook hills. The gold is the friendship, not the marketing.

The irony is that not only is there a better way to deal with Facebook’s lousy friends list limitation, but switching to a fan page is going to actually narrow the field of contact she’s going to achieve with her fans.

If she’s at the friends limit, all she has to do is enable Subscriptions to her account. This would allow an unlimited number of fans to subscribe and follow her posts, just as they’ll be doing on her fan page, but it would keep her current friends list as is and fully interactive. And subscribers would all see everything she wants them to see.

By switching to  a fan page, however, she makes herself subject to Facebook’s latest innovation, which is severely limiting the number of fans who actually see any post she makes and then charging her an elevated fee structure so that more of her fans will see her posts. She’s giving up her community of friends and fans to instead pay Facebook to advertise to her fans.

Have I said “fuck that” yet? Well, I ‘m saying it again.

Tim On The Radio: Talking With PULPED! About Doc Wilde, Indie Publishing, & Kickstarter…

Last week, I was interviewed by Pro Se publisher Tommy Hancock for the Pulped! podcast (which, as you might imagine, is all about pulp fiction). We discussed the relaunch of the Doc Wilde series, the Kickstarter I’m currently running to help with that (which ends April 28th), self publishing vs. traditional publishing, and other pulpy things. While my radio face is only slightly better than my internet face, I think the interview came out pretty well, and you can hear it at:

Tim Byrd Gets Pulped!

Internet Killed The Literary Stars (Or Did It?)

There’s a lot of grumpiness these days about books, book selling, book publishing, the “proper” format of books, Amazon’s assault on books by publishing and selling lots and lots of books, and how nobody reads books no more.

Did you know that if you’re reading my blog on a screen of some type, it’s not literature (and you’re probably a subliterate ignoramus who DOES. NOT. LOVE. BOOKS.), but if I print it out on paper it is suddenly transformed and worthwhile? Apparently that’s the case.

Yep. Lots going on. I’ve written about it a bit before (like when I posted about the “Ebook Apocalypse“), and I’m active on the battlefield as an author who used to be with one of the Big 6 publishers but has now gone entirely independent (see my “Astonishing Adventures of Doc Wilde” Kickstarter project, live until April 28th, 2012, please take a look and help a strugglin’ wordsmith out).

Are things really all that bad? Or are they just different? Could they even be better?

I saw some reports recently that indicate that the doom and gloom may be uncalled for. Continue reading →

Free Fiction Friday: Three Thieves Plot In SKULLDUGGERY!!!

With everything going on, I only just managed to squeeze in an update: chapter 15 of my serialized hardboiled fantasy novel, SKULLDUGGERY, A TALE OF THIEVES, in which three thieves meet and plot…

SKULLDUGGERY, A TALE OF THIEVES

As always, keep in mind that this is a first draft of a novel that I wrote nearly thirty years ago. I’m proud of it, and think it’s loaded with cool stuff, but it is a tad rough hewn.

Also, just a reminder that the Kickstarter project relaunching my Doc Wilde pulp adventure series (which I had been publishing with Putnam, but have now taken independent) is now LIVE!.  It will run until midnight (PST, because I wanted to give the left coasters a fair shot) Saturday, April 28th; it encompasses three books which will be released by the end of the year, in fully illustrated editions available both as ebooks and trade paperbacks.

The project is kicking ass: after just a week, we’ve achieved the $3,000 goal we needed to hit for Kickstarter success, and it’s still climbing. The more we raise, the more we can put into making the Doc Wilde books as awesome as they can be. So please consider visiting The Astonishing Adventures of Doc Wilde and helping us out.

I hope you’ll get Wilde with us…