Tag: Publishing

  • Rejection, yippee!

    Anyone else out there breathing a sigh of relief when a standard submission response hits the inbox?

    It’s so good to get a rejection.

    • No more need to steady yourself for the kind of comprehensively critical appraisal beta-readers tend to provide. You look better without that fake frozen grin, and you know it.
    • Bye bye style sales pitch, welcome back limitation awareness. You’d love your stuff to read as smoothly as the books you adore and admire, but oh well…
    • No opportunity to declare your plot the best idea since the invention of croissants or jollof rice (or sliced bread, if you insist).  “Holes? That’s nothing but plenty of opportunities to use your imagination!” Never a fine moment…
    • No need to get all defensive about your cast. This is 2018. Every civilised person is fine with non-white, non-straight characters frolicking around in non-OECD  locations. Of course they are. Yes. I insist. This can’t be the reason for the rejection. Or can it? No, impossible. Not in 2018. That would be a really bad sign. No!

    Rejections are great. They spare you a lot of tension.

    But there can be too much of a good thing, even of stress avoidance.

    Look at this submission query for a 70 k words novel to a publisher requiring a minimum of 80k for this format, and the corresponding rejection:

    Submission of „Guilty until proven“ (Science Fiction)

    Dear all,

    thanks for a submission policy providing a newbie with a chance to shine, or make a fool of myself.

    Guilty until proven“ is an imminent future tale taking place in rural France, Lagos (Nigeria), Djibouti, Agadir (Morocco) and a virtual reality used for penitentiary purposes.

    Depending on how you look at the cast, it’s either boringly familiar, as in plenty of well educated English speakers, or can be considered pretty diverse, as far as biographies, lifestyles, gender, race and sexual orientation are concerned.

    There’s quite a lot happening, including some romance and occasional mentions of violent events, but this material would be hard to turn into an action or adult movie, too many thoughts and ambivalent emotions.

    As you will have noticed by now, the style is on the peculiar side, thanks to my very fluent third language English polished over twenty years of scientific writing. No idea if this bug can be declared a feature, as in ‚refreshingly unorthodox‘, ‚outside the native speaker box‘ or even ‚as addictive as junk food‘, as one of my beta readers once kindly put it.

    Last not least: Apologies for falling short of your 80,000 words threshold. „Guilty until proven“ was already nearing completion when I came across your call for submissions and I’m lousy at padding.

    Thanks a lot for any feedback you might be willing to provide,

    Kind regards,

    Troim

    Pretty badly written. Itch to splice some of those long sentences. Typical evening me deciding to give conventional submission a quick try, following a prompt in the fediverse, before going my usual Smashwords. I recall the rationale sounding roughly like this:

    “They don’t require the agent I don’t have. Nothing to lose but a little time. Not even that, if I submit for copyright protection in parallel (which of course I did, tend to hedge my bets).”

    Nothing to lose? Well, now look at this rejection:

    Dear Troim Kryzl,

    Thank you for considering <name of the publisher> for your submission. Unfortunately, we do not feel your work would be right for <name of the publisher> at this time.

    However, remember we have rejected works that went on to be published by other companies, and other publishers originally rejected some of our best-known writers.

    We wish you the best of luck in finding an enthusiastic publisher for your work and in your ongoing writing career, and please feel free to try us again.

    Best wishes & regards,

    <First Name> <Last Name>

    Associate Editor
    <Name of the publisher>

    Very professionally courteous, reads real nice.

    Most probably their standard answer, however hopeless or promising the material. My output is bound to be on the drop-it side. I’m ultra niche, in many ways. Let’s just forget the episode.

    Or is this supposed to be an encouragement? It’s definitely longer than the others. But in the age of copy-and-paste, that doesn’t mean anything. Well aware of how I proceed in my day job. Save as new version, copy a bit here, rephrase a bit there. This associate editor is a fellow professional, bound to proceed in exactly the same way. Time to move on.

    Rejections are great, mostly.

    Anyone out there who recognises the wording and can please confirm it’s a certain publishers standard rejection? Please?

