Project Management

This is more of a belated review of the last year in writing than anything else. I’m opening with that sentence because I want to end this blog post before I begin. That said, this post is also going to contain a modicum of resolve.

Looking back on the last year I am compelled to the realization that I’ve been putting the cart before the horse. This despite being a 40-something adult with a load of project management experience and a well developed understanding of how to go about these things. This realization comes on the heals of devising the crux to a story I’ve spent a considerable amount of time developing. I took an interesting idea, drones fighting wildfire, and sort of shoehorned it into a science fiction drama without ever really knowing how I might end the damned thing. Oops!

Clearly there must be a better way to go about this business. Right now my writing process seems entirely too by-the-seat-of-his-pants. And this news is coming from the inside, where it’s likely to go unnoticed until it has become a raging problem.

How did it get so bad?

I need to answer this question before I can see my way to streamlined perfection. Last year was a roller coaster for our family. At the time it felt like I was dipping with the dives, with my hands in the air, and enjoying the corners as much as these things can be savored, but each and every time we had to pack up and move I had to start jumping through my own rear end. Every time there was a change of job I had to pry a wooden shoe from the finely tuned mechanics of my schedule. With each friend that passed I felt like I needed to take a break, let myself grieve a little, before I could move on. When I got off the 2014 roller coaster I realized how sick I felt. That thing was scary, precarious, and it’s something of a miracle I got to the end of it in one piece.

I’ve already identified how important routine is for my little guy. The Holiday season has been ample illustration of what happens when he doesn’t get his nap in the afternoon and what I should anticipate if his expectations are thrown too far out of whack. But what I’ve seemingly missed all this while is that, as a father and a writer, I need that same level of routine. Without it word counts dwindle, projects stall, and this whole writing thing feels more like an expensive hobby than a career decision.

Upside

Yes there is an upside. While 2014 was not my breakout year I learned a lot. I learned plenty about the business of genre writing. If I don’t say so myself, I did a pretty awesome job being a Dad. And, I wrote plenty considering the number of lifestyle changes and interruptions we experienced.

 

Word Count by Project 2014

Because A-bear demands it, yes my little guy has decreed today is “backwards day”, we’ll review in reverse order. I was able to achieve about 61% of my 250,000 word goal for the year. Yeah, 150k ain’t nothing to sneeze at, I know. I sold a short story to an anthology which you can buy individually or soon as part of a collection. I gracefully backed out of two articles that were going to cost me more to write than I’d make on their sale. And I received a pile of rejection letters which included examples of both the best and worst of their form.

From all this word-smithing I learned a couple of things. First, I need to keep very accurate account of the time I spend writing as well as the amounts I produce per project (a tip of the hat to Jim Hines for the idea). In fact, since July I have been keeping an annual spread sheet of the times, word counts and projects I’ve worked on. The 2014 version of this, even though it only covers a little less than half a year and is very rudimentary, has unquestionably helped me and improved my accountability.

Second, I’ve learned from this accounting that it doesn’t always take me a lot of time to write well. Per the spreadsheet I’ve kept since July, I can see that some of my most productive times weren’t marathon sessions sitting in front of my laptop. Rather, they were brief ten and fifteen minute blocks, usually crammed in on the heals of laundry folding or dish washing, where I had an idea in my head and wrote it down in three to 500 words.

Aral turned four in 2014. I’ve been effectively handling him for the better part of two plus years now, being the stay-at-home-parent and acting the part as much as I am able. Don’t get me wrong, Tess is still an excellent and involved parent, but for the bulk of the workweek I’m the guy A-bear relies on. So I’ll take a bow from the wings of his stage knowing that my work as director has quality.

My big guy Justin, turned 17. He’s been accepted to the college of his choice, has improved his grade point average considerably, and plays a mean blues riff on his guitars. Although I haven’t had much of a physical presence in his life for the last couple of years I still fell pride in his accomplishments and I simply love the time we spend together online.

As far as the business side of writing, conventions played perhaps the most important role in that education. I really loved my time at all the different venues I got to attend. Even more I enjoyed participation at some of those venues. Time on panels felt more like an exchange of information and ideas than a dictatorial lecture. My favorite experience by far was the shared reading session I had with Jim Hines at DetCon.

