Why I Write What I Write

Now that I'm starting to write again, I don't know what I'm going to work on.  So far, I've only been going over my past work, reading through 50,000 words of an incomplete novel I wrote 6 years ago.  It holds promise, but I'm not quite feeling it.  That thrill of the storyline and love of the characters isn't there, and I'm left wondering if I can get the emotional stimulation necessary to finish it.

I may have to find something else to write, or just keep trying to get interested.

In order to write anything, it has to be something that I want to write.  That's the way it has always worked for me.  Writing is about me telling a story that I enjoy, exploring things that draw me in as the creator, revealing the worlds inside my mind in a way that satisfies that creative part of me.  It gives me purpose, and fuels the creative process.  If I can't get into the story, if my mind doesn't care about what's going on, then I find it exceedingly difficult to proceed.

This is of course not the method that all writers use.  I've read so many "advice" columns from people saying that to be a writer you have to write whatever will pay, take whatever work in the publishing industry you can get, and if you keep grinding away inside the machine you'll someday get your reward and "be allowed" to write what you want.  That's all well and good for some, but it's not for me.

Another common occurrence that I've run into over the years is friends and family who like to suggest that I "write what sells."  I know they're only trying to help, but it serves no purpose and can get annoying, as trying to dismiss their advice feels like talking to a brick wall.  They're so sure if I write "something else" that I'll be a big success.  Whether it's my father telling me to write about weirdoes in the woods, or friends suggesting I write anything from "serious mainstream fiction" to "teen chick-lit," it's not going to happen.  It wouldn't increase my chances of fame and fortune to write it, and because I'd hate doing it I would end up with a totally unmarketable piece of pulp nobody would ever want to read.

With writing, I'm not one to "climb the ladder," or "play the game."  It's not that I don't respect that approach.  It's just not me.  In my case, doing that would suck the life out of me, and writing would become a job that I didn't enjoy.  The creative flames inside me would die, and I'd be a horrid hack, writing words just to make money with no pleasure or fulfillment.  So, I have learned that the only way I can write is on my own terms.  If this means I will fail to gain an appreciable audience, then so be it.  To gain a million readers and lose my soul would be worse than having a handful of people reading what I want them to enjoy.

So, going forth in 2017, I will seek to create something new that others will enjoy.  It's all I can do, and so I will strive to accomplish that yet again.

My Life's Meaning

The last two years have been the most tumultuous of times for me, though much of it has merely been in my head.  Life hasn't been all that bad lately, though I've felt depressed and unfulfilled.  So recently I started reflecting on my existence, and seeking to answer that ever-present question, why am I so miserable?  The answer, as it turns out, is as simple as it is complex.

I am a writer.

The last two years, I haven't written anything.  As my marriage began to fall apart, I lost interest in my fiction, and stopped writing altogether, but that's the one thing that truly empowers me.  It is my God-given talent, one that I have viewed as both a blessing and a curse.  I am a writer, and I cannot live without that distinction.

This answer should have come to me sooner, and maybe it did, but I ignored it.  I wanted to escape my destiny, and forsake my gift.  I blamed my "obsession" with writing for the destruction of my marriage, and then I found my free time depleted, having to raise 4 kids without a wife.  So, I forgot myself, and abandoned the only thing that I ever wanted to be.

There were times in the past that I almost gave up on my writing.  Back in 2006, I was ready to call it quits, but the next year rolled around and I got Virtual Wiles published (albeit by what turned out to be one of the world's worst publishing outfits).  After that, I discovered "self-publishing," and released Prisoner of Time and The Rogue Investigations, which I still wish would sell more, as they're really fantastic works.  Then The Guns of Mars made semi-finalist in the second Amazon Breakthrough Novel Award contest, which led to its publication by Pill Hill Press a year later.  Everything was on the up and up, and when Hall Brothers Entertainment asked me to write a full-length novel based on my Dwarf at High Noon short story, I was on top of my game, feeling I was finally on the brink of being a professional writer.  I threw down West of the Warlock, and it impressed them so much that I was contracted to write 2 more books in the series, which I did.

