I No Longer Roll The Dice With My Work (Because I Can't Afford To)

Being an author is a lot like playing the lottery. I've said that before, and generally it means I'm referring to what happens with your finished product. Because no matter how much time, energy, sweat, and grit you put into your book, there's no telling whether you'll find your audience for it or not. It's impossible to say whether the algorithm is going to defeat you, or lift you up so that everyone can see your work so you can become this week's success story.

Today, though, I wanted to talk about something else. Because there's a weird situation for many authors (especially those of us who are just starting out), where we rely heavily on chance and luck to even get our work published in the first place. And now that I've decided to step out of that particular game, I wanted to mention how frustrating it can be to participate in.

Come on baby... we REALLY need a contract this time...

Before I get too far into things, though, remember to sign up for my weekly newsletter to get all of my latest updates sent right to your email! And if you want to help me take even more of the gambling out of my monthly earnings (so that I can keep my landlords happy), consider becoming a Patreon patron today!

Hitting The Jackpot Once is Hard Enough

The first thing I did when I started my career as a writer was look for open calls for short stories. The way these work is that a company will put out a theme, a word count, and a general description of the sorts of fiction they're looking for, and writers can submit their work. Editors go through the pile, pick the ones they want, and those stories will go into the anthology. Smaller companies tend to offer a royalty split among all contributors (which amounts to almost nothing unless they sell a lot of books), some will pay authors a flat fee for the story, and some very few will give you a flat fee and a royalty.

What a lot of writers will quickly find is that unless you are very lucky, you probably don't have a short story laying around that's exactly what an open call is looking for. If you're fortunate, you can retool something you've done to fit. Most of the time you're going to have to write something entirely from scratch, submit it, and then pray to the typewriter gods that you catch the editor on a good day and your story gets picked.

This exact same process happens on a larger scale for novels. So while you might spend a year or more penning a manuscript, there's no guarantee that it will get picked up. You have to find a company that seems to be interested in your kind of book, submit a pitch, and cross your fingers that you get a call back. Worse, a lot of companies have a policy that you can't submit the same book to other agencies, so you're stuck in limbo until they make a decision.

I did manage to get lucky a few times.

For years I went through this process with short stories and novels. Some of my stories hit the mark, like "Stray Cat Strut" which was picked up for From a Cat's View. A lot of short stories I wrote got re-purposed, and managed to find a home in other collections. However, after several years of dancing this dance I had enough content left over to publish The Rejects, which were all the dark little darlings that hadn't managed to find an editor that wanted to give them a chance to shine.

So, to recap, you need to complete an entire piece of work (short story or novel) before you can do anything. Then you ship that piece of work off to a publisher that you hope will be interested in it. Most of the time you have to wait till they say yay or nay before you can move on. This process of back and forth querying can take months in some cases, or years in others. And at the end of the day, your piece might not get picked up by anyone. Ever. Period. Meaning that, from a return-on-investment perspective, all that time in writing, editing, submitting, etc. was just energy thrown into a pit.

Honestly? I don't have time for that anymore.

I Wish I Had a Better Solution

I started thinking about this because a few weeks back a friend of mine tagged me in an open call for short horror stories. It's been a while since I applied to one of these calls, but as I was looking over the terms, payment, timeline, excitement started bleeding out of me. I realized why soon enough.

Because if an editor had tapped me on the shoulder and offered me a spot on this project, I'd have been all in. Being told I had to compete with a group of other authors of varying skill levels and experience to maybe get chosen and get a check? For something that was going to take several weeks to a month of my labor? No. I don't have the margin of error to deal with that anymore.

The pandemic forced me to make a lot of changes, and one of those was putting the majority of my energy into books, fiction, RPG supplements, and stories. Because, simply put, the "safe" clients I was ghostwriting for all shut up shop and stopped paying their bills, while gamers and readers demanded more content as fast as I could put it out. It's why, if you keep an eye on my release flow, you've probably noticed more stuff coming out at an increased clip since roughly this past winter.

I've built up a base of clients and contacts over the years, and at this point in my career if I have an idea that I think will do well I don't have to put together a proposal, submit it to a slush pile, and wait several months for a response from a publisher. Because I either know the platforms where I can put these projects together myself, or I have contacts that I can shoot an email to and ask, "Hey, Charlie, had one of those crazy ideas. If I put it together, would you be interested?"

Either way, publication is going to happen, so the only die I have to roll is trying to make sales once it's out.

Just say the word, and I'll get it done!

I try to be a realist on this blog, which is why I feel it's important to point out once again that who gets published is almost never a matter of talent or quality. Sometimes all you have to do is write in a certain subgenre a publisher thinks will be popular. Sometimes you just need to do something one editor loves (or hates) for them to accept or kill your story. An editor might have had a bad day, or be under pressure, which alters their reading experience. It could even be the order your story was read in, meaning that it got forgotten in a backlog, or stayed with an editor because it was the last one they read.

So many of us believe editors are like Anubis weighing a soul against a feather to determine worth, and that they have some special gift or insight that only lets the talented and deserving get published. They don't. Editors are people, and their decisions are often just as much up to chance, mood, and whim as any other person's. Sometimes they publish great stories from really good writers. Sometimes they publish drek. And sometimes the drek is what sells millions of copies, while the new, unusual, or outside-the-norm gathers dust in a discount rack because the drek is what the reading public was willing to shell out money for.

To cut a ramble short, this pandemic has caused me to write more than I ever have before. At the same time, though, I've grown increasingly mercenary with the projects I take on. Because when the words coming off my desk decide whether my landlord gets paid, and if I have food in the cupboard, I don't have time or energy to waste on open calls that might pay me, if I get accepted. Maybe. Half a dozen months from now.

And the fact that so many people in my profession are forced to run that gauntlet as a matter of course to "prove themselves" or "pay their dues" is something I wish I could change. I don't know how, but I've reached a point where submitting and waiting is no longer possible. I'm sure there are thousands of writers out there for whom it was never possible because you can't take a gamble on a "maybe" when you need your bills to be paid for sure.

Just some professional thoughts for the week.

Like, Follow, and Stay Tuned!

That's all for this week's Business of Writing! If you'd like to see more of my work, take a look at my Vocal archive, or at My Amazon Author Page where you can find books like my noir thriller Marked Territory, my sword and sorcery novel Crier's Knife as well as my recent collection The Rejects!

