Thursday, December 31, 2009

What in a Blue Moon?


Did you know that this New Year's Eve is concurrent with the fabled Blue Moon? So, what have you told yourself could only happen in a blue moon?

- you'd finish your WIP?
- you'd get an agent or a book contract?
- you'd see your first, or another long-awaited, title finally in print?

- you'd build on previous successes to make exciting new progress?
- you'd return to a labor of love you left behind?
- you'd experience the fulfillment of other, wonderful desires known only to your secret heart?

Well, on this New Year's Eve, you can make every one of your impossible wishes on that big, gorgeous Blue Moon, because their time has come!

The Women of Mystery wish you a glorious 2010!


P.S. Just in case you need reading inspiration, Janet Rudolph has an exhaustive list of so-timely NYE mysteries.

What Constitutes A Book Sale, Or Even A Book?

Recently, much has been made over the fact that top books in the "Kindle bestseller" lists are usually free. (See, for example this eBookNewser post or search on Twitter for "kindle bestseller free".) It's no surprise that people like free books. People like free anything. In fact, people will take things for free for which they have absolutely no use. I am guilty of this on occasion--I have at least three books on my Kindle I probably never would have paid for and, in all likelihood, won't read. I have them there in case I get desperate and because they were free.

But does my downloading of a book for which I am not charged constitute a sale?

I'd count it as a sale if Amazon is giving away the items as loss leaders, attracting people to the Kindle as they do with cheap ebook versions of hardcovers. That is, if Amazon is paying the publisher for the book and then offering it for free on their website, I'd count it a sale. If, however, the publisher is offering the item for free, I wouldn't. (For example, Harlequin offered something like 14 ebook titles free this year for their 60th anniversary and those titles are fairly consistently among Amazon's Kindle top "sellers" in romance, but I wouldn't count them because the publisher isn't getting paid per download.)

(Why would a publisher offer books for free? Well, check out this little article for an answer.)

And then there are the ridiculously cheap ebooks. $1.99 books sell well. I think this may well kill self-publishing/vanity publishing in print, mostly because you can actually sell a lot more copies of a book at $1.99 than at the standard $15 for trade paper that most vanity presses use. People are willing to take a chance on an author they've never heard of for $1.99, which is probably why I keep seeing that kind of thing pop up on the "new and hot for Kindle" RSS feed I have in my feed reader.

Which brings me to my next question. On the "new and hot in romantic suspense" list last week there were several books by a romantic suspense author who has books in print with Berkley. These ebooks, however, are not ebook versions of her print books. These are something else. They range in price from $2.99-$3.99 and have no print versions. There's no publisher listed.

And without print versions, there's not just no publisher listed, there's no length. You can't tell the length from the file size because the vast majority of file size is just formatting, not content. So are these novels? Novellas? Short stories? No way to know. Now, I wouldn't download these books regardless of their length because I don't care for the author's style, but they brought a couple of questions to mind:

  1. How did she negotiate these with her agent if she has one? Does her contract require right of first refusal? Does her agent get a percentage even of the stuff she's self-pubbing?
  2. Where did these stories come from? Have they been under her bed for years, or is she writing them now while working on the books for Berkley?
  3. How long are these? Do people know (or care) how much text they're paying for? Are they willing to pay more money for more text, or not?

I've thought many times about Kindle-izing my first mystery, the one everyone said "we like it, but there's no market for academic mysteries" just to see whether, indeed, there is no market. Still, I'm not ready for that step yet. But I'll be following the ebook scene closely.

Wednesday, December 30, 2009

Mystery Conventions 2010

If you've been thinking about attending one of the major Mystery conventions in 2010, it's not too late to make plans. Here's a quick overview:

SLEUTHFEST: The Florida chapter of Mystery Writers of America is hosting Sleuthfest from February 26 -- February 28, 2010, at the Hilton Deerfield Beach/Boca Raton in Deerfield Beach, Florida. The cost is $215 for MWA members ($235 after 1/15/10) and $235 for non-members ($255 after 1/15/10). The hotel rate is $179 (if you book before 2/5/10). The Guests of Honor are David Morrell and Steven Cannell. There is a blog dedicated to Sleuthfest 2010. If you're not a member and wish to join, visit the MWA site. Our very own Terrie Farley Moran has attended Sleuthfest before; you can read her post about the 2009 Conference here.


LEFT COAST CRIME (LCC) CONVENTION is an annual event sponsored by fans of Mystery Literature, for fans of Mystery Literature. The event will be held from March 11-14, 2010 in Los Angeles, California. The Guests of Honor are Jan Burke and Lee Child; the Fan Guest of Honor is Janet Rudolph; the Toastmaster is Bill Fitzhugh. The convention's theme, "Booked in L.A.," highlights the special place of Los Angeles in the mystery noir literature of the early 20th century. The convention will take place at the Omni Hotel in downtown Los Angeles. The registration fee for the convention is $225.00; the room rate is $175.00.


MALICE DOMESTIC, an annual fan convention that salutes the traditional mystery, will be held at the Crystal Gateway Marriott Hotel in Arlington, Virginia between April 30 - May 10, 2010. Honorees include: Guest of Honor: Parnell Hall; Toastmaster: Rhys Bowen; Lifetime of Achievement: Mary Higgins Clark; Fan Guests of Honor: Tom and Marie O'Day; Malice Remembers: Ed Hoch. Registration fee for regular or vegetarian meals is $275.00; basic registration, no meals: $225.00 (these fees valid until 12/31/09). Room rate is $129.00. Our own Nan Higginson blogged about her experience of being nominated for an Agatha Award in 2008, and Elaine Will Sparber blogged about attending her first Malice Domestic.


