Browsed by
Category: Writing

The Day Job

The Day Job

Comments 10 comments

Jon Sprunk cookWell, my friends, after four years of making my living as a full-time novelist, fate was seen fit to place an obstacle in my way. Yes, yes. I have returned to the world of the Day Job.

It was both an easy and a difficult decision to go back to work. Easy because… well, bills need to be paid and my family doesn’t fancy living in a box under the highway. Difficult because of a lot of reasons.

The first was my pride. It wasn’t easy to admit to myself that I could no longer support myself with writing. I fought that realization for months before finally surrendering to the inevitable. Also, I’ve been out of the workplace for years, and my last job (corrections) isn’t something I wanted to take up again, so I had a serious lack of marketable skills.

Kids, a B.A. in English doesn’t exactly prepare you for many lucrative professions. You’ve been warned.

So I decided to tap into another of my lesser passions. No, not drinking. Or watching football. Or running a D&D campaign. (Although those would all be awesome jobs.) No, I’ve entered the world of professional cooking. Nothing ultra-glam like hosting my own Food Network show. I’m just a line cook, but it’s a nice place and the job doesn’t involve breaking up fights every other day, so that’s something positive.

…

Read More Read More

Robert Silverberg on the Tragic Death of John Brunner

Robert Silverberg on the Tragic Death of John Brunner

Comments 16 comments

The Great Steamboat Race John Brunner-smallSix months ago, I wrote about an unusual find I made online: The Great Steamboat Race, an enormous and ambitious historical novel written by none other than John Brunner. Brunner, of course, was a highly regarded SF and fantasy writer, beloved even today for Stand on Zanzibar, The Complete Traveller in Black, and many other novels. He died in 1995, at the World Science Fiction convention.

The Great Steamboat Race was an enigma. I’d never seen a copy before, never run across one in dozens of years of haunting bookstores. The copy I found online was very inexpensive — less than the $7.95 cover price for a brand new copy, for a book published over 30 years ago — so I bought it. I wrote it up as a Vintage Treasures curiosity, and then more or less forgot about it.

At least until this week, when I was browsing through a collection of Asimov’s SF magazines from the late 90s I recently acquired. Before I packed it away in the Cave of Wonders (i.e. the basement), I plucked one out of the box at random, and settled back in my big green chair to read it.

It was the March 1996 issue, with stories by Tony Daniel, Suzy McKee Charnas, Steven Utley, and the late John Brunner. I always take the time to read Robert Silverberg’s Reflections column, and I flipped to that first. The title was “Roger and John,” and it was a tribute to two recent deaths that had shaken the SF community: Roger Zelazny and John Brunner. Silverberg had been friends with both men for decades and said “Their deaths, for me, illustrate the difference between a tragedy and a damn shame. Let me try to explain.”

Silverberg portrays Zelazny’s death as a damn shame, saying “Roger was the happy man who led a happy life… By the time he was twenty-five he had begun what was to be a dazzling career in science fiction.” Zelazny’s career, Silverberg observes, had been filled with a series of triumphs, and his death by cancer at the age of 58 had robbed the field of future great work from a master.

Brunner, Silverberg observes, was a tragic figure. And central to the tragedy was the novel The Great Steamboat Race.

…

Read More Read More

Notes On Writing Spec Fic, Late 2014

Notes On Writing Spec Fic, Late 2014

Comments 2 comments

A Book CoverIt’s such a predictable trap. In or near an elevator, I tell some newly met, well-intentioned stranger that I’m a writer, and they immediately ask, as if they’ve waited all their lives for this very opportunity to arise, “What sort of books do you write?”

And that’s the end, you see, or at least the end of any potential new friendship, because if I answer “I write fantasy,” which is true, they start sniggering and feel superior, or if I answer, “I write horror,” they run off, laughing hysterically at my bad taste –– and of course then they feel even more superior.

Worst answer of all: “I write literary fiction.” Then they assume I’m a genius and their eyes glaze over, because they feel they absolutely must pay attention to every single word I say, in hopes of gleaning a pearl. I become the social equivalent of bubonic CliffsNotes.

Thus Renner & Quist, and Check-Out Time, because I want to craft stories that employ elements of multiple genres and literary currents. The danger, I suppose, is that I wind up with tossed salad, but I don’t believe that’s been the result. What reviews there’ve been suggest that I’m correct to think I’ve avoided the splatter-punk of, say, Jackson Pollock.

