Promotion is a challenging thing for a writer to get right. You want to get word that your book is out there (or in my case, that it's available for pre-order), but you don't want to be that person who's just "BUY MY BOOK!" Because that person is obnoxious.
Seriously, that person isn't just hypothetical. There are people out there like that, and they are obnoxious. I once knew someone whose twitter feed would auto-tweet one of ten different "BUY MY BOOK HERE'S THE LINK" messages every few hours, like clockwork.
I never bought that book.
But you have to do something, of course, else no one knows the book is out there. The trick is getting the word out there without annoying the people you want to be enticing. Of course, the best way to do that is for someone else to be the one talking about your book. That way it's not you doing obnoxious self-promotion. It's someone who's genuinely excited about your work and wants to talk about it!
And sometimes you get blessed with a bit of serendipity. In my case, it tied to Book Country. See, I was one of the initial beta-testers of the writing-critiquing community, which was designed and owned by Penguin. Thorn of Dentonhill was one of the first books available on the site for critique-- at least, its first few chapters. So when Thorn was bought by DAW-- part of the Penguin group-- the folks at Book Country were eager to talk it up.
Of course, I'll still be talking it up plenty in the months to come. Have no doubt about that.
All right, off to the word mines. See you all down there.
Showing posts with label promotion. Show all posts
Showing posts with label promotion. Show all posts
Thursday, September 18, 2014
Monday, August 5, 2013
Quick Promotional Post: Rayguns Over Texas
Today I'm under the hammer, so the post is a quick plug:
After months of rumors and innuendo, Rayguns Over Texas, the new anthology of science fiction by Texas authors, will finally premiere in just 24 days on August 29 at LoneStarCon 3 (aka the 71st Annual World Science Fiction Convention) in San Antonio.
Over at Rick Klaw's site, he'll be posting an excerpt a day from the anthology. Look at some of the names on that: Bruce Sterling! Michael Moorcock! Joe Lansdale! Aaron Allston! And many more. I'm ridiculously pleased to be on this. Go check it all out.
After months of rumors and innuendo, Rayguns Over Texas, the new anthology of science fiction by Texas authors, will finally premiere in just 24 days on August 29 at LoneStarCon 3 (aka the 71st Annual World Science Fiction Convention) in San Antonio.
Over at Rick Klaw's site, he'll be posting an excerpt a day from the anthology. Look at some of the names on that: Bruce Sterling! Michael Moorcock! Joe Lansdale! Aaron Allston! And many more. I'm ridiculously pleased to be on this. Go check it all out.
Monday, April 15, 2013
Perils of the Science-Fiction Writer: Avoiding Obsolescence
I'll admit I'm not a big short story reader, nor am I as versed in the classics as I ought to be. That said, I have a certain fondness for Ray Bradbury's All Summer In A Day, and to a lesser extent, The Martian Chronicles. Both are very human stories that take place on Venus and Mars, respectively. But they were very much the Venus and Mars of imagination, the Venus and Mars that couldn't be written about after the 1950s.
It's easy to see how, when all that was known about Venus was its cloud cover, a writer might imagine a Venus where the rain almost never stops. Now we know that isn't even remotely close to the truth. We know that All Summer In A Day is an impossible story. It's still a great story, and it holds up in the sense that you can willfully ignore real-Venus in favor of its pulp-Venus setting. You allow yourself that willful suspension of disbelief because you know the context.*
We live in an exciting time, in terms of astronomical news. We are constantly hearing news of another planet being discovered in orbit of a distant star. We've just learned of an Earth-sized planet in orbit of Alpha Centauri B.
But that also makes it a... challenging time to be a sci-fi writer, especially one that does the kind of in-depth worldbuilding that I do. Any day I expect the news of a discovery to come that invalidates a major element of my work. And I can only imagine if, say, such news comes in between finishing a work and it being published. Would that be embarrassing? Will it be embarrassing in 60 years? Or will readers shrug and say, "Hey, that was the 2010s. They hadn't even met the Helari** yet."