BOUCHERCON BY THE BAY 2010 will be held in San Francisco, California, from October 14 - October 17, 2010. Bouchercon is an annual convention that celebrates the mystery genre, named in honor of writer, reviewer, and editor Anthony Boucher. The registration fee is $175.00 if you book by 12/31/09. As of 1/1/10, the fee goes up to $195.00. The room rate at the Hyatt Regency San Francisco is $249.00. The Toastmaster is Eddie Muller; the International Guest of Honor is Denise Mina; the U.S. Guest of Honor is Laurie R. King; the Fan Guest of Honor is Maddy van Hertbruggen. Bouchercon 2010 also has a blog. If you've got questions, you can send them here. Terrie Farley Moran posted what she learned at Bouchercon 2008 here.


Are you planning to attend one or more of these conventions (or other conventions or conferences)? Have you attended these in the past? If so, what was your experience like?


Tuesday, December 29, 2009

Two For Tuesday - Lazy Edition

Well, if two weeks ago was bad, last week was worse! I got almost nothing done at all. Really. I have no idea what happened to me this year. Usually, I am far more organized. But, that said, here's a snippet of writing from me. It's one of the chapter headings, so it comes from the "book within a book," the book my protagonist is writing.

People say everything looks worse at night. But morning can be equally cruel, pointing out ragged edges misted over by the shadowy light of evening. And while darkness may bring fear of the unknown, daylight can gleam from monsters’ teeth, showing the truth to be more frightening than anything the imagination dreams up.
And a couple I read, from Nina Bruhns' Shoot To Thrill:
He was still weak and shaky, but he'd completed the whole course of the detox treatment itself. Feeling better. Almost human. Okay, maybe not that good, but getting there.
What about you? Did you get anything written or read this past week, or were you too busy with holiday cheer? Let us know, and we'll update this post throughout the day.

Monday, December 28, 2009

My Town Monday: Nothing but Fun in Bethlehem!


...Bethlehem, Pennsylvania, that is. This is only a My Town Monday post in that it's posted on Monday from my town, which I've returned to after a delightfully useless holiday stay with family.


The image is Cakeman Raven's red velvet cake. This year, I followed his recipe for my own bringalong dessert offering, adding a pinch of red sprinkle sugar on top for extra festivity.


Sure, I've got my own pix I don't feel like offloading,

and I've got dirty clothes I don't feel like unfolding.



Hey, wait a minute! Nan might be onto something!


Tenderloin, fast Eddies, way too much cake.

Wii-zardry taught me to figure-skate.

Bending elbows with my kin- let holiday spirits in.

Equipped with my Kindle, I read a whole bunch.

Let me recommend H.P. Lovecraft with lunch.

Not at all concerned over Naughty and Nice

because this trip, we attended church twice!

Caught a fun movie Squeakuel with two of the nieces.

Our three live, barking fur-elves annoyed us to pieces.

Talked smack about Twilight- didn't sleep well at night.

Chatted tons, laughed much more, and yes, even wrote!

Must be why it's bittersweet coming back home.


I'm not quite ready to give up the sugar-coated leisure of my holidays. You?

Sunday, December 27, 2009

Buzzwords of 2009

2009 has been quite a year and like many years it gave us new words and changed the meaning of old ones. In this article in the New York Times, Mark Liebovich and Grant Barrett give us a terrific overview of the Buzzwords of 2009.

Here are a few related to our industry:

drive like a Cullen
To drive like a bat out of hell, like a member of the Cullen family in the “Twilight” vampire books by Stephenie Meyer.


orphan books
Volumes still in copyright but out of print and unavailable for sale, and whose copyright holders cannot be found. Rose in 2007 but peaked this year with the fierce discussion over the proposed Google Books settlement.


vook
A digital book that includes some video in its text.


netbook
An inexpensive portable computer, usually smaller than a laptop but larger than a smartphone, intended mainly for use with the Internet.


And here are a few that could inspire plots:


conflict minerals
Gold, tin, tungsten and tantalum, widely used in electronic devices and commonly mined in politically unstable countries or regions. Related to conflict diamonds.


car tone
Music or ambient noise proposed for use by electric cars, whose quietness otherwise makes them go unnoticed by pedestrians.


mini-Madoff
A person who perpetrates a Ponzi scheme smaller than Bernie Madoff’s.


And here is my personal favorite mostly because it would make Sister Edmund Marie proud to know I paid attention. (Something I rarely did in her chemistry class.)


ununbium
The temporary name of a newly found element, Uub for short. It comes from the Latin for the element’s number, 112.


The illustration up top is courtesy of the New York Times.


Terrie

Saturday, December 26, 2009

Exercise That Brain

A few weeks ago I mentioned that our pals at Criminal Brief are sponsoring a contest. the prize is a a fabulous anthology of short stories written by the Crimnal Briefers.


You can read my announcement here.


Today is the day that all answers must be submitted. So, click on over to Criminal Brief, follow the clues and win the anthology. And for those of us (Me! Me!) who aren't good at this sort of thing, I do hope the anthology will become available for sale.


