F. P. Dorchak

Speculative Fiction (New Weird) Author

writing

To Blog or Not To Blog a Novel

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By Camdiluv, from Concepción, CHILE (Colours) [CC-BY-SA-2.0 (http://creativecommons)
By Camdiluv, from Concepción, CHILE (Colours) [CC-BY-SA-2.0 (http://creativecommons)
I say “novel,” but it could just as well be a short story.

I’m going to try to make this short and sweet.

There are all kinds of advice floating around about whether or not one should or shouldn’t blog out portions of one’s work into the Internet…how it might or might not damage the success of said work, should the blogger want to publish it, en masse.

Dare I say it?

Bullshit.

To that I add: pure bullshit.

A member of the writing I belong to expressed concern about that, because that was what this member was doing…then had stopped…but was, again, considering doing. He did it because of several reasons, some of which were that he enjoyed doing it. It got him writing. He’d found an audience.

I’d say the following be my opinion, but I really don’t think it’s an isolated “opinion” anymore. Heck an opinion at all; it has become fact: As long as what you do doesn’t hurt anyone, do what you love. Do what you enjoy. There are always people out there who love serials…and those who would love to read those serials again…or in one complete form. Those who have never seen your work, so one platform or the other serves them.

Do you really think a traditional publisher is going to care whether or not you blogged about your work–if they really felt they could make millions of you?

Hell no.

Any free promotion they can get to help sell their version of your work, all the better.

Look, no trad publisher is gonna take you if they don’t feel they can make a buck off of you, period. Your blogging of your book is an antiquated issue, based upon antiquated reasoning. Antiquated reasoning is what’s damaged (and continues to damage) traditional publishing. Reasoning can be made for or against anything, but it’s all about packaging. Look at all the crap out there that’s been out there for ever, suddenly repackaged and re-promoted. Instead of bitching and moaning about what not to do, about how terrible the world is and how things “could never work,” why not spin that frown upside down, my perfectly bound friends? Anything can be sold. Just put out a little effort, for crying out loud.

And you can always, always, Indie publish (don’t even get me going about how Indie publishing merely promulgates more shitty work into the world).

Do what gives you joy.

It’s your life.

Live it as you want. If your work is good or meant to succeed–in however way you define it—it will.

Just ignore all the white noise out there, and do what makes you happy. Life is short. Play hard.

To “he” out there, you go, dude! Have fun and keep your audience wanting more!

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Yes, Book Editors…Edit?

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By Frank Leslie's Illustrated Newsletter, New York [Public domain], via Wikimedia Commons.
By Frank Leslie’s Illustrated Newsletter, New York [Public domain], via Wikimedia Commons.
I just read this article from a tweet, and it was most interesting.

Do book editors…edit?

And, as the article’s author pointed out, “I probably mark up fifty to a hundred pages a week, most of it on the weekend.”

Did you catch that?

“…most of it on the weekend.”

Now, it’s not that I’m taking issues with the “not editing at work” part, so much as it is that I totally understand the sentiment. I work for a big company, so I know, yeah, Big Company Structure and Business do get “in the way” of your “paid job” at times. It’s the nature of running Big Companies. You have training and meetings and round tables and whatnot. Phone calls. Needy clients. It’s simply the nature of Big Biz.

Yet, there is the issue brought forth that editors don’t edit. But, whether they edit at work (where they’re, uh, supposed to work…?) or at home shouldn’t really be the issue, should it? And the “agents do the editing” discussion. How agents are doing the editors‘ work. Or that no one really edits anymore and everything should be “camera-ready” before it hits an editor’s desk. Or that it’s only the disgruntled few who don’t get published rattling all the cages….

Blah-blah-blah.

Look, people are going to complain about anything and everything, and those who don’t get what they seek are going to complain the loudest. It’s the nature of Humanity. Add to that all the troubles going on in the publishing industry over and above–and yes, directly related to some of these discussions–and you get quite the complicated picture.

Or, perhaps, it’s simple not that complicated at all.