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!

The Key To a Book Deal? Luck, and Perseverance

I remember years ago when I was still a reporter for a small rag in town that I was asked to interview local author Kate Collins who had just released the 13th book in her ongoing mystery series (Nightshade on Elm Street I believe it was). I was thrilled with the assignment! It was partly because it's always nice to hear a fellow author hold forth about their work and process, but it was also because I wanted to talk to someone who was clearly more successful in the book racket than I was. I had the same burning question that I've heard asked in hundred different panels at a dozen different conventions now.

How did you do it?

Seriously, you got 13 of these, and it's not your only series!

 

The answer Ms. Collins gave was as honest as it was disappointing. All these years later, though, I can vouch for its veracity. None of us like hearing this, and none of us want to believe it, but the sooner you do, the sooner you'll be able to move forward with your career.

It's luck. That's all there is to it. All you have to do is make sure that you, or your manuscript, happen to be in the right place at the right time to close a deal, and you've got it made.

For her, it had simply been putting her manuscript in the right hands by pure chance. She'd submitted a romance novel to Viking more than ten years ago at the time of the interview, and it just so happened to catch the editor's eye while they were looking for the specific flavor she'd penned. It wasn't the font she used, the typeface she wrote in, or some trick of phrasing in her cover letter that made her stand out as more worthy of being read. It was just that she happened to get plucked off the pile that day.

Of all the authors I've spoken with over the years, this is the one commonality that all of us share. When someone asks how we got our books published it was never the culmination of a carefully enacted plan like something out of Ocean's 11. Without fail it's always been because of some random quirk of chance. Someone we talked to at a party, a friend of a friend who heard about what we did, or in my case impressing the right people at a panel.

It's Honestly How I Got My Book Contract

For those of you who haven't seen it yet, my new novel was released at the beginning of the month! It's a mean streets noir story about an alley cat from the Bronx who gets caught up in a pissing contest over turf rights on the south side. At first Leo's just there to help out a church mouse named Charity who's caught up in trouble, but the deeper he digs, the less sense it all makes. When all the twists and turns play out, though, he finds out why a ruined church has suddenly become... Marked Territory!

Come on... you know you wanna check it out!

I finished writing the manuscript for this novel toward the end of last summer, and I was letting it cool for a bit before I went over it and got it ready for submissions. And it was last November that I happened to be on a panel at Windy Con with Joy Ward and Walt Boyes, who in addition to being long-term authors in their own right also happen to work for Eric Flint's Ring of Fire Press. This wasn't our first acquaintance either; I'd met Joy a year before and we'd chatted after a panel I was on, which put us on smiling-and-nodding-in-the-halls terms.

 

Con folks will know exactly what I mean.

All three of us were on a panel talking about how to start your career as a writer. The three of us, along with Richard Knaak (whose books you should check out, by the by) were going back and forth, answering questions, giving advice, etc. We had a surprisingly large audience for a small con, and we did our best to just give them the facts. It was after another panel that I happened to be on with Walt and Joy that we found some time to talk about what we were working on. I casually mentioned that I'd just finished this novel that was, "A traditional noir detective story, with all the violence and intrigue, but the whole cast are street animals in New York City."

I was talking for about 30 seconds, just pleased to have some folks who understood what it was like to work on something that was simultaneously difficult, and sort of silly. I remember Walt just nodded, gave me a smile, and said, "So, when are you going to let me take a look at it?"

That was it. No submitting to a slush pile, no going through channels, no inquiries about an agent or asking to see my previous work. I just happened to mention a project that intrigued him, and both Walt and Joy had heard me talk about my experiences on the same panel they'd been on, and so he decided to take a risk on me. I speed-edited the manuscript in a week or so, and got it into Walt's hands as fast as I could.

The rest, as they say, is history.

 

But You Have To Keep Rolling The Dice

They'll come up boxcars eventually!

So it's all about luck? That's the secret?

Well, yes and no.

As I've said so often on this blog, it takes a lot of work to become an overnight success. It's possible that your very first reading on open mic night, your very first time sitting on a panel at a convention, or the first after party you go to, you're going to make that connection that sparks an opportunity. Like picking up the dice, and rolling double sixes straight out of the gate, it can totally happen.

That's not likely to happen, though. But the upside is that every event you go to, every panel you volunteer for, and every time you sit at a table in a dealer's hall or a signing event, that's one more chance for you to meet people. One more chance for your paths to cross with new nodes on your network, and for an opportunity to present itself.

The one piece of advice I can give, though, is this; don't try to stack the deck in your favor. Don't be nice to someone hoping they can introduce you to their agent, or chat them up just to get them to look at your book. That sort of thing happens all the time, and it's exhausting. There's also no surer way to completely shoot yourself in the foot, and practically guarantee that the person you're hoping will help you is going to slam the door in your face... potentially literally.

Just make connections with people. Be polite, be professional, be respectful, and just enjoy their company. When you take all that pressure off yourself (and more importantly off the people you're talking to), that's when you're much more likely to find an opportunity drops out of the sky, and falls right in your lap.

Want To Get All of My Updates?

At the insistence of several of my readers, I have finally decided to start a newsletter! The current plan is to put out one every Monday to offer a recap of all my articles, blogs, books, supplements, and other projects so that my readers never miss a trick.

You can sign up here, or scroll down to the bottom of the page (if you're on the web version, rather than the mobile version of my blog). Hope to see you there, and make sure to tell your friends! The first issue is coming out next week at time of writing, and I'm hoping to get at least 50 names on the list by the weekend.

Like, Follow, and Stay Tuned!

That's all for this week's Business of Writing! If you'd like to see more of my work, take a look at my Vocal archive, or at My Amazon Author Page where you can find books like my sword and sorcery novel Crier's Knife as well as my recent collection The Rejects!

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!

Know Who You're Selling Your Book To (Before You Start Writing It)

Most people think they have a pretty good grasp of the writing process. You come up with an idea for a book, and you go through whatever pre-planning you need for your plot. Once you're ready, you pump out a first draft. You let it cool, then go back over it for a second, third, and maybe even a fourth draft depending on your preferences and style. Then you hand it over to your beta readers, and you have them read it over for mistakes you missed, plot holes, spelling a character's name differently halfway through chapter six, what have you.

