The Amorphous To Be Read list

My To Be Read List and I have a somewhat amorphous relationship.

In the old days, pre-kindle, I used to go to the bookstore at least once a week and spend delicious time in the stacks. I’d come home with a pile of books to add to my already existing pile of books waiting their turn. I never did get to the bottom of the pile either, because newer and shinier titles would get released, or new books from my autobuy authors would come out. Of course in those days such authors only released new titles once a year, giving me plenty of time to read other people too.

I never did spreadsheets or tracking of any kind BTW. Not my thing. Books in, books out, some onto my keeper shelves and some to the Goodwill bin for someone else to enjoy.

Part of my sentimental collection of Andre Norton

As I moved more and more into the ebook realm of reading, I stopped buying hard cover or paperback books at all. So no more visible TBR on a shelf somewhere. I hardly have any physical books in my home any more, other than stacks of tomes for my ancient Egyptian research and some sentimental favorites.

Certain authors are still autobuy for me – Nalini Singh, Patricia Briggs, Ilona Andrews, our Jeffe Kennedy, Anne Bishop The Others series.

I’ve added a few scifi romance authors like Anna Hackett, Cynthia Sax, Pauline B Jones, Emmy Chandler, Anna Carven, Michelle Diener, Tiffany Roberts.

(I’m undoubtedly forgetting some names, not enough caffeine today yet…apologies)

These are people for whom I stop everything else for the day, even working on my own novels, and just sit and read the new book.

I devote a chunk of time every week to creating my New Releases (NR) post for new titles in scifi romance, paranormal romance and fantasy romance. (Here’s a link to a recent one if you’d like to see. Which golly gee, happens to have my own new release included! But about 48 weeks of the year I’m not releasing anything new myself.) I do limited curating of the list and I don’t even pretend to include every single new book in all 3 genres every week. What human can do that? And especially limit the time spent on creating the NR post so I can still write my own books?

 Anyway, I have a Process and in the process of discovering new books every week to share with people on my blog, I find a lot of books to read.

Some I one click right away.  No question must have that book! The books in that category I typically read within a week or two of buying them.

Some I put onto kind of a mental TBR, but I also know I can look back at my previous NR posts to refresh my mind about books I was intrigued by but might never actually have time to read.

The underlying thing for me is that I’m literally writing and talking about SFR all the time, in several FB groups, for USA Today/HEA, Amazing Stories, Love In Panels and sometimes other sites as well. I need to stay current on authors, books, and trends in SFR to be able to create interesting, relevant posts for all those places. So I ‘have to’ read. Such a hard life, right? I read very fast, which helps. I have an empty nest except for the demanding Jake the Cat and I’m full time at this writing gig.

Jake the Cat because who doesn't love a cat photo

So the jump for a book from Amazon to my kindle to me actually reading it is probably only going to be two weeks at the most. But very few books get put on that nebulous form of TBR.

The other titles I have an interest in reading sit on my archived NR posts on my blog (because I always put a note in the post of which ones I one-clicked or put on my TBR) and occasionally make it to the kindle and get read.

So that's my tale of how I manage my TBR List. Works for me!

A Book Problem

Uhm. Hi.
My name is Marcella. And I have a book problem. Maybe more than one book problem. I mean. Look. It was one thing being a book addict when buying books mostly meant going into a bookstore, right? After walking out with more books than three people could carry and vowing to never set foot into a bookstore again without someone - ya know - responsible along, I could control the addiction.

But then E-readers, amIright? It's like the Universe conspired to hand book addicts a new improved way to sneak binge their substance. Even if e-reading isn't the quite the same tactile experience as the much harder to conceal dead tree versions. So there's that.

Add into it that I can't tell you how big my TBR pile is anymore. It - uhm - escaped me. No, I have a good excuse! Hush. You know about the living on the boat thing - and that while that happened all of my books went into storage. Yeah. They're still there. In boxes. The boxes are actually in my bedroom now, but I can't take the books out and pile them up in teetering TBR towers cause we're in temporary housing, right? So I sneak out one at a time, read it and then tuck it back in. All while adding new books to my digital TBR pile, AND when my B-day and the holidays roll around, clearing out my book wishlist with dead tree formats, well. I have no idea how big the TBR pile is. I don't even track the books I read on GoodReads any more. I found it was changing how I invested in a book knowing I had to write up something about it.

Yeah. Still a book addict. There's one cracked open beside me while I type. Craft book, but a book nevertheless.

My goal for the coming year (our lease on this place is up in November and we'll be looking for a longer term lease option in less of a cliff-dwelling type arrangement) is to actually unpack and sort my physical TBRs.

Dunno that there's any help for the digital ones. Kindle seems resistant to file organization. At least on my dinosaur of a Kindle.

But yeah. That's my story. I have a book problem.

PS: Happy Friday the 13th! Remember to superstition safely! Also, fewer than 100 days until Halloween, y'all. Break out the spooky.

My To-Be-Read List

My to-be-read list is shamefully large.  I have SO MANY books on my shelf that I have every intention of reading.  I really do.  But I haven't done it yet.

This is why I'm completely understanding whenever someone tells me that Thorn or Murder or Holver Alley is on their TBR list but they haven't gotten to it yet.  I get it.  This is how we all operate.  We have to make choices with our time, and for me right now, that involves drafting Shield of the People, going over the final proofs of Way of the Shield, reading and critiquing the pieces for the ArmadilloCon Writers Workshop, and also taking care of the rest of my life so I don't collapse in a heap of unhealthiness.

(My knee went out on me last week, which made life challenging.  Back up to snuff now, though.)

That said, I am currently re-reading.  Namely, I'm re-reading The Belgariad, as I haven't read it in almost a decade, and diving deep into it on Twitter with the #BelgariadRead hashtag.  Come check it out.

"How big is your... to-be-read list?" she innuendoed.

"So, how big is it?"

It's not like I'm blushing or anything, but did you really ask that question? I mean, this is personal. But here we are, and you did ask. I struggle to answer.

"I mean, it's sizable."

You raise eyebrows.

"Biggish, then. Biggish and not showing any signs of shrinking." To my shame. "It just grows, and I can't seem to stop it."

Okay, you can giggle here, note that warning about calling a doctor if these things go on longer than four hours, and float off in a puff of innuendo. Go ahead. 

Except no, you're still here. Waiting.

Fine.

My to-be-read list is how big? SO big that ...