Once you factor out the basic Human need to complain, the basic Human need of those who feel conspired against complaining, the need for those who do edit feeling left out and overlooked, or any of a handful of obvious variables, what’s left?

A publishing industry at odds with itself.

I’m not saying there is no validity to the piece, and I’m certainly no insider myself–heck, you could call me one of the disgruntled masses, since I’d had an agent for several years, we got nowhere, we parted (amicably) and I went Indie–but is there no truth to any of the claims–or counter claims?

I think there’s a little of both.

Look, nothing’s perfect, and the past wasn’t perfect either. Publishing (and agenting) has changed. From everything I’ve learned about publishing, there is some truth to the claims that editors don’t edit as much as they used to do (I’ve heard it from their own mouths)…sure some do…but some don’t. And, yes, agents are doing more editing than they used to (I’ve heard it from their own mouths). And, yes, publishing (talking execs, here) does want everything that comes across their transits to be “camera ready” (once, again, have heard that from their underlings, aka editors…and agents). And, yes, some editors do editing…at home, at the office, or both.

Where’s the evil, here?

It’s not black and white, it’s not all or nothing. There are, if you’ll permit me…shades of gray. Lots of it. Get over it. Quit being so quick to take [public] umbrage at every little jab at your profession. Sure, be proud of the work you do, but understand…it’s not what it used to be, and that is not necessarily a good or bad thing. Some of you do more of it than your peers.

So, really, this is the big discussion we need to be having about publishing?

 

Amazon Breakthrough Novel Award Contest

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Well the contest everyone loves to hate by the company everyone loves to hate has opened its entry period February 16 – March 2, 2014, for the 2014 Amazon Breakthrough Novel Award Contest (ABNA).

It’s open to all unpublished and self published, English language novels. The contest will remain open until March 2, or 10,000 eligible entries have been received. Entrants can log into CreateSpace.

There will be one Grand Prize winner, who’ll receive $50,000, as well as four First Prize winners, who’ll receive a publishing contract from Amazon, and an advance of $15,000.

The categories are general fiction, mystery/thriller, romance, science fiction/fantasy/horror, and young adult fiction.See the Official Contest Rules for more info, and the prizes page for, you know, prize stuff, et cet.

You can only enter one manuscript per category.

The Uninvited and ERO can fit into two categories. Am I gonna enter?

Plan on it.

UPDATE Feb 22, 2014:

Upon reading the Amazon contest contract, I noted a curious clause, called the “Moral Rights” clause. It kinda disturbed me. It states that we waive all moral rights, which means the rights of attribution and integrity. Here’s  a link describing said clause, and below is a response from a fellow writer/publishing lawyer, Susan Spann, who has graciously allowed me permission to post her response:

“I’ll pipe in from the publishing lawyer’s perspective.

‘Moral rights’ are more important abroad than they’ve traditionally been in the U.S.

The right of attribution means the author’s right to have his or her name associated with the work. That’s critically important, but generally dealt with elsewhere in the contract (with U.S. Contracts, anyway).

The right of integrity is the right to prevent ‘mutilation or alteration’ of the work. Again…important to most of us, but dealt with in a section usually titled ‘editing.’

Ultimately, moral rights are the right of the author to have his or her name associated with the work and to prevent non-permitted changes to it. Most of those rights are addressed elsewhere in U.S. contracts, and many publishers do ask for waivers of moral rights. Most authors just don’t notice them lurking in the legalese. That said, there may well be other rights-grabs in the Amazon rules that warrant attention.”

But, you have to enter the contest, stay with the contest, then win the contest to even be considered for/get an Amazon publishing contract, which means you have to abide by giving up all moral rights to even get the publishing-your-book contract where “all this” would “be handled.” And by who—you? Better get an agent…but, of course, that’d be too late, since you already gave up your moral rights by entering and staying with the contest contract.

Read that contract. I am/still going over it.

So…I’m considering withdrawing from the contest. I’m perfectly content with the result of my indie releases, and was just looking to gain a publishing house, so I didn’t have to pay out money to publish. It appears…TANSTAAFL…still applies.

