Here We Go Again!

by Janis Patterson

It never ends. Writers are the sitting ducks of the universe, and it seems that someone is always trying to figure out a way to profit off our work without fairly compensating us for it.

Back when I was a talent agent for film, TV and commercials everyone wanted to be an actor. No, the word should be ‘star.’ Everyone wanted to be a star. I had people come to me and ask me how much we would charge them to be in a film or television commercial. The concept that acting was a profession and that actors were professional people who deserved to be compensated like any other professional was totally alien to them.

And there were companies who catered to those warped dreams – at a price, however, and usually with either ghastly results or no results at all. I remember a movie, a western I believe, where the ‘producers’ charged everyone a horrible fee (size of role commensurate to their investment) to be in it and so financed the film that way. None of the ‘actors’ were professional, and the resulting product was so bad that it had to go direct to video, and even then many video stores wouldn’t carry it. But the ‘stars’ could always say that they had been in a movie. They were lucky; at least they got something however horrible for their pricey investment.

The point I’m trying to make is that in certain ‘glamorous’ occupations – acting, writing, modeling, et al – there is always someone wanting to do it so badly they will pay (in some form) to do it. If a professional stands up for himself and says, I am worth XX amount of dollars to do that, the sleazy producer/publisher/whatever says, Next! There’s always someone waiting to step in who will do it for less.

There is a reason for this diatribe. Some of my writers’ eloops are burgeoning with yet a new wrinkle in the get-the-writer dialogue. We have always had vanity publishing, where you give the publisher the manuscript and a great deal of money and in return you get a book, which may or may not have been edited. In the old print-only days you usually got a certain amount of copies delivered to your garage and you were now free to market them on your own. Pretty much the same thing today, except that your book will be added to the major etailers, with or without a print setup on POD. The publicity and actual selling of the book is totally up to you – same as it is becoming now with most traditional publishers, who take nearly all the money and each year seem to give less and less value for it.

Work-for-hire has always been with us too – the publisher gives the writer a book bible, an outline and a sum of money, usually fairly small. The writer does the book and that’s it. The writer does not hold the copyright, keeps none of the subsidiary rights, gets no royalties and usually isn’t even credited as the author. I personally don’t care for this business model, but as long as everything is honestly stated up front, there’s nothing wrong with it. It’s up to the writer to decide if this is a step they want to take, and a lot of writers do.

However, a new and most unsettling wrinkle is appearing in our business wherein the writer writes a book and submits it to the publisher, who accepts it with a usually very small advance. Sound good? Maybe not. You have to factor in that under this new model the writer sells the book, the characters, the world, all rights and the copyright – and agrees that there will be no royalties and their name will probably not appear on the book/movie/whatever the purchasers want to make of it. Other than the ‘advance’ fee the writer gets nothing else on a book he created from scratch.

This is not illegal – to my mind it’s just immoral. What these predatory (and I chose that word deliberately) publishers are doing is reducing a creator to the status of a ‘content provider’ – an interchangeable link in a chain, just as if we were manufacturing widgets. And from what I’ve heard the payment isn’t that good. If the book is made into a film, the original story creator gets no money and no credit – all that goes to the publisher/producer.

Now there are some who have done this happily and for whatever reasons are content with their decision. I say, joy go with them if they had all the information and made a fully informed decision and that’s what they want. What does disturb me is that this kind of sale is creeping into a lot of publishing contracts from a lot of publishing houses. Maybe some sad day it will be the norm. After all, if a writer is so ‘stupid and greedy’ (to quote one of these publishers) as to want real and proportionate compensation and (gasp) credit for their work, there are always lots of other wanna-bes out there who would be happy for the chance.

After all, who could think of a writer as a professional worthy of their hire? Especially when there are publishers and producers who want all that lovely money for themselves? (Sarcasm in full mode here) Why pay a commensurate wage when there’s always a bunch of writers waiting in line for the chance?