Terrie


Thursday, December 24, 2009

WoM Presents A Forest of Merry Christmas Trees for You!

Our own Cathi received this gorgeous forest in an e-mail, and forwarded it so I could fill WoM's Christmas tree lot. I'm not sure who took them all (not even the site of the one above.) I'm posting verbatim the descriptions that came with them, hoping the one marked Prague isn't really Budapest, or some other error my passport is inadequately stamped to recognize. Disclaimers made, they're all simply too lovely to miss, and we wish you and yours a glowing season! Enjoy!

The world's largest Christmas tree display rises up the slopes of Monte Ingino outside of Gubbio, in Italy's Umbria region. Composed of about 500 lights connected by 40,000 feet of wire, the 'tree' is a modern marvel for an ancient city.
A Christmas tree befitting Tokyo's nighttime neon display is projected onto the exterior of the Grand Prince Hotel Akasaka.
Illuminating the Gothic facades of Prague's Old Town Square, and casting its glow over the manger display of the famous Christmas market, is a grand tree cut in the Sumava mountains in the southern Czech Republic.
Venice's Murano Island, renowned throughout the world for its quality glasswork, is home to the tallest glass tree in the world. Sculpted by master glass blower Simone Cenedese, the artistic Christmas tree is a modern reflection of the holiday season.

Moscow celebrates Christmas according to the Russian Orthodox calendar on Jan. 7. For weeks beforehand, the city is alive with festivities in anticipation of Father Frost's arrival on his magical troika with the Snow Maiden. He and his helper deliver gifts under the New Year tree, or yolka, which is traditionally a fir.

The largest Christmas tree in Europe (more than 230 feet tall) can be found in the Praça do Comércio in Lisbon, Portugal. Thousands of lights adorn the tree, adding to the special enchantment of the city during the holiday season.
'Oh Christmas tree, oh Christmas tree': Even in its humblest attire, aglow beside a tiny chapel in Germany's Karwendel mountains, a Christmas tree is a wondrous sight.
Ooh la la Galeries Lafayette! In Paris, even the Christmas trees are chic. With its monumental, baroque dome, plus 10 stories of lights and high fashion, it's no surprise this show-stopping department store draws more visitors than the Louvre and the Eiffel Tower.
In addition to the Vatican's heavenly evergreen, St. Peter's Square in Rome hosts a larger-than-life nativity scene in front of the obelisk.
The Christmas tree that greets revelers at the Puerta del Sol is dressed for a party. Madrid's two-week celebration makes millionaires along with merrymakers. On Dec. 22, a lucky citizen will win El Gordo (the fat one), the world's biggest lottery.
A token of gratitude for Britain's aid during World War II, the Christmas tree in London's Trafalgar Square has been the annual gift of the people of Norway since 1947.

Drink a glass of gluhwein from the holiday market at the Romer, Frankfurt's city hall since 1405, and enjoy a taste of Christmas past.

Very Happy Holidays from the Women of Mystery!

Wednesday, December 23, 2009

A New Year of Classes

The new year is just around the corner, and if one of your resolutions is to take a writing class, here are some online offerings in January.

Writers Online Classes has two courses starting in January. Both are getting underway a bit later than usual in order to give the instructors and students some time to recuperate from the holidays.

  • "21 Steps to Fog-Free Writing," Don McNair, January 11-February 11, $30. A professional writer and editor with 40 years of experience has identified 21 problems that "fog up" a manuscript and lead to its rejection. In this course, he explains those problems and their solutions.
  • "The 8 Habits of Highly Effective Writers," Adele San Miguel, January 15-February 28, $50. A Franklin Covey-certified coach interprets The 7 Habits of Highly Effective People and The 8th Habit: From Effectiveness to Greatness for writers.
Writer University also has two classes lined up for January.
  • "Defeating Self-Defeating Behavior: Allow Writing Productivity and Creativity to Soar," Margie Lawson, January 4-29, $30. This freshly expanded version of Margie's popular class includes five new topics--the power of sleep, stretch breaks, blasting writer's block, optimizing productivity, and simple self-hypnosis.
  • "Mystery Makeovers," Stephen D. Rogers, January 11-22, $55. In this Master Class, a Derringer winner guides you in revising your mystery until all the puzzle pieces fall perfectly into place.
Rounding out the January two-fers are the pair of classes being offered by the RWA's Kiss of Death Chapter.
  • "The Truth About Psychic Research: What It Is, Who Does It, and How to Use Psychic Research to Build Your Fictional Worlds and Distract Your Readers with Red Herrings," a "Murder One" class, Mary O'Gara, January 1-31, $15 for chapter members and $30 for nonmembers. A psychic, astrologer, life coach, and writer provides a fast-moving overview of psychic research.
  • "Breaking Rules to Break In or Break Out," a "Killer Instinct" class, Allison Brennan, January 1-31, $15 for chapter members and $30 for nonmembers. A New York Times bestselling author of twelve romantic thrillers shows serious writers how to take their writing to the next level by shucking the rules that don't work and strengthening their voice.
For a quick intro to online writing classes, click here. For additional information on the above classes and to register, click on the names of the venues and follow the links.

Tuesday, December 22, 2009

Two For Tuesday

Tuesday, Tuesday, what a wonderful day. The past couple of weeks have been most amusing. Last week, my patio has served as a skating rink for my dogs, who looked like cartoons as their legs move and they go nowhere. This week, they're belly-deep in snow. Winter is finally here!