Additionally from Susan:

“Normally a moral rights waiver is pretty clear. The language will be something like ‘Author waives all moral rights in and to the Work.’ That clause may stand alone, or may lurk elsewhere in the document. Generally speaking, though, the language is actually going to use the words ‘moral rights.’

The true lurker versions of this language get rid of the moral rights piecemeal (which is more common in the U.S.). The words ‘Publisher has the right to edit the Work, and the right of final approval over the form and content of the work’ are essentially a waiver of the moral rights against defacement and alteration – because the author is giving the publisher the final right to edit and approve the work. Where the author requests additional language that says ‘provided that Publisher’s changes may not substantially alter the substantive content of the Work,’ the author is rescuing some of those moral rights — the ones that deal with substance and content.

The same is true of the attribution right. When the contract states that the Publisher ‘will’ credit the author as author of the Work on the title and verso page, that’s a protection of the author’s moral right of attribution.

In one sense, this has become a lesser issue in the U.S. because we deal with the individual rights that make up “moral rights” separately in our standard contracts.

Also, this clearly needs to get into my #PubLaw posts somewhere. I’m not sure I’ve done one on moral rights.

I used to teach this as part of the intellectual property and copyright courses I taught at the law school level, and I can tell you it gave new lawyers issues too.”

Susan also had issues with other parts of the contract that gave me increased pause for thought. For instance, the Grand Prize winner’s grant of rights in all forms and formats doesn’t terminate like the other “levels-of-winners” do. And there’s no specifics about when the “all forms and formats” runs out.

So, given I no longer have an agent, and given all the terrific info Susan—a publishing lawyer—gave, I’m withdrawing my submission.

Thanks, Susan, for all your advice and information!

Disclaimer: And, just to be clear, Susan did NOT recommend any course of action to me (she did not recommend I withdraw in any way, shape, or form), this is all and totally MY decision.

Be[ a]ware.

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It Happens To The Best of Us

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Once again, another writer friend of mine, Joe Ponepinto, received that worst-ever rejection letter we could receive. Worse than being told your writing sucks, go kill yourself.

This, however, has become the norm in the traditional publishing world. No longer is “good”  nor “great” good or great enough. It has become a world where “what does the publishing house think they can sell?”

And, no, your guess is not as good as mine. None of our guesses are. The only guesses that are allowed are those of the bean counters. Not the agents, not the editors. Bean counters. People who crunch numbers for a living, not read words. Manipulate them. I have nothing against bean counters…just the way they are being employed…by an industry (we’re talking upper-level executives, here, not the in-the-trenches managers, et cetera, so much) that doesn’t appear to really care about authors, no matter what great PR articles are written about how much they claim they do. Yeah, yeah, yeah, stuff sells, they’re selling it…but so can other stuff. Stuff with more substance, intelligence, panache.

When you hear or read words like that, what are you supposed to think?

If Joe’s—or any of our—work wasn’t really good, they would have said it. But they didn’t. All “they” said was that they didn’t feel they could place his work. Even though it was “engaging,” “appealing,” and possessed “real energy and imagination.”

Really, traditional publishing, what are we supposed to think?

And you wonder why.

Sigh.

But, luckily for us, these days the traditional houses are not the only game in town.

Sorry to hear about that, Joe, but I think your current efforts are definitely headed in the correct direction. You’re a powerful writer, and I know you’ll come into your own!

Write on!

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Inspiration

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A friend of mine and I were discussing writerly inspiration, when I got inspired to “pen” this post.

What is it and where does it come from?

Can you force it?

Hey, maaan, got any techniques to maximize its potential?

I may be a bit too hardline in my way of thinking, but I really feel that each of us are built to do certain things. Sure, we can change our direction[s], and that can get heavy into metaphysics (which I do get into, below), but as to “teaching” others how to be inspired…well, all I got is that you “simply” need to allow yourself to be aware of your own, unique, whispers.

That’s it. No secret handshakes, no intricate nor arcane protocols.

Tell yourself you allow yourself to be inspired. Go on, do it now. Out loud. Mean it.