My personal opinion is that the time is long past due when writers and actors and other creative types are recognized for what they are – professional creators. I can see where the ‘writers as interchangeable widgets’ mentality will utterly destroy the quality of creation books and movies and most especially the readers deserve. We have already seen a foreshadowing of this in some of the ungrammatical, illogical and downright rubbishy books that have proliferated in the world of self-publishing. (I love self-publishing; I self-publish myself. There are many great and wonderful books that have been self-published – but there is also an incredible amount of utter garbage, too.)

These publishers with their draconian contracts don’t seem to realize that without us, the writers, they wouldn’t have an industry. Or maybe they do – that’s why they’re trying to exploit us. And perhaps saddest of all is that there will always be writers who, in their determination to be published, will go along.

To me it only seems fair that as long as a project is earning money the original creator should get a fair share of it, because without the original creator there wouldn’t be anything for others to build on.

The First Sentence

Shughart,Karen-0016_ADJ_5x7 (1)I’ve spent my professional career writing, sometimes as a newspaper columnist and feature writer; other times where I contributed to or edited professional journals, brochures, quality of life books and newsletters. I also wrote two books of non-fiction.

I knew that every good piece of writing starts with a good lead, that the first sentence or two can entice readers to read more. But when I started to write my first work of fiction, Murder in the Museum: An Edmund DeCleryk Mystery, I forgot what I knew. The first several drafts weren’t bad, but something was amiss. Then one day it hit me. I had written a prologue, but the first sentences were boring. Truth be told, the prologue was boring. I reminded myself I knew what to do, took time to rethink it, and started from scratch, happy at last with the results.

I belong to a book group. At the beginning of the year we choose the books we’d like to read, and then each person commits to leading the discussion at least once during the year.  The book we discussed for June was the National Book award-winner Sing Unburied Sing by Jesmyn Ward, a book of such depth and lyricism that when we discussed it, many of us did so with tears in our eyes. Ann, our discussion leader, asked how the first sentence related to one of the book’s themes, death, and to the title. The book is narrated by a young boy who says, straight out, “I like to think I know what death is. I like to think that it’s something I could look at straight.” Succinct and enticing, wouldn’t you agree?

When I got home from that meeting I started thinking about first sentences and the impact they can have on the reader. Consider, for example, Charles Dickens’ first lines in A Tale of Two Cities: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness….” How prophetic, those lines.

Then there is A Tree Grows in Brooklyn by Betty Smith. This classic coming of age novel is set during the first two decades of the twentieth century and begins, “Serene was a word you could put to Brooklyn, New York. Especially in the summer of 1912. Somber, as a word, was better.”  If you’ve read the book, you’ll understand the context.

Perhaps you’ve read books by James Lee Burke, of contemporary southern crime fiction fame. His novel, Jolie Blon’s Bounce, starts out, “Growing up during the 1940s in New Iberia, down on the Gulf Coast, I never doubted how the world worked.” Powerful words, these, if you know the story.

So, as I knew all along, first sentences matter. They set the scene for what’s to come. And I’ll remember that when I start book two in the Edmund DeCleryk series.

Some Thoughts on Writing and Publishing

by Janis Patterson

It is the best of times to be a self-published author.

We can put our own books out without having to deal with the ‘writing by committee’ mentality that infects the world of traditional publishing. We can reach directly to the reader without having to bow to the whims, prejudices and rules of the traditional publishing gatekeepers. And, as an added benefit, the reader can choose from a vast array of books instead of being held down to the narrow pigeonholes of traditional publishing. Plus, as a self-published author, you get the largest slice of the monetary pie, as opposed to  the minuscule percentages offered by traditional publishing.

It is the worst of times to be a self-published author.

We not only have to handle the necessary quality controls of creating good books – great writing, good editing, great covers, proofing and printing standards – but we also have to deal with publicity, marketing techniques and legal issues. Some writers make enough money to hire all these things done – most don’t, and every minute spent on publishing/publicizing/whatever is a minute not spent on writing.

Moving beyond the personal, there is also the wider world of self-publishing that seems to become more surreal every day. There are always pirates who take books and them put them up for free on the internet without the author’s consent. Their rallying cries are “If it’s on the internet it should be free!” (Wrong!) and “Writers should just be happy that their words are being read!” (Even wronger! Try that twisted logic with your doctor or plumber or just about any professional…) Other pirates take your book and sell it, but without the author’s consent – and without ever sending the author any of the proceeds.

