Author Archives: Evan Braun

East of Toronto, just off Highway 48, you will find a beautiful tree-lined campus right across the road from the famous Miss Scrimmage’s Finishing School for Young Ladies. It is Macdonald Hall, where generations of boys have been educated and prepared for manhood. Named for Sir John A. Macdonald, the Hall, with its ivy-covered stone buildings and beautiful rolling lawns, is the most respected boarding school for boys in all of Canada.

Okay, so here’s how the story goes. While in the seventh grade, Gordon Korman’s English teacher (“Mr. Hamilton,” according to Wikipedia, and the first book’s dedication) assigned his students to write a short novel. Putting aside how ambitious and insane such an assignment would be, the result was Korman’s very first attempt at a novel—This Can’t Be Happening at Macdonald Hall—which was subsequently published in 1978 by Scholastic Books. Korman was only twelve years old when he wrote it, and fourteen when it got published.

Hold the phone. Did you catch that? He was twelve and got published on his first attempt. Is anybody else feeling inadequate? I sure am. By the time of his graduation from high school, Korman had written another five books. Holy crow. Eighty-five books later, here we are, in 2014, and I’m going all the way back to the beginning of Korman’s career to tell you about a series of young adult novels that absolutely changed my life—the Macdonald Hall series, alternatively known as “Bruno and Boots,” for the two protagonists.

These books flood me with overwhelming nostalgia. When Greg Little announced that this month would be dedicated to unknown books, I knew immediately that I had to write about Macdonald Hall. I subsequently jumped onto my Kindle, eager to buy ebook editions of all seven books in the series. Well, guess what? They’re not there. I couldn’t believe it.

Fortunately, I had five of the seven books (along with a bunch of other favourite Korman reads) in an old box in my storage room that I hadn’t opened in a few years. I began to devour them.

I realize I’ve now written some three hundred words and haven’t managed to say anything about the books except “They’re awesome; no, seriously, they’re really that awesome.” Which makes for a pretty lousy endorsement, so here are some details.

I began this post with the first paragraph from Korman’s premiere novel, and it sets the stage for all the hijinks that follow. The setting is Macdonald Hall, a boarding school on the outskirts of Toronto, and just across the street is an accompanying boarding school for girls, Miss Scrimmage’s Finishing School for Young Ladies, an ironic and misleadingly quaint name. Indeed, these unruly girls figure prominently into each story, and they are beyond delightful—and nowhere near “finished.”

The titular characters, Bruno and Boots, are roommates in Dormitory 3, Room 306—a.k.a. central headquarters for a lot of shenanigans. Bruno Walton is a passionate troublemaker with a penchant for letting (nay, encouraging) his many elaborate schemes get out of control. Boots O’Neal is the classic straight man, a sidekick who frequently gets drawn into his best friend’s intrigues. In the course of these books, they plot the downfall of a hated new school administrator (The War with Mr. Wizzle, my personal favourite of the novels), the stratospheric rise and inevitable collapse of the Hall’s football team (The Zucchini Warriors, which presents some surprisingly interesting commentary on gender politics), the fundraising effort for a new swimming pool to avoid Boots being transferred to a new school (Go Jump in the Pool), the undermining of a Justin Bieber-like celebrity on campus to shoot a major motion picture (Macdonald Hall Goes Hollywood), among other memorable outings.

The friendships and recurring characters are beautifully developed over the progression of the series, and the prose is sophisticated enough to make me stare at the page in disbelief that a twelve-year-old could have had a hand in crafting it. As an eight-year-old reader, I fell in love with Bruno and Boots and their many cohorts. Yes, they were constantly in trouble, but they were almost always driven by noble goals. They were good kids. Flawed? Of course, but never beyond redemption.

And that leads me to the thing I appreciate most about the series. I’ve reread the series twice in my twenties, and I’m in the middle of a third reread now. No surprisingly, I appreciate different things as a thirty-one-year-old than I did when I was eight. Back then, it was clear that the overarching antagonist of the series was Macdonald Hall’s stern but fair headmaster, Theodore Sturgeon (a.k.a. “The Fish”). In the character of Sturgeon, we are confronted with the heart of the series. He’s depicted as a middle-aged man with zero humor and a serious disposition—that is, as far as the boys know. In private, Korman shows us a kind and warm-hearted molder of men, not unlike the beloved Coach Taylor from Friday Night Lights. Sturgeon isn’t the antagonist all the kids at the school think he is. The reality is that he loves and cares for his students, and he has a secret affection particularly for Bruno and Boots—not despite their troublemaking ways, but because of them.