... clocking in at 702 ebooks on my Kindle queue alone, if those were holdable, sniffable books I had to store, I would no longer have a kitchen. Possibly would not have a house and would be relegated to a she-shack in the back yard. (With a reading nook, naturally.)

... even with all those titles offloaded to digital, the paperback stacks collapsed the shelves in my closet. (Poor closet.)

... I no longer remember which were loaners, which were freebies, and which I bought. So, if you loaned me a "you have to read this book!" book, forgive me. (And remind me of the title. I'm sure I'm getting to it!)

And the worst, most difficult confession of all:

... if I've read about ten pages and am not completely and absolutely invested in a book, I'm probably not going to finish it. That's the sad truth. It's probably going right back into the "maybe later" aka TBR pile.

I guess this is why folks say a book's opening page has to be gripping. There are just too many options out there now for entertainment. Such is the embarrassment of riches for a reader these days.

Of course, then I wonder what my own opening pages look like, and finally -- finally! are you happy now? -- I blush scarlet. 

Because I get the punchline to this very unfunny joke: My next book best start off with a dead body in a car chase, because I'm not alone in having more books than eyeball time. Snagging a reader's attention and holding it is the only way any book is going to move from TBR to keeper shelf.

TBR Piles: Not Yet A Hoarder

How long is my TBR list?

Um...

~opens door to den~

~hears growling~

~closes door~

~slinks away~

5 shelves stacked double-deep and iced. There's a stack atop the paper cutter. One beside the printer, and one on the printer. Two cubbies partially full. Probably twenty on my kindle. For the most part, I have my TBR contained to one room. So, yeah, I, um, I have some books I need to read. I haven't kicked into hoarder mode yet, so I keep adding to the pile. Somebody has to keep the dragon happy, right?

The Cityscape that is my TBR list

Heh heh heh

So this week's topic is "how big is your To Be read list?"

I don't know that words can properly express, really. Still, as a writer, I must try.

Okay, so let's go with a little history. Long before I was a writer I was a voracious reader. Back in the day I could knock out  book a day on top of after school jobs and school itself Not homework, let's not be crazy here). I mean I read a LOT. And somehow, deep in the recesses of my brain, my mind kept up with the assumption that as soon as I got a hang of the writing thing I could do it again.

When I started writing I did interviews for White Wolf Magazine (now long gone, sadly) and one of the people I interviewed was best selling author Rick Hautala. Rick was a very well read and very talented man and one of the questions that I normally asked was "What do you like best and east about being a writer?" His response was, to paraphrase, "I Like being my own boss. I also hate that, because I'm a dick when it comes to being an employer and I make a lot of demands of myself." He paused fro a moment and said, "Really, what I hate the most is I never have time to read anymore."

I thought that was the silliest thing I'd ever heard, and more than a little sad. i mean, how could anyone not have time to read? Am I right? What a tragic concept!


Yeah....

So I've moved many, many times in my life. For the longest time I moved at least once a year. I went to seventeen schools before I graduated high school and after that my family moved a few more times before I went my own way and had my own life. I stayed stationary for most of twenty years and then, after my wife passed and my world changed again, I moved on.

I rented a four bedroom house in Georgia to accommodate my books. Most of them had either been read before or were waiting their turn. Okay, at some point the house also took in two family members and one of the rooms became my office. Eventually my landlord wanter the place back for personal reasons and I decided to move on. When I chose to move to New England I had a lot of furniture and a ton of books.  I gave away a lot of the books I'd read before, when I finally decided that, after a decade of not even being removed from their boxes, I had to accept I wasn't likely to get around to reading them.

Next house? Four bedrooms over two stories. The second story was supposed to eventually become my library. I never got around to buying bookshelves, so, that didn't work. Landlord decides to sell and I move again. The Salvation Army got more books. Enter the new place: Lots of storage room and a whack-job of a landlord.  Four months later Im moving again, and still more books are carved away. It hurt, because some of them I had only recently acquired. Now I'm in two bedrooms and I have a wonderful lady as  roommate.

And so I tightened the book belt again. But, hey, I bought bookshelves!

y current  To Be Read pile is only around 600 physical books. That's down almost three hundred. They are stacked in front of my printer stand, in front of my bookshelves on my bookshelves and in my car. My office overflows with books.

My Kindle has around 400 more books.

I lament that there is never enough time to read these days. Rick nailed it on the head, as it were. The busier I am as a writer (and working thirty or so hours a week), the less time I have for the simple, joyous, act of reading.

I remain an optimist. They stay until I read them.

Even if I die first.

What I really need is a vast, sprawling mansion. Most if it would be converted into a library, just as soon as I got around to buying shelves.

The TBR -How Do You Deal?

Our topic at SFF Seven this week is How long is your TBR list? The answer for me is easy to give:

299

The "TBR" is the To-Be-Read list. I know exactly how many books are on mine because in the fall of 2015, I started a spreadsheet to keep track of it. A brilliantly conceived effort, my spreadsheet tracks format (paper, ebook or audible), date acquired, WHY I thought I wanted to read it, and even assigns a  priority.

Like many brilliantly conceived plans, it works moderately well.

It does help me to know if I already own a book - one of the primary purposes of the list, as I'd found I had books in both paper and digital format - and I use it to keep track of high priority reads. I use it A LOT to recall how something ended up in my possession and why I wanted to read it - except for the occasional book that I forget to log in. This is particular bad when I buy books on my phone in the bar during conversations that I don't remember weeks later.

The other way the list doesn't work is that it never goes down. I'd had this grand idea that I wouldn't acquire ANY new books until I read the ones I already have.

HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA

Instead, I started out with 298 books on the list when I first cataloged them all. Today it's at 299. The list hangs around 300 most of the time, fluctuating up and down. It's not because I'm not reading. I've read 80 books so far this year - I keep track of that, too, moving them off the TBR onto the read spreadsheet once I start them - and last year I read 107.

Clearly I read pretty much at the rate I acquire. Likely I should clear out a bunch of these books that have languished in the pile since October of 2015. Do you all do that - eventually give up on books that never escape the TBR pile?

Also, I've started a podcast! First Cup of Coffee. Just me, sharing my first cup of coffee of the day along with various thoughts on writing and life. They're short and informal. Here's the first one. 