Then, when you finally have a complete manuscript, you engage phase two... finding somewhere to sell the damn thing!

Got a minute to listen to my pitch?

If you're one of those writers who puts off the marketing aspect entirely so you can focus on your writing, then you might want to pick your head out of the sand for a moment. Because you should already know where you're selling your book before you so much as put the first word on the first page of your first draft.

But You Can't Sell A Book Until It's Written!

Right you are bold, italicized text! However, I am not saying that authors should be pitching their books to publishers when they don't have the manuscript ready to go. That sort of behavior is utter folly. However, it's a mistake to think of the writing process as two separate halves; creating the book and selling the book are just two sides of the same coin.

Which is why you can, and indeed should, be working on both of them simultaneously.

Sacagawea would approve.

As an example, while I was putting together the stories for New Avalon: Love and Loss in The City of Steam, I was also in talks with the few publishers I knew at the time to gauge who might be interested in the project once it was complete. And, in the event no one on my list was interested, I was combing through that year's copy of Writer's Market and compiling a list of alternative publishers to query. I already knew I was putting together an inter-connected collection of noir steampunk short stories, and I knew that I didn't want to publish it myself, so I made sure I had a list of potential homes that I could query as soon as it was ready.

That preparation paid off, though there was a hiccough or two in the road. One of the publishers I'd worked with before expressed interest almost as soon as I reached out to them, and even gave me a contract, but the project eventually fell through. Fortunately, because I'd already done the legwork, I had a list of other publishers to query with the project once that ship sank. It eventually wound up with JWK Publishing, who polished it up, and took care of the rest of the publishing process for me.

Could I have written the book, and then done all that work to get it placed with a publisher? Absolutely. However, much like writing, doing market research and submissions prep isn't something you should try to hammer out all in one go. Instead, it's more like going to the gym; if you do a little bit every day, and ease into it, then pretty soon you find you're really proficient. You know all the different options you've got, and all the different angles to work in order to get the results you want, and it's not likely to strain you.

This Goes Double For Self-Publishers!

I see you in the back of the room trying to sneak out. You're thinking that, because you're self-publishing, then you can work on your own schedule without bothering with the rest of this. After all, there's no reason to send emails, make calls, etc., until your book is done because you can't actually start the rest of the publishing process until your manuscript is ready.

Ah, but that's where you're wrong!

When you're your own publisher, it only makes sense to start the plates spinning as soon as possible so you have as little work left to do once the manuscript has reached completion. For instance, before you start writing you should make sure all your formatting is going to work for your platform of choice (because there's nothing worse than fixing 300 pages of using a Tab for an indent when you should have just set your preference in your Paragraph menu and let the technology handle the rest), and if possible you should have cover art picked out and ready to rock long before you reach the final chapter.

If you haven't checked out Looking For Cover Art For Your Book? Try Drive-Thru RPG!, then you will certainly thank me once you have.

Additionally, if you're confident in your ability to deliver your book on time, you can start the marketing machine early. If you run a blog, a YouTube channel, or a similar platform, give your audience updates on how the new book is coming to get them excited for the release. Reach out to reviewers, and get them lined up so they're ready to look over your advanced reviewer copies once they're ready to rock. Schedule interviews, guest blogs, etc. and stay on top of that schedule so that you can seamlessly transition from, "writing the new book," to, "selling the new book."

You Don't HAVE To Start Both At Once

Everyone's different, don't get me wrong. Some authors know by the end of chapter one how many words this book is going to be, and how long it's going to take them to hit that number. Other authors may meander a bit, needing some spare months to do re-writes and to backtrack from false starts and unnecessary plot points.

Writing books is tough, and it's not always a straight line to get from A to B.

We're working with a lot of variables, after all.

However, once you're sure that your project is going to be carried to term, it's a good idea to start preparing for its completion. Because just like having a baby, you want to have a sitter, a crib, some formula, etc. already waiting in the wings for the day it's finally here. Because arranging all of that while your newest creation squalls in your ear is a lot harder (not to mention more time consuming) to do from square one.

Like, Follow, and Stay Tuned!

That's all for this week's Business of Writing! If you'd like to see more of my work, take a look at my Vocal archive, or at My Amazon Author Page where you can find books like my sword and sorcery novel Crier's Knife!

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!

Quit Your Hand-Wringing, People Are Still Reading Books

A certain headline comes across my news feed every couple of months. Though the specific formula for it might alter, the gist is always the same. "My god, no one reads books anymore! Our society is crumbling! Whatever shall we do?!"

Sorry, I didn't hear you. I was too busy reading a book.

Why does this particular rallying cry of, "My god, think of the books!" crop up so much? I have no idea, since according to the data, people are reading at about the same rate they have for years... at least in American markets.

Pew Research, Reading, and Trends

Unbeknownst to most people (including me, until fairly recently), the Pew Research Center does a yearly survey in the United States about reading habits. They want to know how many books someone reads, what format those books are in, and to look for trends among recipients.

Well, the 2018 numbers are in. Print books, despite what you may have heard, are still the preferred format for readers in the U.S. Ebooks are seeing some increased use (not surprising given how many of us have smartphones and tablets these days), and even audio books are getting some love with one in five Americans saying they listen to them. I am definitely one of those five, no surprise since libraries offer them for free, and Audible has been a thing for a few years, now. But the big number, the one that will probably surprise a lot of people? Well, it's the fact that about three-quarters of the U.S. population has read at least one book in the past year. And the average number of books people read per year is 12... so about one a month.

You're shocked. I can tell.

That isn't some step back from the edge, either. The percentage of Americans who read is about the same as it's been for years now, and the only time it's been any higher than right now was during the 50 Shades of Grey craze... so that should give you an idea of how much impact that book had, love it or hate it.

So, if you're a writer, don't worry. Your livelihood is not in peril. People still read books, people still want more books, and they aren't being phased out by TV, video games, and YouTube.

Of course, there is one other thing...

If So Many People Are Reading, Why Can't I Sell Books?

While reading is staying fairly steady as far as numbers go (with little changes here and there due to generational habits), the number of books that's available has skyrocketed! Thanks to the ubiquity of self-publishing options, and the sheer number of smaller presses out there, it's now easier than it's been at any point in history to become a published author. If you add in the fact that older titles are still being read, that exacerbates the whole situation.