The holidays slow down my writing, but I'm still trying. Here are a few of sentences I wrote this week:

“You heard them. They were hunting Mexicans in our woods. If this turns into an international incident, do you really want it on your plate? Hell, no. We dump the evidence of our serial killer on the FBI and let them cope with the fallout.”

The reading has slowed considerably, too, but here are a couple sentences from Lee Lofland's Police Procedure and Investigation. I wanted to check the whole process of arrest warrants, and Lofland's book is good for quick checks of things you're not sure you understand.

Most states prefer that officers obtain arrest warrants whenever possible. [...] However, if an officer believes the situation requires a warrantless arrest, she must be able to effectively articulate, in a court of law, the conditions and facts that led to that arrest. If her explanation for the arrest doesn't provide ample probable cause, a judge may deem the arrest illegal.

What about you? Get anything done this week between the holiday parties? Anything read, anything written? Let us know and we'll update this post throughout the day.

  • Mason Canyon has a couple sentences she's read in the comments, and she's writing on her blog.

Monday, December 21, 2009

My Town Monday: The Christmas Tree at Rockefeller Center

The Christmas Tree at Rockefeller Center is a tradition in New York dating back to Christmas Eve, December 24th 1931. It began during the construction of Rockefeller Center, when workers decorated a small balsam fir tree with "strings of cranberries, garlands of paper, and even a few tin cans."

One of New York’s most famous landmarks, Rockefeller Center, located across the street from St. Patrick’s Cathedral and Saks Fifth Avenue, attracts visitors from all over the world and is generally a mad rush of people, a babel languages and exuberant holiday cheer. Sleigh bells ring. Music plays. And cameras flash away like crazy. It’s a must-see stop on the tourist track of the city during this time of year.

Visiting the tree every year—and taking a picture in front of it—was also a tradition in our family. One that we started when our daughter Lauren, who was born in December, was only a few weeks old. I hate to admit it, but the idea of a yearly family portrait in the same place at the same time wasn’t a Stoler original. Before Lauren was born I’d read an article about a family who posed for a yearly snapshot with their daughter on the doorstep of the house in which they were living at the time. The purpose was to chronicle her growth as well as document the places they’d lived. It seemed like a great idea, and when I had my daughter, we got the Christmas ball rolling as it were, and took her to the tree for one of her first outings. We continued this with one or two interruptions until she was 21.

Last year, I created a collage of 19 of the shots we’d taken, plus one from her 25th birthday, and gave it to Lauren as a Christmas gift. To me, it was a great way for her to look back on the holidays we’d shared as a family and to give her a gift that would always have a special meaning. I know that she loved receiving it as much as I did creating it.

Now, a few facts about the Tree:

The Rockefeller Christmas Tree is usually lit on the Wednesday after Thanksgiving. This year it was

December 2nd and the lighting was broadcast nationwide on NBC. The tree will come down on January 7th.

The tree is usually a Norway Spruce, which must be a minimum of 65 feet high and and 35 feet wide. Management prefers the tree to be taller—75 to 90 feet—and proportionally wide.

Over 5 miles of lights and a star are the only decorations on the tree.

The tree is recycled and over 3 tons of mulch is donated to the Boy Scouts.

Merry Christmas everyone! And Happy New Year!

Check the My Town Monday blog for more.

Sunday, December 20, 2009

Not So Special Gift Ideas.


1) Hillier's brochure promoting festive gifts from the home and garden was reportedly sent to 900,000 homes and featured the £44.99 Vento lightweight aluminium device under the banner: "Make her feel special with a clothesline this Christmas."


2) Ironic hipsters in San Francisco are finding a shortage of hideous second-hand holiday sweaters this year for their cynical merry-making. Stuff it, jaded haters, I've got mine! And as a tip when hunting, the knitwear knows when the love isn't sincere.

3) As we're in the season of lists, here's an About.com top 10 of worst gift ideas. Actually, I don't mind the themed undergarments as much as the good intention gifts like:

  • A gift certificate to the newest diet craze.
  • Coaching tapes on how to be successful to someone who is unemployed or in a dead-end job.
  • A month's supply of Nicorette to a chain smoker.
  • Hypnosis tapes for overeaters, smokers, aggressive Type A personalities.

4) In related news, ehow has advice on how to deal with receiving a bad gift, like this one from Craftastrophe. And I must say, it's good, practical advice, which only requires (like all courtesy) a split-second of self-discipline to choose kindness over self-indulgence. I don't universally succeed, but there's always New Year's for resolutions, right?

UPDATE: In the comments, Laura reminds us of her old stand-by, the annual Dave Barry Gift Guide, but cautions that the sperm snow globe is already sold out.

Saturday, December 19, 2009

Besotted Day 2

Editor's caution: This fresh zinger from Nan's bawdy quill may pierce you right in your office party regrets.

Besotted, Day 2

He cinched in his belt and slicked back his hair;
She coated her lips and perfumed the air.
They billed and they cooed, a dream couple now
No more little hints of any stray growl.

Their dinner was perfect, the desert sublime -
The bill was a scorcher, but they paid no mind.
All twenties he counted, each crumpled and worn,
And left a sweet tip - from their waitress: no scorn.

He made his way past the smug maitre d',
Stopping to palm off another twenty.
His ex-wife flashed forth a dazzling smile,
That old gal's joy you could see for a mile.