Rubber Band Boat Races

Given that this week’s topic is recipes we make for parties, I can only laugh and say “Round Table pizza” or “Kentucky Fried Chicken.” I do not cook and especially not for parties.

We used to have some pretty fantastic parties in our ‘starter’ house, which came with an old swimming pool. My late husband was an engineer and so were most of his close friends, so he hit upon the idea of holding an annual rubber band powered boat regatta. There was a LOT of intense rivalry, let me tell you, and people held practice runs and trials leading up to the event every year. My spouse published a detailed series of rules and specifications and the designs grew more sophisticated over time. We also did pool volleyball and had other fun and a good time was had by all.

Two of the entries

We made sure to give trophies for other categories than just the fastest boat. Memory fails me at the moment but we probably did things like ‘Best Looking’ and ‘First to Sink’. Designing a rubber band powered boat is a lot more complicated than you might think! And the rubber band quality was important to success. And of course vast quantities of beer were consumed during the event.

I think we did the parties for three or four years and then we moved to a place with no pool. The first year in the new house, which was in the foothills, we had a bottle rocket powered car race, the 'Carnival of Speed', but it just wasn’t as much fun, the home built wooden track required seemed to have built in factors which made whoever was in a certain lane always the winner and oh yes, there was a brush fire danger we’d failed to factor in but quickly realized as the first heats were underway, rockets sparking like mad. Water hoses at the ready! I believe we only did this for two years (it was a long time ago, folks) and then we stopped. Just not as much fun, not as much participation, all good things must come to an end.

The rocket cars 

Switching subjects, I have a new release! Book four in my Sectors New Allies Series, DARIK.

The blurb: Nicolle James is far from her home in the human Sectors, kidnapped by alien scientists to be the subject of horrifying experiments.  Her only hope might be a mysterious soldier she’d glimpsed outside the laboratory fence. She’d managed to sneak a few words of conversation with him when her captors weren’t watching but now the aliens were taking her inside the lab to begin the experiments.

Darik, a warrior of the genetically engineered Badari pack, is on a solo recon mission to check out a mysterious new lab high in the mountains. His orders are strict – do not engage. But when he has a chance meeting with the woman who might be his mate, he vows not to abandon her, orders or no orders.

Can he get inside an underground lab, find Nicolle and rescue her without getting captured himself? And when he learns the lab’s deadly secrets, can he get word to his pack about the new dangers?

Because the ruthless alien scientist running the experiments wants to get her hands on him too and will stop at nothing to achieve her goals.

Buy Links: Amazon    iBooks    Nook      Google     Kobo

NOTE: Photos are Author's Own. Book cover by Fiona Jayde.

Bringing the "No Way Am I Turning On the Stove" Party Food

Florida has utterly changed my definition of 'party food'. If you can't throw it on a grill or eat it raw, I am NOT standing over a hot stove, much less adding to the AC load by adding heat to the living arrangement. Not to mention that I transitioned to a whole food/plant based diet AND there's celiac in the family so I don't eat gluten. Most of what I take to a party is what I can eat so no one else has to worry about what I can and can't have. (Why? Hereditary super high cholesterol. Can't take the statins. This dropped my numbers by 50 points without meds. The MD has stopped trying to shove pills at me. Pass the plants. Woo.)

So. How about a colorful, refreshing Asian-inspired salad?

Cucumber-Carrot Salad

Peel and slice 2 carrots thin. (Spiralize or grate if you like.)
Peel and thinly slice a cucumber. (Spiralize if you prefer - don't grate. It turns to mush.)
Clean and slice 2 green onions
Throw these all in the same bowl. You can add other veggies that suit you, too, just slice them as thin as possible.

ADD:
3 TBSP Rice Vinegar
2 TBSP Mirin
1/8 tsp garlic salt (or to taste)
Pinch of Red Pepper Flakes - this is to your taste

Toss your veggie salad and refrigerate for 2-3 hours. If you're really ambitious and you want this at it's best, make it the day before you mean to serve it. The recipe leaves me with a lovely subtle burn in my mouth, so adjust the pepper flakes and the amount of green onion to your taste.

You can eat it as is, or top a nice green salad with this and pour over a little of the dressing. Either way, this is cooling and refreshing and addictive. Have a great, fabulous holiday!

Dishes to Bring to the Party

This week at SFFSeven, we're talking about things to bring to a party.  As it happens, I'm going to one tonight, for Austin SFF Writer Amanda Downum.  So, what am I bringing?  I'm making a cochinita pibil.  It's a slow cooked pork in an achiote marinade.  It's SO good.
Here's how you make the achiote marinade:

achiote paste
8 cloves of garlic, chopped
1 cup of white vinegar
1 cup of orange juice
¼ cup of water
all spice (8 to 10 balls)
black pepper to taste
pinch of cumin

Blend all that into a thick marinade.  Marinate pork, cut into one-inch chunks, with that good stuff overnight.  Then slow cook it in a low temperature (the hardcore way is to wrap it in banana leaves), or in a sous vide.    Meanwhile, also make pickled purple onions:

3 purple onions
vinegar
Salt
Pepper

Put a pot of water to boil. Slice the onions into thin slices and blanch in the boiling water for 3 minutes. Move to another container, cover with vinegar, and add salt and water to taste.
This makes for delicious tacos, or served with black beans and rice. 

Don't let me near a stove. Or grill. Or microwave.

Good morning, blogland! Today people here in the U.S. are building up steam to grill food, wear obnoxious red-white-n-blue clothing, and blow stuff up. Little tiny stuff, for the most part -- fireworks -- but still, boom. This is how my country celebrates its independence.

Remember what I said about food and the cooking of it? People do that! And they do it well.

I am not one of those people.

I don't have a go-to cookout recipe to share. If called upon in such a situation, I typically bring a six-pack of the unofficial beer of Texas, Shiner Bock. (Best American beer. Fight me.)

If I really like the party I'll bring a plastic bowl of pre-cubed watermelon. (Mmmmm, watermelon.)

If I really really like the party -- and it will probably include kids -- I'll bring something like this:

Happy day, folks, no matter what you're celebrating (yeah, sorry about that rebellion thing, England, but a case can be made for you lot celebrating the heck out of today, too). Stay cool!

Party Recipe: Salmon & Green Bean Salad

Everybody ready for the 4th? Menus planned? Last-minute grocery run ordered online for pick up on the way home?  Book and wine slushies prepped?