Now ask yourself, if the number of people reading is staying constant, and they're reading about the same number of books every year while the available books to be read increases dramatically... well, you do the math.

Yeah, those numbers aren't looking too good.

So, rather than lament that no one is reading books anymore, you need to realize that you are competing for eyeballs when it comes to your work. As such, you need to step up your game. Ask what kinds of books people are reading, and find a unique niche for yourself and your work. Build a brand, network with fellow authors, and promote yourself. Host a giveaway, turn up at conventions, and do whatever you need to do to make sure people are seeing your book. Because there are millions of people in America alone who are reading about 4-12 books a year. And if you can get them to pick even one of your books, then you have a chance to hook them for more.

Getting that shot is tough, but it's not because people aren't craving another pile of 100,000 words or so to touch them in their feels, and give them a tour of a place they've never been before. So get to work!

That's all for this week's Business of Writing installment. If you're looking for more work of mine, and you've already dug through my archives here, you could always check out my Vocal articles. Or, if you're in a mood for fantasy, head over to the YouTube channel Dungeon Keeper Radio where I help out from time to time. To stay on top of all my latest releases, follow me on Facebook, Tumblr, and Twitter. Lastly, to help support me and my work, consider Buying Me A Ko-Fi, or dropping some change into The Literary Mercenary's Patreon page. Every little bit helps, and I can't do it without you!

"Can You Draw A Circle?" or "Do Your Skills Suit Market Demand?"

As I've mentioned before, one of my favorite things to do is volunteer for programming at conventions. Capricon is a favorite of mine, in particular, and I make it a point to volunteer in several capacities. Which is why I was sitting on a panel about how to get into the games business at the opposite end of the table from Clifford VanMeter. If you don't know who he is, seriously, go check out his website, it's full of amazing art.

This is one of my personal favorites.

Anyway, we were all telling our stories about how we'd first gotten our foots in the door in the world of publishing. Turns out Cliff had been in the game since before Internet access was a standard part of the publishing world, and he'd made his mark in the early Star Trek roleplaying game as a go-to artist for their ships. Not because he was an extremely talented artist (or so he said), but because he possessed the skill the company needed... someone who could draw circles.

Because, despite all of the great artists who were hanging around TSR headquarters (big publisher of RPGs, for those not in the know), and all of the talent chomping at the bit to get in on this action, a lot of them had trouble with the circular design of a lot of Star Trek ships. As such, their art always looked a little off, and the company wasn't happy with it. And when Cliff heard the editors and art directors talking about it (in-person, as he was dropping something off in the office, though these days you can sometimes get similar results on social media), he spoke up and said that he could do the job everyone else was falling down on. And while he was the first to admit his ship illustrations may have been less dynamic than what other artists could produce, they were recognizable, technically correct, and exactly what the books needed.

Can You Draw A Circle?

What does this have to do with writing? Well, it's all about whether or not you can draw a circle when that's what a publisher (or the public) wants from you.

Because cash flows to those who have the skills that are in-demand.

On the surface, the lesson is fairly simple. No matter how talented you are, in order to get work (or increase your fan base if you're independent) you have to make things that please your paymasters. Which is why you should make sure you can draw (or write, since that's my bivouac) in a variety of styles, sizes, themes, and genres in order to make sure that you always have something you can bring to the table.

The other lesson, the one that I think is just as important to get from Cliff's story, is that you can't be afraid to speak up when you see an opportunity. Whether you're at a convention and someone on the panel mentions they have a hard time finding writers who work in your genre, or you have a chance to catch an editor and ask them what the company is looking for, you will miss 100% of the shots you don't take.

There's something else, too. Something a lot of folks miss, but which Cliff went on to emphasize by the end of the panel. That you can never get comfortable just doing one thing. If you put all your eggs in a single basket, it might still be in one piece by the time you get home. But if the bottom falls out, then you're left with a skill set that was once a valuable commodity that has been splatted all over the sidewalk.

Does The Market Need You?

People love to talk about the free market, and about how the collective desires of the public can shape your fortunes. It's just as true in the cases of artists as it is in stock market savants and investment prophets, though. Because if your work strikes a chord (whether it's with readers, or with the publishers who will get your stuff in front of readers), that can make you into an overnight success. However, if your specific niche falls out of favor (such as how very few folks gush about steampunk anymore, or how modern fantasy is no longer the jump-start label it was a decade back when there wasn't so much of it underfoot), then you face either diminishing returns, or attempting to do something different.

It's important to remember that you are here to provide things the public wants to see. The public doesn't exist simply to buy your books, and subsidize your career. Put more simply, you work for them, even if they don't realize it.

Which is why, at the end of the day, if they want you to draw circles, you'd better be able to deliver.

That's all for this week's Business of Writing. Hopefully folks found it helpful! For more of my work, check out my Vocal archive. To keep up-to-date on all my releases, follow me on Facebook, Tumblr, and Twitter. Lastly, to help support me and my work, head over to The Literary Mercenary's Patreon to leave a tip in my jar, or just Buy Me A Ko-Fi! Either way, a free book is yours for the asking when you donate.

An Interview With Megan Mackie, Author of "Finder of The Lucky Devil"

I go to a fair number of conventions, and the most recent one I attended was Capricon in Chicago. A smaller sci-fi con, there's always a lot of friendly faces and new (or at least new to me) talent on display. While I was on a lot of panels, and walking through the dealer hall, I shook a fair number of hands, and exchanged more than a few business cards. And one person whose acquaintance I made is author Megan Mackie.

And this is her book!

Since it's always nice to meet fellow authors in the local area, and since it's impossible to have too much press, I thought I'd sit down with Megan and get some basic information out of her for all the fine folks out there who are looking for a genre-blending book that mixes magic, mystery, and some of the most expensive technology her world has to offer.

Question #1: What Is Your Latest Release About?

The Finder of the Lucky Devil is set in an alternate Chicago where magic and technology are in economic competition with each other. We follow Rune Leveau who has a magical Talent for Finding things. She meets a cybernetically augmented corporate spy who wants her to help him find a wanted criminal called Anna Masterson. The problem is Rune IS Anna Masterson. And he’s not taking no for an answer.

2. What Makes It Unique In The Genre(s) It Falls Into?

It is an urban fantasy/cyberpunk book, or cybermagic.

