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The TYOTE POD cover

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Having had the smarts to avail myself of the experience, insight, technical skill and patience of designer Joleene Naylor, I now have a cover for the print-on-demand (POD) version of my short story collection, The Year of the Elm. I’m not only satisfied with the result, I’m thankful I didn’t have to produce it on my own. Whatever time it might have taken to do it myself, and however much I might have learned along the way, I wouldn’t have been able to replicate the give-and-take that helped us arrive at the solution you see here.

TYOTE Wraparound Cover

All of the issues I wanted to deal with or resolve have been dealt with or resolved. The look of the POD cover is an evolution of the original e-book cover, but it also speaks more directly (albeit suggestively) to the contents of the stories. I can’t help but feel that it’s an improvement.

Total cost for all of the advice, artistic input, technical wizardry and plain old common sense that Joleene provided: $50.  [ Read more ]

Glimmers

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One of the things I’m still learning as a writer is how important it is to start writing so there’s something to react to and refine and revise. I’m not afflicted with perfectionism — at least not the paralyzing kind — and for that I’ll be eternally thankful. At times I do tend to think things through too much, past the point at which I should start implementing or prototyping or laying down a first draft.

In terms of blog fiction and writing a character blog, I had my own conception of what that would be like as a task, and how I could best implement that goal in terms of technique. And so far I can’t say that I’ve been too far off in a material way. What has transpired that I didn’t predict is that from time to time I’ll write something — maybe just a sentence — that suddenly springs to life for me. I can’t predict these moments, I can’t even harness them yet, but I sense them, and that’s making me want to continue the experiment.

If I can say anything useful to other authors it’s that a fiction blog is first and foremost still a fictional work, and there’s no reason not to push that aspect of the work as far as possible. I’m working with a character and a fictional world that relates closely to the real world, and in that there are some constraints. But I can also see now that I’m not pushing hard enough as an author. And that’s something I wouldn’t (and couldn’t) have predicted.

To be clear, I don’t mean that I should be throwing more drama or plot points at my characters or at the reader. I’m not trying to sucker an audience with cliffhanger antics, and I don’t want Neil’s blog to turn into a soap opera. I’m talking about authority and force: the imposition of authorial power on the text itself. I think I should be doing more of that, at least to see if it works or not.

The ISBN Ownership Question

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In preparing to publish my first print-on-demand book I’ve had to confront a number of issues. Along with formatting and pricing and cover design I’ve gone back and forth about the ISBN ownership question. In the end I’ve come to a conclusion about ISBN’s that surprises me a bit, but I think I’m right. And if I’m not right, I don’t think it will cost me anything.

If you don’t know much about ISBN’s, don’t feel bad. I didn’t know anything about them until a year ago, when I set out to learn what I could. It’s a measure of how naive I was that I thought ISBN’s were some sort of quasi-governmental tracking number. In fact, ISBN’s are a product sold by the monopolistic R.R. Bowker company (which doesn’t go out of its way to make clear that it is not, in fact, a quasi-governmental agency).

I don’t dispute the publishing industry’s need for something like an ISBN. Given that a single book can be published in different versions and editions, and in different languages and countries, there obviously needs to be some way to differentiate between all those variations. If you want the Romanian large-print edition of Moby Dick, you need some means of ordering that ensures you get the version you’re expecting. The ISBN system makes that possible.

I’m also not against the idea that a for-profit company services the ISBN market. I don’t like monopolies, and R.R. Bowker is clearly a monopoly. But every publisher, bookseller and book manufacturer relies on the ISBN numbering system, and until that changes — or somebody shoves the Sherman Anti-Trust Act down Bowker’s throat — there’s no point in fighting the beast. (Some of you are wondering how multiple companies could hand out ISBN’s without the whole system collapsing. It’s a fair question, answered in full by the various companies registering domain names all over the world.)  [ Read more ]

Evaluating Self-Publishing Expenses

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During Cover Design Week I said this about self-publishing costs:

Unfortunately, what we have to spend says nothing about how we should spend it, and what things cost now says little or nothing about their total cost over time. The only thing we can say for sure is that if we don’t have [enough money] we’re out of luck. Other than that, even knowing the cost of the service does little to help validate the expense.