This is probably why some of the better sci-fi gives themselves some breathing room-- putting a few centuries between now and the story. Therefore the minor or major discoveries in the near future can be handwaved away. Write too close to the day-after-tomorrow, and the work seems very dated. I love Snow Crash, for example, and it's still a highly regarded work... but it's set in a 1998 that was a nigh-absurd extrapolation when it was written, let alone in retrospect.
---
For some other news: Rayguns Over Texas now has a cover! I'm absurdly excited for this book, especially since I'm being printed with such good company.
---
*- And, of course, one can write something in a deliberate retro-pulp style, but then you're almost writing fantasy instead of sci-fi.
**- The Helari, of course, would find it amusingly quaint.
It's easy to see how, when all that was known about Venus was its cloud cover, a writer might imagine a Venus where the rain almost never stops. Now we know that isn't even remotely close to the truth. We know that All Summer In A Day is an impossible story. It's still a great story, and it holds up in the sense that you can willfully ignore real-Venus in favor of its pulp-Venus setting. You allow yourself that willful suspension of disbelief because you know the context.*
We live in an exciting time, in terms of astronomical news. We are constantly hearing news of another planet being discovered in orbit of a distant star. We've just learned of an Earth-sized planet in orbit of Alpha Centauri B.
But that also makes it a... challenging time to be a sci-fi writer, especially one that does the kind of in-depth worldbuilding that I do. Any day I expect the news of a discovery to come that invalidates a major element of my work. And I can only imagine if, say, such news comes in between finishing a work and it being published. Would that be embarrassing? Will it be embarrassing in 60 years? Or will readers shrug and say, "Hey, that was the 2010s. They hadn't even met the Helari** yet."
This is probably why some of the better sci-fi gives themselves some breathing room-- putting a few centuries between now and the story. Therefore the minor or major discoveries in the near future can be handwaved away. Write too close to the day-after-tomorrow, and the work seems very dated. I love Snow Crash, for example, and it's still a highly regarded work... but it's set in a 1998 that was a nigh-absurd extrapolation when it was written, let alone in retrospect.
---
For some other news: Rayguns Over Texas now has a cover! I'm absurdly excited for this book, especially since I'm being printed with such good company.
---
*- And, of course, one can write something in a deliberate retro-pulp style, but then you're almost writing fantasy instead of sci-fi.
**- The Helari, of course, would find it amusingly quaint.
Thursday, January 3, 2013
Story Sale and other Small Victories
So, to start, I got excellent news on New Year's Day. Namely, I sold a short story, "Jump the Black", to Rick Klaw's upcoming anthology "Rayguns Over Texas". Rayguns is an anthology of original science fiction by TX authors, is scheduled for release at LoneStarCon 3 (aka the 2013 Science Fiction Worldcon in San Antonio, TX). It'll also have stories from Michael Moorcock, Neal Barrett, Jr., Joe Lansdale, Aaron Allston, Don Webb, Stina Leicht, and many other people who are far cooler than me. Seriously, if it was Ocean's 11, I'd be the Matt Damon of the group.
Obviously, I'm thrilled. This literally happened on January 1st, and I'm taking it as a sign for the year to come.
Here's one thing I've learned in the process of cutting my teeth in this business: take every small victory. This particular one is a great one, and it's an easy one to crow about. It has a tangibility I can point to: there will be a book with a story I wrote in it. Other victories, other little milestones I have passed, don't have that same sense of accomplishment. At least, not the way you can really explain to people who aren't/haven't done the same things.
Back when I was still querying, for example. Getting a full-request was a pretty big deal, something that puts me in the top 0.1% of everyone who says, "I'm gonna write a book." But it doesn't actually put a book in bookstores or money in my pocket. At the time, I was pretty proud of that milestone, but it wasn't something I felt I could make a big deal out of. However, around that time, I ran into an actor friend I hadn't seen in a while, and when I mentioned it-- as well as that feeling that it wasn't really much of a victory-- he said, "I know exactly what you mean. It's like getting a 3rd Callback, where you know the part is down to you and a couple other guys. It gives you some validation, that you have talent... but it still isn't a job booked."
Still, I savor these moments. The big one is coming. I feel it in my marrow.
Obviously, I'm thrilled. This literally happened on January 1st, and I'm taking it as a sign for the year to come.