Add to this, the valuable connections that happened in and out of these convention spaces. Spending face time with my heroes, people like John ScalziJacqueline Carey, and Tobias Buckell lead me to a number of important insights. Even better, it periodically renewed my intention to write more, and write better. It also put me in contact with networks of people supporting these writers. From these people I received valuable feedback, helpful advice, and a couple of opportunities (including interviews, more appearances at conventions, and in the case of Tokyo Yakuza a tip to submit).

In each case, I walked away from the convention feeling overwhelming gratitude; both for the opportunity to hang out with others “in my tribe” as well as for the amazing support I get at home. I’d still be slaving for a soul crushing salary if it wasn’t for my amazing and super smart wife.

Resolutions

So what does this all mean for 2015? So there are the obvious tweaks I need to make to the system to keep writing and working well inside my home. Add to this there are longer term life-goals that I should probably identify so that I can work toward them. Some of these are specific to writing, others are more about supporting or enriching me so I can remain a productive and effective bullshit artist.

Short Term

These are goals that I need to address in the next six to twelve months. In no particular order:

  • Finish outstanding projects. Like Fire Weather, Winter City Above the Clouds and Counterfeit Horizon. I’ve got a lot of time and effort wrapped up in these. If I let them sit, I’ll be wasting all that. FW is nearly done, I’m writing the ending now in fact, and I may try to workshop this piece before I try to publish it. Counterfeit Horizon is big, needs lots of reworking, but has some really cool ideas, characters, and concepts in it. Of all the stories I’ve written this one needs to be done and I’d feel horrible shame if I shelved it for any reason.
  • Focus on routine. A-bear and I both need this, so each and every time it is challenged I need to ask myself how a change to it will effect both our interaction as well as my productivity. Nap time, for the time being, is a necessity. Time outside cannot be lost to errands. And above all the laundry must flow.
    He who controls the Laundry, controls the universe! – Baron Harkonnen
  • Economize, economize, economize! I will continue to sell off or give away things that no longer fit into our lifestyle. Minimization will help, but financial discipline must be the other critical consideration in this equation. Debt only limits us moving forward, we are transforming ourselves into cash-only family.
  • Build endurance and health for the long term. At this point I’m very inclined to consider my whole health. Last year I’ve injured myself several times, mostly from overtraining, and as a result I’ve ended up taking two steps back for every one I take forward. So I’m taking advice, restructuring my training plans, and learning much about holistic endurance training. I’m doing this because endurance is key to my success as well as to my happiness.
    • Build a great aerobic base. This essential physical and metabolic foundation helps accomplish several important tasks: it prevents injury and maintains a balanced physical body; it increases fat burning for improved stamina, weight loss, and sustained energy; and it improves overall health in the immune and hormonal systems, the intestines and liver, and throughout the body
    • Eat well. Specific foods influence the developing aerobic system, especially the foods consumed in the course of a typical day. Overall, diet can significantly influence your body’s physical, chemical, and mental state of fitness and health.
    • Reduce stress. Training and competition, combined with other lifestyle factors, can be stressful and adversely affect performance, cause injuries, and even lead to poor nutrition because they can disrupt the normal digestion and absorption of nutrients.
    • Improve brain function. The brain and entire nervous system control virtually all athletic activity, and a healthier brain produces abetter athlete. Improved brain function occurs from eating well, controlling stress, and through sensory stimulation, which includes proper training and optimal breathing.-Maffetone, Dr. Philip (2010-09-22). The Big Book of Endurance Training and Racing

Long Term

These are long term goals, they may take years to reach, but getting them out there will help me obtain milestones in the correct direction.