If you're having or attending a party, here's a pretty simple yet not overly common dish to throw together:

Salmon & Green Bean Salad

Ingredients:

• 1 6oz Salmon Filet Baked & Flaked
• (if you don't like fish, substitute chopped ham or corned beef sliced into ribbons, or omit entirely)
• 1 Steamer Bag of Green Beans, cut into bite sizes
• (chopped, haricot verts, wax beans, any type is fine, it's the texture that matters so skip the canned beans) 
• 4oz Dry or 2 cups cooked of Favorite Pasta, Cooked & Drained
• (Orzo, bowtie, fusilli, dinosaurs, semolina, wheat, veggie, rice, whatever makes you happy)
• 1/2 cup dried (pitted) cherries
• 1/2 cup slivered almonds
• 1/4 cup (ish) of your favorite vinaigrette
• Shaved asiago or parmesan for topping (optional)

Directions:

Mix in large bowl. Top with shaved cheese. Can be served chilled or warm.

Favorite Recipes to bring to a party

Our theme for the week is favorite recipes to bring to a party. I have two for you. first a simple one and second a recipe that's a bit more complex.


So a friend of mine introduced me to one of the best ever party dips He and his beloved call it "crack Dip," because once you've had it, you'll be addicted.

They aren't really wrong.

Crack Dip is amazingly easy. 1 part cream cheese. 1 part your favorite salsa.

Allow cream cheese to reach room temperature, mix with sals. until thoroughly blended. Serve with your favorite chips, though I always had it with Fritos corn chips.

The other, slightly more complex offering is stuffed jalepenos

Stuffing: cream cheese, cheddar cheese, garlic powder, black pepper, Old Bay seafood seasoning and panko bread crumps with either a) real or fake crab meat or b) salad shrimp.

Mix all of the stuffing ingredients together. 1 part cream cheese, 1 part cheddar cheese, seasonings to taste and a half cup of panko bread crumbs to help stick everything together. Once again the cream cheese should be room temperature to make it easier to mix. Add in the seafood of your choice.

Let the mixture sit in the refrigerator while you take a good dozen or so jalepenos and cut them in half. Take the time to scrape out at least the majority of the white flesh and the seeds, as those hold all of the heat. Even with them removed, you'll get a lot of flavor and some peppery bite.

Once the peppers have been cleaned, wash your hands thoroughly with warm soap water, thus allowing you to uses your hands without risking rubbing your eye unconsciously and wishing that your eye would stop catching on fire.

Now that we have THAT out of the way, spoon the stuffing into the jalepenos and once agains et them in he refrigerator for around fifteen minutes to let them set up.

preheat the oven to 350 degrees, set the peppers on a nonstick surface and bake for 20 minutes. Serve when ready.

There. That's two for ya.

Keep smiling and have a great 4th of July.

New Orleans Picnic Sandwich for the Cooler

Our topic this week at the SFF Seven is a "recipe for your favorite dish to bring to a party/cookout." Which is a pretty easy topic - and I would've had mine up sooner if we hadn't been out at the lake all day!

I've had this recipe forever. Like, it's still the yellowed column I tore out of the newspaper something like 20 years ago. But it's a great sandwich that feeds six people easily, and it's even better for marinating in the cooler for a few hours.

Here 'tis!

Muffuletta-Style Picnic Loak

Ingredients

One 16-inch loaf French bread
2 c thinly sliced zucchini or yellow summer squash
Italian salad dressing
8 oz sliced salami, cut into strips
6 oz sliced provolone or mozzarella cheese
3 T sliced pitted ripe olives
1/2 alfalfa sprouts
2 med tomatoes, thinly sliced

Slice bread in half horizontally. Hollow out bottom half and give what you dig out to the birds and squirrels. Brush both halves with Italian salad dressing. Put zucchini/squash in a bowl and toss with 1/3 c Italian salad dressing and let sit. Place salami strips on bottom half of bread. Top with cheese, zucchini/squash, olives, sprouts and tomatoes. Drizzle with Italian salad dressing and top with other half of loaf. Wrap in plastic wrap and chill in cooler. Slice to serve.

Let me know what you all think!

Persuade Dissuade Lemonade

I’m in the independently published camp all the way, but that’s  because I’m me and this method of publishing suits my needs. There’s no one right answer for everyone so I’m not going to try to persuade, dissuade or make lemonade here today.

When I decided to work toward being a published author in 2010, I was focused on traditional publishing because that was really all I’d ever heard of. I wasn’t tied into the author community – it wasn’t as easy as it is nowadays with Facebook author groups and author loops and twitter and etc. So I submitted a story to Carina Press (a Harlequin imprint) over the transom as they used to say, in response to an open call on their part for ancient world romance. I wrote a paranormal romance set in 1550 BCE Egypt and the rest is (a modest footnote to) history. Published author here, as of 2012!

I learned so much from my experience with Carina and really enjoyed the association. They gave me a beautiful to die for cover from Frauke of Croco Designs, I loved my editor and she really ‘got’ the book, I lucked into a wonderful community of Carina authors (which is where I met Jeffe) and things seemed good. As a long time romance reader, I was thrilled to be part of the extended Harlequin family as an author.

Carina acquired the second book in the Egyptian series. Although everyone was again lovely to me and professional to work with, I got to see a different side of traditional publishing – the cover by someone other than Frauke was not my favorite, shall we say. My editor left and while I was quickly assigned to a new editor, they didn’t really seem to resonate with my story or me. I couldn’t believe how much time was elapsing between book one’s release and book two’s release. Which to be clear wasn’t an inordinate amount of time at all for a trad published book (although Carina was primarily ebook at the time and my two titles never made it into print with them), but for impatient me, it was an eternity!

One of my "woke up in the morning
 with this plot" books

 I discovered I didn’t like working to a contract, in terms of what book to write next. My Muse is a flighty being and likes to work on what appeals to her most. Looming schedules make her tense. Some mornings I wake up with an entire book plot in my head, out of nowhere, and if I don’t write that book right now, forsaking all others for a while, I’m making a serious mistake. My biggest sellers have been those books. They certainly weren’t anywhere on even the gauzy schedules I keep for myself.

Oh and did I mention Carina decided to leave the ancient world romance genre at that time (they may have gone back into it since for all I know) and didn’t show any interest in acquiring my scifi romance, although they were venturing into SFR then. I’m extremely glad they passed now of course. So I couldn’t have continued with them, not writing the only two types of novels I wanted to write. They were open to me experimenting with other genres but my Muse and I were not.

