NaNo Buddies


Well wow! The first week of November is coming to a close. I haven’t grown a mustache or a beard, but I have completed 10k words for NaNoWriMo. In case you don’t know what that means, it’s an annual program where writers pull their hair out over the course of a month trying to complete a novel. National Novel Writing Month, although it is clearly International and the 50k words necessary to win tends to be my average per month rate of writing.

Honestly, as November got closer, I wasn’t completely certain I was going to attempt it this year. We’ve got family plans at the end of the month. I’ve got house duties I need to attend to. Things will get in the way, but this year, although I began quietly, I’ve been consistently meeting the bar. I’m still not certain I’ll make 50k words by the end of the month, but it is a lot of fun trying.

So, here, a week behind schedule, is my annual request for either your time or your money. If you’re writing something, even if you don’t plan on finishing before the end of the month, come be my buddy (my NaNo username is saguache). Or, if you’re the kind of person who’d rather support creative activity belly up to the donation bar and donate a couple of clams. In either case, you’ll be doing plenty to help me, and many other writers, write something amazing.


Finally, like the sniped internet meme says at the top of the post, a request for a little signal boost. The Big Red Buckle is still on e-sale. It’s cheaper than a cup of coffee. And, in fact, sales of this book are immediately rolled over into my personal caffeination. Maintaining adequate levels of coffee induced euphoria is a constant struggle for writers. You’ve got to help me fund this habit.

Seriously, I’d really appreciate your reactions to this one. We’re only a couple of weeks away from the release of Galaxy Chronicles, and I’m hoping to leverage the potential success of that anthology to find new readers. Get in early, become a fan of my fiction now. You’ll be one of the few who will be able to say that you knew me and read me before I was popular.

Don’t Forget to Dream

D.S.I Helium 3 Transport Vehicle by Adam Burn

I’m sitting in the coffee shop; A-bear is playing his heart over at preschool, and I’m just not getting into it this morning. Derp move number one, I’ve been tugging at my chin hairs while I read from the ever expanding athenaeum of “Advice Offered to Writers on Writing and Stuff.” The truth of the matter is that I’m not sure what I’m going to write next, and my Twitter feed has once again delivered up this highly distracting narrative in which I willingly participate. Hunched over and fuming, once more, it occurs to me that this is not a good way to live your life.

More importantly, it doesn’t seem like a very productive way to spend your precious writing time.

It’s probably not helping that the new baristas have changed up the music, and I’ve since had to plug my headphones in and crank up the subtle white noise of Coffitivity. Yeah, that’s right, I’m listening to “Morning Murmur” — a recording of a coffee shop while sitting in an actual cafe drinking coffee — how’s that for bathos?

“So what, precisely, is the problem Matt?” you ask.

Well, I started with this blog post from the esteemed and successful Chuck Wendig: Peaks and Valleys: The Financial Realities of a Writer’s Life. Realize, in no way is this me jumping onto his current cluster event. Rather, it’s me taking a critical look at why I seem to come away from his advice posts feeling defeated and ready to quit.

This post and the advice it references are just one member of a distinguished lineage of columns I’d like to label “The Stark Reality Collection.” I’m starting to wonder if it’s even possible for authors, especially those in the SFF community, first to begin making a living from their work and later not tell the world how hard it’s going to be. Often I come away from reading this stuff convinced I’ve done everything wrong. I live in the wrong place, I know all the wrong people, I didn’t go to the right school, or workshop, I write the wrong things, and I put my pants on the wrong way — that’s how wrong I feel.

Defeated before I begin, my options seem limited. Maybe I should just take Wendig’s intimation and “move on to more stable ground.”

Here’s the thing. Fiction moves me. Let me say that again. FICTION MOVES ME. I love a good story. Terry Pratchett’s farewell piece The Sheperd’s Crown recently reduced me to a blubbering mess more than once. And I can’t tell you how much I’ve learned from my recent readings of Kim Stanley Robinson’s Wild Shore Triptych.

I know that I’ve discovered my earthworm. I know that my stories are good enough, and my writing is compelling and entertaining. And yes, I love doing this, even when it’s fucking difficult.

Standing up to assert these strong feelings of self-determination and conviction I rip the headphone out of my computer and nearly dump hot coffee all over my lap. “But really,” I say to myself taking a calming breath. “I don’t need anyone to tell me how hard it’s going to be.”