The question they pondered with such a force:
Why had they surrendered to a divorce?
Full tummied they hailed their limo to come
And in the back seat things started to hum!

Friday, December 18, 2009

Soon-To-Be-Forgotten(?) Book Friday

I've been thinking a great deal about ebooks lately, and not just because of the bizarre decision on which Clare commented in depth yesterday. Here's my question: why is it I seem to be surrounded by hyperbole about ebooks being the death of print books? Yes, the place of printed books will probably change, but no one seems to be talking about the oh-so-cool possibilities. No, no, it's all about the fact that soon we will have nothing to hold in our hands. (I've blogged about this before, so if you're bored, you can stop. I won't take offense.)

I don't believe that will happen. I don't believe that the book-as-object will disappear. I've spent a lot of time reading and writing about information transmission systems over the years, and all of the systems we've ever had for telling each other stories and facts are still alive and kicking. We use oral methods, we use handwriting, we use print, and now digital. As each new technology comes along the previous ones change, get used for different things, and acquire nuances but they don't go away. Generally, older forms tend to be prized, in fact. (You really want to make an impression? Hand write a book of poems for someone, or have a calligrapher do it.)

Books consist of two things: content and form. And, with a book, content is supreme. I keep seeing these comparisons of ebooks to DVDs, about how you have to wait to get the DVD until the movie's been out for a year, so you should have to wait for the ebook. This is a theory Nathan Bransford thoroughly debunked on his blog. In short: with a first run movie, you're paying for the experience of seeing it on the big screen; you then buy the DVD if you want to watch it over and over and over. Experience versus product.

With a book, what I want is the content--the experience--preferably in the most convenient form possible so I can access it when I am on the train, in the bath, on the beach. If I really like that content, and I want to keep a special version at home, I'll buy the hardcover, the product, later. I'll order it and wait for it, even, because it's really about putting it on my shelf and owning it.

As someone who once collected first editions of my favorite authors, I can tell you one way in which publishers could help themselves: go back to small first editions. I don't bother collecting any longer because the firsts are the same as all the rest: crappy paper, bad binding, huge numbers of them out there in the world with nothing that makes them outstanding in any way. I walked into Borders today and saw stacks and stacks and stacks of the new Sue Grafton. Now, I like Sue Grafton, but I'm not stupid: they won't all sell. And they're hardcovers. They'll end up on the bargain shelves, and everyone will lose money on them.

Instead of shipping hundreds of copies of each hardcover, start your sales with a truly special first edition hardcover that people have to pre-order to get their hands on. Start the pre-order six months before the book comes out. Let word of mouth develop. Let people get excited about it. Close the pre-order six weeks before the book comes out, then have your oh-so-beautiful-and-special first edition created here in the US at a really cool bookbinder. You know exactly how many of the edition you have to print. No returns. Nothing excess created, warehoused or shipped.

This was a special edition of Michael Connelly's Blood Work. 300 Limited Edition copies, signed and numbered. At present, it's selling for $260 on Alibris. It's not as if publishers haven't considered special editions before, they just haven't realized yet that as far as hardcover fiction is concerned, collectors are their primary market. The average fiction reader doesn't want a hardcover for 90% of his or her reading. The collector wants something special and is willing to pay for it. No, publishers aren't going to get $200 for every first edition they sell, but they can cut their own costs considerably and make the object more desirable by specifying the pre-order short run first edition.

Make me special editions, and you really have me boxed in. Because let's say you take my favorite author, John Connolly, and you produce special editions of his books, all with the same kind of neat binding and font faces, all the same size. Do I want all of those books on my shelf next to each other? You bet. Even if I already have them in paper or as ebooks? You bet. Produce those for me and everyone I know will know what to get me for Christmas. Even if they have to order them in advance so you don't produce more than you can sell.

As they used to say on the Six Million Dollar Man, "we have the technology."

And after the special edition? Give the readers what they want: all formats at the same time, each priced according to what it costs to produce. Libraries and a few readers will still want hardcovers, but there's no reason they can't order them so they'll have the books the day they come out. After all, they're buying hardcovers of authors they've already heard of. Publishers generally aren't putting out hardcovers of debut authors. (Except for the hardcover only publishers, and I have a few choice words for them as a reader: "sorry, but you will never get a penny out of me.") If bookstores feel like they still need a hardcover copy or two for impulse buyers, that's on the stores; they know their customers, let them worry about it. Eliminating returns and bargain shelving of hardcovers is a start toward fixing some of the industry's problems.

Now, as for paperbacks, they present a more interesting question. I think the paperback market is far more threatened by ebooks. Look at the form factor of ebook readers. They're not the same size as hardcovers. They're designed to mimic paperbacks. I'd very much like to see a breakdown of ebook sales by genre. I'd lay odds that the vast majority of them are genre fiction. Books people want to read, but know they won't want to keep. Those tend to be the books people buy in paperback, too.

But no one in the publishing industry is fussing about paperbacks. Only readers are. We're the ones who will miss the bathtub book, the beach book. Of course, that's assuming they disappear. And no one has yet convinced me they will, because we have print on demand technology, and the Espresso Book Machine. We'll have choices for immediate delivery of content, digital vs. paperback.

(Forgotten Book Friday, for which I am not sure this really qualifies, is a project brought to you by Patti Abbot.)