I don’t have kids, and I probably never will, barring unforeseen developments in my life. I’m okay with this reality, and it normally doesn’t bother me. The only time it does bother me is when I think of these Macdonald Hall books, and I’m filled with sadness that I don’t have anyone to pass them on to. Fortunately, my niece and nephew are about to come into reading age. Hopefully my sister won’t mind if I drop by the house each evening before bedtime to read a few chapters.

The Right Thing

April 28, 2014

Evan Braun

Business Conventions Goals Motivation Self-Awareness The Writing Life 2 Comments

I’ve written before on this blog about my experience attending conventions and seminars, but today I want to revisit that subject and take a different perspective. My previous posts have been about professionalism, about making contacts, meeting editors, etc. Today I want to look at the convention experience from the perspective of a fan.

Everyone who writes genre fiction is also a genre fiction fan. This is perhaps obvious! Last spring, the Fictorians devoted a whole month to discussing various bloggers’ inspirations for being a writer, and not surprisingly a large number of those posts ended up being about genre books, movies, and television shows. People who are caught up in the genre milieu are often the same ones who later become the most prodigious content creators.

Certainly some conventions are more for fans than they are for writers and other content creators (as Randy McCharles discussed here just a few days ago). The most recent con I went to was World Fantasy, which going by McCharles’ metrics is probably 95–100% craft, with just a fringe of commercial around the edges. This is a convention for writers to mingle with other writers. The number of con-goers is capped, so it never felt crowded; in fact, as I wandered the hotel hallways and worked my way from one panel to another I found myself coming upon the same faces over and over again. This is kind of wonderful, because you start to make friends and contacts almost without trying.

And some of those faces? They be famous faces.

WFC is a convention for writers, not hordes of screaming fans in Chewbacca costumes (not that there’s anything wrong with that), but as I mentioned earlier, the writers are fans, too. And as someone who wasn’t accustomed to sharing a table with the people who wrote the books I grew up with? Well, this was heaven.

If someone told me I’d sit across a table listening to L.E. Modesitt Jr. wax eloquent about the time he and his friend constructed a makeshift bomb as children and blew a hole in their family’s shed, I’d have told them to bugger off. I chatted on several occasions with Guy Gavriel Kay (and one of my friends who shall remain nameless—never mind, it’s this one—may or may not have stolen his swag bag of books after the con was over). In a very brief exchange, I met Robert J. Sawyer, with whom I later had the pleasure of becoming much more closely acquainted when he visited my city. I also got to meet two of my favorite writers of all time, the husband-and-wife duo of Gar and Judith Reeves-Stevens. I had been sitting just one row behind them during one of the panels; I have no idea what the panel was about, because I spent the whole time staring at the back of their heads like a serial killer. Fortunately, I kept it together when I finally approached them. They were ever so gracious to speak with me for a few minutes, even though they were obviously on their way to somewhere more important. And the crème de la crème? Me and several other Fictorian contributors had the unique opportunity to pick Brandon Sanderson’s brain in a small and exclusive two-hour Q&A session.

If I haven’t convinced you yet that cons are awesome, you’re beyond hope. Over the years since, I’ve been to a few different cons, and this experience has been mirrored several times. I’m so accustomed to meeting well-known writers now that I’ve started to view them as colleagues—much more experienced and successful colleagues, sure, but colleagues nonetheless.

I’m sure there are some authors who don’t have the time of day for their fans. I’ve heard horror stories, but I’ve never met them, which tells me they must be in the minority. Or at least, you’re less likely to bump into this kind of author at cons, because they have other places they’d rather be.

The authors I met were all polite and approachable. I never felt awkward around them. When we chatted, it wasn’t all about them; they asked me questions about myself as well. They seemed to enjoy connecting with the masses. And you know what? Meeting these authors only made me want to run home and buy as many books of theirs as I could find. The moral of the story is that being a good and decent human being is not only the right thing to do, it probably has some economic benefits as well.

