Tag Archives: business

A while back I had to tell myself to put the keyboard down and step away slowly. As a result, there’s a project I haven’t touched in over a year. What’s worse is that one of the people from a critiquing group back then keeps asking me to finish the damn book.

So what happened?

It’s simple. I fell in love with a major demon and his insidious sidekick. I was drifting away from the hero’s tale and letting that vile pair carry me along in directions I’d never thought of when I was plotting the story. It was starting to look like the demons were not only going to win, but win in a landslide of blood and death and violence and….

Errr… there it goes again. Sorry.

Over the course of the first twelve chapters, it was a lot more fun to step into a demon’s skin and lay waste to anything that crossed its path… and do so in what I must say were rather creative and cruel ways. And as I got deeper and deeper into it, my hero was left “over there” in the next room, waiting to get some airtime.

Writing is freedom. We’re gods in there, and we can literally do whatever we want. And sometimes we need to step back and realize that for the most part, the good guys have to win and there is such a thing as too much… especially when it comes to bad guys.

Maybe I’m old fashioned, and there are certainly great novels that have pushed the limits of even my rather fuzzy notions of propriety, but in my estimation, a story still needs a hero, still needs a villain, and the hero still needs to win unless there’s a very good reason for him or her not to.

So I put the keyboard down and stepped away.

I still have mixed feeling about that. It’s not that I have any qualms about putting together really despicable and dangerous characters. Far from it. It’s that there was a story I wanted to write—one I still do—and the demons were dragging me away from that. There’s a part of me that thinks I should have continued merrily on down that road. The words were flowing and I was literally running towards a destination. The problem was that I didn’t know what that destination entailed or where it ended.

I was running blind.

Let me couch this all with a little problem I have. I’m running a business, the business of writing, and my novels run too long for an author at my stage of his career. I need to crank out 90k-100k word novels, not 140k word novels. I know this is a problem, because my two finished novels, while good, are too long for their genre… which makes them a hard sell. It’s okay. The indie market has afforded a number of great opportunities, but I defined my parameters when I started, and for the book I was trying to write, 100k was and still is the max.

I made a business decision, and there it sits—waiting and watching… ready to grab hold of my brain once more. But the next time I pick it up, probably in the spring of 2015, I’ll be able to wrestle those demons and make them do what I want instead of the other way around. And if I can force them to do my bidding, I think it’ll turn out to be a damn good 100k-word novel.

The moral is, be careful what you write, and make sure you are writing towards a goal. And if you decide to change that goal along the way, be certain the course correction is in your best interests.

Networking: Friends with Benefits

November 12, 2013

mary

Conventions Mary Pletsch The Writing Life No Comments

In October during Marketing and Promotion month, we had a great post on networking by Kim May. There’s a lot of great advice here on how networking can help you reach and connect with your readers.

This month, I’d like to focus on how to network with industry professionals.

Few of us are lucky enough to have people in the entertainment industry – and yes, writing and publishing are part of the entertainment industry – as part of our circle of family and friends growing up, but it is possible. Ironically, one of my friends-who-is-also-a-published-author started out as the roommate of another friend I met through my toy collecting hobby. Looking back, I laugh at some of our earlier meetings when neither of us had any idea of the other’s interest in writing.

But let’s assume you don’t have a contact like that. I didn’t for many years. How do you meet people who are working where you would like to be someday?

You can read blogs, join newsgroups, “like” Facebook pages, and/or follow Twitter feeds. The best part about these venues is that even if you live in an isolated rural area, and can’t afford to travel, as long as you have Internet access, you’ve got all you need.

First, reading blogs etc will give you a feel for what it’s like to work as a professional writer / in the entertainment industry. You may find it’s not for you. Or, when you reach that point yourself, you will have some idea of what to expect. I’m eternally grateful for the advice from a writer, who is now also a friend, who put on her blog the importance of turning around correspondence for publishers as quickly as possible. They’re people too, they’re on deadlines too, and keeping them waiting and wondering if they are going to hear from you or not is an undesirable situation. As someone who used to submit things on the day they were due–and never before–I realized that holding on to my finished submission until the due date wasn’t doing me any favours. And I would never have realized that without this advice. It’s invaluable, and it’s free.

Comment when you have something useful to say. Over time, people will recognize your name and, if applicable, your avatar. Remember, though, that reputations can be bad as well as good – keep the drama off someone else’s site, or you will be remembered for all the wrong reasons.

Conventions, seminars, launch parties and book signings are great in-person venues if you’re lucky enough to be able to travel or live near a city. Authors and editors will give panels, readings, room parties, and book signings. Attending panels and readings gives you conversation starters when you go to the parties and signings: introduce yourself by name, then ask a question, comment on something, or give constructive feedback. Don’t hog the person’s time – they’ll be meeting a lot of other people at the event. At subsequent events, you can then re-introduce yourself (“we met at Ad Astra this past April”, “I came to your book signing last year in Toronto.”) Faces become familiar very quickly. And I’d be amiss if I didn’t mention Superstars Writing Seminars, where I received great advice from professional writers and also met a number of fellow newcomers just starting out in the field. Look how far we’ve all come!