  • Continue to develop the Diaspora storyline. Counterfeit is a sort of prequel to what I have already outlined. A technology roadmap for sending humanity out into deep space. I’ve had some new ideas about how I want to spread humanity lightyears beyond our solar system and they’re unique and truly “epic” in every sense of the word. My intent is to make this trilogy large enough in scale as to be humbling for the reader. Someday readers will compare me to KSR, Iain M. Banks and Clark and say, “Thyer? Yeah he makes me feel truly insignificant in the context of the universe.”
  • Endurance Athlete. I want to continue my quest to compete in extreme distance endurance sports. At this point I don’t know if this means that I want to be part of organized suffer-fests like the Grand to Grand or if I should focus in more in on independent long distance crossings. In any event I plan on growing my personal endurance.This summer I am still trying to put together an independent bulki hike along the John Wayne Trail and I have a recurring delusion in which I hike all 2600 miles of The Tour Divide.My intent is to reclaim the sensation I used to be saturated in when I was a backcountry guard on the Flat Tops Wilderness. Then again, in 2009, having come to some sort of compromise with my bum leg, when I started running trails a lot more often.

    “You don’t stop running because you get old, you get old because you stop running.” – Christopher McDougall

    Finally this goal, whatever it’s final outcome may require a COMPEX muscle stimulator, a new WAA Ultrabag 20l, and a competent and understanding endurance coach. As I discharge debt and fix my financial situation I’ll look for ways to invest in these things.

  • Collect Rejection Letters. I’ve come to realize that there are only authors. There are plenty of myths roaming around the internets about all the kinds of authors — traditional and independent, take your pick — but my observations lead me to the conclusion that publishing is in too much flux for these to have any lasting meaning. They are are the sort of ridiculous labels that get used to segregate people which doesn’t serve any of my purposes at all, ever.

    The best rejection letter of the 2014

    I want to make a living doing something I’m passionate about. That’s it, that is all there is about publishing that matters. All avenues to publication are open to me. As I write more I’m only increasing the possibility that someone will be engaged. Rejection letters don’t hurt me; they may help, especially when they’re well written and contain hints about the work under consideration. No longer am I a label dependent author.

  • Workshopping. Last summer, while sitting across a table from John Scalzi, I had the opportunity to talk to this man that I admire for what he has accomplished with his fiction about what motivates him. At least that’s what I wanted to know about. I’ve heard him say that he writes for his mortgage, but this doesn’t answer the question that’s been bugging me. Why writing? Of all the things a smart, accomplished guy could possible do, why would you willingly choose to enter into the profession of making shit up for a living?It’s a tough gig no matter how lucky you get.I’m not certain I really got an answer from him. John turned my own question around on me and then I was confronted with the surprising realization that I didn’t have a good answer. I know the answer is in part, “because I’d do this even if there weren’t any money involved.” In fact, I have written most of my life starting back when I was a kid. I wrote stories and drew pictures of those stories. But there is more to it than that. Writing is a discourse, an exchange if you will. I really enjoy the feedback I get from the audience that reads my stories. This is important to me as a writer.Since that conversation believe me when I say that I’ve thought on the topic. In September I ran into Ramez Naam at a reading in University Bookstore. At the time I was looking for workshops and writer’s groups and we discussed what role these played in his writing. Turns out pretty much none whatsoever. Mez has a select group of beta readers he relies on before he sends off a manuscript to his publisher.

    I’ve tried a bunch of different groups. Writing groups can be helpful, but my experience tells me that this is very rare. They can be clique-ish, some of them are set up to help only the organizer grow as a writer, and I’ve even run into groups that are more about playing games than writing or critiquing manuscripts. Mez warned me away from them, gently suggesting that I was indeed wasting my time.

    I heard Tobias Buckell talk about the sacrifices he made to go to school this summer on a panel at DetCon. My takeaway was that he feels four years of college actually delayed his writing more than anything. He found the most value, made the most improvement going to Clarion.

    In 2015 I’m not certain Clarion West is in the cards for me. Given the cost and the time commitment I need to answer the question, “can I do this if I’m given the opportunity?” I know I need exactly this sort of immersive experience to take my writing discipline to the next level, but this may have to go on the long range project lists for now.