Thursday, December 17, 2009

E-book Looks Forward, Pushed Four Months Back

If you haven't heard, and maybe you did but didn't care, Simon & Schuster and Hachette publishers are going to delay e-book releases approximately 4 months after the hardcover, before the paperback.

Paul Biba at Teleread thinks it's good news for e-readers, because it shows an actual strategy. Jeffrey Trachtenberg of the WSJ has the whole story, including impassioned defense of building authors traditionally by Hachette's chief executive, and the fearful statement that once you let people think of a book as only worth $10, they'll never go back to wanting to pay $25.

For my part, there's steam coming out of my ears at the obtuseness of the decision. The following rant-y points are out of order, since I'm fighting with Blogger on a different machine, so mentally rearrange them to be better, if you would.

1) The hardcovers AREN'T worth $25-$30 in most cases, which is why they're not selling! This is a classic failure to respond to market information about price sensitivity. And these times, of all times, we're sensitive! In my own experience of purchasing bound fiction, the proofing's gotten worse, binding and paper's worse, and there's been little or no effort (outside of sff) to make the hardcover a value-add collector's item. They could make them special objects with extra value (heck, they could do that with e-books, too), but they haven't. Why, in this age of choosing-files-and-clicking-the-candy-red-button are we not doing more just-in-time printings to reduce returns and actually increase the perceived value of the first edition? Instead of special gilded spines, leatherette, and cool appendices in most hardcover fiction, the object's quality and rarity merely degraded while the price went up. The hardcover blockbuster's are supporting the industry because they represent CONTENT people want, not because of their shipping dimensions.

2) The apparently panic-making rise in e-book sales should be generating reams of useful information about marketing fiction content: how to price it, what people want, what's the right introductory price for a book or author, where does durability matter and not, how long between first title purchase and searches for the author's other titles, how much backlist does it take to "hook" a passionate series reader, does a good, low cost e-title inspire other purchases from that writer (works on me) and are they across all channels or e-formats only? How much delay is there between searching or sampling and purchasing an e-book title- what does that tell us about fiction as an impulse purchase? All good questions to help understand the segments of readership and how to reach them. Instead of generating information and innovation, the development of this market's generating soiled britches. Way to think forward.

3) A small portion of my fiction purchases will be keepers, most will be read and removed or released back into the wild. That matters in the purchasing decision, and as disheartening as it must be to hear it, much of the hardcover fiction isn't worth the lofty list price. You could say that it's only my gutter-taste, but I think the sales numbers bear that out. It's not because people won't pay for entertainment- it's because this equation isn't properly balanced, so the consumer's opting out. The answer is NOT to plant one's flag in the quicksand.

4) BTW, these publishers are objecting largely to the fact that Amazon is pricing e-books as a loss leader to establish the dominance of the Kindle platform. If Amazon wants to take the loss, why do they care? I've told people that my e-reader has caused me to become a bigger consumer of fiction in general, and it has. When I'm choosing between streaming a movie or buying a book that will take me about the same length of time to read, the price and durability matter. I bought the Criterion Collection DVD of Seven Samurai; I'll rent the latest forgettable rom-com off AppleTV. I don't want everything I buy to persist so that I have more stuff to figure out how to store or offload. Some things are for consuming and forgetting- sorry, even the written word- and while there is a magic number at which a few hours of casual, forgettable entertainment makes sense, $30 and a trip to the beloved bookstore every night isn't it.

5) If fiction isn't offered from these huge houses as a consideration for casual Tuesday night entertainment, you will not find consumers weeping and begging to be given another chance. They will move on to whatever IS available and enjoyable that makes more $ense to them. I think that's an awful shame, because I want people to think of fiction right along with their movies and games and television and online surfing and music as yet another, complementary possibility, and big, brittle publishing seems determined to oust decent fiction from mainstream leisure-time consideration for once and all.

6) Let's say publishing took up the challenge to differentiate the formats with additional value. If I'm a big enough fan (and of certain authors and works I am,) I might want to own ALL the versions to get the various goodies scattered therein. However, I won't do the multi-format boogie for all books, and it's downright unlikely I'll be doing that for new authors who'd benefit most from being priced as a Try-Me. (I know, I know, every opus is a jewel of unique perfection, and we can't treat writers as if we expect they'd, you know, keep writing more.) What if publishing houses had dynamic pricing/format structures as if the content and developing the audience for it were more important than that an object of a certain size and page count have a fixed price and profit margin? What if they didn't always have to account for the jaw-dropping fact that in this industry they intend to transit most of these heavy things back and forth or elsewhere for no better reason than fear of redfining a return system that's a garrote around the industry's throat? You don't have to be a rabid greenie to want to see this wasteful practice shelved. What if publishing tried to get as good as say, Wal-Mart or some other iniquitous, lowbrow place like that, at predicting and tracking and managing inventories, instead of not being able to tell you for a year how many total copies were sold in the first month? What if they knew how many books went out and to whom and what they'd be worth?

Disclaimer: I love the physical object of the book, but I bet they know all that stuff with e-books. No heaps of returns, no trucking costs, no questions. Did you know authors get monthly checks from their Kindle sales? What? Not waiting a year and a half? Blasphemy. You can't run an industry like that! I don't know how they believe authors were supposed to live like that. Probably why so many can't. And of course, without better feedback on sales earlier in the release, the author doesn't have much chance to adapt their marketing approach or decide to write the sequel or ditch the series, or any of the other things it might be nice to consider in the same calendar year. Do they worry so much about the e-book sales because these must so tangibly point out the shadowy Lovecraftian horrors that have been allowed to persist in publishing?