My first self pubbed SFR
"Titanic in space..."

Conveniently, I had also self-published my first scifi romance two months after the initial Carina book released. I LOVED everything about self-publishing. I picked the cover, the price, the distribution channels, whether to make certain edits or not, the schedule, the promo…the royalties came straight to me me me with no extra % taken out for a publisher in between me and the seller’s platform…

I’ve written my entire life and been seriously pursuing publishing since 2010. I had a long career in the business side of the house at NASA/JPL so once I was able to become a fulltime author (which didn’t happen right away – took three years) I was ready to step right into the multitudinous tasks of being a small business, publishing and managing my own books. And I’ve been a happy clam ever since.

I admire authors who can be hybrid and work within the traditional publishing framework and self-publish as well. I think there can be advantages to having a big, successful publisher behind you. I can’t envision it for myself at this time, but I wouldn’t necessarily say no if the right offer came along. I would negotiate the heck out of the contract to keep my intellectual property rights and to make sure there were no issues or constraints on my continuing to also self-publish.

So that’s my story and I’m sticking to it!

DepositPhoto

My latest indie published titles!

What She Said

So for my post, can I just link to Jeffe's post and nod vigorously? No? Rats. Okay. Let's come at this another way, then.

Sometimes, mes amis, the world of publishing leaves you very few options. When what you write isn't necessarily the flavor du jour, most trad publishing houses won't look at you cross eyed. If they do, but your sales don't hit a particular benchmark, you may rapidly find yourself unpublished by traditional houses. If that happens, and if you have the self-confidence and spite to pick up your stories, you can go home and learn to become your own publisher.

Or say you've been writing one genre and you want to dip your toes into another - one you aren't necessarily certain you want to immerse yourself into. You write that book and rather than subbing it to agents and editors, you put it up yourself as an experiment. To test the genre waters, so to speak.

Or, maybe, after an eternity of waiting, you recover the rights to a group of stories that were orphaned when your cherished editor left the business (get used to that one, cupcake, it happens on a daily) you finally have the opportunity to finish out the series and relaunch the whole thing at what you consider a much friendlier price point - or with the cover of your dreams. Whatever your entre into DIYing it is.

Just know this. Everything about self-publishing is learnable. Scads of people have been through this wilderness and will gladly point the way. Some people will charge admittance. Many more won't. Author loops are crazy generous with how-to information, software suggestions, cover designer, editor, and copy editor referrals, too. Most of them will discuss the nuanced differences between launching wide versus targeted, too. Here. Let me pass you an aspirin. Author loops are a fire hose. You might need the pain killer.

All of this said, there's no right or wrong answer to the question of going indie or trad or both. There's only what's right for you and your work. If you're a security seeker, go trad. If you're a risk taker and a control freak, go indie. If you see the merits of both, then do all the things. There's really no math to do that will make clear which path is 'best'. It's all judgement call and what sounds like the most fun. Sure. You need a career strategy at some point. Tons of people will coach you through that, too, but as far as I can tell, you end up with a mirror of THEIR strategy rather than one of your own. So you may as well be guided by your own sense of what sounds easy versus hard. If having to format your own book sounds like the third circle of hell because you're a technophobe, you can hire someone to do that work, or you can choose to stick with the trad houses. They'll handle all that fiddly stuff, at the price, however, of having complete control over how your book is presented to the world.

So. Yeah. What Jeffe said. It's all about tradeoffs. You get to choose which ones you'll accept.

Quiz: Should I go indie or trad?

I'm brand new to this publishing thing--I only have two books out right now, and both went the traditional publishing route. So it's not like I have a whole bunch of wisdom to drop on this topic of whether folks should keep keep banging manuscripts against the query wall or take the also terrifying leap off the indie cliff.

Here's what seems clear, though: not everyone is going to succeed in the same path. I suspect that choosing what's right for you comes down to your personality and what you want from this writing adventure.

Also, I've made a quiz. Because I love quizzes. Jot your answers on a separate sheet (or write them on your forearm in Sharpie; not judging). Here goes:

1. Having a cover that looks exactly like the character and setting from the story is

A. Not as important as having a cover that conveys tone and genre, so readers aren't surprised.

B. Nice but not really my focus. I'm about writing the stories.

C. The most important thing.

2. If you absolutely had to reduce costs in the production of your book, you'd skip

A. Starbucks for a month. Or gym membership. All's I know is nothing about this book is gonna get skipped. This baby is gonna shine.

B. Editing. I know how to use commas and write clean. Plus I ran this thing through Autocrit, so it's good enough.

C. Celebratory vino for release day. Possibly the Amazon ad.

3. A line edit is

A. Close enough to a copy edit that one contractor could probably do both.

B. A what-what?

C. In my budget, and I have a great service scheduled to do it.

4. My primary goal for my writing career is to

A. Make enough money at writing to quit the day job.

B. Earn accolades, awards, and starry trade reviews.

C. Turn out the best-quality story I can, every time.

5. I consider myself a risk-taker

A. Heck yeah and bring on the sky-diving.

B. No. And I think I'm getting sick just at the thought.

C. Um, is that thing safe? If it is, sure, why not just one jump.

6. It's release day for your very first book. What's the worst thing that can happen today?

A. Seller's web site doesn't have the buy links active until after noon, meaning I'm on the phone and annoyed and losing money, but we WILL get this sorted.

B. No one even knows the book is out. No one sees it. No one reviews it or mentions it on social media. No one buys it. Holy wibblefest, am I even a real writer?!

C. Just...today? Like, one day? Man, I'm in this for the long haul. Tell me the numbers in six weeks or so, and then we'll see if we need to panic or change things up. Today, I'm just going to sip some celebratory vino and plot out my next opus.

For items 1 - 3, count 1 point for As, 2 points for Bs, and 0 points for Cs. For items 4-6, tally 0 points for As, 3 points for Bs, and 1 point for Cs. Total your points.

If you got...

0-5 -- You got this and would probably rock the indie path.
6-10 -- Consider branching out and building a career as a hybrid author. Indie first or trad first: do what works best for you, just realize that you can have the best of both worlds.
11-15 -- Keep querying. You will probably be most comfortable with a publisher at your back, at least at the beginning.

So, how'd you do? Is the quiz bunk? All your thoughts, I'm ready to hear 'em.