  • Rewrite to make Technovelgy?

    Familiar with Technovelgy? I only just discovered this wonderful place, where you meet innumerable SciFi books and authors through the devices they introduced. Would love to make that list.

    Why not? One of the triggers that made me write Plugger stuff was my dissatisfaction with the lack of plausible space travel scenarios disgracing the bulk of interstellarly themed  SciFi.

    Spoiler alert: I you haven’t read my dime trilogy yet, you’re about to discover what takes the heroes of Plugger Site One the whole first novel to find out.

    Space is huge. You can’t move fragile and short-lived entities from Earth (Sol) to planet 12345 (Proxima Centauri) like taking a plane from Paris (France) to Lagos (Nigeria).

    Why doesn’t anyone come up with something plausible?

    My fiction writing “career” started with this question.

    It took me a weekend to dream up a slightly more realistic mode of interstellar transportation, the dark matter devices into which the travellers download to be rebioprinted at their destination. The easy part. Actually writing a novel featuring my innovation turned out the be the challenge.

    Fiction writing is totally unlike non-fiction. In non-fiction, if you’ve got something to report, the writing will do itself. In fiction, the plots, devices and cast members are ten a cent. How you bring them alive is the key. Obviously. In retrospect.

    Plugger stuff would have deserved a better writer. It’s probably never going to make any list in its current, published form. Too long, too much dialogue, on top of my notoriously non-native English.

    One option would be to rewrite it.

    Not again! Besides, my writing hopefully has improved, over the last couple of years, but not that much.

    Who needs to figure on lists? Aren’t we lefties proud not to subject everything to metrics and competition?

    No way I spend one more year writing Plugger stuff.

  • Low Score

    Three hundred and eighty five. 385. Thirty five soccer teams. A train full of adults. How much time would it have taken them? Assuming an average of five hours, it adds up to 1790 hours. Eighty person days. Wasted. Plus her own contribution. Another 10 hours.

    Synat shakes her head in disgust. She’s so sick of this quest. The needle in the haystack. The pearl among the pebbles. Something, anything to work on. She should have taken a nap, instead of sifting through this rubbish. Result would have been exactly the same.

    In her brighter moments, Synat remembers how this used to be a fun job. Relatively speaking. Pleasure and wage slaving, that’s like spicy bland. But it wasn’t all bad.

    „You’re a skilled software developer“ the head hunter said. „With a specialization in targeting. And you like books. The entertaining kind. The ones people buy without second thoughts. Just for the fun of reading them. In this job, you can make the most of all your strengths.“ Synat recalls both the suit, the smell of his after shave and the pitch as if their encounter had happened yesterday.

    The proposal sounded attractive. Vague, but interesting. She agreed to engage with a meeting room full of Mmakuko Inc managers. Thought some sense into their very high level project outline. Got herself hired. Dove right in and did her targeting thing.

    She was provided with three socioeconomic criteria. Audience must haves, from a marketing point of view. Sufficient numbers. Acceptable purchasing power. Dearth of products.

    Combining these requirements with publicly available data on reading habits, Synat compiled a little jewel of a prototype of an analytical tool. The good old days.

    They didn’t last long. At first, the downhill motion was gentle. Refining the beta version of her creation against both past beststellers and middle-of-the-road fare involved some tedium. But it was the rewarding kind of drudge. Dig, dig, dig. See the correlations. Get a better idea.

    Synat identified three promising target cohorts:

    • Centrist to mildly progressive men with no or little tertiary education, ages twenty to fifty. The nicer kind of football fans, in her private words.
    • Outwardly conformist, closetly anarcho-sarcastic women caring for kids. The momma bitches, to a career-first-no-time-for-family female person.
    • Terminally old seniors of the non-nostalgic persuasion, often house- or even bed-bound due to physical ailments. Proto-zombies, for any younger-than-thirty mind.

