Tuscany Bay's Planetary Anthology: Luna

I am now happy to announce that Luna, the Planetary anthology I edited for Tuscany Bay, is live.

If you recall from when this project was first proposed, Luna was about madness, despair, dreams and illusions.

You know, all of the cheery subjects.

This will also debut the second short story by my wife, listed here as Margot St. Aubin.

Of course she's under an alias. Neither one of us want to be an easy target.

Luna has the following stories and authors.

These are the tales of the orb that lights our night sky and drives the tides of our oceans. The bright companion that orbits our planet, invades our dreams and drives us mad.

The Curse and the Covenant by Ann Margaret Lewis – Tal, in the land of Ur, is son to a Lord. When a demon offers his father a gift to make him and his people like gods, Tal knows it’s a bad idea.

The Doom that Came to Necropolis, by Steve Johnson – Necropolis is a small town, complete with small town values and small town myths. Unbeknownst to them, their doom is about to arrive, riding a motorcycle, and armed with the weapons of science.

How to Train your Werewolf, by Margot St. Aubin – Jason Branch recently escaped from a home for the insane. His only goal now is to rest and be left alone in the woods. But when strangers decide that the same stretch of land would be perfect for their needs, they will soon discover Jason's true madness.

Luna Sea, by Jody Lynn Nye – the moon can be a harsh mistress … or can she?

Regolith, by Penelope Laird – How far would you go to prevent your favorite band from being kidnapped and held for ransom on the Moon?

Crazy like an Elf, by Declan Finn – When astronomer Barbara Davis hired a private security firm, she didn’t expect a man who claimed to be from Middle Earth.

Samaritan, by Karl Gallagher – Thomas' people settled on the Moon to avoid contamination from biotech and nanotech gadgets. But when a high-tech spacer crashes Thomas must risk exile from his home to save the stranger's life.

Moonboy, by Karina L. Fabian – Cory Taylor is the first boy born on the moon and may just be the first to die on it. But his first attempt to leave the moon may move up that date to closer than even he expects.

Fly Me To the Moon, by Mark Wandrey – Annmarie Smith dreamed of going to space, and she finally succeeds in creating a company to mine water on the moon. Everything looks great, until alien first contact makes it all much, much more complicated.

The Hyland Resolution, by Justin Tarquin – Charles Hyland is caught in the crossfire of an interplanetary war, their only hope is that Charles can extricate himself from the labyrinth of his own mind.

Another Fine Day in the Corps, by L.A. Behm II – Some days you get the bear. Some days, the bear is packing mortar rounds.

The Mask of Dhuran Zur, by John C. Wright – Some manuscripts you just shouldn’t read.

Elwood, by Bokerah Brumley – Mysterious things happen to Emma Kelly when she meets the lunatic gypsy at the end of the lane and the gypsy's invisible púca.

Much Madness is Divinest Sense, by Lori Janeski-- A madman doesn't usually believe that he's insane. But the ones who are truly dangerous are the ones who not only believe it, but embrace it.

The Night my Father Shot the Werewolf, by Josh Griffing – The boys in Mrs. Carroll's third-grade class learned a lot last year, about things like cursive, and multiplying, and werewolves.

The Black Dogs of Luna, by Paul Go – The crew of the Sirocco find a nightmare of the ages on the Moon.

Despot Hold ’em, by Caroline Furlong – You have to know when to hold them, know when to fold them. But most importantly of all, know when to run.

Polar Shift, by Richard Paolinelli – After the pole's shift, Sam Peck may just be the last living human being in the entire universe.

The Price of Sanity, by A.M. Freeman – Never make deals with the unknown. Especially when it's paying for your freedom with your soul.

Vulcan III, by William Lehman – Unfortunately for the crew of "Scorpion" the Vulcan III, the moon is the harshest engineering environment we've ever built in, especially when something goes wrong.

Merry By Gaslight, by L. Jagi Lamplighter – What if that million-dollar mansion you hardly dare to long for were so much less than you deserved.

Squeeze on the Moon, by Lou Antonelli – An expert in disaster recovery gets the opportunity of a lifetime – plus a little walk down memory lane.

So, yeah. 

This party is just getting started.

