To Slip the Surly Bonds is now available on audiobook here!
To Slip the Surly Bonds is now available on audiobook here!
Out a day early! Go pick yourself up a copy!
So it’s been a bit since I’ve updated the blog. I figured I’d hit some of the high points of the last couple of weeks:
Attended the Ozark Book Con down in Fayetteville this past weekend as a vendor. First year event with all that entails, but had good panels and talks with several good authors. I recommend attending the event for the professional aspects if you’re in the area. If you’re coming from out of the town, it’s definitely a “Hey rando friend I haven’t talked to in years, mind if I sleep on your couch?” until it grows some. Which, given the professionalism and drive on display, I think it definitely will.
On the way back, finally got to meet Acts of War‘s editor, Mary, in person. In addition to being long overdue, the fact it’s been 5+ years since that book went through her able hands made me marvel at what modern technology makes possible. Although her current work with medical journals precludes her from working on anything else, I’m glad that a mutual acquaintance said “Hey, I know someone who might be able to help you…” many moons ago.
Speaking of the Usurper’s War series, Against the Tide Imperial continues to move along. Unfortunately, after getting read the riot act by an author mentor, I’ve had to accept that the Phases of Mars anthologies are 100% my “books for the year.” Combined with the new day job’s obligations (oh, yeah, I got promoted and changed positions), the process of putting out Those In Peril, To Slip the Surly Bonds, and Trouble in the Wind has pretty much sucked up a lot of available time. So, rather than put out a substandard product or skimp on marketing, Against the Tide Imperial is slipping to the right again. The manuscript will get done this year (which means preorders will be up), but the actual _book_ is probably going to be out in 1st Quarter 2020. *angry author noises*
This dovetails to a professional lesson that I am learning again, but in a different dialect: Projects are rarely as easy as they may initially seem. At the beginning of the year, with Those In Peril shooting up the charts, “Suuuure, we can do two more of these this year…” seemed like a good plan. What I now realize is one can do three books in a year, it just means one probably shouldn’t also do cons and other creative projects if there’s also a fourth book one would like done. So, for 2020, the lesson will be, “No, I think that timeline doesn’t work for me, thank you…” as I get solo projects back in line. (Feel free to remind me of this in the comments when my hair is on fire again this time next year.)
In addition, having now done editing three times, I cannot emphasize enough that you should always pay your damn editor. It’s a whole different animal than writing, and I will issue a blanket, heartfelt mea culpa for some of my past sins to my editors. In addition, as an author, understand that your editor’s job is to polish up your work. “Polish” implies that you have done a grammatical read through, researched the technical aspects of the work, and are basically giving the editor a complete story that just needs a set of professional eyes to look upon it. This goes doubly so for an anthology submission. Indeed, I’m just going to let John G. Hartness take it away…(language alert…NO REALLY!):
Anyway, it’s Nano (and yes, I’m counting these words), and I’m going back to US CVs about to go to guns with an Italian Fleet. (Yes, that’s a teaser.)
Where Sarah Hoyt discusses the difficulty of putting a cover on alternate history works. Go on and take a gander…
This one is difficult, because you have to convey three things: alternate time line, where it deviated from ours, and what in general the reader can expect from the book. You know: funny, serious or adventure.
The easiest ones are the ones that are sf or Fantasy and obviously so. For instance, my dragon-shifter-red-baron will eventually when finished and ready to go have a dragon with the paint to match Richthofen’s plane, flying over the trenches. Title and subtitle will help, and I’ll come up with something.
Alternate history that is “just” alternate history is more difficult, and you sometimes have to “represent things that aren’t in the book to represent something that is in the book.”
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For the next Phases of Mars anthology:
Yep, that’ll do! Pretty excited about the line up we have–this should go very well.
So there was a discussion on a fellow author’s Facebook about anthologies. While I wasn’t going to add to my long “to do” stack, Cedar Sanderson felt strongly enough about the issue to put together a great post about the topic, while Dorothy Grant also gave her views on the topic.
I’ll add a couple things here. First, getting paid in contributor’s copies is also worthwhile if you sell books in person. I’ve been able to seal many a deal at cons with a “Hey, I can throw in this bludgeoning device, I mean, anthology for half price…”. While this may make your neighbors slightly angsty (“How in the hell are you selling a book that thick for only $10?!!”), it’ll be worth it.
This also provides another illustration of how anthologies are a marketing tool. To put it even plainer, anthologies will not, as a rule, make you rich by themselves–too many mouths to feed. However, as a marketing tool, they do allow you to use someone else’s network to propagate your name to the masses. So once you have a back catalog, definitely take advantage of the chance to bang out a 10,000-word story in one of your chosen genres.
From the editor’s perspective, I can also say that the biggest trick to actually getting accepted is to read the rules. In a couple cases I merely had to gently, but firmly, remind people that there was a word count band for a reason, and that neither Chris Kennedy or I felt comfortable paying someone a full share for less work than we’d asked for. Thankfully they were able to add elements to the story that made them even more awesome (because, believe me, they were amazing even in shortened form), and we were able to proceed with no problems. However, not everyone is going to have the time or wherewithal to make corrections like this.
Closely behind following the rules is, as with all things, be a professional. Positive example of this–I had an author who had, shall we say, a horrendous stretch of bad luck. She not only persevered, but her story was kick ass and a great addition to the anthology. A negative example was the author who, after getting a multi-week delay to get their 33% over word count story back within parameters, had a fit of pique because I did not call them. Yeah, don’t be that person, as the expectation that an editor is personally going to call 10+ authors is insane. At best, expect that a good editor will make regular email contact, keep you appraised of publication delays and, finally, tell you when the anthology is done. From the author’s perspective, professional behavior means letting the editor know if there’s going to be a delay, definitely making any extended deadlines, and generally conducting oneself in a manner that makes an editor decide “Whoa, I’m adding that person to my next gig if at all possible.” There’s a reason you got invited in the first place, so don’t mess it up (and possibly also harm a recommending friend’s reputation) by being a jerk.
Any questions about anthologies? Hit me up in the comments and I’ll do my best to answer them. Also, Those In Peril is still burning up the charts on Amazon, so go grab a copy if you want to see theory in action!