As regular readers know, I think the most important thing an independent artist can do is control costs. At some point, however, authors interested in writing professionally will have to confront publishing expenses (site hosting, POD fees, etc.), as well as consider a number of author services (proofreading, cover design, etc.).

To my mind the only useful way an independent author can assess such costs is to compare each outlay to potential revenue. That’s obviously Business 101, but it’s a mindset many independent authors fail to adopt. Instead, self-published writers often see expenses as worthwhile or necessary because they fund the physical production of a book: money gets spent and a book — your book! — springs to life. The problem with this approach is that it omits any relationship to sales or revenue, which means each expense is not a business decision so much as a purchasing decision, like buying fruit at the grocery store or a new pair of jeans.

If you’re trying to be a professional writer, implicit in that goal is doing what you can to avoid going broke. You don’t have to aspire to wild profits, and there are good reasons for not doing so, but at the very least your minimal goal should be recovering direct costs, if not also compensating yourself for your time. Even the ultimate goal of writing full time and living on one’s earnings demands similar analysis, because the realization of that lofty dream is directly related to your cost of living. The cheaper you’re willing to live, the longer you’ll be able to stay in business for any amount of generated revenue.

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Maintaining Voice on a Character Blog

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What is an author’s voice?* I think a lot of people see voice as synonymous with style, and I can understand why. Many authors one might point to as having a strong voice are also strong stylists. But I’m not a big fan of authors who are stylists, in large part because their manner of writing tends to overshadow whatever story they’re telling. That’s a generalization to be sure, but it’s founded on my belief that nouns and verbs matter more than adjectives and adverbs, that less is usually more, that all (or almost all) darlings should be killed, and that unless the author’s presence is critical to the story the author ought to get out of the way. But that’s just me.

Coming at the question from a direction both more illuminating and a great deal less cranky, think for a moment about any writer you love, and ask yourself what it is that is irreducibly distinct about the way that writer writes. What is it that makes Dickens different from Tolstoy or Jackie Collins, as well as readily identifiable in his own right? Whatever that is — however you might describe it with examples or rules — that’s what I think of as voice.

I don’t think any author’s voice is so distinct that it can be identified in every word or turn of phrase. When Tom Clancy or William Faulkner or Flannery O’Conner has a character say, “Hello!”, I don’t think you can conclude a whole lot about the author’s voice from that one-word sentence. Pull back far enough, however — taking into account the surrounding sentences and paragraphs, as well as the narrative context — and at some point you’ll be able to distinguish between the three authors. And I think that’s probably the most important point thing I can say about the subject of voice: it’s more easily identified by considering the whole of an author’s work rather than looking for specific markers.

One thing I can say with absolute certainty is that I myself do not think about my own voice at all, ever. To do so would be quantum authorship, in which identification of my voice would necessarily change it. I write the way I write, and I encourage other authors to adopt this same hands-off attitude. As far as I’m concerned, nothing good can come of attempts to manage your own authorial voice.

Which is why I’m now quite consternated by the fix I’m in.

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To Crimp or to Cramp?

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A couple of days ago I was proofreading a chapter and came across this phrase:

…that were cramping their style.

Even though I’d written the words I was suddenly unsure whether the correct word was cramping or crimping. To cramp means to have a painful muscular contraction, among other things. To crimp means to bend or deform, among other things.

After trying to reason it through I could see utility in both terms. So I did what any good 21st century writer does: I asked the internet to solve the problem for me. Which led me to this useful (and often hilarious, if not absurd) list of common usage errors. The list clearly states:

What was said: crimp my style
What was meant: cramp my style

I was so happy to have this instant answer available to me, and so glad to have a long list of similar gotchas compiled for ease of search, that I Tweeted about the list.

Except…something about the answer bothered me. Maybe it was the degree of certainty implied. Maybe it was the fact that there was no sourcing of the opinion. I don’t know.  [ Read more ]

Google Mail #825 Error | 2 Workarounds

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A few days ago I started getting an error at the top of my Google Mail page. The error displays after I look at any message in my inbox, then attempt to return to the inbox. The error reads as follows:

Oops… the system encountered a problem (#825)

The error also displays a countdown notice that it will retry the operation in five seconds, and a button to retry the requested operation immediately. Neither waiting for the clock to count down and retry or retrying on command resolves the problem.