 

A Bevy of Concerns

It’s beginning to look a lot like xmas, and these days that means a news media chocked full of horror stories. Yes, they took a blind kid’s cane away in Kansas, American’s can now fuck with Cuba directly, a robot on Mars smelled an alien fart, and terrorists are running amuck in Afghanistan. Oh me, oh my have I forgotten anything? Why the mainstream media isn’t worried about an ebola epidemic anymore may be indicative of why they were so worried about it in the first place, but I digress because man are they concerned about the DPRK.

Another piece of troubling news gobbling up the airwaves. Possibly North Koreans a) have computers, b) potentially know how to use them well enough to penetrate Sony’s firewall, and c) they feel American Seth Rogen now qualifies as a “high value target.” Chuck Wendig is making too much sense over at Terrible Minds about this one. While I too am shaking in my slippers — I mean North Korea is a scary place — I don’t think this incident represents a credible “threat to our ability to create and share art.”

Truth be told, media distribution companies such as Sony, have been holding back plenty of art with far less cause. In fact, great heaps of stories never get told because they lack something critical. “Is it the quality of the art? The subject matter? The connections of the artist telling the story? Why?” you ask, “Why would anyone hold back a movie or a book from me?” It could be any number of components that Rogen and Franco seemingly had taken care of before a country which, while lacking orange juice, took it upon itself to hack the crap out of one of the world’s biggest, most financially capable, multi-national companies.

Not to give North Korea too much credit, but I think they may understand something basic about nouveau economic liberalism and the power of consumer culture that we, living in the thick of it, have seemingly missed. They have managed to pull our chain on this one and the funny thing is, we just let them.

DPRK hasn’t “won” anything, unless you’re a network security specialist looking for a new job. I hear Sony is hiring. No, parody movies mocking Kim Jung Un and his chubby, lovable, despotic cheeks will continue to be made. In fact, I imagine right now the writing staff at Saturday Night Live and College Humor are feverishly hacking together entertaining scripts on the topic of any number of ridiculous aspects of the “Supreme Leader.” And Sony will sit on this asset of a while, or they’ll sell it off. I predict that The Interview will eventually make it to the cinema.

Personally, I think what is scary about this situation is the news that we’re vulnerable to manipulative control. Sony didn’t withhold The Interview because they wanted to protect the consumer public. The threats of violence against their customers are an interesting pretext to the crumbling of this film, but I anticipate a rousing comeback in the near future. And funnily enough I don’t believe that it’s a potential revenue stream this company is protecting, it’s just not that important. Rather Sony and all those cinema companies refusing to show the film are suffering from a sever case of hypengyophobia. They’re shocked by the craziness of this whole cluster event in the first place and I believe that they’re trying to preempt any more crazy, in particular, they want to avoid responsibility for crazy, before it happens. Eventually, someone at Sony, or where ever the film gets passed, will realize that the heroic spin on this story demands that they get this comedy on screens.

So, meh. If you want DPRK to “win” then continue to crow that message. Otherwise, fly the bird for Sony and find a Kim Jung Un video on YouTube. Then play the crap out’ta that because freedom man. Laugh and laugh and know that you’re not living under the thumb of a petty, ridiculous commercial dictatorship who has the power to control your taste in media nor do you live in North Korea.

Two Wrongs

Paul Krugman, an economist I usually find myself agreeing with and a dude whom I maintain a cache of respect for, has been getting a lot of author traction on the internets of late. Why? His recent opinion piece in the New York Times Amazon’s Monopsony Is Not O.K.

This morning no less than five author-peers reposted or reblogged Krugman’s opinion. Paul’s point “Amazon.com, the giant online retailer, has too much power, and it uses that power in ways that hurt America” is arguably a valid point. Arguably as there have been a number of well reasoned collections of words published of late which completely justify what Amazon is and has been doing in its ongoing struggle with Hachette. It’s arguable that Amazon is a monopsony (go ahead I had to look it up). It too is arguable that in a battle where the limits are drawn by the boundaries of the publishing industry that the suggestion of breaking up the whole company using heavy handed FTC tactics is justified. It is even arguable who, exactly is getting hurt in this interminable struggle.

America, really? Seems a bit over the top to me. Let’s take a brief moment and identify specifically who is being hurt right now. That demographic is authors and more specifically authors who publish through the publishing giant Hachette in one way or another.