7) If there's a debut author's baby-fresh hardback shelved next to the 15th title in the 3rd co-authored series of a mechanized story and signature factory, people don't always want to leap into risk of several hours with that kind of money. Unless lightning strikes--and the big houses do keep hunting those elusive black swans--the hardcover's new author will fail to make stupendous sales due to competition alone. Piles of copies will get returned or scrapped, and the new writer can't sell the next manuscript, and it wasn't because they stunk or even that there wasn't an audience for them, but no one was that busy finding it. And because of that situation, we end up not nurturing the new voices, but subsidizing the 7th series from the established author now writing as a preserved head in a jar. I'm bored with that, like many other readers I talk to, but if I'm not buying new folks I know personally, I need exploration to be friendly and not too costly. Isn't that an area where selectively making e-book launches simultaneous with other formats could be a kickstart to a new author? Why rule it out with a blanket policy?

8) I read about the historic dedication to building authors' careers, and to the extent that's been so, terrific! However, what I think I perceive more is that despite the increasing customization of so many things, there's still a homogenity of approach and attitude when it comes to books, as if we couldn't expland our range of options without burning down every library and pissing on the ashes of the greats. I'm concerned for the wellbeing of fiction in general that it's not being allowed to change, regardless of what we learn, what's happening culturally and technologically, or what consumers demonstrate they value most.

9) It seems as if most hardcover debut authors these days are expected to spend their advances on their own promotion. They may get budgeted 1.5 hours per week of a well-intentioned but overworked staffer's time which will largely consist of transmitting author-developed lists for ARCs or review copies, assessing whether the author personally knows anyone helpful or influential, and informing the staffer what aforementioned new author will be be doing to get out there, bust ass, and make sure this thing's a success. The author will be kindly advised to conceive new approaches to reach readers and get exposure for the title, and above all, when planning and executing the publicity campaign, the author must think outside the box and be creative! Because your hardcover's publisher won't.

Wednesday, December 16, 2009

The Way I See It

I got my first "real" camera when I was thirteen--more years ago than I like to admit. It wasn't my first camera. I'd always been interested in taking pictures, and I was the one who'd used my parents' Instamatic until I got my own. You remember the Instamatic, right? It had that flash cube at the top that made a tremendous popping sound as the bulb burned out and turned a milky white. Instamatic film was a cartridge that you snapped into the back of the camera. As I recall, there were twelve or twenty-four pictures per cartridge--three to six flash cubes. (Picture via DustyGizmos)

Taking the pictures was fun, but the supplies were expensive, as was the processing. And you had to wait at least a week to get the pictures back. At which point, they didn't quite live up to what you remembered, especially if you'd been taking pictures of large landscapes, which lost their majesty, or small bugs, which lost their detail. The Instamatic was the king of snapshots, but it didn't quite suffice for anything else.

After that, I got a Polaroid. And it was amazing. (Fabulous image via Wired.) Imagine! No waiting, and the flash went on and on. Of course, the film was prohibitively expensive. And it didn't exactly do the trick for grand vistas. Still, the Instamatic was shoved aside in favor of the brand new love of my pre-teen life. It went everywhere with me, but I was careful about what I shot. After all, the film cartridges only contained something like ten pictures a pack, and they sucked up my allowance really quickly.

And then, at long last, came the Pentax. My first 35mm camera. The Polaroid's instant production didn't lose its appeal, but at last I was able to reproduce some of the things I hadn't caught before. I became obsessed with black and white images. I bought rolls and rolls of film. But black and white was hard to get processed. It took longer to come back from the lab. (Color, at the time, took about three days, while B&W took a week to ten days.) So while I actually preferred shooting black and white, I was always torn by my desire for instant gratification. Or at least, more instant.

For a while, I took pictures professionally. I worked for a Party Pix company in college. We shot wedding, graduations, proms, you name it. Then I did band photography for a while. I shot rugby games and ice hockey for local and college teams. It was all a lot of fun, and I wouldn't have missed it for anything. (Except the weddings. Weddings gave me ulcers--in the days before digital, there was always the chance you'd screwed up the shot somehow, or the film would be defective, or the processing wouldn't go right, and then you would have ruined someone's most important day.)

Here's the thing. I am absolutely positive that my experiences in amateur and professional photography, starting with that first 35mm SLR camera, have altered the way I see the world around me. How, exactly? Well, that's a more complicated question. One thing I've noticed: because I shot so much more black and white than color, I have a tendency not to "see" color as much. When I shoot nowadays, I'll be surprised--when I download the images to my computer--by some glaring orange flag or something in the background. In my own mind, I thought of it as gray, I guess. Of course, with digital, it's no big deal. I just turn that picture into black and white, or otherwise "fix" the issue. But I am sure there are other effects that aren't as obvious.

And I'm equally sure that the way I see things affects the way I write.

The other night, my husband and I were out to dinner and there was a little girl, maybe six or seven, who was playing with a digital camera. Hers? Her parents'? Hard to tell. It looked like the little digital we take on vacations, the modern version of the Instamatic. But all through dinner, this little girl kept looking through the viewfinder, taking the occasional picture of a waiter or her mother or her brother or even her food. Nobody had to tell her to be careful not to waste the film or the flash.