Tuscany Bay is an awesome press, lead by a true mensch and an awesome professional in Richard Paolinelli who made certain that this anthology would still happen, and that the last two years worth of work wouldn't be in vain, on the part of either the authors or the editors.

Flashback Blog: So, you want to be a writer?

Originally posted five years ago, it was a filler post then. Apparently, it's a filler post now. Who knew?

With apologies to Doctor Who....


So, you want to be a writer?

Maybe not, but keep reading, you might be entertained.

The first rule that many people tell you in creative writing is “Write what you know.”

I'm going to tell you that this is the last thing you should do.

No one wants to read about your family drama. Do you think that Vince Flynn is actually a terrorist hunter? Or that Bob Kane dressed up as a giant bat? Or that Stephen King is a demonic clown?

Okay, demonic clown is redundant …

NOT me.

Saying “write what you know” is as ridiculous as suggesting that I am either: an athletic mercenary with enough weapons to take Latin America / a soccer-playing Vatican Secret Service agent / or a commando priest. [Edited: or a hot female Russian vampire]

I would recommend, generally, that you write what you read. Unfortunately, your writing will probably suck at first. Keep writing. It will still suck. Do it again. Repeat until you no longer suck. Trust me, I speak from experience. And from the experience of Timothy Zahn, John Ringo, and several other authors who discovered how to write the hard way –by writing.

That would lead to an obvious follow up: read.

TONIGHT ON THE CATHOLIC GEEK: I won't be there

Yup. That's right.  After 22 Episodes, I am going to take this Sunday off.

After last week's schedule SNAFU that left me on the air by myself for the better part of the first hour, and the fact that I have no guest this Sunday?  

Yeah, I think it's best that I take off this round.

However, we've got a treat tonight, we've got the Novel Ninja, Matthew Bowman, showing up as the guest host for the evening.

You may know Matt Bowman from his personal website. You may even know him from his job as an editor.  You might, at the end of the day, know him from an entry of Sad Puppies Bite Back.

Tonight, he has the head of the local Royal Manticorian Navy, and a priest to discuss the synod, hence the title: Synods and Starships

The Catholic Geek: Synods and Starships 11/08 by We Built That Network | Culture Podcasts

Writer's block

Most people perceive writer's block from the movies as kind of a mental constipation. Just nothing is coming out of the writer's brain, usually for no apparent reason at all.

To be honest, writer's block is more like writer's jamming signal.  Believe it or not, it's not so much a matter of we can't write, it's that we have too much else kicking around that needs to be addressed.

For example, I have a sequel to A Pius Man.  I have two, actually; it's a nice, solid trilogy. I haven't touched the lousy thing in months.

Now this is, in part, because I've had to rewrite several bits of the trilogy multiple times. I'm not entirely certain of who or what will survive, and should I be bothered to continue writing if I don't know what changes a future editor is going to make?

Not to mention that I have another book series I'm working on, called Honor At Stake .... at least, that's what book one is called. It's my little revenge on the entire vampire genre, plus a fairly good story, if I do say so myself.

Haven't written one word of that in a few months either. Why? Because it's actually one long rewrite.  I wrote a 440-page vampire novel once, where a government agent found himself in the middle of an anti-vampire army in the middle of Brooklyn. Then, I decided to backtrack a little, and made a novel to show the start of that said army; how the relationships developed, how the disparate elements came together....

So, book one is finished, book two is half finished. And I haven't touched that in months either.

Why? Because I keep thinking of books I want to write.  And the problem becomes that they're all books in the same universe. All of these characters have back stories in novels I don't know if they're going to get published. In fact, there's too much to be done.

Writer's block isn't a matter of having nothing to write. It's a matter of having too much, not knowing where to start, and knowing that, really, you should be trying a bunch of "books one"s, instead of writing the massive universe you want to.

In short, writer's block is a lot like a jamming signal. There's just too much interference.

In my case, not only do I have the issue of multiple novels, I also have the additional problem of working on a job that requires me to be social. This is a problem in and of itself.

In short, life is getting interesting.

Good news, bad news, and publishing.

So, this is going to be one of those days where there's a lot of good news, bad news.

Good news: I'm keeping up a good pace on my Examiner articles: both as the Catholic reviewer, and the self defense Examiner.

Bad news: so, I don't exactly have a buffer of blogs for this week. My bad.