Here's one thing I've learned in the process of cutting my teeth in this business: take every small victory. This particular one is a great one, and it's an easy one to crow about. It has a tangibility I can point to: there will be a book with a story I wrote in it. Other victories, other little milestones I have passed, don't have that same sense of accomplishment. At least, not the way you can really explain to people who aren't/haven't done the same things.
Back when I was still querying, for example. Getting a full-request was a pretty big deal, something that puts me in the top 0.1% of everyone who says, "I'm gonna write a book." But it doesn't actually put a book in bookstores or money in my pocket. At the time, I was pretty proud of that milestone, but it wasn't something I felt I could make a big deal out of. However, around that time, I ran into an actor friend I hadn't seen in a while, and when I mentioned it-- as well as that feeling that it wasn't really much of a victory-- he said, "I know exactly what you mean. It's like getting a 3rd Callback, where you know the part is down to you and a couple other guys. It gives you some validation, that you have talent... but it still isn't a job booked."
Still, I savor these moments. The big one is coming. I feel it in my marrow.
Monday, July 23, 2012
Finalized ArmadilloCon Schedule
And now it's all official. And, as I expected, I have some more things on my plate then what I posted last week:
- Sa1400SB SF/F Mysteries
- Sat 2:00 PM-3:00 PM Sabine
- S. Cupp, M. Maresca, R. Rogers, P. Sarath*, M. Wells
- A discussion of good examples of this mixed subgenre and the special challenges of writing it.
- I asked to be on this one, since Maradaine Constabulary fits right into this. It is something I'm very interested. As is one of my Big Influence books, Caves of Steel. Should be fun.
- Sa2130SM Reading
- Sat 9:30 PM-10:00 PM San Marcos
- Marshall Ryan Maresca
- It's official! I'll be dusting off my actorly chops and reading from Maradaine Constabulary. You will want to come and hear. It'll be fun, and there will be a free pony given away.* Plus Campbell Nominee Stina Leicht is right before me, and you know you want to hear her. Because she's awesome. Right? Right.
- Now I just have to figure out what else I'll want to go to. What looks like fun to you all?
- ___
- *- The pony is a lie.
Thursday, July 12, 2012
Sitting at the Grown-up Table
Two weeks from tomorrow ArmadilloCon kicks off*, starting with the Writers' Workshop. I'm really excited. This is my second year on the teachers' side of things for the Workshop, and even having done it before, I'm rather nervous about it.
When it comes down to it, part of that stems from Imposter Syndrome. My status as a "professional writer" sometimes feels Pinocchio-like: I have an agent, but I don't have books on shelves yet. So I don't get to be a "real boy". At least, not while sitting up there with these people.
However, I tell myself, "These feelings will go away once I have an actual book on shelves", I sometimes think that won't be true. After all, I told myself before, "These feelings will go away once I have an agent".
Part of it, I think is, I have a strange habit of still feeling like a kid sitting at the grown-up table, especially in situations like this. It doesn't make much sense, given that I'm nearly 40-- and hell, some of the people on that panel are younger than me-- but on some level I still have a self-image of the clueless 23-year-old. The one who drove to Austin with a car full of possessions and a complete lack of plan of what he was going to do with himself.**
Now, when it comes to being a Writing Professional, I know part of that feeling comes from getting serious about Writing relatively late in the game. I would say it wasn't until 2007. Before that, I was mostly just saying I intended to Be A Writer, and despite some playwriting success, it was far more talking about What I Would Write rather than actual writing. So here I am-- almost 40, and not quite there yet.
But I am at the Grown-Up Table, so that's something.
---
*- This is what I'm going to be talking about for a the next few weeks. So just be prepared.
**- Given that, I think I did all right.
When it comes down to it, part of that stems from Imposter Syndrome. My status as a "professional writer" sometimes feels Pinocchio-like: I have an agent, but I don't have books on shelves yet. So I don't get to be a "real boy". At least, not while sitting up there with these people.
However, I tell myself, "These feelings will go away once I have an actual book on shelves", I sometimes think that won't be true. After all, I told myself before, "These feelings will go away once I have an agent".