Then there are what I call the literary pirates – the singularly untalented ones who want to be thought of as an author so badly that they take someone else’s book, change the title, the main characters’ names, probably the name of the town and maybe even the occupations, and then publish it as an original book under their own name. Sadly, this criminality is hard to detect, as most of the retailers simply accept books and don’t run any sort of comparison software to make sure it is an original work. Most examples of it are never caught, and the few that have been were brought to the author’s attention by dedicated fans who saw the similarity to one of the author’s books.

Even worse, there is a growing corruption in the self-publishing world. Book stuffing is a big problem at the moment in Amazon’s KU. Some Book Stuffers have used book stuffing to game the system for fantastic amounts of money and driving legitimate authors off bestseller lists, all the while delivering little more than a badly written short story and lots of garbage. Lots of them also use clickfarms to up their pages read count into the realm of KU bonuses, which is what gets them most of the page reads – and the money. What’s sad is that Amazon doesn’t seem to care. They’re getting the money customers pay for these bloated nothings. Although – I have heard that they are meeting with some concerned authors and writers’ organizations – and I hope that is true – so maybe something positive and good for real writers is being done.

Another thing is that even if a book meets the criteria for a real book (actually written by the person claiming it, page count not inflated by rubbish and repeated short stories) it’s really just a bad book. The internet is simply swamped with ‘books’ that are terribly written, worse plotted and which have never seen either an editor or even spellcheck. Some people are so stupid – or who want to be ‘an author’ so badly – that that they think merely stringing X number of words together with a rough semblance of a storyline equates a book. They buy a cheap cover (I don’t care how much it costs, most of them are definitely cheap), stick up the resultant product and wait impatiently for fame and fortune to come flooding in.

Add to that that the market is waaaay down now. Sales are bad. My sales are so low at the moment that if they get any worse I’ll have to start paying people to not read my books!

So perhaps the pertinent question should be, under these conditions, why would anyone become a writer?

The answer is simple – because we can’t do anything else. If we never sell another book, we will still write. If the publishing world turns upside down, we will still write. No matter what happens, we will still write. We’re writers.

Judging a book …

Hey, y’all.

What’s new with you? Hope everything is good down your way. Read any good books lately? (Here’s a cyber cookie if you said you’d read mine and you thought they were “good”. I appreciate it, yo!)

If you didn’t say mine (not cool, bro) then how did you choose the book? Was it recommended to you by a friend? (I used to know a guy #douche who would get really offended when I didn’t rush out and buy whatever book he recommended. Like, sulk-for-a-whole-day offended. He used to think he had the best taste in books so he could never accept why I didn’t read what he suggested. I did mention he was a douche, right?)

Anyway, to get back on topic, how did you find your latest book? Recommendation from a non-douchey friend? Email from a promotions company? Did the cover catch your eye while you were browsing the digital Amazon/iBooks/Nook/Kobo shelves?

 

Beyond Dead
Old Bridget Sway cover

I ask because I recently changed all of my book covers. #nightmare Well, it’s wasn’t really a #nightmare as such but it was a LOT of work. Originally I hired a professional cover designer to do them, and I was super pleased with the result. I loved the cover for the first Bridget Sway book. It had been my idea (I wanted her hair to take up the cover and for you to not be able to see her face) and the designer ran with it. I remember I was ridiculously pleased with it at the time. It was my first ever cover! And then I got the second one done. And the third. And the fourth. And the shine completely wore off. 

 

The colour scheme was a bit limiting. (Straight up, I’m not really a black/red/grey/white type of girl. I do like those colours … but I’m more of a rainbow person.) And I was a bit fed up with how her face just moved around the cover. And I can’t tell you how many people asked me if they were horror books.