Self vs Trad Publishing: 5 Reasons to Continue a Failing Series

Since Jeffe's post hits all the big differences between traditional and self-publishing, I'm going to focus on one segment of it: Writing a Series

Disclaimer: I'm not traditionally published, I'm not a hybrid. I'm fully in the self-published camp.

In my genre of Fantasy, readers have a Big Thing about series being completed. They get quite peeved when the series doesn't wrap up in a timely manner. Don't get me wrong, some are willing to wait the 18-24 months trad publishing requires to get the next book; hell they'll even forgive a date slip. One slip. But boy, oh boy, oh boy do they get pissed when the series just...stops. There are many who won't start a series until it's completed because they've been burned so often.

From the creative perspective, the author usually knows whether they're writing a series or a standalone. Whether the series is a duology, trilogy, or the neverending story, the author usually has an idea. That idea is not always shared by the publisher.

Thing is, many new-author trad-publisher contracts are for two books. Sink or swim. 30 days (or really a mere two weeks) to show ROI for the publisher. If the books don't sell well out of the gate, there will be no third book. The contract determines whether the author has the right to continue the series on their own. 

Why would an author continue a series that a publisher deemed a bust?

Same reasons a self-published author continues a series that hasn't paid off yet. Here are my Top 5:

1. We love the series. We personally love the world, the characters, the plots. We know where the story is going and can't wait to get there. Books of the heart, as some would call it.
2. We know finding an audience takes time, a lot more time than a publisher is willing to give. It's not uncommon to hear of series that didn't take off for three to five years after release.
3. We control our backlists, so our books never have to go out of "print." We also control our marketing cycles, so we know when to push and when to throttle back. We have our hands on sales and marketing data, so again, we know what to push and when.
4. Our business models aren't built around shelflife. We don't assume that once we lose the endcap at Target, that our sales are done. (Hell, most of us don't get placement in any brick and mortar store ever.) Sure, grabbing the Top 10 slot on Amazon or B&N is amazing, but it's not a business model. It's simply a marker.
5. Our fans demand closure. The last thing we want to do is piss off our loyal readership. We rely on them to come with us from book to book, series to series, genre to genre. We're constantly looking to gain readers, not lose them. The fastest way to lose them is to leave them hanging. 

Now, the theoretical benefit of trad publishing a series is eyeballs and accolades. The risk is getting to finish that series.

Self Pub vs traditional pub all comes down to this....

At the end of the day I can tell you a thousand differences between self publication and traditional (or legacy) publication by a small  press or a major house. The differences may not actually run into a thousand or so but they are high,

But at the end of all of it the differences are all about one thing. Control.

Let's discuss that for a moment, shall we?

What do you mean, Jim? What sort of control?

Here's the biggest one. Do you want to have that book published? Yeah? Cool. Good luck.

Listen I have been very, very lucky over the years. I've had virtually everything I've written published and even on a few occasions where I have not immediately gotten satisfaction, I got it somewhere down the line. that's the rub with traditional publishing, however.

In the case of the big boys, the big Five as it were, these days especially, it's not about what you want to write, it's about what they think they can sell. It used to be that an editor had enough power to decide whether or not to buy a book. later it sort of became a committee situation in a lot of cases. The editor would prepare notes and effectively pitch you novels to the senior editors or a pool of editors to decide what looked good and what sort of offers could be made on a new project.

These days it's gotten a little stranger. These days a lot of publishing houses look to their advertising teams to decide whether or  not a book is going to make the grade, because, ultimately, the marketing department has to decide where the book is going to be placed.

Okay, let me clarify again: Let's say you have a western novel with a side of supernatural horror that you would like to sell. first they have to decide where to place that. is it a western? Is it a horror novel? Does it qualify in that incredibly small niche market of weird westerns? marketing decides that answer, and THEN marketing decides if that answer is something they can work with. if they don;t think they can place a weird western on the shelves of every bookstore and push it through the digital gateways of Amazon, they aren't going to let anyone buy the book. It's dead to them. At the end of the day, it's numbers, nothing personal but why invest several thousand dollars into a product that simply will not be moveable in their eyes?

They are decidedly not in the business of flushing money down the toilet.

Small and medium sized presses can take different risks, but they, too, have to worry about at least breaking even. in the case of small presses a lot fo them are basically labors of love. they will forgive themselves for only breaking even on their costs. But that's the exception and decidedly not the rule. even the smallest presses, especially the for the love presses, have limits. A lot of the small presses are run by one person which MIGHT have people helping with layout and editing or might not. They front all of the costs of making the books, which are often high end and very expensive, they limit the print run and do books the way that books were done before mass market existed. That costs a lot of money and it often costs these individuals a lot of time. they might not fret too much over just breaking even, but at the end of the day they want to do a good book and keep the press afloat without hemorrhaging money from every orifice.

All of that is a consideration when it comes to legacy publication. Cost of labor, cost of production, cost of storage, generating enough revenue to not only justify those costs but to also make a profit.

Want to avoid all the worry? Self-Publish. then, yes, you can sell your book. That weird western that no one wants to touch? You've got it ready to go with Amazon. Except, of course, for the new cover art, the editing costs, the layout, the print run, digital, audio and print considerations. at the end of the day SOMEONE is going to have to out some money up in order to get a quality product. First hint is free: The cover is important and unless your nephew is actually a successful graphic artist, you probably shouldn't ask him to draw a cover for you. The picture that you have for the world to see of your book cover is roughly the size of your thumbnail. That picture better be good enough to catch the attention of every person out there in a positive way, or you're just another image in the digital catalogue.  Especially in tis day and age, people DO in fact judge a book by the cover.

A badly laid out book will haunt you. It can be fixed, but the reviews cannot. Advertising your book costs money. I recently heard of one publicist who has just started out, who wants over a thousand dollars to advertise a book for you. Said publicist has NO EXPERIENCE but wants to make a living. If that publicity amounts to Facebook and Twitter, you better do a little research.

But at the end of the day, it's about control. Either the houses pay you up front and you jump through some hoops, or you do it yourself and cough up the appropriate bread in the hopes that you can make some money.

Whichever way you run with it, there are risks and rewards.

That's just my opinion and your mileage may vary.

Seven Pros and Cons of Trad vs Indie

The last of the light on the longest day of the year - on a hot and still summer evening.

