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Posts Tagged ‘publishing’

There were several topics in my head this morning, all vying for attention.

Yesterday was a bad day—personally, nationally, internationally—and the opinions, the frustrations, the anger built until, about 9PM, the dreaded pall of futility and depression began to creep upon me. How to battle not only the news of terrible events, but the rash and unwise reactions that predominated the blogosphere? After so many years, after so many trials, have we learned nothing?

I tried to shake it and turned back to my work prepping The Year the Cloud Fell for re-release. Editing—even a quick review edit like I’m giving these books—may seem like an odd method for lifting one’s mood, but it paid off, for out of the blackness of my mood, there came a warm and friendly light. (more…)

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Yesterday, several of my writerly-feeds went nuclear after The Huffington Post reported that Abigail Gibbs was awarded a six-figure contract for her first novel. Every writer I know decried the state of writing when a newbie author would get such a deal for what was essentially (their words) “glorified fan fiction.”

First, nothing in the article leads me to believe that this is fan fiction. Though “inspired” by the Twilight series, there is nothing in the article that says she’s used characters from the series (a hallmark of fan fiction). Sure, she posted articles on Wattpad, but that doesn’t make it fan fiction, so, let’s drop that label, shall we? (more…)

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Obey the Kitty!Now hear this!

In the past, people have asked me: Do you get to pick your own title for your books?

  • Short answer: Yes.
  • Longer answer: Yes, but the publisher can override my choice.

Such was the case for two of my books, and I now have the chance to fix at least one of them.

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Kurt R.A. GiambastianiI heard back from Fairwood Press, yesterday. As publisher of Dreams of the Desert Wind (my genre-mashup of speculative fiction, thriller, and corporate espionage), I wanted to give them the “right of first refusal” on the new FC:V. The good news is that Fairwood is doing very well; the bad news is that their docket is filled for 2013, and they couldn’t entertain this title until 2014.

That’s too long a wait. So, I’m moving ahead; Beneath a Wounded Sky will be published by Mouse Road Press (i.e., me) as part of a full, five-book release of The Fallen Cloud Saga.

Which means that everything is now on my plate. Including cover art.

I have an advantage here. I don’t care if this project makes money. In fact, I assume it won’t. So, if I have covers that don’t tick all the boxes on the marketing strategy checklist, no worries. But I do want to have good-looking covers.

However, I do not want to have the standard-style, heavy-detail, photo-realistic cover of men and machines that you see on almost every alternate history title on the shelf. I want something different.

I’m thinking: minimalist.

There’s a new meme out there. Do a Google search on “minimalist movie poster” and you’ll see what I mean. These are evocative but very stylized images. Most of them play on a previous knowledge of the movie, but they needn’t. They’re eye-catching, they’re clean and easy to understand, and they tell a little story all on their own.

So, I’m reaching out to some of my friends who have graphic art experience, to get their input on the process. I already have concept art for each of the five covers. Three of them are pretty much final product, in fact (yes, I was working on this ahead of time, having predicted the Fairwood response).

These covers will be unusual, setting them apart from the standard cover art for the genre. They will have a uniform “look and feel” to them, identifying them as a set. And since I won’t have to use any stock photo images (bonus), they will also be completely free of royalty costs.

I’m not an artist—I’m saving that learning curve for my retirement—but I understand the basics of design. With some educated guidance, I hope I can come up with a set of covers that will do my series proud.

k

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The goal of almost every writer is to be published by a big publishing firm. These big publishing houses pretty much had a lock on the whole shebang until about 20 years ago, when small and on-demand presses started popping up. Then, when e-publishing started to take off, authors had even more options open to them.

But, for most of us, the Yellow Brick Road still leads to Oz, and all those other venues are just waypoints for which we must “settle” if we can’t get all the way to the Big Publishing House.

I’ve hit pretty much every stop on the Yellow Brick Road. Under normal circumstances, I’d be taking my new novel down as far down that road as possible, but FC:V is a bit of an edge case. (more…)

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Obey the Kitty!Are there “rules” for genre fiction?

I’ve been called out by die-hard Alternate History readers for having “broken the rules” of the genre with my Fallen Cloud Saga. Charges that I “changed too much” or that “that’s not the way it was back then” were among the most common complaints. In response, I can only shrug. There are rules? I didn’t get any rulebook. What part of “alternate world history” is confusing these people?