People who publish through groups that are not Hachette are not harmed. Consumers who buy books through Amazon or any other distributer are not harmed. The only people taking a physical hit for this are unwitting leverage. Most likely they woke up one morning to find that their books weren’t where they thought they’d be on a list or release day and are arguably pissed they’re not getting their promised place of prominence.

Do I feel bad for someone who published through a Hachette imprint only to discover their master work subject to a “new” gate on its way to the consumer? Yeah sure, traditional publishing has occupied the role of tastemaker time out of mind. Who wouldn’t enter a publishing agreement with a company assuming that they could pull all the strings necessary to build all that delectable buzz. And Krugman has it right, Amazon is being a colossal buzz kill. So when I see statements like this from the esteemed Chuck Wendig I have to stop and think.

Well, even without the facetiousness, I get it — I’d rather be done with this topic, too. But here’s the reality: Amazon is hurting authors. Maybe they’re doing good business for themselves and no, I don’t think they’re evil or unjustified. But I don’t care, either, because authors are getting fucked over. And, to be selfish, given some of my future publishers, no reason to think that this fight isn’t coming down to come of MY books, too. I have friends here who are hurting, and it may hurt me in the future, so fuck all of that.

I don’t believe that it is possible to take note of how bad Amazon is being to these authors without also commenting on the ease with which Hachette sacrifices these people to this fate. For the better part of a year now these two business entities have been causing too much friction in publishing, hurting authors and for what? The right to determine who is and is not successful within the publishing industry. This battle isn’t about margins or money it is about who gets to play tastemaker in the medium. Amazon has been successfully usurping that role from traditional publishers for a while and Hachette is jealous of it’s loss. Jealous, but unwilling to alter it’s own behavior in the same way that Amazon can and has.

And what of the rest of us? Those seemingly few who went with a different imprint or turned the whole row on their own? I’m not in possession of any numbers here, but four of the Big Five and all the world’s independent publishers use Amazon for distribution still and with some success. It is possible that Hachette published authors represent a minority of of those who write.

If Amazon is to be blamed and/or reprimanded for anything than equal sanction should be imposed on Hachette. Krugman is right when he draws parallels between Amazon and Standard Oil, but only in as much as they are big, powerful companies in possession of weight to throw around. Rather, they are all very large business entities behaving badly.

A Question of Etiquette

So, right now I’m feeling a tad bit confused and maybe a little stuck. I’ve been submitting short stories to a variety of venues in the SF world. Eventually, I get back a rejection notice. And while this is perfectly okay with me — I’ll simply move on to the next venue with the story to see if I can find a better fit — I feel a desire to reach out and thank the editor in question for their time.

I’ve done a bit of research. The “do you write a thank you note after a manuscript rejection?” query has been run on Google, but there seems to be a decided lack of advice on this one point of protocol.

So, are you an editor? Is a thank you note for your time and consideration something you’d appreciate? Are you a writer who sends thank you notes? Does this work for you?

Truth be told not having an answer for this one question is going to bug the crap out of me all day.

This Should Be a Thing

I’m plum tuckered out. Today I have been more or less consistently disappointed by humanity. Disappointed in general, as well as in particular. Pretty much everyone I’ve encountered in the last twelve to sixteen hours has figured out a new and sometimes interesting way to let me down. For example, the long line of college aged kids on the trail to Lake Serene who were speaking so loudly I could make them out over the din of the forest and a 200 foot cascade crashing into boulders. Guys, hiking should be a lot like visiting the library. Then there is pretty much everyone on social media for, well, saying dumb shit.

After our hike we picked up some passable fried fish and an okay beer. Expectations thereafter lowered, the Fam and I returned to our castle on the hill and played frisbee at the park for a while. Mostly good, but I caught a disc, thrown at close range by my three year old, with my ear. It’s still throbbing. Eventually, we made our way back to the house and I thought, “Hey, I need a pick-me-up. I should see what my friends are up to,” and then clicked through to Facebook because I’m a glutton for punishment, or disappointment. Take your pick. At the top of my feed the fine folks at Facebook thought I’d appreciate this.