    To Synat’s surprise and the joyful benefit anticipation of her superiors, her supposedly distinct groups turned out to share a number of preferences:

    • They like their entertainment devoid of graphic violence and explicit adult content. Don’t want to blush in case their spouse, kids or nurse has a look.
    • They sometimes need their hands and eyes for other tasks, or have trouble using limbs or senses in the first place. Content has to be suitable for audio delivery.
    • They cherish protagonists who look, sound and feel familiar. A cast of mostly straight black plain talkers. No racism, homophobia or cultural sense of mission involved. Just familiarity.
    • They appreciate action over contemplation. Plots should proceed at a robust pace. „It needs to keep you awake“, in the words of a proto-zombie interviewed for in-depth understanding.
    • They insist on happy to bittersweet outcomes. Too grown-up for fairy tales and too burdened with challenges in real life, they prefer the middle path.

    Synat’s next steps were obvious. Transform this very general understanding of the aggregate target audience into patterns a machine can learn to identify. Build a first, crude benchmarking tool. Test and tweak. Test again and tweak again. Again and again and again.

    With hindsight, they weren’t that bad, the later stages of the old days. Felt stressful, at the time. But only for her lack of an idea of real ordeals. If only a whole working life could consist of the stresses of first version development.

    Synat recalls how she used to complain. Nearly drove out Lyreetsa, her companion, with her moaning. No sane being should have to monitor the processing of decades of straight couple, good bloke and best friend dialogues. Nor should she be forced to analyze the pleasure patterns involved in football fandom, housekeeping or shopping.

    Synat suffered a nervous breakdown. She was diagnosed with acute mainstream pursuit empathy fatigue. Not good. But the money Mmakukos finally found a budget for the two assistants she had been requesting for a year. She pulled herself back together.

    One horrible day, Mmakuko management declared her done. They called for files and triggered a deluge. Tens of thousands of potential books by nearly as many authors flooded the servers.

    The wall of content. Synat feared for her poor software. Too big a task for such a fragile creation, fresh from the drawing board. To her shock, it performed impeccably. While she was still trying to slow things down, warning about the limitations of an algorithmic approach and arguing for wet vetting, their first local bestseller turned global triumph.

    Translations into twenty-six languages followed. Hype all over. The news called Mmakuko the new Wr@z. Lagos was declared THE fiction hotspot. She was called a prodigy. And the dark witch. On social networks, she got stalked by precious few fans and innumerable trolls.

    Writers make vicious foes. Good at finding the words that hurt. As if it was her fault, that a lot of newcomers scored high. Which they typically didn’t even do. Not in their initial submissions. They were just more willing than proven authors to read the feedback, adjust and try again.

    That’s how it works, with Synat’s Bestsellerator. You submit, it checks. Depending on traffic and submission size, you wait for a couple of minutes. Half an hour at most, at peak times. You find a score in your inbox. Accompanied by suggestions for improvement. You rewrite and resubmit.

    Obigele Akwukwo, the author of Mmakuko’s longest running series „Stuck and no go“, readily confesses she had to submit the first episode eleven times, to barely make it into the 90+% range that was considered sufficient in her days. Managed 89% in her seventh round, only to drop back. „Swallow your pride and keep trying“ was her standard advice for novices.

    Ninety percent. So little. Synat marvels at the progress she has been privileged to witness. Nowadays, a mere ninety percent is nothing. 99%, that’s the threshold triggering the alarm.

    385 alarms, and not one with a clear potential for the 99.9% needed for a conventional publishing slot. Two might have a chance to get e-published, as niche products. Plus three more, if they adapt the cast. Everything else is hopeless. And her software is obsolete.

    No more need for a Bestsellerator. If you want good, solid entertainment meeting current audience expectations, only a novelbot will deliver. More reliably. More precisely targeted. Synat provided the foundations, and the world built on them. From assessment to outright creation, a step that was considered impossible in her heydays, proved to be no big deal. The next generation just did it. Her software is obsolete. She’s obsolete.

    One more task best performed by artificial intelligence. And once again, humanity will split along the usual lines. Audiences will lap up novelbot output, glad to get exactly what they want. At a competitive price. Obsolete professionals will shriek. And politicians waffle.