When I sat down to outline the The Year the Cloud Fell (FC:I), I didn’t check to see what genre label it would sport. I had an idea, I worked on it, and I wrote the story I wanted to tell. My standalone novels, Dreams of the Desert Wind and Unraveling Time, are also good examples. Each one of those books blends elements of several genres: suspense, thriller, romance, time travel, adventure, historical fiction, etc. But I never set out to write a genre-bender. I set out to write a novel.

That’s because “genre,” as it’s used today, has nothing to do with writing, but it has everything to do with marketing.

Publishers want to make money; I can’t blame them for that, but in order to ensure the best return on their investment, they want to stack the odds in their favor. One way they do that is by giving books specific “genre” labels. Humor, Science Fiction, Fantasy, Romance, plus sub-categories like Alternate History, Steampunk, Police Procedural…these are all genre labels and yes, the fans of these genres have expectations about what will be inside a book that bears a specific label. That’s what makes the product predictable, and helps the publisher maximize profits by targeting their budget where it will do the best work.

But it has nothing to do with writing.

The book you have in mind might tick all the boxes for one of these labels. Many books do, and publishers (and agents) love that type of book because it makes their job easier. Unfortunately, none of my books fit so neatly into one category. So, should I change what I write? Should I “write to the market”?

Writing to the market is like setting out to write a blockbuster. You’re aiming at a sly, wily,  restlessly moving target. You’re having to guess, months in advance, what will pique the public’s interest, what will go viral, what will be trending upward on Twitter. In short, it’s a nearly impossible task, and if you succeed, it’ll be more luck than skill.

I write what I want to write. I build my characters, my worlds, my storylines specific to my needs, not the unwritten rules of bean-counters in marketing departments. Writing a novel is hard enough, without burdening myself with writing a book I’m not in love with.

k

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Yesterday was an interesting day on the KRAG blog.

Being supremely new to blogging (Week 5), I’ve been watching the “Stats” page with interest. WordPress provides a nice collection of statistics which—depending on what you see—can be either fascinating or depressing. I’ve been watching the blog-stats bounce along: the number of daily views within easy reach of zero, fewer followers than eggs in a carton, most traffic sourced specifically from my “author” page over on Facebook.

Then, yesterday, a spike: I had views from India, Canada, the UK, Israel, and New Zealand; the number of views was more than double the average; and several folks took the time to leave comments. I asked myself: What the hell happened, and why?

And this reminded me of Amazon.com and their maddening “Sales Rank.”

Of course, I had been aware of Amazon’s “Sales Rank” for a long time, but it really meant nothing to me. I never buy a book because it’s a bestseller. I only buy books because they are recommended or because they just sound interesting. Sales Rank? Who cares? Pas moi.

But when my first novel went for sale up on Amazon, I did a complete 180. Suddenly, nothing was more important than that damned Sales Rank. I began tracking it, checking in on it hourly, in fact, entering what I found in a spreadsheet. I found websites devoted to the tracking of the Amazon Sales Rank. I watched my book’s ranking trend upward, break upward into the 6-digits, into 5-digits, back to six, up again, back again. It would change radically, without discernable logic, bouncing from a low rank of over 1 million up to under 60,000. Then, one day, as I repeatedly hit F5 to refresh my screen, it bounced up to around 1,400.

Number 1,400!! Out of millions! Boy-o-boy! I was on my way!!

When I hit refresh again, it was back at #90,000. What the hell happened? And why?

I did more research, found article upon article purporting to divine the math, method, and meaning behind these numbers. Taken in the aggregate, however, it quickly became clear that no one really knows how the Amazon Sales Ranks are calculated.

I stepped back, and thought again about what the Amazon Sales Rank meant to me as a reader. This arcane, inscrutable number meant nothing to me as a reader or purchaser of books, so it probably meant little to the public at large.

Of course, the stats associated with my blog have a little more meaning—each new reader is potentially a new person who might want to read one of my books—but should I spend time tracking the stats and trying to discern the reason they spiked or dipped? Shouldn’t I spend my time on more meaningful and productive efforts? Damned straight.

It comes back to why I do this: for the love of writing, and for the conversations it engenders. It doesn’t matter to me if this blog has 20 readers or 20,000; it’s the writing, the connection, and the interactions with readers and other writers that count most.

k

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