Good news: I HAVE AN EDITOR WHO WANTS TO SEND MY BOOK TO THEIR PUBLISHER!!!!

Bad news: this book of mine they want is not A Pius Man, and I do not have an agent for it.

Good news: this publisher doesn't need agents!

Bad news: they're not open again to submissions until March 1..... Bugger.

Good news: time to edit. Quickly.

Now, it's been a very, very, very long while since we've done the post explaining how things work in the publishing business.

This is the way things usually work:

Agents represent the author.
Their mission: sell your book to a publisher for the highest possible value.  Agents act as a filtering mechanism for editors. If an author comes with his own agent, he has passed the first line of defense. There has to be something marketable about the book, otherwise, a good agent wouldn't be bothered with it. An agent would certainly not touch a first time author's book with a ten foot pole unless it was pretty darn good. Consider it this way—the agent only gets approximately 10% of what the author does, and an unknown author (barring a celebrity) has no selling value by themselves. The book had better be good.

And the editors need the filter. Editors have agents pitching manuscripts at them constantly. There are some stories about editors having a seven course meal for lunch, and with each new course came a new agent, and each agent has multiple books to pitch.

Editors work for the publisher, and goes over the manuscript with a fine tooth comb. They are generally the people who are the feelers for the book. The agents have to cultivate contacts, pitch the book to editors, convincing them to at least look at it.

And then, editors have to sort through all of the suggested manuscripts pitched in order to select those that would actually be read. Then an editor has to read all of them. Usually, these are samples of fifty pages and a synopsis, but that's still a lot when you consider their already busy life.

And these editors, after sorting through what projects they think will sell, then have to pitch it up the chain of command. 

The publisher is the one that buys the book from you. That's where the money comes from, that's how the book is distributed. Before writers even sell a single copy, payments are first made with advances.

Advances are made by the publisher, and tend to be broken up into three parts: signing with the publisher, the arrival of the first draft; prompt delivery of the final draft. 

Simple, right? The author pitches to an agent. The agent pitches the book to an editor in a publishing company. The editor pitches the book to the company s/he works for. The publisher sells the book to you, the audience. The agent doesn't make money until the author does. The publisher doesn't make money until the books fly off the shelves. 

Or, mathematically....

Agent -->Editor

Editor --> Publisher

Publisher --> the reading populace.

$--> The Reading Populace --> Publisher --> You.

In this case, I skipped step one.

We'll see how this other book goes.  Here's hoping

Month in Review: August, 2011

After 10% of my daily audience gave me feedback that told me that I needed to cut down on the blog posts, I decided to give in.  And, when the posts drop from nine posts a week to four or less, a week in review seems like a waste of time, not to mention padding.

So, I'm going to see how easy it is to do a month in review. In all likelihood, it won't be too overwhelming.  But we'll see.  And, it's easy enough this month, because the first week was already wrapped up and summarized here, in what might be the last week in review.

Everyone probably remembers the four part author review of the works of John Ringo, which included free books for every one of his series.  They were broken down into Thrillers, Epics, rewriting Greek history as scifi, and the warrior ninja for God.

The music blogs this month were heavy on Tom Smith: some songs about video games, smashing faeries and the Blue Oyster Cult, a return to Firefly, and the Wiki Pirates, and blogging like the end of the world.

I also had some writing blogs.  A little bit on editing, and some more about fighting and writing with Krav Maga.

I did a self defense review of my articles on self defense, mainly because it seemed like a good idea at the time.

And, I decided to have some fun this week.  I had a character of mine answer an online survey.  It was amusing. I also think some of my characters may be on drugs.

Well, that was easy.  Let's see how September goes.

Next month, we have the return of author and guest blogger Karina Fabian, and she'll talk to us a bit about her upcoming novel Mind over Mind, starting on September 13.

See you then.

On Editing

This will be a short post today.

I'm not done posting the seemingly endless stream of John Ringo novels.  I loved reading these books, but as I look at my own facebook page, cluttered with links to posts about John Ringo posts, I'm starting to get tired about writing about them.

So, on Monday, we will have the last of the John Ringo posts, and the most about the books for free on the Baen website.

But, today, I'm going to look at a very strange phenomenon: editing.

