I’ve seen the ticked-off review of this book, and the discussion on writing forums that talk about how wrong I am to claim that speed is essential to a writing career. I understand that it’s not necessarily what some folks want to hear. But it is true—take it from someone who writes fiction full-time!—and it’s becoming truer every day.
There was an era when authors could make a living by writing only one or two books a year. There are still a few authors who manage to do just that. […] But as technology advances and eager indies bring more books to market with greater speed, even the long-established traditionally published authors struggle to keep up.
The good news is that you don’t need to be anywhere within sniffing distance of the Top 100 on Amazon to make good money. Really good money.
If you find an indie author who has several full-priced ebooks (not 99 cents) in a series under a 10,000 sales ranking on Amazon, and they’re there consistently from month to month, that author is probably going to clear six figures this year. The more books you have out (that are selling at least moderately well), the easier it is to make that kind of money.
Lindsey shares the 101 of succeeding in the publishing market today:
I’m going to assume you’ve already read blogs and forums or have listened to podcasts and know the basics: write in a series, have awesome cover art, have a blurb that appeals to the target audience, have entertaining and well-edited stories, and pay attention to what’s working right now in the marketing world.
Lindsey also adds to the list developing your own voice, publishing consistently and marketing your books. As she puts it “your six-figure (and more) indie authors of today are people who have been publishing the kinds of books their readers want regularly for years.”
Writing Science Fiction And Fantasy is a little book of 200 pages and an ugly cover that truly took me by surprise. The lessons in the book go straight to the point and are founded on literary theory and criticism (Northrop Frye, Joseph Campbell, etc). Crawford Kilian’s writing is accessible and entertaining, as well as direct and clear.
The first part of the book “Knowing your genre”, it’s mostly needed for those not familiar with Science Fiction and Fantasy genres. I learnt about Connecticut Yankee the genre.
The second part really got my full attention and won me over: “The Craft of Writing Science Fiction and Fantasy”. Killian covers every aspect of how to engineer a story. Notice I say “engineer” because his approach is very methodical covering all aspects of storytelling without leaving anything to chance. He is also aware that rules as meant to be broken, but only after you know, understand and master them. In this second part he covers: plot structure, scene building, story arch, character archetypes, etc, etc.
The book focuses particularly on the symbolism of writing and the importance of every piece of the plot (characters, location, etc) as supporting element for the main topic of the story. Repeatedly Killian encourages the writer to thing what the story is about, and to echo those ideas in every segment of writing.
The last part might be less relevant for independent writers today since it focuses on traditional publishing (mass market, trade paperback, etc). This book was originally published in 1998 (although this edition was from 2007), so it makes sense that it doesn’t cover self-publishing or ebooks.
Overall a great book for analytical minds, writer who like to plan ahead, and those who appreciate the subtleties of symbolism and connotations in writing.
“Mistakes are almost always of a sacred nature. Never try to correct them. On the contrary: rationalize them, understand them thoroughly. After that, it will be possible for you to sublimate them.” —Salvador Dalí
James Baldwin talks about the one critical trait of accomplished writers:
Something that irritates you and won’t let you go. That’s the anguish of it. Do this book, or die. You have to go through that. Talent is insignificant. I know a lot of talented ruins. Beyond talent lie all the usual words: discipline, love, luck, but most of all, endurance.
Bookstores are one of my favorite hangout places, and as much as I love digital publishing I have a soft spot for printed books.
The experience of reading is very personal and for many the ebook has become a better medium for reading than traditional books. If the current trend of coloring books for adults tells us something is that there is an opportunity for printed books, just not what we have experienced before. Ebooks won’t kill physical books but they will force their specialization.
In order to survive physical books should exploit their unique characteristics:
- Manipulation: Printed books are real objects you can manipulate, and so are great for note taking, coloring, and modifying in any which way.
- Unique layout: Like with any other object there is a relationship between the object itself and the user (reader in this case) handling them. The House of Leaves is a book that takes advantage of its own physicality with type printed in unique ways in pages that need to be rotated and manipulated to be read.
- Print Quality:And last but not least, physical books, as of now, are better for print quality and color reproduction and so are perfect for showing artwork.
- Special editions: Physical books also have an essence and unique presence, and so are great for special editions, leather covers, unique designs, etc.