 

Beyond Dead - FINAL COVER-2
New Bridget Sway cover

So, I redid them. Yes, I did them myself. I didn’t know how much you know about that, but that is a huge no-no for independently published authors. It’s like an unspoken rule. But I did. And I LOVE them. I LOVE them so much. To me, the really express the tone of the stories the way the other covers didn’t. But you might not like the newer version, and that’s okay. Different strokes for different folks, yo. 

 

The biggest thing I took away from this is that you have to trust your gut when making these decisions. You have to trust your own instincts. Writing is a business, but it’s a personal one. It doesn’t matter whether it’s your covers or a comment that your editor makes. You have to trust that you have a story to tell and only you can tell it your way. 

 

Now, I believe you were about to tell me how awesome my covers were! Yeah, thought so!

 

Until next time …

Jordaina

An ‘ideal’ article

By Sally Carpenter

 Some years ago I had the pleasure of meeting Jeffrey Scott, the most prolific writer of TV animation, with over 600 produced scripts to his credit, and all-around nice person.

 In his book, “How to Write for Animation,” which has good advice for any writer, he talks about ideas.

 “There are an infinitive of ideas,” he writes. “All of us are inherently creative.”

 Scott makes a good point that we tend to over think creativity, which is often presented as some mystical, awesome force that only affects a few highly gifted individuals.

Or else we try to analyze creativity as science by probing the workings of the brain or studying the effects of environment or family life to determine the elements that lead to artistry, as if recreating Michelangelo’s studio will produce another Sistine Chapel painting.

Julia Cameron, author of “The Artist’s Way” books, agrees that everyone is born with creativity, only we get “blocked” by criticism, discouragement and rejection. Cameron’s books present exercises that help the reader to “unblock” and let the creativity flow.

While I’m not as prolific of a writer as Scott, from my experience I agree with his observation that the best way to break though a “block” is to write: “Good, bad or indifferent,” he says.

Some writers try to “summon the muse” through complicated rituals before they start working: brew a certain type of coffee, do yoga, take a walk, do writing prompts, meditate, wait until inspiration hits (which could be a very long holding pattern). But sometimes these rituals instead lead to writer’s procrastination, simply postponing time spent writing.

In my day job at a community newspaper, some of my tasks are writing headlines and photo captions. I can’t sit and wait for inspiration to hit. The paper is on deadline and the boss won’t pay for overtime. So I learned how to work quick and dirty, coming up with ideas on the fly.

 I’m not sure where I heard this, but the best way to reach the muse is to “show up at the page” (or the keyboard). In other words, start writing. An author can’t edit or polish a story until words are on the page.

When I was a kid, I had tons of story ideas. Unfortunately, at that age I lacked the discipline to write it all down; I just daydreamed. Even though the stories were childish, a writer must start somewhere. A runner can’t finish a marathon unless she first masters those first wobbly steps as an infant.

 Cameron suggests that artists begin each day with “morning pages,” three pages of free-form longhand (not typing or texting), just writing whatever comes to mind. The concept is to keep the pen moving even if the words are gibberish, to clear out the mental “junk” that blocks an artist, and to activate the richness of the subconscious. Soon gems will appear among the scribbling.

 I recently started writing a short story that I planned to include in the reprint edition of my first book. I wrote some pages, and then had to leave it for other projects. In the meantime, another story idea occurred and I decided to move ahead the second idea.

Did I waste my time with the first story? Of course not. I may use the first idea in a later book. Even if I never finish the story, it’s possible I might not have been open to receiving the second idea had my mind not been “primed” with the first.

For me, a good way to prime the pump is research, no doubt a holdover from grad school. I love to read and learn new things. For my new short story, I got some great ideas by reading a book on the subject.

Writers get ideas from the news, movies, TV, trips, family and friends, and their own experiences. My book “The Sinister Sitcom Caper” was inspired by my work at Paramount Studios.

Scott suggests that one way to general ideas is to pick an object in the room—such as a table, phone, bookcase—and generate stories from it. I see my record albums. I can use a record disc as a Frisbee, float it down a river, use it as a serving tray, hear secret messages if I play it backward, roll it like a hoop, wear it on my head, use it as a shield, hide behind it and peer though the hole—the possibilities are endless.

 If you write it, the ideas will come.