Workaround #1
I do not allow third-party cookies on my machine. Until recently disabling third-party cookies proved compatible with Google Mail. Now that seems not to be the case.

Changing my cookie settings to allow third-party cookies resolves the problem. Because I do not want to allow third-party cookies, and because I don’t think you should either, I do not recommend this workaround.

Workaround #2
When the error displays, clicking the refresh button will load the requested window, and seems to resolve the problem for the current session. Leaving GMail and returning reproduces the problem, but it can again be resolved with a single refresh of the window.

I don’t what change Google made to prompt this behavior. I found a thread on Google’s support site earlier today but both then and at the time of this posting no explanation was given for the error, or for any third-party cookies that Google may be allowing on Google Mail.

Update: I am no longer getting the error message as of 11/18. Hopefully the issue has been resolved, if not explained.

— Mark Barrett

Site Seeing: Zoe Winters

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I’m extraordinarily late to the party here. As Zoe Winters seems to be pulling back from the web, I’m suddenly taking appropriate interests in her posts:

In coming back and not wanting the break to end, I’m making some adjustments to how I do things. It’s pointless to take a break like this, then come back and be crazy again. Being crazy sucks. Being stressed and depressed and wanting to quit because you’ve sucked all the fun out of what you’re doing sucks also.

As I said in retweeting this post, almost all relationships require boundaries, and the internet is a relationship. To whatever extent a computer terminal and access to virtual distractions might be a threat to anyone’s productivity, for a writer the seductions can be almost overwhelming.

Zoe’s voice is the voice of a working writer trying to grapple with all of the changes happening in the publishing space. Hers is also a voice devoid of the auto-branded corporate tone that some writers seem to gravitate to with frightening ease.

I don’t know Zoe, but when I read her posts I feel like I do. Enough said.

Update: Zoe seems to have wiped her old WordPress blog/site, which this post originally referred to.

— Mark Barrett

Current Events

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In several of his more recent posts, my eponymous character on NeilRorke.com has been talking about events in the news. The first post or two felt a little odd — almost like an out-of-body experience — but in retrospect the resistance I felt fell away quickly.

One big advantage I have with Neil is that he’s a contemporary character. He lives in the now, alongside events as they happen. I haven’t spent a lot of time thinking about how a period character might integrate with the web, but obviously there are some issues. Not only can’t an 18th-century vampire hunter link to contemporary sites without some sort of narrative explanation (time travel?), but linking at all from a walled-off period site might be enough to shatter suspension of disbelief.

I don’t know where the line is with Neil or any contemporary character. Maybe there’s some subject matter that would blow readers out of the fictional world Neil lives in. Maybe he can’t comment on stories that are too real or visceral or traumatic. I can imagine him having something to say about 9/11 on that day, but the very idea of having a fictional character speak to something like that seems either trivializing or exploitative. Then again, if Neil was a well-known character — more like an old friend — that might not be the case.

So far, all I can tell you is that this is interesting stuff. At least to me. 🙂

My Aeron Chair

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I live in my office chair. Live in it. It’s where I do my work. I’m not saying that’s a good thing, or even good for me. But it’s a fact.

Having a comfortable seat to work from is a big deal. In the early days I used an orphaned kitchen chair. It was great for tipping and teetering, but hell on my back. When I moved to L.A. and started screenwriting I bought myself a cranberry ergonomic office chair that looked like it meant business. In less than a year it broke me down until I had to sleep on the floor in order to be able to function the next day.

By the late 1990’s I’d gotten to the point that I hated the idea of working. Not because I didn’t have things to say or ideas percolating, but because work was physically painful. Like a jackhammer operator with white knuckle, the repetitive stress of sitting had worn my body down to the point that I couldn’t sit.

So I did some research. I looked at chairs as devices, looked at ergonomics as science and art (and marketing fraud), and looked at my personal needs, which included being able to slump, slouch, and otherwise fidget while lingering over a sentence or word. After a while, no matter where I started my search on a given day, I kept coming back to a chair that had been brought to market in 1995. The Aeron.  [ Read more ]