Our topic at the SFF Seven this week is the pros and cons of traditional publishing versus self-publishing. I feel pretty well positioned to compare and contrast the two methods (broadly – there are a lot of subsets and gray areas) of publishing books because I’m solidly hybrid. In 2016, my income was 40%/60% traditional/self-publishing; in 2017, it was the reverse proportion. So here’s a handy table to consider the pros and cons of the two approaches and I’ll discuss below.

	Traditional	Self-Publishing
Money	Handled for you	Handle it all yourself
Cover Design	No control	Have to decide
Team	Lots of people invested	Build your own
Publication Schedule	No control	Much more control
Quality	Lots of help (theoretically)	On your own
Marketing	Crapshoot	Expensive
Validation	Built in	Active community

Money

The first and most obvious difference between traditional and self-publishing is that with the latter you have to front your own money. And believe me, to self-publish well, you must invest in it. Doing it on the cheap is possible, but it always shows. If nothing else, pay for editing.

But there are other aspects to the money that aren’t so obvious. With traditional publishing, the house does all the accounting and cuts you a check (or, more likely, direct deposit). Depending on their system, payments can range from monthly to annual. With self-publishing, most retailers pay monthly, but it’s up to you to track and verify the financials. On the plus side, you get a bigger cut (which helps counter-balance that investment) and you can see all the numbers. On the con side, keeping accurate track of the financials can take a lot of time. Basically you become your own accounting department.

Cover Design

Another obvious difference with self-publishing is that you “get” to choose your own cover. With traditional publishing there’s vanishingly small opportunity for input. Some authors love this aspect. Me, not so much. I’m better at it now, as I have a better idea of what I like, but I can’t afford the cover artists my publishers can. While sometimes I don’t like the trad covers they give me, there is something restful about not having to angst over that aspect.

Team

A considerable pro to traditional publishing is having a whole team of people invested in your book. This is really wonderful to have. From your agent to your editor to the production and marketing team to the librarians and booksellers, all of these people make a living by loving your books and selling them. That’s an amazing support network. With self-publishing, you can build your own team. That takes time so it can feel like being a lone ranger. Also, with many of the folks on your self-publishing team being essentially contract workers—paid by the job—there’s less long-term investment in the process.

Publication Schedule

For me this is one of the biggest drawbacks of traditional publishing: not being able to control my release schedule. I end up having to work around those dates. In some ways they provide external structure, but when it’s a terrible release date, that can be frustrating.

Quality

With self-publishing, the quality of the final product is entirely up to you. The people you hire, and how much you pay them, are critical to that quality. It used to be that traditional publishing came with a guarantee of quality. Theoretically only the best books made it through the filters to be pitched and bought, then professional editors worked on the books. With cutbacks in traditional publishing, I’m seeing a lot of editors only acquiring books and spending minimal time on giving content feedback. This is one of the biggest value-adds of traditional publishing, working with a career editor to make the story the very best it can be. Copy editing is pretty straightforward and you can hire people to make sure word choice, grammar and punctuation are correct. Finding an editor who can refine a story is priceless. I’ve been disappointed to see some editors at traditional houses punting on this aspect and to me it’s one of the biggest reasons to go indie. If my books aren’t being edited, I might as well pay an editor.

Marketing

Either way, you’re going to have to do your own promo. The question is how much. With traditional publishing, how much they put into marketing varies on dozens if not hundreds of factors. A lot depends on the publicist you draw. I’ve had books receive a lot of marketing and others receive practically nil. With self-publishing, you’ll find lots of people swearing by various ads—pretty much all of which you can do as a traditional author, too, if you’re so inclined—but how much you’re willing to do, and spend, is a personal choice.

Validation

There are active communities and networks that support self-publishing authors. Many readers will read only self-published books. Of course, many readers refuse to read self-published books. While this is changing over time, traditional publishing still has most of the cachet. Publishing a book with a house, especially one of the Big Five, brings a network of validation that can be amazing. (Though it’s not guaranteed.) The house might get Big Name Authors to blurb the book and give it buzz. There’s a more direct pipeline to review notices, awards nominations, bookstores, and venues like book festivals. With self-publishing this can feel like an uphill battle still.

Any questions? Thoughts? Stuff I missed???

Who Teaches the Teachers

Happy First Full Day of Summer, northern hemisphere folks. Welcome to winter, southern hemisphere folks.

If anyone wonders whether it is possible to consume too much watermelon whilst celebrating the arrival of summer, the answer is an unreserved yes. Blarg. But hey. One of the perks of Florida. Real watermelon - I mean the huge monsters the size of a toddler. As heavy. And with seeds. The local Mennonite communities farm them and sell them in produce stands all up and down the Tamiami Trail. The melons are sweet and juicy and messy.

And when you have just a little too much, they're a massive stomach ache. But hey! Lycopene. That's my story. I'm sticking to it and I'll likely repeat it tomorrow cause one massive melon between two people means lots of watermelon in the fridge.

When I asked this week's question - How do you level up your writing skills - I may have phrased it badly. It was supposed to garner a resource list of who we all go to in order to learn our craft. I mean, we're all of us here at different stages in our careers. And I like to ask people a few rungs ahead of me on the trail who they learn from. Because if I start studying those people NOW, I'll be challenging my craft and skills all the sooner.  And it really was a CRAFT question, not a marketing question. The internet if rife with people wanting your cash so they can teach you how to sell millions of books, but hurry, this offer ends soon!

Here's my list:
RWA chapter meetings and workshops - these were I learned the basics and it's an amazing place to start.
Critique groups - a healthy crit group brings everyone in it up because you learn from one another's mistakes. I adore the two I have.
Beta readers - beta readers are worth their weight in gold because these are the people who will call you out when you cheat the story or the characters or the reader with lazy writing.
Craft books - doesn't matter which ones. Just start. I try to work through three a year. Doesn't matter who wrote 'em. Doesn't matter if I think I'll hate the book(s). Someone else's take on how a story goes together forces me to stay conscious about what I do. Some days, I think this may not be a good thing. Analysis paralysis is a thing that exists and it's vital to strike a balance between learning new stuff and making yourself nuts. Author know thyself.
Fiction books - readreadreadread. Read for enjoyment. For the sheer pleasure of it. Because as you do, you're learning. I love finding a book that sucks me through beginning to end and then I sit there, frowning, going 'Wait. What the hell just happened there? How'd the author DO that??' I may read the book again to see if I can pick up pointers. Or I may simply move on, secure in the knowledge that no matter what, I learned more about story and character by reading the book.
Paid Classes - this is very much a buyer beware thing. First. You have to have the cash. But suppose you do. All I can suggest is that you follow your interests. What sounds intriguing to you from a writing class standpoint? I will admit to having had mixed results here. Some classes didn't sound interesting and then blew me away with all I don't know. BUT. Whenever you take a class, you learn something - even if what you learn is that what you just paid for isn't for you. It's knowledge. And no one can take that from you. That said, I do NOT think you have to go to paid classes to learn to write. Or even to skill up your writing.