I wonder whether the ease of putting oneself behind the camera will result in further distance between people. As a shy teen, I absolutely used the camera as a shield. On the other hand, it doesn't seem to have affected my five-year-old nephew, who has his own digital camera. It looks sort of like binoculars and is built so he (or, more importantly, his little brother) can't destroy it. In fact, every picture must immediately be shown to everyone around him, so it furthers the connection, rather than the separation.

And what of the speed and cheapness of "processing?" Will people who shoot more often get a better "eye" for composition, or are the two independent issues?

And, back to the issue of this blog, will writing change as the physical manner in which people view their surroundings changes?

Tuesday, December 15, 2009

Two Sentence Tuesday: Flash Fiction Challenge edition

Along with approximately two dozen writers, I am participating in "The Steve Weddle Memorial Airport" Flash Fiction Challenge. After the fun we had with the "Walmart: I Love You" Flash Fiction Challenge, hosted by the lovely Patti Abbott on November 30, Daniel B. O'Shea suggested this next challenge, having to do with an airport (in about 800 words). This means I have a lot more than two sentences to offer today. I'll pick two quick sentences I read this week, right out of a Cabela's catalog: "Need it by Christmas? Order by December 23 for guaranteed delivery."


Please let us know where your Tuesday Twosome can be found and I'll update throughout the day, or feel free to enter two sentences you've read, and two sentences you've written in the comments section.

"Victims of the Night"

“Slice or be sliced,” the gang-banger ordered Justina. She only knew him by his street name, Wicked.


Wicked handed the razor blade to Justina as she climbed into the back seat of the silver Lexus that had been involved in at least three drive-by shootings in the past year. Justina noticed the ink on his upper left arm, the kind she had seen many times before: “Smile Now/Cry Later,” the comedy and tragedy masks that represent Mi Vida Loca, or My Crazy Life.


Play now and pay later.


She smelled a familiar fragrance, a cologne her brother used to wear. She felt a heaviness in her chest and stared at her hands, avoiding the glare of the skank sitting next to her, whom Wicked calls “The Hood Rat.”


He lowered the volume on the CD player, just as “It Wasn’t Me,” by Shaggy had started.


You better watch your back before she turn into a killer....”


Justina liked the string arrangement in that song, and hoped that he would turn it back up when “Angel” came on. Her mother used to talk about the original song, “Angel of the Morning,” and how much she loved it.


Wicked sputtered his instructions. “When we cruise around, we’ll look for a rival gang-banger, but if we can’t find one, anyone wearin’ red will do. The Hood Rat will help you by holdin’ down the victim while you give her a buck fifty. But first, we have to pick up Flaco at the airport. His plane should be landin’ any minute.”


On this moonlit August night, Justina’s face glistened with a thin layer of sweat. The seventeen-year-old didn’t have much time to contemplate her choices, although the thought of being jumped-in or sexed-in certainly didn’t appeal to her.


She wanted to belong; to gain respect and power; to be part of a family that watches her back. She had just moved into the hood and wanted to fit in. After her mother died, she came to live with her father, but she still felt so lost.


They pulled into the cell phone waiting lot at the airport. The Hood Rat said, “If you are successful tonight, you’ll make it -- remember, ‘blood-in’ is the way to go.”


“And don’t forget -- ‘blood out,’ Wicked reminded Justina. “There’s only one way out -- and it ends with your blood if you are disloyal or try to leave.”


Wicked’s ringtone, "Ridin' Dirty" interrupted the stimulating conversation. He spoke briefly with Flaco.


“Flaco says to hang in this lot while he goes to baggage claim. He’ll meet us here. He has a point; if I pull up to the curb and he’s not there, the airport cops will chase us away, and I don’t feel like seein’ no five-o right now. It’s best we wait here.”


Wicked kept the car running, and he turned up the sound on the CD player, just in time to hear “Angel.” He rolled down the window and lit up a Newport.


“Now life is one big party when you’re still young, and who’s gonna have your back when it’s all done...”


Justina checked her cell phone for the time. One a.m. It’s almost time, she thought. Her palms were sweaty and her heart fluttered.


Flaco was listening to his iPod as he walked towards the car, with a couple of bags slung around his shoulder.


No one but Justina noticed the black Ford Explorer quietly enter the parking lot.


She sprang out and ran toward the rear of the car.


Gunfire erupted from the Explorer, with bullets striking Flaco, Wicked, and The Hood Rat.


Flaco lay crumpled on the ground, lifeless. Justina checked the occupants; The Hood Rat was dead, but Wicked was still alive. She leaned into the driver's side window.


“‘Blood in’ -- right, Wicked?” She stared into his cold, dark eyes that looked like portals to Hell. “Oh, and this is for killing my brother and injuring my father in a drive-by last year, you piece of shit. My mother died of a broken heart after you shot her only son,” she said, slicing his throat with the razor blade. "What was that you said? 'Slice or be sliced'? I’d say that’s a buck fifty, easy. But you don’t have to worry about stitches, now do you?”


Justina jumped into the front seat of the waiting suburban. The male driver calmly drove away.


“I’d say you passed that initiation with flying colors, Angel."


Stop by Daniel B. O'Shea's blog, Going Ballistic, to see the links of talented writers who are participating in today's challenge.


Mason Canyon celebrates her "Blogging Writer Award." Congrats, Mason!


Leah Utas has a newfound appreciation for The Great Gatsby and has an interesting character in Roy Hansom.