3. How Did You Get Your Start As An Author?

I was a playwright previously, where I learned about characterization, arc and dialogue, then for novel writing, I started describing things more.

4. What Advice Would You Give To Authors Looking To Publish?

Don’t look to someone else to tell you, you are an author. (I couldn't agree with this insight more. Also, to add my own two cents to Megan's, I'd also point out that you shouldn't look to someone else to tell you when you're good enough to get paid.)

5. What Advice Would You Give To Authors Trying To Sell More Books?

Get more than one book out there. Your first book is the hook.

6. What Events Will You Be At Throughout This Coming Year?

ACEN, Windy City Comicon, Mighty Con Chicago, various others, see my Facebook page or join my newsletter to be up to date.

7. Do You Have Any Other Projects You Want To Give A Shout-Out To?

My second book is coming out in June 2018 called The Saint of Liars, the sequel to The Finder of the Lucky Devil.

8. What Is The Biggest Misconception About Writing That You Hate?

That finishing a first draft is impossible. It is if you decide that’s true. Get it done!

9. Do You Have Any Final Words For Readers Out There?

The best way to support Independent authors you like after buying their books are reviews, social media likes, and telling your friends about it. We don’t have big marketing companies helping us so every one of the above things counts a hundred times more to us.

10. Where Can We Buy Your Book(s)?

Amazon, Barnes and Noble, Kobo, Applebooks, Draft2Digital, or me at your local convention!

Also, don't forget that if you want more information about Megan's upcoming projects, and previous releases, check out her author website!

That's all for this week's Business of Writing. If folks enjoyed it, I might expand the number of interviews I do in the future. For more of my work, feel free to check out my Vocal archive, and to keep up on all my latest releases follow me on Facebook, Tumblr, and Twitter. Lastly, if you'd like to help support my work, head over to The Literary Mercenary's Patreon page, or Buy Me A Ko-Fi! Either way, free books and my gratitude shall be yours!

You Don't Have To Be Good To Get Published

I've met a lot of writers who want to take a crack at the big leagues. Some of them were really good, some of them were mediocre, and some of them were outright bad... but they all said the same thing when I asked them why they didn't act on their desire to send their books off to a publisher.

"I'm not good enough to get published."

You might be surprised.

While I'm all about being self-aware about your skill level as a writer, this is a common misconception that I think holds a lot of people back. Because we look at the books that inspired us, or that awed us, and we think that's the standard we have to meet before we'll be given a publishing contract.

If you want to disabuse yourself of the notion that only great authors get published, go dig around in the bargain bin at your local bookstore. Because I promise you there will be some stinkers in there. However, those books were written by someone, published by someone, and put on the shelves by a company who expected to make money.

There is also something else you're not seeing, though. That there are a lot of really good books (or at least really successful books) that get rejected over and over again. Many times to the point where the authors either stopped submitting them, or considered giving up. If you've heard the stories about J.K. Rowling's first Potter book, or the crazy circumstances that led to the Eragon series being published the way it was, then you've got an example of both ends of this spectrum.

Take A Chance (Because Skill Is Just One Part Of It)

I've said it before, and I'll say it again; success as an author is largely a matter of luck. While being a good writer helps, you're more on the whims of fate than ever before. For example, if you had a steampunk novel right around the time the genre was first blowing up, then chances are good you got snapped right up off the slush pile. Not only that, but people would be looking for exactly what you'd put out, and there wouldn't have been a great deal of competition at the time. On the other hand, you could write a compelling narrative with all the bells and whistles these days, but that genre just isn't in demand.

So, through no fault of your own, your timing might have been the difference between victory and success.

Does the mob love Thracian gladiators this season? Bully for you!

While being "good" in terms of storytelling chops, narrative flow, and unique style are all helpful, those things are not enough to guarantee success all on their own. At the same time, being workmanlike in your story construction (or even blisteringly mediocre), are not things that will stop you from being successful if other factors are in your favor. Popularity of your genre, catchiness of your title, lucky marketing breaks, and even positive reviews from unexpected sources (which is why every Clive Barker book has a positive quote from Stephen King on the cover) can all be what makes or breaks your attempt to publish, sell, and succeed.

Spin The Wheel... What Have You Got To Lose?

You might be right about not being as skilled as your idols. You might have a long way to go when it comes to reaching your full potential as a writer. However, if you have a complete story, there's a better-than-even chance there's an audience out there who would like to take a look at it. You've got nothing to lose by sending it to a publisher (or just publishing it yourself).

And, of course, the more times you spin the wheel, the better your chances of hitting it big are.

That's all for this week's Craft of Writing post. While less about specific structure in your writing, I mostly wanted to let people know not to focus too much on meeting some arbitrary goal before they decided to send their work out into the world. For more of my work, check out my Vocal archive. To stay up on all my latest releases, follow me on Facebook, Tumblr, and Twitter. Lastly, to support me and my work, head over to The Literary Mercenary's Patreon page, or click here to Buy Me A Ko-Fi!

To Make Money Writing, First, You Have To Write

To make money writing, first, you have to write.

It sounds like the sort of riddle you'd find in a fortune cookie, doesn't it? Akin to the classic, "to go forward, first, you must go back." It sounds both obvious, and like nonsense, all at once. However, if you're a writer, this is one of the most important pieces of advice you can internalize. Because if you want to get recognized, you need to show off your skills to the world. You need to get your name out there, and you need to sink your hook into readers. You need to prove that your stories don't just exist in your mind, but that you can (and have) put them on the page.

Choose your weapon.

What does all of that mean? Well...

You Have To Do, Before You Can Earn

Being a writer is one of those jobs where you are paid based on your skill, and your ability to finish the job. The difficulty is that, even if you're one of the most talented writers in the world, you need to have examples of your work to prove that you can do what you say you can. And you need those examples out there, in the public eye, where potential employers can see them in order to evaluate your skills.

Story time?

So, back in 2013, I was given an opportunity to pitch myself to Paizo to write one of their Pathfinder Tales. At this point in my career, I didn't have a lot of work on the market I could point to as an example of my style and skill. Several pieces had been accepted by small presses, but none of them were out yet. All I had were a couple of short stories I'd published on Yahoo! Voices (which is now defunct). Even though I felt like I was shooting myself in the foot, I sent along the links to see if the company's head of fiction would give me a shot.