So it turns out the authors whose jacket cover headshots I lovingly gazed at with hero worship as a preteen, and then as a teenager, and then as a young adult, and then embarrassingly even as a nearer-to-middle-age adult, are just people, not much different than I am. That right there infuses me with hope and optimism.

One day, if a fan ever comes up to me and wants my autograph, or even just wants to say hi, no matter how busy I am or what I’m doing, I’m going to smile in the memory of all these wonderful genre fiction luminaries who came before me and pay it forward. It’s the right thing to do.

Dispelling the Myths, Part Two

March 14, 2014

Evan Braun

Business Evan Braun Guest Posts Marketing Publishing Self-Awareness The Writing Life 1 Comment

A interview post with Jen Greyson.

Yesterday, I posted the first of my two sit-down posts with author Jen Greyson, author of Lightning Rider and Shadow Boxer. Her publishing story began a couple of years ago upon selling her first novel to a publisher—and not just any publisher, but The Writer’s Coffee Shop, the company behind Fifty Shades of Grey. Here’s the interview’s conclusion.

EB: What kind of marketing went into your book’s release?

JR: Press release and a blog tour, social media on launch day. I devoted a ton of time into finding bloggers to review/tour for this book, so both sides worked pretty hard on this launch. I also did a big launch party and the publisher sent me bookmarks and fliers for advertising.

EB: What were your biggest turnoffs in the traditional publishing experience?

JR: In a nutshell, I gave up a lot and got very little in return. I bought into the myth of traditional publishing (though I’m not sure if I can even call this a “traditional” deal, because they were basically a small-press). I figured once I had a contract I’d ‘made it’ and everything would be a piece of cake from there. Boy, was I wrong. I still had to devote a ton of time and energy into sales. As I did the math, it became obvious very early on that I could do the same amount of work as an indie and make a lot more money. (This was a royalty-only deal.)

At the time I released Lightning Rider, NA (new adult) was really gaining traction and the publisher didn’t know how to market NA (or fantasy) because they’d never had one. They were really open to my suggestions, and that was great, but I’d chosen them because I thought they had some marketing “secret.” In the end, I picked a publisher that was a bad fit for my book, but I wanted to be published so badly that I overlooked a lot of red flags.

EB: After the release, how were your sales?

JR: Sales were nowhere near the Fifty Shades numbers I’d hoped for! 🙂 That ended up working in my favor, though, because of a clause I negotiated that specified that if I didn’t sell a certain number of books within the first six months, the contract could be terminated.

EB: Did you take any “missteps” along the way that you would caution other writers about?

JR: Don’t be so eager to get published in the short-term that you overlook the long-term. One book is nothing in terms of a writer’s career. (I’m hoping for another thirty-five years!) It was really hard for me to be unbiased about the deal, and if I’m truly honest, I don’t think anyone could have talked me out of signing with them. I wanted to be published. And because of that craving/desire/crippling need, I wasn’t as smart as I should have been. I wasn’t realistic about what a first book by a first-time author was going to do. I believed I was the exception to the rule.

EB: After having pursued traditional publishing, what are you doing now? How has the experience influenced your career path?

JR: Right now, I’m self-pubbing all my titles, and that’s probably the plan for 2014. Interestingly, the workload hasn’t changed, but my royalty checks have! And because I’m trying to expose myself to readers in a genre dominated by indies (NA), I need to be able to drop titles every three months. I can’t afford to wait eighteen months for a traditional deal—not right now, and not with my NA titles.

I’m definitely not opposed to doing a traditional deal in the future, but now that I’m out from under the myth of traditional publishing I think I can make a much more educated decision. I also have a better understanding of what goes into getting each book into readers’ hands, and I know how to budget and value my own time in the equation.

My path isn’t necessarily what’s right for anyone else. Writers need to do their homework. Talk to other authors who’ve been there, seek counsel, be smart. And in the wise, wise words of James Owen: “Never, ever, sacrifice what you want the most, for what you want the most at that moment.”