Want to help successful-author-making-a-living-from-your-words? Stop telling everyone about the big pile of shit we can look forward to wading. That’s the thing about piles of crap; they’re apparent. Everyone knows that they’re there, usually because, much like yourselves, we’re busy trying to clean it off our shoes.

Better, tell us what moves you. Why did you stick with writing even when you weren’t sure when your next meal was coming? What do you do in the morning to warm up for writing? What inspired some piece of fiction we can’t put down. How do you deal with criticism fro your readers or even your editor? Writer’s, especially the good ones, I’ve realized have developed strategies to exceed the piles of crap life leaves on our paths.

I write a lot, I don’t sell a lot (yet). I know that I’ve yet to develop a “real” audience. The numbers necessary to lift me out of this valley just aren’t there yet. This is the sole reason I keep looking into the Library of Stark Reality. I’m looking for feasible ways to grow my audience as I get ready for near term release dates. Want to help? Tell me about the concrete things you did to expand your audience.

And while I acknowledge that it won’t always be easy, this morning I’m resolved that as I build my author platform and find more readers, I will endeavor to imagine with audacity. The boundaries that limit me aren’t worth talking about except when exceeded.


Off to the Editor

Oh, that’s a good feeling. No, strike that, it’s a great feeling! I just submitted a 7,500-word short story for an upcoming Future Chronicles anthology. Doomsday Chronicles isn’t due out until February 2016, but my story is very done. I’m very satisfied with the work as well.

This piece should cement my SFWA membership, if not this year, then early next year. Added to this In Goat I’ve managed to turn out an entertaining, compelling, topical tale I’m certain will make readers think. So, yeah, I’m congratulating myself just a little bit. I think this may be an overlooked part of writing for a living that more authors need to take in hand. Celebrate your accomplishments people.

“What’s next?” you ask. I’m contributing to another anthology — this time steampunk’s Drifting Isles — and I’ve already begun this one. It’s due in November so I’ve got time and since this tale is outlined and just needs words I’m going to have more time to work on other things concurrently. So I’m left wondering where I should focus.

The top contenders are two novel-length projects and a novella length speculative fiction piece. Counterfeit Horizon is something like 70,000 words (currently) of very rough work. Part of my reluctance in finishing this story — that I began back in 2013 — is the sheer volume of editing that it’s going to take. Counterfeit was my first attempt at a novel length anything, and consequently it’s just riddled with mistakes and plot holes. One strategy I’ve been contemplating is to junk the old manuscript and just re-write the story using the characters, settings and plot I’ve already developed. I wrote the bulk of Counterfeit Horizon during NaNoWriMo, so I know I could knock this out comfortably in a short space of time.

Second is the novella project. Fire Weather is almost there now; a short sprint could have this piece ready for publication by late winter. With the incredible fire season, we’ve seen this summer the story is topical. Right now my big problem is that the tension in the tale tends to fall off. There are interpersonal battles, health issues, and of course, the fireline fight, but when I read my work I’m left wanting more. This story needs some Spike, and my feeling is that I don’t know how much to add. I suppose I can add spice in small amounts, reworking by chapter and scene, until I think it’s got the right flavor. Now that I write this out, this begins to appeal to me.

The final candidate is Winter City Above the Clouds. The first two chapters have been written, and I’ve spent some time this summer working on the outline for this science fiction epic. This project is daunting. And what I mean by that is that right now, I’m looking at what I want to do with it, and I’m not entirely sure I have the skills necessary to reach that lofty goal. I’ll be making everything up, and this tale requires a rich, expansive cultural backdrop just to make the stage believable.

Of these projects, Winter City is where I’d like to be spending my time, it’s where I go to get lost in my own imagination right now. I based my first Future Chronicles contribution Ser Pan Comido in the universe I’ve been developing for Winter City. So it has that element of guilty pleasure about it. I just don’t want that to interfere with the final quality of the piece. Better, I don’t want to find myself back in the same situation I’m in with Counterfeit Horizon.

Conclusion, it’s sometimes very easy to be your own boss and other times it approaches impossible to be at the helm. Option paralysis is real.

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.


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.


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 “, 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.