…

Read More Read More

Methodology: Not Just For Scientists Anymore

Methodology: Not Just For Scientists Anymore

Comments 5 comments

Block Telling LiesI’ve been known, via Twitter and Facebook, to let people know how my writing is going. So I’m apt to say things like “chapter 16 is going feral on me, I need a net.” This prompts some of my writer friends to say “been there, done that” and others to say “you write in chapters?”

This isn’t to say that they themselves don’t write in chapters, per se. What I think this particular friend actually meant is that she just writes, and lets the chapters appear where they may. After all, we know that, with very few exceptions, all novels end up being divided into chapters. Exactly when and how that division occurs is part of each individual’s methodology. Or perhaps the sensibilities of their editor.

And all advice on writing tells you the same thing: there’s no right or wrong way, there’s only the way that works for you.

I tend to work and think in chapters of about 25 to 30 pages, or somewhere between 5000 and 6000 words. Why? Because when I was starting to write my dissertation (don’t ask, you don’t want to know) the Chair of the Department gave me this advice: “Make your chapters about 25 pages long, Violette. No one wants to read longer ones.”

…

Read More Read More

Selling Short Fantasy, Science Fiction and Horror Fiction, Part III: Reprints

Selling Short Fantasy, Science Fiction and Horror Fiction, Part III: Reprints

Comments 2 comments
Ottawa-20141115-00458
The Polish magazine Nowa Fantastyka

This is the third of three posts about selling short fiction. We’ve talked about how to know how to fit your story into the ecosystem of short fiction markets and what the business side (contracts, rights, etc) look like. This one is about reprints.

Other than the rule of never selling your copyright or paying to have your short fiction published, the big strategic rule to keep in mind when selling fiction is: reprint rights are usually far less valuable than first English rights.

So why consider reprints? (1) It’s more money, for no extra work, and (2) it may expose your work to other audiences.

So where can you sell reprints?

In the olden days, some magazines would accept reprints. Not the top line magazines, but some. And they would have been paying penny for the word or less. You can still find those markets on www.ralan.com. But when I sell a story now, there are three places I actively try to resell after the story has finished its run.

One: Audio markets

Podcastle for fantasy, Escapepod for scifi, and Pseudopod for horror. Each episode of these podcasts gets downloaded 5,000+ times, so that’s a big market expansion, which often doesn’t cross over into wherever my story was initially published.

…

Read More Read More

Finding Your Groove in NaNoWriMo: The Rhythm of Writing

Finding Your Groove in NaNoWriMo: The Rhythm of Writing

Comments 3 comments
NaNoWriMoGroove
Finding your groove is about getting the hang of dragooning the words into some kind of order without needing to think about it all the time.

NaNoWriMo rumbles on. Some of my friends report impressive word counts. Others are strangely silent. Possibly some of these last have plotted themselves into a corner. The best way around this is to consider your conflicts, who the players are, but I’ve talked about that. However, I suspect a lot of people who are stalled have got caught up in a war of attrition with the mechanics of narrative.

We take narrative for granted. It’s what we do in the pub, or when swapping stories with fellow con-goers. However, if we sit down to write — type — narrative, we suddenly become aware of the words themselves. It’s a bit like driving a car and being overwhelmed with the physics of it all. From there it’s easy to get lost in a warren of second guessing, sniped at by injunctions we picked up at school; use joining words, be elegant, write complete sentences etc etc.

Finding your groove is about getting the hang of dragooning the words into some kind of order without needing to think about it all the time.

Some people do this naturally or get there by trial and error. Others learn how to do this by following their natural inclination and having a really good think about it so they can then stop thinking about it. It’s the Geek Way.

That’s what I’m going to do here. Specifically, I’m going to pull apart a selection of passages from genre books on my Kindle so we can see how established authors do it…

…

Read More Read More

The Series Series: The Godless by Ben Peek

The Series Series: The Godless by Ben Peek

Comments 1 comment

The Godless Ben Peek-smallA fresh, fascinating story hides in this book. The gods are dead — their bodies litter the earth — but their powers leak into the lives of mortal men and women. And sometimes, tragically, children. Deific power is messy. One sprouts extra limbs, trails plagues in one’s wake, or combusts and takes out whole buildings. It’s a curse, isn’t it, to bear such power?