I wasn't too far wrong. When the editor saw the links I'd enclosed, he almost tossed my email in the trash sight-unseen. But he decided to give it a look, and after reading the two short stories I'd put up on the site, he decided I was just the kind of author he wanted to give a shot. So I pitched him an idea, and a few weeks later, Paizo accepted my short story The Irregulars.

That is not the only time I got an opportunity because of something I'd already published, either. When I decided to write character conversion guides for the Pathfinder roleplaying game on my blog, several clients approached me to contribute to their RPG books. Partly because those guides were popular within certain parts of the RPG community, but largely because they allowed me to demonstrate that I understood how to write game mechanics in a way that readers could understand, and implement. Several times I've gotten emails from publishers I've worked with before because they need someone to contribute a story, or they want to know if I'm interested in being part of a book.

Part of that is networking, but another part of it is that these are people who have seen my work. I've demonstrated that I can do the job, and they have an idea of what they're in for. And while I haven't written a popular series or bestselling novel, I've spoken with some authors who've done one, the other, or both. If you have that kind of accomplishment under your belt, you often find the velvet ropes that keep out lesser-known or untested writers simply don't apply to you. Because people have seen your work, and they know the kind of market share you have (even if it's a smaller niche than your Rowlings and your Kings).

Publish Or Perish

A writing career is a lot like an avalanche. It can't happen without snow. Everything you publish is another snowflake. The more of them you stack up, the bigger the chance that unstoppable force will be unleashed.

But if you never put any snow out there, you'll never get your avalanche.

Especially not if you give up at $3 and change.

That doesn't mean you need to work for free. But it does mean you need to put out a lot of work. You need to submit reams of short stories, publish drifts of articles, and throw out manuscript after manuscript for novels. You need to submit to anthologies, submit to publishers, and submit to agents, but if that doesn't work, you shouldn't be afraid to put it out there yourself.

Those ideas in your head? Those perfect utopias filled with thrilling stories and impossible visions? They're all worthless. Your writing can't do anything until you get it out of your mind, onto a page, and in front of readers. Whether you're selling copies, collecting ad revenue, or getting patrons to fund your work, you need to put it out there. Because it isn't until your name is floating in the stream, and people have some idea of who you are and what you can do, that you can start opening up the doors to more prestigious assignments, and high-paying contracts.

So, you do need to go backward to go forward... at least in terms of how most people think a writing career is supposed to work.

That's all for this week's Business of Writing. Hopefully folks out there find it helpful! If you want to keep up-to-date on my latest work, then follow me on Facebook, Tumblr, and Twitter. And, if you'd like to toss a little change in my tip jar, head over to The Literary Mercenary's Patreon page. All it takes is $1 per month to help, and to get some sweet swag from yours truly as a thank you.

Speak Sweetly, Because You Never Know Who You're Talking To

Perhaps the most common saying when it comes to getting ahead in the world is, "it's not what you know, it's who you know." We see this in big ways with presidents and billionaires, but we also see it in small ways. Like how your mom got you an interview at her company, or how your favorite coach wrote that glowing recommendation for your college application.

This is just as important if you're a writer. In fact, it may be even more important.

Hey there, stranger, how are you?

Always Put Your Best Foot Forward

If you're a writer, chances are good you put yourself out there somehow. Maybe you go to conventions, post updates in Facebook groups, hang out in a few subreddits, or attend local shows. Whatever you do, though, you tend to interact with a lot of strangers. People you've never seen before, you don't know, and you have no reason to know. However, sometimes all it takes is one good impression to open a door you didn't even know was there.

The hell did that thing come from...?

I'll give you an example of what I'm talking about. About four years ago I was attending Gen Con in Indianapolis. It wasn't my first time there, but it was both my first time there with game publishing credits under my belt, and as someone's staff member rather than a random attendee. I'd been making the rounds, and I met Wolfgang Bauer of Kobold Press, who I'd done some work for that year. While we were talking, he asked if I was going to the Ennies that night. I'd never heard of them before, and was informed they were the RPG awards given out every year at the convention. That sounded like a big deal, and since I was now at least tacitly a part of the RPG creating community I figured I should head down, shake hands, and pass out business cards.

Because I had several hours to kill between my staff duties and the show, I turned up a little early. There was going to be an auction, as well as other social activities, so I walked over, introduced myself, and asked how I could help. I set out forms and pens, helped get items squared away, and when other staff showed up I was introduced to them. Hands were shaken, and one introduction led to another. Before I knew it, I was meeting the heads of RPG companies, discussing my experiences, and sharing ideas I'd had for fresh takes on their games, or other proposals I never would have otherwise talked about. Most of the time I didn't even recognize their names, but as soon as they handed me their cards, or mentioned the games they headed up, I realized I'd gone right to the people who had the authority to offer me work.

Now, this wasn't a career-making night. With that said, I walked out of there with some solid contacts made, and more people who knew my name than didn't the night before. While some of the seeds I planted were duds, others blossomed into future projects. All because I followed-up with a client I'd worked for when I had the chance to meet him in-person, and I put my best foot forward when he gave me a tip on where to meet the people who needed a pen-for-hire to get the job done.

That Could Be Anyone

Every person you see has the potential to help your career. That middle-aged woman giving your signing table a casual perusal? She might be the head of a local book club who will help you spread the word about your work. That older fellow at the end of the table on the panel you're speaking on? He might know the editorial staff for a major publishing house. That mysterious someone you're contemplating lashing out at online? Well, they might be a potential employer, or co-worker, in your industry.

Take a moment to remember that. You can always be rude or unpleasant later... but if you lead off with that, it's hard to overcome that impression. And that might be a way of slamming the door in your own face.

That's all for this week's Business of Writing. This lesson took me some time to learn, so I thought I'd share it. If you'd like to help support my blog and my work, then head over to The Literary Mercenary's Patreon page to become a patron today. $1 earns you both my everlasting gratitude, and you get a free book (or two). Lastly, if you want to keep up on all my work, follow me on Facebook, Tumblr, and Twitter.

Self-Publishing is Often a Proving Ground For Authors

People often see traditional publishing and self-publishing as natural enemies. Their systems are different, their philosophies are different, and supposedly their authors are different. People see the decision as an either/or sort of choice; as if authors are all out for the big draft, and they either need to tie on with a company, or remain true to themselves as a free agent.