Then, things slid downhill again.

First, Pill Hill Press closed up shop, leaving the Guns of Mars out of print.  GOM hadn't sold that well, despite solid reviews, and PHP's closure put it to rest for a time (I later republished it under my own company, but little attention has been paid to it).  I thank Jessy Marie Roberts for running Pill Hill Press and releasing the Guns of Mars, and I hope that someday she (and her husband, Alva Roberts) get back in the greater publishing industry, as they're both talented writers.

While that was a disappointing blow to my career, the worst had to be the subsequent closure of Hall Brothers Entertainment, less than a month later.  Right before the second West of the Warlock novel, The Curse of Selwood, was due to be released, HBE shut down, and I found myself with nothing in print outside of my self-published books.

In response to these publishers closing, I fought back by starting my own small press, Martinus Publishing.  The final impetus for my starting this press was the fact that I had a multi-author anthology in the works.  With the success of West of the Warlock, I'd decided to expand a little, and came up with the idea of assembling and editing a "time travel anthology."  My proofreading skills were quite good, and I had a vision, so I pitched the idea of this collection to the Hall Brothers, who were supportive and excited about it.  I had half of the stories for TheTemporal Element accepted for publication when HBE closed shop, and rather than disappoint the contributors and abandon my project, I pressed forward under my own banner.

Becoming the editor of a small press had its rewards and its hardships.  At first, it was all fun and exciting.  I got to release stories from fellow authors that I really enjoyed, and I could release my own works under the auspices of a small publisher, rather than have them be blatantly self-published.  Yet, it was so much fun that I overloaded myself.  I came up with numerous anthology ideas and took in overwhelming numbers of submissions that took up much of my free time, leaving me little time for any writing of my own.

When I announced my plans to start Martinus Publishing, A.C. Hall gave me some great advice.  He told me I could either be a great writer or a great editor, but it would be hard to be both.  I knew he was right, but at the time I felt I had no choice.  My books had largely been commercial flops, and with nothing left in print I felt that I had failed as a writer.  I decided that I could serve better as an editor, and perhaps find success there.

A year went by, and Martinus Publishing had limited success with its first couple of anthologies.  Overall, it was breaking even, and I felt satisfied, even as my writing continued to dwindle.  I threw together a novel during National Novel Writing Month in November 2013, but after that it was all bits and pieces, and revisions to previous works.  3 years ago, that's the last time I truly wrote any significant fiction.

Spring of 2014 saw the release of Altered America, and it outperformed my wildest expectations.  It was a hit for Martinus Publishing, until nitpickers and critics threw it negative reviews.  I still consider it a success, even if it wasn't what half the reviewers wanted it to be.

From there, everything was a downward slide.  Subsequent Martinus Publishing releases were met with poor sales, and as my personal life became more turbulent I found it difficult to keep up with my editing responsibilities, let alone get any writing done.  By the time my marriage ended in early 2015, I was ready to give up.  I would have shut down Martinus Publishing, but I refused to disappoint my fellow writers.  I didn't want them to feel the way I felt when Pill Hill Press and Hall Brothers Entertainment closed.  I didn't want to let them down, and see their dreams of publication diminished.  And deep down, I knew I'd be sorry, too.  I'd be admitting failure again, and affirming it by shutting up shop.

I'm just too stubborn to know when to quit.

This past year was difficult for me, as I struggled to find meaning to it all.  People tend to say that my kids ought to be enough, that they are the purpose I should be living for.  I feel guilty, sometimes ashamed, to say that that doesn't work for me.  As much as I love my kids, and as much as I'll do anything for them, they just aren't enough to give my life meaning.  I have been selfless and sacrificed so much lately that it has brought me to mental misery.  I cannot go on denying myself.

A few days ago, I wrote a blog post, reflecting on my existence, and for the first time I felt alive again.  After that, I wrote more, starting with some personal ruminations that may or may not see the light of day sometime, and then I began looking back over some of my past projects, seeking to rekindle the creative fires.  At long last, I am creeping out of depression and feeling like I have a purpose again, that I can move forward and I have something to look forward to.  For the first time in years, I have hope, and all it took was for me to wake up and realize the truth, a simple truth that I had abandoned.