People—it seems to me—are always looking outside themselves to find themselves. Trying to unnecessarily complicate matters.

All we are is within us.

All you need to know is already within you and me. We simply have to become aware of who we are, and to do that we need to listen to our inner voices (my standard disclaimer of mental aberrations and crazed ax-murderer inclinations NOTwithstanding…).

You already know who you are.

You do, I bet you do.

You may be afraid to admit it, you may be obfuscating it with other issues, but deep down, it’s all there. Sometimes we have to dig through all kinds of other “stuff” first, and that is something some need to do. There’s a reason for that, and you have to find it, discover your own answers—no one else can do that for you. Techniques for that are abundant, but it again comes down to listening to yourself, your thoughts, your dreams, how you deal with the world…ask yourself questions and allow the answers to come in whatever form they choose to reveal themselves to you in. A TV show, a dream, a phrase on a roadside sign.

Now, the flipside to that—for creative types—is, well, okay, I know who I am, yeah, I’m cool with that, but I seem to have issues expressing it. Please, to help me, Kind Sir!

See above there are no secret handshakes, no intricate nor arcane protocols.

We all have daily inspiration. It’s unavoidable. The problem might appear to be that you are not experiencing what you feel inspiration should be.

The problem may be that you got inspired to write a book, paint an acrylic, and now, nothing else is coming forthwith.

This is what I have to say, and you may not like it, and where my hardcore view comes into play.

You may not a writer nor a painter be.

You may have experienced a bout of said, you may have been inspired to do a single or handful of singular creative acts, for whatever reason your inner self needed that expression, but you may not be a writer. May not be a painter.

And there’s nothing wrong with that!

You may be a reader…may be a viewer…an illustrator, a coder, a cover artist. A cop.

And—getting totally metaphysical on your collective asses—I feel this is the case because you may be very well already be said writer or painter in another life…another existence…but in this existence, you’re experiencing the other side of the coin.

Life is far too complex, too rich to be limited to one single, expendable existence. It’s far too limiting a concept, so I believe we have to live other, simultaneous existences…where all our other existences interact…bleeding through talents, and, yes, inspiration…to all of our other existences.

And what is inspiration?

From Merriam-Webster, it’s “something that makes someone want to do something or that gives someone an idea about what to do or create: a force or influence that inspires someone.”

Where does it come from?

It comes from the nonphysical realms of which the mind is a part. And that gets into individual beliefs. But, for me it comes from the playgrounds of the soul. I look at the brain as the medium, the means of intersection between the physical body and the nonphysical mind. I do not see the mind so much as resident within the brain, but Venn diagrammed with it. Accessed through the brain. And as such, our mind has access to a wondrous and neverending array of concepts we simply cannot even begin to imagine…but try to! We have such wondrous access. And since our beliefs drive our lives, and since beliefs are nonphysical, part of our mind, if we don’t believe we can do something or don’t believe we have access to something, anything nonphysical will be so hindered. Our beliefs are the keys to our lives…our thoughts.

So, “forcing” inspiration? See above.

Additionally, what if some inspiration is a thought or a feeling from one of your other selves? One of your other selves’s actual experiences?

Inspiration.

Now, for just a minute, play a little gedankenexperiment. Try to imaging that the life you’re living now is not the prime, only life…but that this life is a probable life to another you, somewhere else…bemoaning their existence and wondering what the hell you’re doing…that they could actually be you.

Wicked freaky, huh?

And, admit it, as belief systems go, wouldn’t you rather that kind of universe exist over one that says you have but one—and only one—life to live? Wouldn’t it take the pressure off having to do one and only one thing? Doesn’t it leave a bit of breathing room, my friends?

Doesn’t it put an entirely different spin on a lot of questions? A lot of angst?

