The Enemy of Self-Publishing

The self-publishers I know personally are really great people. They're kind, open, and smart about why they went with self-publishing. Most of all, they don't think someone like me is an idiot for aiming at traditional publishing. I have no proof, but I like to believe this attitude is the majority.

But, like everything else on the internet, there is a loud, vocal minority of meanie heads.

It feels like most of the self-pubbing rhetoric out there is antagonistic. Like self-pubbing is a side-bunned Princess Leia staring down traditional's Governor Tarkin. A smiling V taking out sleazy Norsefire officials. It treats traditional publishing as the enemy and paints self-publishers as underdog rebels.

Part of this comes from people who see themselves as snubbed or wronged by the big houses. Part of it is a kind of angry backlash to the stigma self-publishing has always had. "Pay attention to us! We're a thing!"

But what the angry rhetoric does is create a new kind of stigma.

The more I hear prominent self-pubbers shout things like, "Traditional publishers are slave owners," and "Writers are suckers. Fire your agents. They do NOTHING!" the more I don't want to be associated with that crowd.

Self-publishing isn't my goal, but it's a totally valid road, and I have nothing but support for those who take it. But if you start bad-mouthing people, then we're done talking. (And if you tell me I can make more money self-pubbing, I'll say, "O rly? Lets do teh mathz.")

I would love to see a world where self-publishing is every bit as respectable* as the traditional kind. But as long as the louder self-pubbers maintain this Us vs. Them mentality, I fear the stigma will continue.

Am I totally off-base here? What do you think?

* Respectable in the writing/publishing world, that is. I doubt Joe Public has ever cared where his novels came from.

On Overcoming Phobias

(In which my loving wife tries to reassure me as I leave for the hospital)
Cindy: "How about this? Would you rather get your blood drawn or go to the dentist?"
Me: "That's a mean question."
Cindy: "Well?"
Me: "All right. If it was just a tooth cleaning, then I guess . . . No, the dentist lasts longer."
Cindy: "See?"
Me: "Fine. I'd rather get my blood drawn than go to the dentist. There, I said it."
Cindy: "How about 'Yay! I'm getting my blood drawn!'"
Me: "Don't push it."

The Sadistic Choice

One of the things that can make fiction compelling is an impossible, sadistic choice. Like in Hunger Games, when you want both Katniss and Peeta to live, but you know only one of them can. Or like I said about Open Minds, where Kira has to decide whether to lie about having no mind powers, to mindjack everyone she loves, or to tell the truth and put herself in serious danger.

An impossible choice keeps you reading, because you don't know what you would do in that situation, and you want to know what happens. BUT, there are some guidelines.

THE CHOICE HAS TO MATTER
Erasmo must decide whether to eat mango or papaya for breakfast. If he chooses the mango, the papaya will go bad, wasting his money. But he hates papaya. What will he do?

Compelling? Not so much.

THERE CAN BE NO EASY THIRD OPTION
Erasmo recognizes the cab driver as a convicted serial killer, but if he doesn't take the cab to work he'll be fired. What can he do?

How about call a different cab (and the police)? Nobody likes a dumb protagonist.

IT HAS TO BE A DIFFICULT CHOICE
Once at work, Erasmo's boss forces him to clean the bathrooms with a toothbrush or he's fired!

Neither option is pleasant, that's true, but it's not hard to figure out what he'll do.

DON'T DRAG IT OUT
Erasmo reads Hunger Games to see who Katniss will choose: Peeta or Gale. He waits. And waits. And waits...

Putting off a decision is valid and practical, but there should be either a reason ("We're at war! Now is not the time!") or consequences ("I didn't choose either and now they both hate me.").* Don't expect your compelling, sadistic choice to carry the reader through your story by itself.

* For the record, Hunger Games did both of these, but I still felt like Katniss was leading the guys on unnecessarily.

IT HAS TO BE RESOLVED
After everything he's been through, Erasmo takes the day off. He'll have to make the same decisions the next day, but I don't want to write about it.

I guess this could be a wacky literary ending, but I've never been a fan of those. If you do leave things unresolved, do so very, VERY intentionally (see Inception; seriously, go see it).

At this point, it's important to mention how the Sadistic Choice is usually resolved: with a previously unconsidered Third Option. It needs to be said, because it's easy to drop a Third Option out of nowhere and think you are, by default, being original. You're not.

As soon as you present the choice, your very intelligent readers will be looking at all the options, including the ones you haven't presented as possibilities. Especially the ones you haven't presented as possibilities. This makes it very hard to do something they don't see coming (which is, after all, the goal). How you do that is up to you.

Or else it's another blog post. I don't know. I haven't decided.

Statistics, Milestones, and Statistics

As of this morning (last night for you in the Americas), the first draft of Post-Apocalyptic Dragon-Riding Ninjas (with Mechs!) is finished, and I can breathe a big sigh of relief. Not because the work is done (far, FAR from it), but because drafting is my least favorite part of the process.