I am a writer.

This isn't a choice for me, and it isn't some paltry dream.  It is all that I am.  When I don't write, I hurt.  I fall into despair, and lose sight of everything.  I stop caring, and nothing is interesting.  When I am not writing, I am nothing and nobody.  I am simply existing, and that is a very bad thing, indeed.

So, what does this revelation mean for the future?  It means that I have to reset my priorities, and do what is right for me, something I haven't done in a long time.  I need to find the time to write, and I need to find more ways to promote my published works.  I have to try again, which is all anyone can ever do.

I can't promise I'll succeed, and I know when I have commercial flops and rejections that I'll hurt.  Again and again I will hurt, but if I do not even try I'm already dead.  I have to keep striving for the mark, because writing is my life, and if you're reading this, then you are giving my life meaning.  Thank you for taking the time to read these words.  I'll be writing more of them soon.

Here's hoping for a happy 2017 for all of us!

My Attitude When Reading Slush

Well, I’m still going over the last few submissions to Life of the Dead, and it is a really hard thing to do.  Why, do you ask?  It’s because there are so many qualified stories in this batch that could easily find their way into print, but there is only so much room left.  The last selections will be made in the next week or two, as I reflect on the entire situation.

This brings me to an interesting topic that I thought I’d discuss briefly.  That is, the attitude I adopt when reading through the slush pile.  I suppose you could say it is different for everyone, but when I take on the task, I go into with the attitude that I want to like the story.  I want to enjoy this and accept it.  Later, as I read into the story, it will either prove me right and get accepted, or it will change my mind.

I have heard that some editors do the exact opposite.  They read their slush piles with the attitude that they hate every story, and wait for the stories to prove them wrong before getting accepted.  I simply can’t buy into this negative approach.  Others still claim to have a true neutral position, but that is a hard code to follow.  Depending on your mood or the time of day, or what’s going on in you personal life, you’re going to start reading with a particular bias.  I suppose it’s easier to be negative for some folks, which is where the concept of “hate everything until proven wrong” comes into play.

This is why I sometimes have a backlog of stories to read.  When I am feeling negative or preoccupied, I cannot read slush with the positive attitude that I require to find those stories I truly like.  I don’t want to run the risk of passing on a story that I could enjoy, simply because I’m in a bad mood that makes it impossible for me to appreciate what I’m reading.  Also, I don’t want to start accepting stories that I’m not enjoying, thinking I’ll like them later.  First impressions are often lasting, and the memory of not enjoying something can put a permanent stain on it.

Some people will call my publishing philosophy unprofessional, but it is the entire impetus behind Martinus Publishing.  I went into this to publish stories that I wanted to read, stories that may not otherwise see the light of day.  I continue to adhere to that business model, feeling that people will either appreciate the stuff I publish, or they won’t.  I cling to the hope that there are other readers out there who are thirsting for the kind of entertainment that I myself appreciate.  Therefore, I will continue to publish to entertain, above and beyond anything else.

Altered Europa

Writers, get your keyboards ready: A new Martinus Publishing anthology is hereby announced!

Altered Europa:

Alternate History... Divergent Realities!

The continuing success of Altered America has proven that there is a desperate need for more alternate history anthologies, so I am opening up submissions to this one immediately.  I had planned to announce this toward the end of 2014, but there’s no sense waiting, when there is clearly a demand for such a collection.

Altered Europa will feature stories of alternate history where something changed in European history as we know it.  Let your imagination run wild, and imagine how things might have turned out differently.  Any point in history is fair game, from Ancient Greece to near modern times, and perhaps even some tales slightly into the future, so long as the alternate history is exposed.  Show us what happened at the event, what happened shortly thereafter, or reveal how things are impacted much later on.  Give us something to think about, something that will thrill and entertain us, and reveal a Europe that might have been!