People may use Tarot cards, chicken bones, scrying, handheld pendulums, or whatever to “deliver” inspiration, and that’s fine, it’s okay, it’s part of who they are…and you can go ahead and try them. But, I say, and truly mean this, because I really do care about people, listen to yourselves. Discover what makes you tick and just be yourself. As for writer’s block, that is usually not so much a lack of inspiration, but (in my humble opinion) an obfuscation of inspiration. Something is blocking your methods and I feel it’s usually stress or some other issue that needs resolution before you can move forward. Sometimes you just need to stop and take stock, but I feel the correction to “writer’s block” is as varied as—and directly related to—the causes, rather than just listing out a series of “steps” to follow. Again, listening to your inner self can only help.

And if you’re not a writer, have no more writerly inspiration in you, that’s okay. Write out your one or two books and be good with it, if no more ever comes to you…or doesn’t manifest itself for years to come. Enjoy your life and who you are. Move on.

We need readers, too.

The Way Forward

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Graham Chapman: I think all righthtinking people in this country are sick and tired of being told that ordinary, decent people are fed up in this country with being sick and tired.

All: Yes, yes…

Graham Chapman: I’m certainly not! And I’m sick and tired of being told that I am.

Not Sure?: Mrs. Havoc-Jones.

Mrs. Havoc-Jones: Well, I meet a lot of people and I’m convinced that the vast majority of wrongthinking people are right.

From Monty Python, “Right-Thinking People,” at  Monty Python.net

Apologies for the lack of posts, but, wow, 2013 had been a rough year!

For one thing I had several physical issues rear their wonderful heads, some corrected, some “the new normal,” and a couple “heady” issues also joined the party, not the least of which was parting ways with my agent of five years.

But, I’ve also had some really cool stuff happen!

Like going Indie with my work and releasing two novels, The Uninvited and ERO. I also had a couple radio spots, one Internet, one traditional/local, and was interviewed on a podcast. There was and is lots of work involved in not only bringing these two works out into the public, but also over the cumulative 12 years of working, reworking, reworking, and agenting them. There are so many opinions and points of view and you-name-it out there on what one should or shouldn’t do, it makes your head spin, your stomach turn. I realized going into this that all I can do is all I can do. There is no longer (if there ever really was) one way to publish anymore. But, even now with all the Indie options, there are still all the pundits and “right-thinking people” ranting and raving about the right way to this and that. Sure, there’s some really good information out there, but what it comes down to (IMHO) is you could staple your working manuscript pages together and pass it around (replete with whatever typos and grammar issues remain unchecked), and if it strikes a chord in everyone’s soul, hits the Big News of the Day, it will become an unimaginable hit. There just is no one, right way, anymore. But, the Internet and social media gives everyone’s voice an outlet (yeah, even mine). Many will never strike the gold vein, so the rest of us must do certain things to bring our work to the people. Make it the best possible read. And most appear to imply you must do ALL of them. NOW.

Exhausting.

Me? I feel you just need to do what you can with the resources you have. Yes, it costs money and time, and there are even those out there who chide that if you can’t afford going Indie, then don’t. Defining “afford” can be time or resources, so there is some element of truth there, but even a small circle of influence on your part might be all you’re looking for, so, if so, do it. Not everyone wants to be BIG.

I’m still working on my next release, Psychic, but it’s been like slogging through a swamp. It’s like I’m a totally different person each time I go through the thing: How the hell didn’t I see that before?! Yes, I’ve had a freelancer go through it before, but, still…I’m changing turns of phrase, word choices, you name it. I’ve also had to change the structure some, since it involves an alternate history with JFK (yes, the JFK) still walking the Earth, and he’d now be late into his 90s, so I had to back up the story a few years into the 1990s. It looks more like a second draft than a 12-years-later draft #356.7, but, it’s getting there.  It was tough creating the first draft, back in 2000, and it’s been a hard fight ever since. Some books are just like that, but it’s all about putting out the best product. Psychic is book two in a proposed three-book series that started with Sleepwalkers. I’m hoping to bring Psychic out sometime this year….

And…I still am looking into creating a newsletter, so, if interested, sign up at the “Newsletter” to the upper right on this page. Thanks!

So, here it is, 2014. Wishing everyone out there the very best in the coming year! Let’s all make the world a little better!

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