I'm not going to talk about editing A Pius Man, mainly because it's almost impossible for me to edit my own work, a problem a lot of authors face.

For example, Stephen King had one amusing problem with the edits of Salem's Lot.  He found one of his friends laughing hysterically over a page that was supposed to have the locals of the town of Salem's Lot "shooting pheasants for food."

Instead, King's friend found himself reading a line that the citizens of Salem's Lot were "shooting peasants for food."

Oops.

You may remember Karina Fabian, who guest-blogged for us back in April during her virtual book tour for Infinite Space, Infinite God II..  She recently asked for beta readers for her upcoming novel Discovery, which was based around the Rescue Nuns in outer space who starred in her short story Anti-venin, which I called "Snakes on a Starship." (more below the break)

I liked Discovery, though there were some issues I had with the draft I read.  I may be one of the few people who read visually.  I see events as I read about them.  I even picture events as I hear about them (which have lead to some embarrassing moments for me, I can tell you now). So, as I read through the novel, I had made a few notes of "I'm sorry, can I get descriptions / details on these people?"  She had the details on the characters, I just had to go back and forth because they were spread all over the book.

Given her reply, I'm starting to think I'm one of the few people who reads like that.  With luck, I can go into a full review on the novel some other time.  I liked the book, and I suspect I'll love it by the time she gets to her final draft.

I was also an editor on one book, for at least the first ninety pages. And I found something inadvertently funny.

Rendering of Peregrine
As done by artist
Nicole Le.

The original second paragraph of chapter one is a description of her costume (pictured on the left).  It's supposed to be a simple ninja tunic that fit over her street clothes.  The draft I read looked like this.

Rae Masterson crouched on the edge of the roof and tried to stifle the butterflies flitting madly around her stomach. She had done this before. She’d trained for a whole year and a half, memorized a hundred contingency plans, even field-tested her costume. She could do this. The summer sun was roasting the black cotton of her costume tunic. Rae reached up under her deep hood and wiped sweat off her exposed forehead, above her lower-face mask.

The description is wonderfully done, isn't it?  It's nice, and neat and concise.  Rae has an instance where she leaps off of a roof and lands on top of a bad guy.

The arc was perfect, and she sailed feetfirst through the air, her loose black tunic fluttering around her, tugging at the red sash that cinched her costume tight around her waist. The tunic hung to her knees when she stood still, but it was slit up to the hip on each side to let her run and kick, and the front and back flaps snapped like flags in the light breeze. Her hood lifted free of her head and billowed out like a sail behind her, her brown ponytail rising off her neck as she fell. She thought of the figure of the scarlet peregrine falcon on her back, and felt like she was flying.

Elegantly written, isn't it?

Can you spot the problem?

There's a reason I posted the photo.  Every other editor had seen it as well.

If you'll go over the description, you'll see there's nothing about her wearing jeans.

Apparently, of her multiple readers, I'm the only one who spotted it. And the part about her flying through the air, the flaps on both sides ... you get the idea.

If you ever wonder why professional authors, who have published multiple novels, sometimes have problems with sentences, punctuation, etc, this is why.

I would publish some of my own gaffs, but the first draft of A Pius Man was written about seven years, six rewrites, ten beta-readings, six beta readers, four computers, and Lord knows how many drafts ago.  

And that's just one book.

And this is why authors tend to thank their editors.  A lot.

YouTube videos, and “So, you want to be a writer?” (Apologies to Dr. Who.)

Everyone here has been promised a video of the hour-long spotlight on J. Michael Straczynski, where JMS gets to talk for an hour about strange and various topics.

However, due to a massive lightning storm that interfered with my YouTube upload, followed by the inability of both YouTube and Facebook to accept any uploads, that particular post will be delayed.

So, a little filler while the various video websites get their act together. Now I get to regale you with tales of, um, hmm … Wait a moment, I can fake this one …

Yeah, nothing interesting is coming …

So, you want to be a writer?

Maybe not, but keep reading, you might be entertained.

The first rule that many people tell you in creative writing is “Write what you know.”

I'm going to tell you that this is the last thing you should do.

No one wants to read about your family drama. Do you think that Vince Flynn is actually a terrorist hunter? Or that Bob Kane dressed up as a giant bat? Or that Stephen King is a demonic clown?