I’m very fortunate to have a friend who is a New York Times bestselling author–the person who first recommended Superstars to me, despite not being part of it herself. It was her assurance that Superstars was worth the money and time that got me here today. I’m not going to drop her name here, because the purpose of this post is not me showing off how special I am because of who I know. I mention it to illustrate that unfortunately, the following paragraph contains advice that still needs to be shared:

Don’t expect professional authors to become your new best friends. They’re busy people, on lots of deadlines. They have private lives they aren’t going to share with people they’ve just met. They are not going to drop everything to reply to you immediately, and they don’t owe you anything. Be courteous, be respectful, be appreciative, and be professional. These writers are active online and at conventions to connect with their audience and, if they are generous and have time, to share some insight on their profession. You will not become friends with everyone you say hello to, and you will not stay friends (or even acquaintances) if your sole purpose of communicating is to “get stuff,” whether that “stuff” be attention, information, free swag, or “awesome inside sources”. Treat industry professionals as people, not as means to your goals.

When you are at conventions, do attend public events (book signings, autograph sessions, panels, public room parties and launch parties). Do not try to crash private functions (ie author-only parties), follow people into the restroom to strike up conversations, or loiter outside people’s hotel suites waiting to pounce on them. As on the Internet, being loud, drunk, promiscuous, smelly, obnoxiously persistent or rude gives you the wrong reputation very quickly. And remember that alcohol makes all sorts of things seem like A Good Idea At The Time.

As someone who rarely drinks alcohol in public I strongly recommend a glass of pop, soda or juice carried around a room party or nursed at a convention bar if you are a non-drinker or if you have reached your drinking limit. People will think it is a drink (thereby saving yourself the need to constantly turn down offers of drinks) and you will both appear sociable and remain in control of how you are presenting yourself. (I also note that if you are a non-drinker, after seven or eight Dr Peppers you will feel like bugs are crawling all over you, so go easy on the caffeine-as-alcohol-substitute. Lessons from Ad Astra 2013–bad decisions made so you don’t have to!)

The best thing about networking is that it builds its own momentum. Once you know one person, they will introduce you to other people. Soon you’ll find yourself in contact with all kinds of people who are working in, or working towards, your chosen profession.

Dean Wesley Smith: Stop Being In A Hurry

May 7, 2012

fictorians

Guest Posts Publishing Rewriting Submissions 21 Comments

A guest post by Dean Wesley Smith

I’ve talked about this on my blog a few times in different ways, but I noticed a few of you have mentioned this “got to hurry” problem, so I figured it was time again.

And no doubt, as I did last week on my first visit to the Superstars Writing Seminar, I may ruffle a few feathers.

What do I mean by being in a hurry?

For some reason, almost all new professional writers have no sense of time in publishing. And no sense of the amount of time it takes to learn the craft and the business. I hear over and over again how fresh writers need to find a way to cut through the “noise” out there, how they need to “promote” their first or second novel, and how they don’t understand why they don’t sell more.

And I hear all the time how writers like me or Kris or Kevin Anderson or Dave Farland or Eric Flint have this huge advantage over beginning writers. But don’t think our advantage is because our names are known. Nope. In fact, often being known hurts us more than it helps. My bestselling novels are not under “Dean Wesley Smith” because of all the media work I did under that name. My bestselling novels are hidden pen names in both the thriller and mystery genres. Names that started fresh. Names that nobody knew.

But we do have an advantage over beginning writers.

Yes, I said it. We experienced old-timers have a huge advantage. We have taken the years and decades to learn how to write better stories and we are all still working to learn. (Do you think the only reason we teach is to help young writers? That’s a big part, sure, but mostly it’s so we can keep learning as well.)

That’s right. Shocking as it may seem, writing better novels and stories–stories that fans want to read–makes us better known. It is not promotion or some silly trick. We sell more because we write better stories.

It really is that simple.

Learning the craft of fiction writing comes from listening to others talk about their ways of doing things, or reading how-to-write books, or studying what other writers do, then putting that information out of your front brain.

In other words, learn it and then forget it. Just go back to writing, and trust that the knowledge will come out of your fingers when you need it.

Sometimes it doesn’t happen for a novel or two. And then suddenly your writing is better and you don’t even know why–but your readers will see it.

Sounds kind of silly, huh? But it’s the way it works. And that method of writing and learning how to write better stories TAKES TIME.

My first published novel was my third written novel, and by the time I had written it, I had already sold over fifty professional-level short stories. Now understand, I sold my first short story in 1975 and didn’t sell my first novel until 1987. A long twelve years, and a thousand-plus rejections.

But with indie publishing, writers today think they can put up their debut novel and sell thousands of copies in the first month. And when they don’t, they either stop writing, or get upset, or blame it on the fact that they have no name recognition. Many new writers never blame poor sales on the fact that maybe they just don’t know how to tell a good story yet.

These same new writers don’t realize that it takes years to learn how to tell a good story, a story that thousands of fans want to read.

Focus on learning how to tell a better story while at the same time learning the business. If you keep writing and learning, eventually you will be a big name writer with a lot of books out and will have to give this same advice to the next generation of writers.So my suggestion is to stop whining about how big names have all the advantages, and start focusing on learning how to write better stories. Stop spending time on promotion and spend the time on the next short story or the next novel. Your best promotion is always your next book.

Remember, every time you say to a professional writer, “The only reason you can do that is because you are . . .” then you have insulted them and all the years and years of typing and work it took them to get to where they are.

We are only better known than you because we spent years learning how to tell a better story. Nothing more. And certainly nothing less.

Focus on learning how to tell a better story. Make each story the best one you can do. Practice something new in every story. Get it on the market, then move to the next story.

And keep having fun.