    „Synat? What are you doing, Synat? Don’t tell me you’re at it, again? Running the Bestsellerator, are you? Synat. We talked about this, Synat. You no longer need to do this. No more home office, Synat, remember? It is all fine without you performing, no problem…“

    Lyreetsa. Even the tone of her voice triggers a rage these days. Pretending compassion. Only achieving to sound haughty. Talking like to a stupid deaf person. Loudly. With extra pauses between each and every single word.

    Lyreetsa is going to say the new d-word next. Always says d-words. That’s insulting. Completely insane herself. Still insists on writing poetry. Despite all the lyricbots out there, doing it so much better. For all tastes. Lyreetsa is totally mad. And dares calling her d-words.

    „Synat, come on now, be a good girl. We will now quit this program, here we go. All is fine and backed-up twice, the way you like it, see? And now we will switch off…“

    No way. There is only so much interference Synat is willing to tolerate, for the sake of peace and non-violence. Lyreetsa will not touch her machine. That’s like rape, that is. Hitting out at the unwarranted hand trying to do the forbidden, Synat beats off the assailant.

    „Ouch, you bloody bitch. What the hell was that for, Synat? I’m just trying to switch off that damn computer, and you hit me?! Do I need to remind you, again, what Dr. Morales said, about hitting? No hitting. Never no hitting, Synat. If you keep hitting, we will have to move you…“

    She goes on and on. Synat won’t deign comment. Pretends not to have heard the d-word. It has by now been mentioned, as she knew it would. But she won’t react. As long as her machine is safe, she endures. It his her fundamental right to assess Bestsellerator submissions. Even if there are so few of them, nowadays, and of such poor quality. A right is a right.

    Lyreetsa is still waffling. Poets = waffle. Takes her a couple of minutes to understand they are done talking. Finally beats a muttering retreat and leaves the room. So far, so good.

    Once the door is closed, Synat quickly activates her spyware. She might be getting a tad oldish. Her thinking might be slightly less fast and flexible than it used to be. But she’s still clever enough to stay one move ahead of a mere poet. If Lyreetsa dares call an ambulance to have her evacuated to an asylum, she will buy herself time by setting off fire alarms and dash off. Still a couple of tricks up her sleaves, even in pajamas. All hell will break lose if they dare.

    But they don’t. Lyreetsa only calls nurse Ramoles: „Ramo“ She always calls her that. Stupid, disrespectful nickname. „Ramo, she’s driving me mad. No, you don’t understand, just let me explain. She has been at it, again. For twelve hours.“ Here we go again. A lie. Can’t even read a watch or count, the traitor. Ten hours. Ten. Not twelve.

    „She has been sitting there all day, Ramo. Running that stupid software. She could do anything. Look out the window, watch TV, listen to an audio book. She could knit. They say knitting is very good, against the restlessness associated with dementia.“ And the new d-word again. Synat seriously hates d-words. The old d-word, depression, was bad enough. The new one is worse.

    „Pretty quiet activity, knitting. Peaceful. Artisanal. Crafty.“ Poets. Trust them to waffle. The little information there is might be wrong, but never lost for words. Poets…

    „She could knit. Bought her wool and needles. Trust her not even to try. Insists on running that stupid software instead. No, Ramo, don’t interrupt me. I know you’re going to say I should let her proceed. As long as she doesn’t burn down the house,… I know, I know, I know. But this is a computer she’s using. And it’s fully connected. You can’t be sure, nor can doctor Morales, that she’s bonkers enough no longer to be able to wreak havoc…“

    Twenty years ago, Synat would have held her breath in suspense. Nowadays, she lacks spare respiratory capacity, but excitement she still does feel. Did her ruse work?

    „No, Ramo, she’s not that gone. She only pretended not to be aware of the date, or recall her age. That was her at her deceitful best, a trick to be allowed to keep her infrastructure. Don’t you dare call me paranoid, Ramo. I am not, and this is insulting. No, I don’t. „Paranoid behavior“ is exactly the same as „paranoid“. I won’t argue with you, of all people, about words…“

    Synat relaxes back into the comfort of her multipurpose day chair. She won. Cool.