The single best means of skilling up writing is by writing - especially if you take on writing you don't think you're good enough to attempt yet. Keeping one toe over the 'this is comfy' line is a sure way to stretch and grow as a writer.

Which leads me to the greatest teacher of all: Failure. If you can stand one last gaming reference, this is from World of Warcraft when I had a guild leader say: If you aren't failing, you aren't trying hard enough.

So come on into the trenches with me. I'm plowing headlong into failing as hard and as spectacularly as possible.

How to Level Up

This week's question is, how do you level up as a writer?  And that's a really good question.  For me, the big answer is by lifting EVERYONE up.  The rising tide raises all boats.

That means being a mentor for up and coming authors.  That means being a champion for new books when they come out.  That means, when you're climbing over the wall, you reach back and take the hand of the person behind you.

So, I strive to do a few things: I try to treat every hopeful professional writer like the thing they are working on is the thing that will be their first sale.  I try to treat every struggling professional like their next thing is their big breakout.  I try to treat everyone I meet in this business like they are about to be the Next Big Thing. 

To me, that's just common courtesy.

Now, I'm sure I've had moments where I've failed this metric.  There's been plenty of times where I've been in my own head and not realized how my actions could be perceived.  Trust, as the line from Twelfth Night goes, that it's something of my negligence, nothing of my purpose.

That's also why it's important to me to pay things forward.  Things like teaching at workshops, or talking to prospective SFF writers at the Writers League of Texas Conference.  These things matter. 
Because nothing helps you level up better than helping others.  So have at it.

Writing a book is not a single-player RPG

When folks talk about “leveling up” writing craft, they’re slapping possibly the best metaphor in the universe on this process. Because writing a book is almost exactly like game-mastering a role-playing game. In which you are also playing all player characters. Alone. Deep into the night. And recording the whole thing in case someone, anyone, ever wants to hear about your fun made-up adventure that you had with yourself.

First you read the module (get the story idea and some rough sketch of the conflict and setting). Then you roll up heroes (main and secondary characters, with motivations and emotional problems and gear). Then you sit down at your little table for many hours and eat bad food and melt into this strange, magical, wonderful world you’ve devised.

And after you’ve defeated the big boss (written the first draft), it’s time to assign experience points and loot, and … level up.

Yes, leveling up is revision.

When I’m leveling up (revising) a book, the most helpful source books (tools) are going to be

• Critique partners—Get you some! At least one. I have three. These are professional writers who are at or above my skill level (not necessarily writing in my genre; the skill-level match is the key here) and do not hesitate to point out crap that isn’t working. They aren’t “oh I love everything you write” people. They are “eeew”-in-the-margin and “nope, he’d never say this” people. 
• A developmental editor—My publisher hooks me up with editors who read my icky drafts and offer suggestions for making the books better, but if you’re self-publishing, you need to go out and find a good dev editor on your own. Don’t skip this part. I don’t know a writer who turns out perfectly balanced and paced first drafts about adequately motivated characters. And I know some damn impressive writers.
• A read-along performance—I don’t mean you need to get up in front of an audience and read your book aloud. I do mean that you need to read your book aloud, though. Yes, the entire thing. Even those scenes that make you blush. (Have a glass of wine, if you need it.) Read the characters in their own voices and make sure the POVs are sufficiently distinct, the dialogue makes sense, and the chapter-ending hooks make you want to keep reading. If you stumble over a word or sentence when you’re reading it aloud, very likely there’s a problem in that spot. Flag it and move on, and later, you can come back and think, Ha! I spelled teh wrong and spellcheck totally let me down! Because this is not the kind of thing your eyes notice when you’re reading silently. But your mouth realizes that teh is completely unpronounceable and helps you fix all these embarrassing things.
• Beta readers—Contrary to some weird stuff I’ve heard lately, you do not need to pay for beta reading. Find another writer in your genre who you trust, and trade manuscripts. Or find a reader in your genre who is willing to read in exchange for a shout out in the Acknowledgements or chocolate or advance copies of all your books in perpetuity or just to elevate the genre. Note that a beta reader is not a line editor and is not responsible for your commas. You should have already sorted your commas by this point. Also, don’t use your book-buying readers as betas. Readers who buy the book should not also have a duty to tell you that your pacing is off or you’re showing rather than telling all through chapter six (why is it always chapter six?). Readers bought the book. Your job is to make sure that thing they bought is already a quality purchase.
• A line editor—To sort the dangling participles (you have some, I promise) and word repeats and 42-word sentences and language that might trigger or offend a reader in ways you would have never anticipated. A good line edit helps you polish the low-level, sentence-type stuff. It also points out bad habits you didn’t even know you had—oh, hello, overused "just" and made-up verbs! If you publish traditionally, this step might be rolled in with a white-glove treatment on your final revision, or it might be called something else. Regardless of what you call it, though, it’s the pre-copyedit and post-developmental edit. It’s the stage where your sentences learn to shine.
• A copy editor—Even if you are pretty sure you write clean, you still need a copy editor. Everyone needs a copy editor. Copy editors need copy editors. Because none of us are that good all on our own. Also, a good copy editor is not someone who did real well diagramming sentences in sixth-grade language arts. A good copy editor has memorized The Chicago Manual of Style and has training specifically in how to recognize inconsistencies and errors in a book-length manuscript. Get editing samples and references. Important note: you cannot hire a good copy editor for $50 for your 100k-word opus. (Read that sentence again. Cannot.)

So, okay, I lied. 

You aren’t running this adventure alone after all. 

Sure you can bang out the crappy first draft all by yourself at your little table in the dark of night and with Cheeto-stained fingers. But if you want those characters ever to get the Chain Lightning spell or the insta-kill +1 vorpal sword, you’re gonna need to get some other folks in on your game.