To celebrate, I'm posting these pre-revision statistics on the four finished novels I have sitting on my computer. (What, you don't think statistics are fun? Perhaps you've mistaken this blog for someone else's.)

I also submit these in the hope they will encourage any of you who feel you write slow: It Gets Better.

TRAVELERS 
Time to Draft: 4.5 years, both planning and writing (mostly writing).
Outline: None (GASP!), but lots of notes.
Draft Length: 76,000 words.
Avg Drafting Speed: About 1,600 words/month.

AIR PIRATES
Time to Draft: 19 months.
Outline: 244 words.
Draft Length: 100,000 words. 
Avg Drafting Speed: 5,200 words/month.

CUNNING FOLK
Time to Draft: 9 months.
Outline: 5,500 words (if you think I'm proud of that, read on; it gets better).
Draft Length: 48,000 words. 
Avg Drafting Speed: 5,300 words/month.

POST-APOC NINJAS
Time to Draft: 4 months.
Outline: 9,100 words (<--- !!).
Draft Length: 79,000 words. 
Avg Drafting Speed: 19,800 words/month.

I'm not quite at NaNoWriMo speeds yet, but I am finally at a place where I feel like I could produce a book a year, if I had to. You know, if someone wanted to pay me to do that (do you think that's too subtle?)

My Nightmares 2: The Maze

Wait for it...

In Which I Map Social Media to High School Like Everyone Else, but with an Actual Map

It's a little frightening to me how well my social media experience maps onto my high school ones. This is a picture of how. Your mileage, of course, may vary (particularly if you hung out in the gym -- for me, that was like one of the Circles of Hell).

 Classrooms: Where we did Actual Work. This is why we were at high school, but nobody wanted to admit it. And for sure nobody wanted to hang out here. If we could, we would've hung out outside all the time.

Rally Court: Our quad was loud, busy, and everybody could see what everyone else was doing (which was how some of the cheerleaders knew me as "one of those guys who plays cards all the time" (spoken with trademark patronizing giggle, of course)). But for the most part, it was easy to catch up with friends here.

For me, Facebook is like this. There are lots of people there, including old friends I thought I'd lost touch with. But mostly I go there to hang out with my family and real life friends. It helps that many of Facebook's features make it easier for me to maintain conversations across timezones.

Cafeteria: Like the Rally Court, this place was loud and crowded -- even more so because it was enclosed. You could never tell if someone heard you or not. But as I became more socially adept, I had new groups of friends who didn't hang out in the Rally Court, and this was where I found them.

Twitter. It's loud, crowded, and I never know if anybody's listening. But some of my best friends are there, and I like how quick and easy it is to follow people and read updates.

Academic Quad: This place was exactly like the Rally Court, but with fewer people. Occasionally a couple of us would wander there to get away from the noise, but mostly nothing happened there.

Maybe Google will figure out some magic feature to make everybody switch over, but I suspect that what most people dislike about the other social networks is caused -- not by privacy issues or odd features -- but by the sheer quantity of people. If Google+ ever goes big, it wouldn't surprise me to hear a bunch of the early adopters complain about it.

Library: This was where I preferred to be, though not for the reason you think. We played D&D in there. It was relatively quiet, and mostly only people who actually wanted to hang out with me came in there, much like this blog.

In truth, I think the particular features of a social network don't matter nearly as much as who is on it. At least that's how it is for me. If everyone I know suddenly migrated to Bebo or Wooxie or (God-forbid) back to MySpace, I'd be over there too.

Probably.

So am I the only one who played games all through lunch? What was your high school like?

On the Art of Socializing

(In which my wife Cindy and I discuss taking our five boys to a local playgroup)
Cindy: "I don't know if I want to go to playgroup tomorrow. But the boys would love it. I feel bad."
Me: "They have snacks at playgroup, right?"
Cindy: "Yes..."
Me: "I'll take the boys."
Cindy: *smirks* "You'd have to socialize with people."
Me: "You'd be surprised how rarely you actually 'have to' socialize."
Cindy: *laughs* "Yeah, you'll just sit next to the snack table with your book, not even checking to see if the boys are getting in trouble."
Me: "I'd watch the boys!"
Cindy: "See, this is why you don't get to go."

(A little later)
Cindy: "I guess I'll go, but I'm so tired. I don't know if I want to talk with anybody."
Me: "You want some tips on blowing people off?"
Cindy: "Sure."
Me: *gets excited* "Okay, first you need to look like you're doing something."
Cindy: *chuckles* "Like your book?"
Me: "Yeah, you take a book or a notebook or pretend you need to discipline your kids..."
Cindy: "I could talk to you on the phone."
Me: "That would work. Or headphones! Headphones are great, because you can pretend you don't even hear the person. And if someone doesn't get the hint, you make them stand there until they call you three or four times, then you make a big show of taking your headphones out and blink at them and say, 'Did you say something?'"
Cindy: *stares*
Me: "I've never done that before."