Part of it, I think is, I have a strange habit of still feeling like a kid sitting at the grown-up table, especially in situations like this. It doesn't make much sense, given that I'm nearly 40-- and hell, some of the people on that panel are younger than me-- but on some level I still have a self-image of the clueless 23-year-old. The one who drove to Austin with a car full of possessions and a complete lack of plan of what he was going to do with himself.**
Now, when it comes to being a Writing Professional, I know part of that feeling comes from getting serious about Writing relatively late in the game. I would say it wasn't until 2007. Before that, I was mostly just saying I intended to Be A Writer, and despite some playwriting success, it was far more talking about What I Would Write rather than actual writing. So here I am-- almost 40, and not quite there yet.
But I am at the Grown-Up Table, so that's something.
---
*- This is what I'm going to be talking about for a the next few weeks. So just be prepared.
**- Given that, I think I did all right.
Monday, February 27, 2012
Austin Theatre Announcement, and the "Process Play"
I received this in my email last week:
Excellent news! I always enjoy being part of this yearly production. This year was the 11th time I've participated, and the 7th time my play has been chosen. It's a fun experience, and a fun process.
I've often heard the term "process play" used for this kind of production. A "process play" doesn't have a specific definition, but in my mind its a play that invites the audience to look under the hood to get a better appreciation of what's going on in the production. At its best a process play is something where an additional level of understanding enhances the enjoyment of something that's already enjoyable.
In the case of Out of Ink, I think it works well because the process is front-loaded in the writing phase. We write the plays in a specific time frame, within a specific set of rules, and then eight are chosen. Do you need to know that, in order to enjoy the show? No. But in knowing it, your experience changes. Case in point, in my piece from last year, there's a laugh line when one of the characters mentions Finnegan's Wake. This isn't because Finnegan's Wake is inherently funny, but because the audience knew that including Finnegan's Wake was one of our rules. But the play stands on its own without knowing that. The scripts are developed via the process, but the production of the show itself is straightforward.
"Process play", though, can be used as a pejorative. At its worst, a process play becomes a masturbatory exercise where more emphasis is put on how the performance got put together over the performance itself. I've known a few actor friends who have used the phrase as a backhanded knock on shows they were in. "How are rehearsals going?" "Well, it's a process play." Code for, "The director doesn't have a plan and we're meandering and wasting time." I've been involved in shows like that. It's no fun.
But with Out of Ink? I've always had fun. I've always found it a fun show to watch. If you're in Austin the last two weekends in April, come check it out.
At long last, selections for the upcoming ScriptWorks 10-minute play showcase have been made!
SOFTLY AS IN A MORNING SUNRISE - Bob Barr
UNFAIR PRACTICES AT THE DPS - Elizabeth Cobbe
THE MANY SUICIDES OF MOLLY McVEIGH - Trey Deason
OCEAN SONG FROM A DESERT PLACE - Amparo Garcia-Crow
MS. EDWINA BACKLE'S APPOINTMENT - Aimée Gonzalez
SLEPT THE WHOLE WAY - Marshall Ryan Maresca
THE NORTH STAR TRANSGALACTIC - Anne Maria Newsome
THE GREEKS - Colin Denby Swanson
The plays will run April 19-21 and 26-28 at the Blue Theatre.
Excellent news! I always enjoy being part of this yearly production. This year was the 11th time I've participated, and the 7th time my play has been chosen. It's a fun experience, and a fun process.
I've often heard the term "process play" used for this kind of production. A "process play" doesn't have a specific definition, but in my mind its a play that invites the audience to look under the hood to get a better appreciation of what's going on in the production. At its best a process play is something where an additional level of understanding enhances the enjoyment of something that's already enjoyable.
In the case of Out of Ink, I think it works well because the process is front-loaded in the writing phase. We write the plays in a specific time frame, within a specific set of rules, and then eight are chosen. Do you need to know that, in order to enjoy the show? No. But in knowing it, your experience changes. Case in point, in my piece from last year, there's a laugh line when one of the characters mentions Finnegan's Wake. This isn't because Finnegan's Wake is inherently funny, but because the audience knew that including Finnegan's Wake was one of our rules. But the play stands on its own without knowing that. The scripts are developed via the process, but the production of the show itself is straightforward.