Got a request from a new author to read his book. These always set me on edge.

I love helping out new authors. But I’m super busy, so I can’t really take the time to pour myself into that kind of critical reading. And whenever I tell someone this, it’s always a crapshoot whether I’ll get a “thanks for your time” or a raging screed about arrogant writers.

I will not name the author that wrote this. He’s a good guy, and I suspect that this was probably written out of frustration. The amount of reading anybody associated with this gig is constantly asked to undertake can be daunting. At some point we all have to draw lines and declare “None shall pass.” Also noteworthy, I am not the author making said request. This guy writes fantasy, I write science fiction; I’m uncertain he would understand my works any more than I get his. Add to this he’s just an acquaintance I’ve made, not a bosom buddy or a connection to an agent or an imprint. Just some dude I was friendly with over beers at a convention. I’d be really surprised if he reads this blog post. Ever.

But this very public comment struck me as particularly off-putting for a couple of reasons. First, it is a public declaration characterized by indirect refusal to the request of another. He’s not refusing to help by telling the requesting author, he is refusing by telling his fans. While this avenue of response avoids direct confrontation, it also creates more drama than it solves. While at the same time, the comment itself appears to be a lightly veiled attempt to raise one author above another. The Cliff notes for this post? “I’ve got mine, don’t bother asking.”

Add to the above that I’ve found this attitude somewhat widespread. At conventions I’ve sat next to people, other authors, who spend an inordinate amount of time bitching about the unwashed masses with whom they’re too good to consort. To further the misattribution of a phrase “Qu’ils mangent de la brioche.” This seems to me the genre specific contemporary version of Marie Antoinette’s contempt. Funnily it is not the people with swimming pools of book revenue that tend to do this. Go figure.

If you “love helping out new authors” than give it your best shot. Do what you can, no one expects any more. Be more than a self-promoter, be an advocate for your favorite stories. Tell others about all the really fine works that will improve their appreciation of your canon. You’ve worked hard to find your audience, and you may have had help along the way. If not, it cannot hurt to pay it forward. If you really don’t have the time to read someone else’s work than, at the very least, be honest and mature. Tell them upfront.

In an attempt to reconstruct my attitude I turned this nugget on its head because I’m not into maintaining a never ending streak of disappointment. I seriously had to let this one go or risk staying up all night thinking about it, thus, this is a little bit of therapy. I probably need to turn this into a policy statement, but in the mean time consider my public declaration an invitation. Feel free to change out the pronouns as you see fit.

Got a request from a new author to read his book. These always get me excited.

I love helping out new authors because I might have just been given an early opportunity to find my next favorite wordsmith. This is why I will create time in my busy schedule to read his book instead of concocting a series of excuses designed to passive-aggressively justify my own narcissism and surreptitiously segregate him from my social crowd. Besides, I should spend less time playing video games. Whenever I tell someone that I will read their book I am reasonably confident I’ll receive a sincere “thank you” for my time, perhaps some quid pro quo. This is far preferable to the anxiety of waiting on their reply which can range from polite dismissal to an arrogant, raging screed.

It is the last day of August. Today I can officially say I’ve been doing this professionally for a year. Writing, or making shit up for living as I love to call it, is an excellent way to make a living.

One of the most important things I’ve learned over the last year is that it’s a group effort. No one makes it alone. The idea of an “independent author” is a myth, a complete and utter fabrication. For each and every one of us who takes this chance, who writes something down and then sends it out into the world, there must necessarily be a collection of people to read that wager. If you’ve got your’s, I say, “Great! Good on ya.” But I’d also remind you that you did not find your level of success on your own. Someone read what you had to write and loved it enough to tell a friend, to write a blurb, put it in front of your agent or your publisher, or just leave a review on Amazon.

Don’t crap on your fans. Don’t crap on your peers. Pay it forward when ever you can. And always, ALWAYS play nice.