That isn't really how things work, though. You see, there's actually a lot of interaction between these two spheres, and if someone makes a splash in one, then the ripples are going to get attention in the other. And if those ripples are big enough, you just might find that opportunity comes a'knocking at your door.

Hello there. Would you like work, and a big, fat check?

Reputation, Work History, and Ripples in The Water

So, I'd like to tell you a story. A story about how my own self-publishing efforts got me noticed by some bigger, more established folks who followed the waves I was making back to me.

To begin, most of us don't tend to think of blogs, YouTube channels, and other avenues as self-publishing. They totally are, though. So, as soon as I started writing this blog (and my gaming blog Improved Initiative) I staked out my little piece of turf as a self-published creator. And I haven't moved from that patch.

The charter is under construction, but we may have a flag soon.

Of the two blogs, Improved Initiative quickly pulled ahead in terms of readership and traffic. By the end of my first year I had a regular flow of traffic, I was well-known in tabletop gaming groups on Facebook, and I was starting to expand onto other social media platforms. One of my main attractions was a feature I ran called Character Conversions. Basically I would take a popular character, like Captain America, Tyrion Lannister, Iron Man, etc., and I would write a guide for how you could re-create that character in a particular roleplaying game. That page remains one of the most popular features on my blog to this day.

After I'd written 20 guides or so, I started noticing some changes. People I didn't know would message me, and ask if I was going to write a new guide for this or that character. They wanted to know my thoughts on whether it was possible to convert characters from Lord of The Rings or Dragon Ball Z into different game systems. My traffic on that page went up, and people started passing my guides around among their own groups. I was getting read, and the ad revenue on those articles was getting noticeable. Not, "Oh my god, I can buy a house!" noticeable, but I had a little extra padding for when deadlines ran long, and checks ran short.

Then something else happened. The publishers who wrote official content for games started reaching out to me, asking if I'd like to work on their lines. Because they'd heard about my blog, checked out the stuff I was making on my own, and they decided I looked like the kind of writer they wanted to take for a spin. Sometimes we clicked, and sometimes we didn't, but as time has gone on, being the author of Improved Initiative actually gains me credibility when I talk to RPG publishers.

Because it establishes that I can do the job, and that there are people out there who like what I make.

All Publishers Care About Is Results

I said this in You Don't Need A Degree To Be A Writer, but I feel like it bears repeating; publishers only care about your results. A publisher doesn't care if your books are good or bad, offensive or safe. They only care about the bottom line. If you have a following, and you are making money, then they would like to shake your hand, and work out a deal so you can both make more of it.

This is why celebrities get million-dollar book deals. It's not because they have great insights, or they're phenomenally talented (though some do, and are). It's because they have 10 million followers who are all going to go out and buy a copy of their book once it's released. It's also why if you've been self-publishing a series that's making you some serious bank, then a publisher is going to want to talk to you. Because you're a proven talent, with a definable audience, and that makes you a safe bet.

Just something to think about the next time you consider your publishing options, and what your efforts could lead to in the future.

That's all for this week's Business of Writing post. If you'd like to support me, and this blog in particular, then head over to The Literary Mercenary's Patreon page to become a patron today. As little as $1 a month is a big help to me, and it gets you a pile of sweet swag just for signing up. Lastly, if you want to keep up-to-date on all my work, then follow me on Facebook, Tumblr, and Twitter.

You Don't Need A Degree To Be A Writer

I remember when I was a teenager, and I made the decision to be a writer. I was already a voracious reader, and thanks to extra credit assignments I was passingly familiar with writing short stories for my English classes. So I took the next step, and started writing out of school, putting together stories and universes in the clumsy, excitable way most writers do when they take their first steps. Several years passed where I made progress, and my enthusiasm for the written word remained undimmed. Then I realized I was approaching that mystical age of 18 where I was going to be expected to go to college and choose a career.

I knew what I wanted to do. Problem was, I didn't have the first clue about how to do it.

Unfortunately, no one else seemed to know, either.

The problem with being a writer is that it's one of those jobs people know exist, but they have no idea what the hiring process entails. It's like being a fashion consultant, or a bounty hunter... there are people who get paid to do these things, but the general population scratches their heads regarding how you get that job. Most folks assume that writing is one of those things you train for at college. After all, that's where journalists and media people get their skills, so why wouldn't it be the place you go to get your degree in creative writing?

You can do that, if you are one of those fortunate people who have a lot of money laying around, and you need to spend it in a hurry. If you actually want to work as a professional writer, though, then that degree isn't going to be worth the paper it's printed on, much less the checks you wrote to the bursar's office.

There's No Universal Way To Be The "Right" Writer

Most careers you go to college for have some kind of universal standard you're being trained to. If you're a doctor, then you're learning how to diagnose illnesses, how to perform surgery, etc. If you're a lawyer then you're learning how the law functions, how to argue within the bounds of the legal system, and what the rules governing our actions really are. Whether your major is research or telecommunications, teaching or psychology, you are learning the skills and rules required to do a given job. A job that is going to be performed within a certain set of boundaries you need to be trained into.

The problem is there are only three rules to being a good writer... and no one knows what the hell they are.

They were lost in the great ruin of Answeria, where dwelt the winning lottery numbers, and the key to successful marriage.

Taking creative writing courses can be helpful, don't get me wrong. You can learn about the elements of story, get feedback on your work, and most importantly, get practice writing (and completing) stories. You can talk to people who have more experience than you, who have been on the inside of the industry, and whose creativity plays well with yours.

With that said, you can achieve all of those things on your own without paying the costs of college classes. You can sign up for writing symposiums, get a writer's group together, go to conventions, read blogs and books by authors telling you about their experience, and submit your work to forums and other places to get feedback. You can learn just as much, and make just as many publishing connections, that way.

Lastly, though, a creative writing degree is useless for a specific reason; publishers aren't buying your degree. They're buying your book.

Will People Buy Your Book?

A degree is a statement that you have been trained by a university in a given field. Even if it's just a welding certificate, your school is stating that you have the skills to do a particular job. Which is great... but a college's assurances isn't what publishers are buying.

This is more what they're interested in.