"Process play", though, can be used as a pejorative. At its worst, a process play becomes a masturbatory exercise where more emphasis is put on how the performance got put together over the performance itself. I've known a few actor friends who have used the phrase as a backhanded knock on shows they were in. "How are rehearsals going?" "Well, it's a process play." Code for, "The director doesn't have a plan and we're meandering and wasting time." I've been involved in shows like that. It's no fun.
But with Out of Ink? I've always had fun. I've always found it a fun show to watch. If you're in Austin the last two weekends in April, come check it out.
Thursday, August 11, 2011
Pre-ArmadilloCon, Part One: My ArmadilloCon Schedule
- So, I've now received my schedule for ArmadilloCon. As this is my first time being on the panel side of things (as well as teaching in the Writers' Workshop), I'm really ridiculously excited.
- Fantastical Feast: Food in SF/F
- Fri 10:00 PM-11:00 PM Trinity
- S. Allen, C. Rambo, L. Donahue*, K. Frost, J. Mandala, M. Maresca
- I have to admit, having my first panel being right in my wheelhouse is a good way for me to start. Talk about food, and how it's used in Sci-fi and Fantasy? Oh, yeah, I can do that. Plus I'll be up there with Kimberley Frost, who is one of my favorite people.
- Class Issues in SF/F
- Sat 3:00 PM-4:00 PM Sabine
- J. Lansdale, S. Lynch, M. Maresca, C. Richerson, W. Shetterly*
- This should be fun. I certainly use class issues (and class as it relates to neighborhood) in all the various Maradaine books. Plus I'll be up there with Scott Lynch. Scott Lynch is cool.
- How Much Interaction Should Writers Have with Their Readers?
- Sat 5:00 PM-6:00 PM San Marcos
- E. Burton, K. Holt*, M. Maresca, J. Nevins, R. Rose
- A bit of a strange panel for me, but I can roll. I've been online for a long time, and I've seen plenty of author/reader interactions, seen how fandom interacts, seen some of the explosions and pitfalls. I've seen the evolution of those interactions. So I'm intrigued.
- Is the Singularity Possible?
- Sat 10:00 PM-11:00 PM San Antonio
- J. Gibbons*, A. Latner, M. Maresca, A. Simmons, K. Stauber
- I have to admit, this is one I'm going to have to do a bit more research for. Not exactly my specialty. But that's good. I like a challenge.
- New Directions in Space Opera
- Sun 10:00 AM-11:00 AM San Marcos
- A. Allston, S. Bobo, W. Ledbetter, M. Maresca*, F. Stanton, T. Wagner
- Space opera. Ah, back to my comfort zone. Which is good, since I'm also moderating this panel. Plus I'm familiar enough with Aaron Allston, William Ledbetter, Thomas Wagner and Fred Stanton to know that I won't have to prod them too much to get them talking.
Monday, April 19, 2010
Promotion and book trailers
I've been thinking about Book Trailers of late. I'm not sure why, exactly, beyond my usual bad habit of getting ahead of myself. I don't have a book ready for trailing, as it were, so I don't need to have one yet... if I need to have one at all.
I can see what the appeal of doing video trailer is-- it's a commercial for your book! That's exciting! Of course, most of the video trailers I've seen are made with all the dynamic hook and technical skill of your average public access program. They certainly don't entice me to read the book.
I heard one person say of book trailers that the best they can do is not hurt your sales. The more of these things I see, the more I can't help but agree.
I was at a panel once where the panelists were advocating making book trailers as a promotional tool. Now, like I said, I can see its value, if it's done well. But then it was suggested that, in order to make one's trailer, one should search through photo archives of stock images, finding stuff that's out there that's free to use.
I couldn't disagree more about that. I mean, why would you use images that only kind-of, sort-of match what your book is about? Let's say, for example, your book has vampire-like and angel-like creatures. Would ANY vampire or angel pictures be suitable? Probably not. I would argue that any images (or video) that aren't specifically made for your book would look generic and unconnected. You wouldn't copy-and-paste text from some other book because it's kind of like what you want your book to be, would you? (I hope not.)
I mean, if you're going to make a book trailer to promote YOUR book, then make that trailer equally your own, just as original.
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