    A couple of minutes later, she no longer remembers what the fuzz was about. Only recalls a very good feeling. Well worth the effort. Whatever that effort was. It did involve the Bestsellerator. Doing her job. That was vitally important. She has to keep it up. As long as she can.

  • Carpe Diem

    What a difference two nights can make. Spending them in a hospital, after undergoing extremely minor and totally successful surgery, has a way of sharpening your mortality awareness. This in turn can lead to all kinds of unexpected non-medical side effects.

    Less than a month ago, the plan was to submit Think-o-mat to three agents. A mere three agent profiles to assess. A mere three emails to edit. A mere submission guidelines to follow. Impossible not to find a time slot for such a tiny task.

    Well, come again. And forget it. Life is short. Fun needs to be maximised. Submissions don’t qualify. Whereas publishing on Smashwords turned out to be easier than the implementation of pharmaceutical industry eCTD guidance that happens to be part of my day job.  Why should I pretend to aim for most probably unrealistic conventional publishing if such simple means do the job? Down goes the to-do list. Up shoots the life satisfaction index.

    The new client“, pilot episode of the brand-new 1KYears series, was the proof of concept. The Plugger stuff will migrate to Smashwords once the required PayPal account becomes available and potential issues because of the pre-publishing on this site are resolved. Think-o-mat to follow as soon as copyright registration is confirmed.

     

  • Three submissions

    Writing fiction is tremendous fun, but by the last chapters long format projects tend to turn into a bit of a tedium, as described and tentatively analysed in a previous post. No problem, though, won’t happen again for at least a year, now is hurrah time:

    Think-o-mat has been defined completed.

    And another dreaded task, writing the corresponding synopsis, has been diligently performed. So far, so milestones.

    Now for one more first: The task of submitting aforementioned product, if product status it may reach, to agencies.

    After some research and soul searching, three literary agents have been selected for pitching. Yes, three. Three as in 3. Only three.

    According to LinkedIn wisdom, thirty plus submissions seem to be considered a must for any newbie author, especially one with as exquisite a selection of handicaps as poor hopeless me. Thirty?!

    Come again, folks. Having approached this new task with the kind of open-mindedness essential to keep me performing in my day job, I hereby declare, authoritatively: Thirty is impossible.

    Pitching is not a task you can hand over to an assistant, except perhaps in the case of a select few well known authors who won’t need to do that much if it anyway. In my by now lightly informed opinion. It’s mandatory to perform this duty personally, to make sure the first impression is confirmed in the actual work. Just imagine a native English speaker submitting my kind of output. Wasted time and frustration guaranteed, certainly no path to a win-win.

    Thirty plus submissions can only mean one of two things:

    • Either you use some sort of bland all purpose template, making only minor adjustments that won’t succeed in conveying an impression of considered targeting.
    • Or you do it properly and end up spending more time browsing agency websites, trundling through submission guidelines and editing pitches than on your actual fiction writing.

    The latter is of course justified if you’re convinced your work will become the next library and box office hit, or a Booker Nobel YouNameIt prize, if only an agent got you a publisher. OK. Point taken. I’m a reader and don’t want to miss that one. This situation calls for perseverance. Keep up the good pitching, by all means!

    But this is not my type of situation. The same blatant lack of delusion that helps me make good bucks in my day job clearly tells me that my writing has every chance to be considered rubbish, certainly by an audience of native English speakers, most probably also in general. I’m a compulsive writer and enjoy both the writing and reading my own stuff, but a confirmed hooked audience of one doesn’t imply the existence of a wider public. If ever there happens to be a willing readership only waiting for this to hit the (e-)shelves, at least one of three experienced agents will notice and react. If there isn’t, I get myself one more copyright certificate, just in case, have the admin reset Think-o-mat to free access and move on.