Ayae, a young apprentice cartographer, took refuge in a city built on a dead god’s bones when her homeland fell. Now an army of fanatics marches on her new home and those fanatics seem to want to wake the dead gods. What will Ayae do now that she’s cursed with the local god’s power over fire? She could be a doomsday weapon or a loose cannon that destroys the people she cares about. Her best hope for help in mastering her powers is a man so old he remembers the world as it was before the gods died, fifteen thousand years ago. He’s been wise. He’s been mad. He has done terrible things with the power that curses him. Ayae wants to trust Zaifyr, but he doesn’t always trust himself. The dead — human and divine — talk to him, and the dead have their own agenda.

Alas, the story is hiding, not in the sense of requiring a brisk readerly workout to piece the clues together, but rather in the sense of having been copyedited so poorly that it’s hard at times to figure out what the author is trying to make many of the sentences say.

I’ve written reviews before of books with lots of promise that could have used one last pass of polishing. This is not that.

…

Read More Read More

Firefly Friday: Going Behind the Scenes

Firefly Friday: Going Behind the Scenes

Comments 2 comments

Firefly the Official Companion-smallThe cornerstone of the fans’ love affair with Firefly is the 13 television episodes, culminating in the film Serenity. But if you’re a fan of the show, you’ve probably watched all of the episodes numerous times – maybe even with the audio commentary from Whedon, the stars, and other show creators. For real fans, though, this may not be quite enough. Is there any way to dive into the individual episodes more deeply?

Titan Books helped out the fans by publishing a series of stunning, glossy fan-gasmic volumes that include not only images of the props and various production stills, but also full scripts of the episodes of the series. Across these three books – ultimately collected into a single volume – there’s a glimpse into nearly every aspect of the production process on the series, why it was ultimately cancelled, what the various actors felt about their characters, and even some new stories.

And so very many shiny, shiny pictures.

…

Read More Read More

You Know My Methods, Or, How Do You Write?

You Know My Methods, Or, How Do You Write?

Comments 5 comments

Huff FutureGet a bunch of writers together and , once you can get them to stop talking about the Oxford comma, you’ll find they talk about the three basics of writing, Where? When? and How much? (Where “how much” refers to word count, not bank account) As you soon figure out, there are no right answers to these questions, there’s only what works for you – except for those occasions in which nothing works, but let’s not go there. At least not today.

For fulltime authors, “Where?” is one of the easiest questions, because the answer so often is “in my home office.” Whether that home office is a dedicated room, the kitchen table, or a TV tray in the living room, “home” is the operative concept. Mystery writer Vicki Delany, for example, doesn’t write in her nice office with the big monitor and the wood stove. She writes standing up, having found that the pass through from her kitchen to her dining room is the perfect height.

Many who aren’t fulltime writers also write at home, but others, like my good friend and fellow Black Gate contributor Derek Kunsken (check out his series on selling short fiction) have other methods. Derek gets up hours before he needs to be at work (I won’t say where) and takes his usual table at a coffee shop near his not-at-home office. He likes this particular table because it’s perfectly situated for one of the available outlets… and other reasons that aren’t picky at all.

…

Read More Read More

Selling Short Fantasy, Science Fiction and Horror Fiction, Part II

Selling Short Fantasy, Science Fiction and Horror Fiction, Part II

Comments 3 comments
Superman004
Don’t sell your copyright. Superman smash!!

Hey everybody. Welcome to the second of a three-post series on selling short fiction. Last time, I talked about knowing the markets and how your own writing fits into them. This week, I want to talk about sales, contracts, payments, and what rights you’re selling when you sell short fiction. This blog post is in no way a sleep-aid, despite the fact that the last sentence included the words sales, contracts, and rights.

To snap you awake, let’s assume you’re new and you’ve written something. What’s your second worry, after worrying about backing up your masterpiece of short fiction? That nobody steals your shit! You’ve heard about Siegel and Shuster. DC owns Superman. Same with Batman. They sold the copyrights.

You’ve probably heard some variant of “brilliant-but-shy-artist-shows-his-genius-to-a-Hollywood-producer-who-says-no-and-three-years-later-sees-his-magnum-opus-on-the-big-screen-with-all-the-names-changed.” I’ve felt that fear. I’ve written stuff I thought was genius. Hahahahaha. No, seriously. People are worried about losing what they created.

So, first thing: You own it. Only you can sell the rights. And the rights you sell are always described in a contract, that you can choose to either sign or not sign. So, sigh of relief. Let me explain what you are being offered by way of example.

…

Read More Read More