Guest Bio:
From the moment she decided on a degree in Equestrian Studies, Jen Greyson’s life has been one unscripted adventure after another. Leaving the cowboy state of Wyoming to train show horses in France, Switzerland, and Germany, she’s lived life without much of a plan, but always a book in her suitcase. Now a wife and mom to two young boys, she relies on her adventurous, passionate characters to be the risk-takers. Jen also writes university courses and corporate training material when she’s not enjoying the wilds of the west via wakeboard or snowmobile.

Dispelling the Myths, Part One

March 13, 2014

Evan Braun

Business Evan Braun Guest Posts Marketing Publishing Superstars Writing Seminars No Comments

A interview post with Jen Greyson.

I think it’s safe to assume most authors would jump at the chance to work with the publisher behind Fifty Shades of Grey, one of the most successful book titles of the past few years. For author Jen Greyson, this was the dream scenario—and it came true! I had an opportunity recently to sit down and ask Jen a few questions about her experience working with the publisher. Read on, and come back tomorrow to hear the rest of the story.

EB: First of all, Jen, could tell us about your first book?

JG: Lightning Rider is about Evy Rivera, the first female time traveler, but she has no idea that she comes from a long line of lightning riders—travelers who use lightning to cross dimensional chess boards and affect history. In fact, none of her living family knows. Their mentors lost them about six decades ago, but they haven’t been looking for a girl… because there’s never been one. Evy’s a badass, complete with lightning bullwhips and an attitude to match. Her first historical alteration takes her back to ancient Spain where her fate tangles with a Roman warrior set on conquering northern Spain. Together they must work to defeat a legendary man in order for Spain to fall. The Roman teaches her how to handle her lightning and there’s more electricity between the two of them than any of her weapons. Her mentors don’t always tell her the truth and Evy has to figure out the hidden agendas before she unmakes the wrong history. (The sequel, Shadow Boxer, is also available.)

EB: How did you attract the attention of your publisher?

JR: After E.L. James landed her seven figure deal with Random House for Fifty Shades, I went looking for the publisher that made it happen. I found the tiny Australian house, The Writer’s Coffee Shop, and send my manuscript in. They loved it and I was really excited to learn the marketing techniques they used to make Fifty Shades a household name.

EB: Talk about the initial contract you received from them, and your initial reaction to it.

JR: The initial contract was surprisingly simple and didn’t have a lot of the clauses I’d heard horror stories about. They asked things that I didn’t agree with and because I’d attended a Superstars Writing Seminar and read a lot of Kris Rusch’s blog, I knew that I could push back on the terms that needed adjusting. But I was also willing to give up some things in order to gain their marketing team.

EB: What did you do next?

JR: I consulted with my mentors about several of the terms and they suggested some new ones to include. I already had a list from reading How to Be Your Own Literary Agent and Kris’s blogs/books, but knew that the negotiation process was critical and I needed to ask for everything I wanted in the first swing to begin the back and forth. Because they were an Australian house, their paperback prices were super high, so we did an ebook only deal. The negotiations were all handled via email with some back and forth. In the end, I was happy with the final terms and it was a fair negotiation with lots of back and forth.

EB: How difficult overall was it to negotiate these clauses? A lot of people believe that first-time authors have no leverage and therefore can’t negotiate much of any significance. How does your experience stack up against that?

JR: I was under that myth too! And honestly, had I not gone to Superstars just a few months before, I’d have signed the original contract. I had my eyes opened at that seminar and really understood the positioning I had and was then in a mental place that I treated it like any other negotiation/business deal I’d have done in the non-publishing world.

In my experience, I was able to ask for what I wanted, and for the most part, got everything I asked for. The publishers were willing to negotiate nearly all the points I wanted. There were also a few that I had to willingly give up, so it was a typical business transaction where each side met in the middle.

I was working with a very small boutique/indie publisher. I would imagine every publisher handles things differently, so my experience may differ vastly from what someone might find with a different house.

Even with this publisher, the negotiations for book two did not go as smoothly, and I ultimately did not accept their second contract because I didn’t feel the terms where acceptable. We negotiated for a couple months and couldn’t come to an agreement… so even with the same author, same publisher, the experiences were vastly different.

Come back tomorrow for the interview’s conclusion.