  • Alt Left SciFi pitch

    Some amazing advice kindly provided by Ariel Ayangwo:

    Eight Ways to Spark More Social Shares on Your Content Fast

    It’s targeted at bloggers, but Ariel’s 4U-rule can easily be applied  to fiction writing. The corresponding Alt Left SciFi pitch reads:

    1. Useful: Feeling challenged? Your life no paradise? Regardless of whether you love or hate the changes affecting the world as we know it, Alt Left SciFi will provide distraction while raising your privilege awareness. And up goes the happiness score.
    2. Unique:  Authentic non-native business English, scientific affairs and multination company experience applied to storytelling. Alt Left SciFi plot cores will pass as promising business plans at the height of a corresponding tech boom.
    3. Ultra specific: If you are a member of the non-Anglo corporate or scientific frequent flyer tribe, you will feel at home in Alt Left SciFi. Same for supporting professions. But beware: We are not alone and you won’t feel worshipped.
    4. Urgency: Enjoy it while it lasts! The “Alt” gracing “Alt Left SciFi”  owes its presence to the high probability of upcoming changes. While the plot cores are no more factual than fake news, any look into any history book will tell you that a certain level of inequality calls for a rebalancing, if and when it becomes evident to a sufficient number of sufficiently apt people. Conventional Left promises utopias, Alt Left SciFi predicts transitions. Read Plugger stuff or register as beta-reader for Think-o-mat now to get ready for a dynamic future.
  • The 2k challenge

    Fascinating, the number of formats out there.  Longshot Island does me the favor to define precise criteria:

    Usually stories with more characters work better than stories with fewer characters.

    Check. Lots of spiky characters, that’s the easy bit.

     We prefer shorter stories, 500 words to 2,500 in length.

    Wordcount feels kind of low, even for shorts. The newbie writer goes search and finds confirmation. Cliff’s Notes provide a range of 1,000 to 20,000 words for short stories. A short short. Why not?

    Except there is also this detail of a creative requirement:

    We are looking for stories that surpass traditional genres. Slipstream. Steampunk. Subterranean. To name a few possibilities. We are looking for lost places. We want stories that make people laugh as well as cry. We want something different.

    This calls for a quick check on Wikipedia.

    Slipstream is a kind of fantastic or non-realistic fiction that crosses conventional genre boundaries between science fiction, fantasy, and literary fiction.

    Steampunk is a subgenre of science fiction or science fantasy that incorporates technology and aesthetic designs inspired by 19th-century industrialsteam-powered machinery.

    Subterranean fiction is a subgenre of adventure fiction which focuses on underground settings, sometimes at the center of the Earth or otherwise deep below the surface.

    Interesting business model. Let’s try this and call it the 2k challenge.

  • Genre malaise

    Time for my very first call for help to the LinkedIn community.

    The more diligently I read, the more confused I get. Very basic basics are under reconsideration. I’m still convinced what I write should be called Science Fiction. Little science and lots of fiction = Science Fiction. Used to feel like a no-brainer.

    Looking at conventional and electronic publishers kindly providing genre characterizations on their websites I’m starting to wonder.

    I’ll use Smashwords categories to describe my irritation:

    Top level category: Fiction. Easy. Check.

    First level subcategory: Science Fiction. Easy. Check.

    Oops, so many second level subcategories for Science Fiction:

    1. adventure
    2. apocalyptic
    3. cyberpunk
    4. general
    5. hard sci-fi
    6. high tech
    7. military
    8. space opera
    9. steampunk & retropunk
    10. utopias  & dystopias

    According to my badly informed gut feeling, Plugger stuff ticks boxes 1, 4, 5, 6, 7 and 10. I can safely exclude 2 and 8. Less sure for 3 and 9. Phew, really now? And I’m supposed to select just one?

    Anyone willing to provide me with a content percentage estimate, with any straightforward criteria to facilitate genre attribution?

    As if this wasn’t messy enough, I should probably at least mention some of the other first level subcategories, to help readers avoid uncomfortable encounters: Cultural & ethnic themes, gay & lesbian fiction, humor & comedy (it’s a bit of a farce, really, but there’s no satire category, so comedy will have to stand in), and…

    Wonder if there is anyone else out there struggling with these boundaries.  Feeling ultra-niche. Third language author with acute genre dysphoria, a foolproof recipe for success, hurrah?