Okay, demonic clown is redundant …

Saying “write what you know” is as ridiculous as suggesting that I am either: an athletic mercenary with enough weapons to take Latin America / a soccer-playing Vatican Secret Service agent / or a commando priest.

I would recommend, generally, that you write what you read. Unfortunately, your writing will probably suck at first. Keep writing. It will still suck. Do it again. Repeat until you no longer suck. Trust me, I speak from experience. And from the experience of Timothy Zahn, John Ringo, and several other authors who discovered how to write the hard way –by writing.

That would lead to an obvious follow up: read. No, Vince Flynn is not an assassin, nor am I any of the above.

However, we all do research.

For A Pius Man, I read easily a dozen books worth of material. We will not include all of the various and sundry newspaper articles and websites and lectures that I had to go through to collect information on weaponry that I've never held, and tactics I've never had drilled into me, and places I've never been. And we can ignore the fight scenes I had to rewrite after taking 18 months of self defense training.

Third: sure, you can use your own experience. If it's relevant, if it fits, if it's part of a character. If you're writing romantic elements, it might be nice if you've been in love. If you've fired a gun, describe its feel, its weight, the sound it makes when it fires. If you're a colorful personality who made homemade explosives for grammar school science projects, use it. I don't necessarily recommend testing out the Anarchist's Cookbook—merely reading it will suffice.

Experience is good. Relevant experience is better.

People talk to me. In my life, I have known seven rape victims. I once wrote a affidavit for a woman who was the plaything of a sexual sadist from age 8-22. I have dated a bisexual bipolar wiccan nymphomaniac (long story), a bi-Latina Catholic nymphomaniac (even longer story), and I have listened to more people with more kinks than I have ever wanted to learn about. I am a walking confessional and therapy couch rolled into one.

Would I put any of this into a novel? Very little. I have yet to write a graphic sex scene in any book. My only torture sequence involved our villain describing, in one paragraph, what he would be doing over the course of several hours. No details were present in any of them. The closest I have ever come to a sex scene was so vague, someone had to ask me to clarify the details. .

Though I do have at least one character who walks into a room, tries to read, and people confess everything in the universe to him …

Fourth: Don't go into writing unless you need to.

No one with an ounce of sense will go into professional writing unless there was nothing else for them.

I don't mean in terms of education, personal mental / physical / socio-economic limitations, or anything like that. I mean you are compelled to write professionally. You lay in bed in the middle of the night and keep a notebook close at hand so you can write down ideas before you forget them. Or you start writing a simple amusing fact and you suddenly fill the page with an outline for a novel. Writing is your drug. Your addiction. Your neurotic, uncontrollable compulsion. You would go insane otherwise … Or merely more insane.

Writing is not for the faint of heart. You are essentially playing chicken with your entire life. Even the publish on demand route is a crap-shoot. You may be picked up by someone bigger, you may not be. We hear the stories of those who have published online and have been chosen by Random House. I have trouble doing the math on how many others there are who don't go anywhere.

If you do have the occasion to fall into writing, if you have the compulsion to write every day, no matter what, then here's my last suggestion: Don't stop. If you need to write for a living, then do it. Write in your notebook during a lunch hour, write a page or two each day. Keep writing, and don't stop. Don't turn your back on your goal. Don't even blink. Blink, and you're dead.

Good luck.

DragonCon 2010, Day 2, Part 1.

Dragoncon 2010 report, day 2, part 1

Continued here: DragonCon, Day 2, Part II, The Day the Con Blew Up.
And here: DragonCon Report, Day 3: All Butcher, All Day

And here: DragonCon, 2010, Day 4. Peter David and Will Smith

What's going on with the book? A Pius Man, Doubleday, and the Market

We interrupt this series of DragonCon reports for a news update.......

Ahem....

So, what's going on with A Pius Man and Doubleday, you ask?

Some time ago, I mentioned that A Pius Man was under review with one of the larger distributors of books in America; these are the people who put Dan Brown on the map with a little book about art history and word puzzles. After I mentioned that it was under review, most of you probably noticed that it was never mentioned Ever Again.

I figured that some of you may be wondering what the heck is going on.