Hugo Awards Are Out

Perfect? No, not so much. Relevant and important to the future of the genre? Unquestionably. The 72nd World Science Fiction Convention at Loncon 3, has announced the 2014 Hugo Award winners. And before you say something as ridiculous as “the Hugos don’t matter anyway” think for a moment on the 3587 valid ballots that were counted to determine this year’s winners. Such a tiny number of people voting, yet the impact of this award is pretty amazing. If you have a problem with the Hugo you should realize that you, all by your lonesome, can still change how this thing works. Participate, be friendly, be open to discussion and get ready for 2015.

Now, I want to send out some good vibes to everyone. Nomination is still a high bar and winners, you’re this year’s rocks stars.

BEST NOVEL

Ancillary Justice, by Ann Leckie (Orbit US / Orbit UK)

BEST NOVELLA

“Equoid” by Charles Stross (Tor.com, 09-2013)

BEST NOVELETTE

“The Lady Astronaut of Mars” by Mary Robinette Kowal (maryrobinettekowal.com /
Tor.com, 09-2013)

BEST SHORT STORY

“The Water That Falls on You from Nowhere” by John Chu (Tor.com, 02-2013)

BEST RELATED WORK

“We Have Always Fought: Challenging the Women, Cattle and Slaves Narrative” by Kameron Hurley (A Dribble of Ink)

BEST GRAPHIC STORY

“Time” by Randall Munroe (xkcd)

BEST DRAMATIC PRESENTATION, LONG FORM

Gravity written by Alfonso Cuarón & Jonás Cuarón, directed by Alfonso Cuarón (Esperanto Filmoj; Heyday Films;Warner Bros.)

BEST DRAMATIC PRESENTATION, SHORT FORM

Game of Thrones “The Rains of Castamere” written by David Benioff & D.B. Weiss, directed by David Nutter (HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions)

BEST EDITOR, SHORT FORM

Ellen Datlow

BEST EDITOR, LONG FORM

Ginjer Buchanan

BEST PROFESSIONAL ARTIST

Julie Dillon

BEST SEMIPROZINE

Lightspeed Magazine edited by John Joseph Adams, Rich Horton, and Stefan Rudnicki

BEST FANZINE

A Dribble of Ink edited by Aidan Moher

BEST FANCAST

SF Signal Podcast, Patrick Hester

BEST FAN WRITER

Kameron Hurley

BEST FAN ARTIST

Sarah Webb

JOHN W. CAMPBELL AWARD FOR BEST NEW WRITER

Award for the best new professional science fiction or fantasy writer of 2012 or 2013, sponsored by Dell Magazines (not a Hugo Award).

Sofia Samatar

I Hate Conflict

Yep, this author really does not like it very much. My problem with conflict is that it gums things up, making it more difficult or impossible to get anything done. As I’ve gotten older I’ve come to realize that there is no escaping it, and eventually, if you’re involved in any pursuit where conflict is happening you may actually need to chose a side. I hate that most of all because I usually find myself not agreeing with any particular party. If party A is busy bickering with party B over something that ultimately just creates obstacles for me, why should I line up with either?

The whole Amazon v Hachette cluster event has once again taken center stage. Instead of focusing on some highly anticipated releases, the ring leaders are begging for all the attention. They want to know that we support them in their cause. They’re writing open letters, building grass roots media campaigns, and waving big banners.

Friday evening, what should appear in my inbox, but a letter from The Amazon Books Team with the subject “An Important Kindle request.” Within this multi-page tome (and I possess a big monitor) I’ve been obliged to take Amazon’s side in this contemporary cluster event of monumental proportions. If we just hold hands, sing songs, and spam our adversaries with emails we can eventually go back to pretending to be nice to one another. After reading this letter I felt dirty.

Amazon would love for you to buy into the idea that they’re on the side of readers. Hachette wants you to trust that they’re on the side of creatives. In my opinion, both of these companies couldn’t give less of a damn about readers or writers. Here’s why.