- Conservation: Physical books also excel at conservation and are a great format for preservation of work.
What physical books are not great at is accessibility and readability for people with reading difficulties or in adverse conditions. We should welcome the differences between print and digital and focus our efforts on the strengths that make physical books unique, instead of battling with the ebook industry.
I see a great future ahead for printed books, it just doesn’t look anything like what we have now, and that change scares many.
Hugh Howey goes into tons of detail for aspiring writers, which is awesome. Here are my two favorite quotes from the article:
This is Howey’s first advice for writers.
To begin with, you need to write. […] Get comfortable staring at a blank screen and not writing. This is a skill. If you can not write and avoid filling that time with distractions, you’ll get to the point where you start writing. Open your manuscript and just be with it.
And his advice on persistence.
Secondly, learn to write rough. Stop caring about spelling and sentence fragments and plot holes and grammar. Get the story down. Listen to the dialog and try to keep up with your fingers. Get to the end of your manuscript and THEN worry about the quality. If you can master the art of powering through to the end of your story, you are on your way.
Now that the big publishers have renegotiated their contracts with Amazon we are seeing a change in the ebook price strategy. Publisher are finally able to set their own prices and Amazon is selling ebooks with the tagline “this price was set by the publisher”.
This seems like great news, and obviously publishers deserve the opportunity to set their own prices. The problem with this shift is in the publishers strategy behind ebook pricing.
In a sense, 2016 presents something of a new beginning, a clean slate for e-books. In 2015, all of the major publishers finalized new sales agreements with Amazon, two-year deals for both print and digital distribution. And with the e-book price-fixing sanctions now expired, publishers have what they long desired: control over consumer e-book pricing.
What Does 2016 Hold for Digital Publishing?
I was recently shopping for a new translation of an old classic. I found the book on Amozon at $13 for the paperback, and $12 for the kindle version. I ended up with a used paperback from a reseler for $7.
On seeing those prices one has to think, what is the publisher thinking? How can an ebook be priced like a hardcopy that needs printing and delivery. Are publishers trying to discourage sells of ebooks? Are they trying to push physical book sales? I believe that an ebook should not be free and it should appropriately compensate its creator. However, pricing an ebook as expensive as a physical book is a disservice to your customers.
I believe it was Hugh Howley who said that this strategy will likely drive readers away from mainstream books and into independent—reasonably prized—books. Independent publishers can more narrowly target readers interest and be more cost effective. There will always be block busters but we might see that the tail end of the sales chart starts to take on a larger and larger market share.
I love and hate Medium (the blogging platform founded by ex-twitter Evan Williams) equally. I might hate it more than I love it since I am clearly not using it for my blog. I appreciate that it has become a platform for many voices that otherwise might have never ventured to online blogging. However, it’s also a trap for its users, who might find that leaving the space once they outgrow it is not possible.
Matthew Butterick summarizes it best”
Whereas the traditional typewriter offered freedom at the cost of design, the billionaire’s typewriter offers convenience at the cost of freedom.
~The Billionaires Typewriter
I dislike Medium for many reasons but I believe there is a place in the web for tools that ask the absolute bare minimum of its users. Not everybody has the time—or inclination—to figure out what WordPress is all about, and how to get it up and running.
Medium also differs from earlier blogging services in a significant, contrarian way: it offers you, the writer, nearly zero options for the presentation of your stories. No matter what kind of story you write, or who your readers are, it gets packaged into a single, non-negotiable template.
~The Billionaires Typewriter
And to the question “how does Medium improve the Internet?” Well… it exists, it has a point of view. If you don’t like it, code your counter argument.
The immaculate christ-like figure at supper
Al Pacino father/messiah figure
Woman as the mother/temptress (“good girl” or “cunt” movie dilemma) and her sex as the entrance to the sinful and divine.
Stripper as both accessibility and inaccessibility of sex
Tony Manero as the centerstage god figure
The life of celibacy as the dead of man
The manhattan bridge as the separation of classes and a symbol of hope and aspiration
Sex as the driving force of man
The bandaged Tony Manero as the wounded and resurrected hero
The train as the umbilical cord and womb of isolation
Dawn as the beginning
Handholding as hope and the opportunity for friendship, reconciliation, and healing.