The very short version. I had a strong advocate in one editor, who fully supported the book. He liked it, despite some admittedly stupid copy-editing errors on my part (which have since been tended to). Basically, he would support the book no matter what superficial things were wrong with it. This was THE book for him. He would back it all the way....

Then he was fired....

No, there isn't a cause and effect relationship.

Here's the problem...

To start with, the publishing industry is, in essence, owned by about five people. One company is owned by another, and another.

In this case, Doubleday is owned by Random House.

For those of you who don't keep track of economic news as obsessively as I do, a little review.

Around November of 2008, Random House had a minor bloodbath. Employees were slashed in the ten-thousand range. Some blamed the economy, some blamed the rise of electronic media (e-books, Kindles, Nooks, Crannies, etc) and traditional media's “failure” to compensate. Some blamed Random House itself for “wild expansion” during a five year period where the price of hardcovers (their bread and butter) went up as cheap e-books came out by the bushel. (Footnote: NY Times, November, 2008... look it up if you don't believe me)

And it's NOT just Random House that has been hit upside the head by this economy. Books are wounded in general: look at how Barnes & Noble is fairing if you want a good example. Last year, it looked like the clock had started to run out on Star Trek novels; “to be continued” and multi-book series were frozen, because the publisher wasn't going to lay money on how things were going to look three years down the road. Not only that, but in the 2008-2009 year, they had gone through five editors on the Star Trek novels alone. When you consider that Star Trek novels used to come out once a month, and sometimes more, it says something that they questioned the profitability of a long standing franchise. (Footnote, DragonCon, 2009.)

And there are solutions, of course. The Random House Slaughter was followed by massive hiring. Publishers have to cut costs while, AT THE SAME TIME, keep up their output. In the larger houses, this means they still have to put out a hundred books a month. So they have to hire people to replace everyone they had just let go. Personnel who can be hired at lower cost who can do the same job.


However, in a bad economy, personnel hired because they were less expensive can always be replaced by personnel who are even cheaper. (I dislike referring to people as "cheap," but my mental thesaurus isn't firing on full thrusters right now, and “even less expensive” didn't seem right).

My supporter was one of the “cheaper” employees. However, in the current atmosphere (10% or 17% unemployment, depending on how you jostle the numbers), there is no shortage of warm bodies to hire, and it's possible to find employees who are even cheaper still.  And since the rule right now is “Last in, first out,” my supporter wanted a trump card. A property that he could bring into the company, and would guarantee his position... Guess what book he wanted to use.
 
However, if you have ever played a card game that use trump cards, there is only one major rule. You have to have a sense of timing about when you use the trump cards, otherwise, you don't get anything by using them.

And, of course, speaking of timing, my own timing was also perfect. I finally landed an agent five months into this particular situation (word to the wise: if you have a choice between trying for a Post-Graduation degree in liberal arts, or shooting at your true goal IN the arts, ditch the degree).

Right now, the status of A Pius Man is simple: we're back at square one. I'm going to copy-edit the entire manuscript, again, and then, we start anew.

Writing A Pius Man, part 4: Selling yourself.

A Pius Man was done. The time had come. Sell the book to... anyone, really.

For those of you who have never researched how a book goes from the pen of the author to the hands of the reader, a quick sketch of the process.

Agents represent the author. 
Their mission: sell your book to a publisher for the highest possible value. Agents make between 10%-15% of the money the author gets. Which isn't bad work if you're the agent for Stephen King. Having 10% of however many millions of books sold adds up to real money. However, 10% of a ten thousand dollar advance isn't much, and ten thousand isn't a common opening bid for an advance on a book.

Advances are made by the publisher, and tend to be broken up into three parts: signing with the publisher, the arrival of the first draft; prompt delivery of the final draft. The publisher is the one that buys the book from you. That's where the money comes from, that's how the book is distributed.

Editors work for the publisher, and goes over the manuscript with a fine tooth comb. They are generally the people who are the feelers for the book. The agents have to cultivate contacts, pitch the book to editors, convincing them to at least look at it.

Simple, right? The author pitches to an agent. The agent pitches the book to an editor in a publishing company. The editor pitches the book to the company s/he works for. The publisher sells the book to you, the audience. The agent doesn't make money until the author does. The publisher doesn't make money until the books fly off the shelves.

But wait, there's more.