  • In Amazon’s letter to Kindle authors they liken the rise of ebooks to the historical shift in publishing between hard bound and paper backed books. Their history is on the fuzzy side, but that doesn’t really matter. What does matter is Amazon’s claim that the ebook can revolutionize book sales the way that paperbacks did somewhere between WW1 and Vietnam.I find it perplexing that as a distributor of books, Amazon fails to realize that words have value. People, good people in fact, spend lots and lots of time and effort collecting those words into big piles. They’re banking on the notion that a lower price point will increase sales volumetrically. Fast and cheap is what they’re going for in their segment of publishing, but this is incredibly shortsighted of the company. As an author who first bleeds on the page and then slaves away at revisions until I’m cross eyed, I don’t want readers stuffing their Kindles with my work. This does me absolutely no good. That kindle stuffed with cheap words will never get read and the return I can expect regardless of how I publish will always be much, much lower. Amazon is pushing writers to produce more if they want any hope of maintaining financial viability. You get to choose two: fast, cheap, or good. By chasing cheap, and pushing fast, they’re losing good.

    The whole Readers United bit seems concocted. It’s like eating soylent green snack cakes. Amazon is clearly trying to win my support in their corporate struggle but they are not actually doing anything to gain my support. So like a big, self-interested, for-profit company.

    If you’re a reader and you think this is a good thing, think again. Short term, with the ever-decreasing value of the printed word, each time you buy a mobi on your Kindle Paperwhite™ you’re likely wasting your hard earned money. You’ve given me a sale, but I’ve lost a reader because Kindle-stuffers don’t read, they collect. Long term it is actions like this that push down prices on everyone’s works, thereby devaluing the cost of the written word to the point where it becomes a worthless pursuit for creatives. I’m not motivated to write and then jump through hoops to publish something at a net loss.

  • Hachette has brought out their honor guard to make the point that Amazon is an evil, multimillion dollar, monopolistic company whose only concern is hurting Hachette’s precious writers. “It’s not our fault that Amazon chooses to behave this way,” they’re saying. “Be on our side because we’re the good guys, ebooks at a slightly higher price point ($14.99 instead of $9.99) just means that much more money will end up in the hands of the people who really deserve it.”I’m not buying this line either. Hachette has its own turf effort underway. A bunch of big name authors have published an open letter in which they “respectfully ask you, our loyal readers, to email Jeff Bezos, CEO and founder of Amazon and tell him what you think.” Guys, I hate to be the bearer of bad news, but you lost agency when you sold the rights to your work. Sure, what Amazon is doing is craptastic. Refusing to accept pre-orders on Hachette authors’ books and eBooks, refusing to discount the prices of many of Hachette authors’ books, slowing the delivery of thousands of Hachette authors’ books to Amazon customers, and indicating that delivery will take as long as several weeks on some titles is the opposite of what any company formed around the idea of efficient, low-cost distribution of goods should be doing. This is how the bully behaves, but Hachette seemingly hasn’t seen fit to make any move to help these authors. Amazon is stoking the fire, Hachette is making certain that the shackles are nice and tight.

    The painful part of this effort is that each and every one of the people that signed this open letter seems just fine with the heat. By bandwagoning Hachette’s efforts you’ve effectively let this company off the hook for their part in this kerfuffle.

Neither of these companies is doing anything for the people that they say they care about. Authors don’t make any more if either of them win. Reading doesn’t get any better if either of them win. From the perspective of the people that matter, this is all lose-lose. We lose because attention within a saturated media market is necessarily diverted to business matters pertaining solely to middlemen.

What do I want? Amazon and Hachette to sit down and work things out; both of these companies need to solve this problem sooner than later. They’re hurting everyone who creates or consumes. These business entities are losing business. Do I hate either of these companies? Not so much — they both have a lot to offer. I’m a businessman working at the creative end of this funnel. When things go wrong, when things get stopped up, I notice. But that’s just it, I am interested in selling my stories, not winning some sort of imagined moral battle.

We’re not on the verge of some epic ebook publishing breakthrough, neither are we at the threshold of some amazing renaissance of traditional publishing self distribution. Rather we seem to be hopelessly bogged down in some sort of middleman mire. Amazon, you’ll never get anywhere bullying Hachette authors. If you want to win authors over to your way of thinking, offer them a better deal. Hachette, you’ll never get anywhere pretending you hold some sort of moral high ground. If you want to win readers over to your way of thinking, give readers a better deal.