Publishing is an old-school trade, in the sense that your employers are buying your work. They don't care where you learned to produce it, who taught you, or who you studied under. What they care about is if you can do the job. So if you can write stellar magazine copy that gets readers to actually subscribe and take an interest in a publication, the editor isn't going to care if you got your degree at Princeton, or Cornfield U. Most of the time the publisher doesn't even care if you went to college at all. They only care about one thing.

Can you do the job?

No one can teach you how to write a compelling novel, or short story. You can't get a red stamp that makes you an ace reporter, or which guarantees you can write great product descriptions. Nothing can make you a great script writer... except one thing.

Practice.

Once you go through the process enough times, you'll find something unique happens; people start coming to you. Whether it's readers who want more of your stories, or publishers who have seen your other work and want to hire you, nothing guarantees your tomorrow like the work you put out today.

So sit down at that keyboard, and bleed. Then just keep doing that, day after day, until you get where you want to be.

That's all for this week's Business of Writing post. Hopefully it helps the writers out there who are wondering how the rest of us do the job, and it stops you from making a foolish decision. If you want to make sure you don't miss any of my updates, then follow me on Facebook, Tumblr, and Twitter. If you want to help support me and my blog, then head over to The Literary Mercenary's Patreon page. All I ask is $1 a month, and I'll give you both my everlasting gratitude along with some sweet swag to call your own!

Explicit Sexual Violence is NOT Acceptable in Mainstream Fiction

So, I was scrolling through my Facebook feed the other day when a post from a writing group caught my attention. I'm not going to name names, link the post, or call anyone out. However, the writer in question was writing a book with several scenes of explicit sexual violence. In layman's terms, the book had onscreen rape, where the reader was going to watch the violation happen. The author's question was how many such scenes could they put in before general audiences would be turned off.

Let that sink in for a moment.

Now, the reason I decided to devote today's post to this subject is not because I think that sexual violence is a topic that should be scrubbed from fiction. However, the sheer, cavalier attitude that some writers, and particularly unpublished or new writers, treat it with makes me feel like this needs to be said. So I'm going to put it plainly, to ensure there's no misunderstanding.

Explicit sexual violence is NOT acceptable in mainstream fiction. There is no faster way to get your book rejected by agents, editors, and readers.

This is How You Send Yourself a Rejection Letter

I can already hear the keyboards of commenters who have come across this citing all the famous works of fiction that have rape in them (because, let's be honest, that IS what we're talking about). Some of them were even written by big-name authors, for big-name publishers, which puts the lie to my above admonition.

However, let me ask you this. How often does the act happen onscreen? How many times is the audience forced to see it happen, shot by shot, the same way horror movies linger on gore?

Because that's the major difference, here. You can bring up rape all you want without causing too much of an editorial ruckus in a mainstream title. You can have victims give full accounts after the fact, in courtroom scenes or police interviews. You can intimate all you want. As soon as you whip back the curtain and show the act, though, that is when the red REJECTION stamp comes down, and you can look forward to the form email in your inbox wishing you luck placing your project elsewhere.

REJECT! Next!

Don't take my word for it, though, go read the submission guidelines for publishers out there. Most publishers, even those who cater to niche horror markets, will reject manuscripts for explicit sexual violence. Especially if said violence either serves no purpose, or is there for the express purpose of titillation. Even if the guidelines don't spell it out (which they do in most reputable publishers' guidelines), shoot them an email and ask if a book with multiple, explicit rape scenes would be rejected on that criteria alone.

Most publishers will answer that yes, they would be rejected that manuscript on the instant.

The Keyword Here is "Mainstream"

As someone who has spent time in a lot of ghost writing markets, and read countless calls for novels and short stories alike, I know there is literally a market for everything out there. There is an entire series of books whose whole premise is people being raped by bigfoot, for fuck's sake. No I won't link it here.

So yes, there is an audience out there who will have no problem with rape scenes that advance your plot. There is also an audience out there who will seek out your story expressly because of those scenes.

And like it or not, those people are YOUR people.

Anytime mainstream publishers refuse to put out stories that fill a need, self-publishing and niche publishers will pick up the slack. However, it's important to remember that they are niche publishers. If your dream is mass-market appeal with your story, and to one day have it put out through a publisher like Random House, Tor, Baen, or any of the other big names, then you need to remember that if you write for the big boys, you play by their rules. And one of those explicit rules is for you to tone down sexualized violence.

Can you get away with some of it? Sure. If you're particularly skillful, and the scene is integral to the plot, you may even manage to get a single, explicit scene into a mainstream book. But if you don't have a long track record and a big following, I wouldn't risk it.

Ask Yourself Why

This bit is completely aside from the chess game of intriguing an editor, or an agent. People who, by the way, have seen every iteration of rape scenes, and generally are not favorably impressed by one more round of the same. This is about you, the writer who has decided to put explicit scenes of sexual violence in your story. First off, don't make excuses for realism, or for tone, or because, "it's a horror/thriller/grimdark/etc." novel. Your story has those scenes in them because you chose to put them there. The same reason every part of your story exists the way it does. Unless you're working on commission, and you are told you must include certain types of scenes in your plot, then all of this is on you.

And you likely had plenty of time to think about it.

So, I'd like to ask a question. Why does your story need to have explicit sexual violence in it?

While you ponder that, I'm going to relate an incident that occurred to author Seanan McGuire (I'm paraphrasing, but the original is here). She was contacted by a fan who asked when some of her female protagonists were going to be raped. Not if, or do you think, but when. As if it was just some required stage of development that came along with being a strong female character. She was both disgusted, and incensed by this kind of assumption.

She made the point that, in fiction, rape is never just rape. It makes a statement. It exists for a purpose... unless it doesn't. So the questions you need to ask yourself is does this scene serve a purpose in my story? Is it a purpose that can be served in no other way? Or am I just going down a checklist and including elements that I think a story like this should have?

Also, while you're chewing over that, you might want to take a gander at an older post of mine titled The Big R: How To Deal With Rape in Your Fiction.

That's all for this week's Craft of Writing post. Apologies for those who had trouble reaching the end of it, but I've had this bug in my bonnet for a week or so now, and I needed to get it out. If you'd like to help support me and my blog, you should hop over to The Literary Mercenary's Patreon page. All it takes is $1 per month to get yourself some sweet swag, and my everlasting gratitude. And, finally, if you're not following me on Facebook, Tumblr, and Twitter, why not start today?