Depending on the quality and quantity of stories being submitted, this one might fill up quickly... or it may take some time.  As has become customary with Martinus Publishing anthologies, each contributor will receive a 2% cut of the profits, in addition to the pleasure of having their story in print.

Anyone who wishes to submit a story to Altered Europa must read the submissions guidelines at the Martinus website.  Do your best to follow these simple instructions, as it will make my job easier and it may improve my mood while reading your story.  It’s good advice when submitting to any market.

Political Agnosticism for Aspiring Authors?

It has been a long time since I wrote anything political on my blog, which is kind of funny, since I’m really quite political in my personal life.  I have trended away from publicizing my views online in recent years, as my writing career has slowly advanced, and I don’t think an entertainer’s politics are terribly relevant to their product.  We all enjoy books, movies, music, and other things created by people of varied philosophical persuasions.  As an editor, I’ve published stories from writers who span the full spectrum, from diehard liberals to tea-party conservatives, and many sorts in-between.

During my early days online, I wore my politics on my sleeve.  I had an editorial column for a while on a little-known website and sparred daily on various current events forums.  While it made me feel better in my youth to battle it out in such a way, it really did nothing for my fiction writing career.  Oh, I met a few friends in the process, and actually had the pleasure of converting a few people on certain issues, but I can’t say it ever did a thing to help me sell any stories.  I have a lot of political “friends” in real life, but to this day I can count on one hand the number of them who have bothered to read my books.

This isn’t to say that people who share my beliefs aren’t apt to enjoy my fiction.  I’m saying it is a non-factor.  People are not liable to buy your books because you spout off some talking points or you vote for some politician.  However, there are some readers out there who will specifically avoid your fiction if you say something that rubs them the wrong way.  It may not matter when you’re already famous like Stephen King, but for those who are less well known, every reader counts.

So, over the last five or six years, I have shied away from broadcasting my beliefs online.  Oh, I still post things to my personal facebook page now and then, and I remain active in the real world, but on this blog I refrain from spouting off too much.  Many aspiring authors share this philosophy, and keep their politics close to the chest, others don’t.  I can’t say either is the wrong approach; it all depends on how you want to sell yourself.

I have read opinions to the contrary, that trumpeting your beliefs is a must to draw attention to yourself.  There is the school of thought that controversy gains you readers, though that hasn’t been my experience.  It may work if you’re going for a specific niche market, but my fiction is often less specialized.  Yet, it is something to consider, as well, as you venture out into the marketplace.  How do you seek to be seen as a writer?

Feel free to ponder this topic, and let me know your thoughts.

Fevered Musings and Altered America

I've been sick on and off the past week, and right now I have a moderate fever and half the muscles in my body are burning with knots.  Don't worry, I'll survive, and if not there's nothing your worrying can do to stop it.  Seriously, though, I've had worse, and I hope to be back on my feet in a day or two.

Now, while I'm trapped at my desk and unable to do much else, I'm reading through the latest batch of submissions for Altered America.  A lot have been pouring in over the past week, and that was a welcoming sign, as I've been facing a shortage of submissions to this collection.  However, as I pick through story after story, I find a lot of stories that simply aren't want I'm looking for.

I hate to reject otherwise good stories, but the vast majority of the newest batch are not right for this collection.  It seems a lot of writers have overlooked or ignored the entire premise of the anthology:  "Tales of Alternate History and Forgotten Possibilities."  Apparently, they skim over the "Alternate History" section and focus on "Possibilities," and have submitted a lot of interesting stories that just don't fit what I'm trying to create here.  In a few cases, writers put together stories that may qualify as "Alternate," but they don't explain the history sufficiently to make it work.

Maybe this is my fault, for not being more explicit in saying that I'm after "Alternate History," for this collection.  I thought saying it was a collection of "Tales of Alternate History..." would have been plain enough, though apparently a lot of people don't understand what that means.

Is Alternate History a genre that is so hard to write?  I have to wonder.  Perhaps those who write it are simply above my pay grade?  I'm sorry I can't afford to pay you professional rates and spend millions of dollars promoting authors like I wish I could. I'm not working for a big New York firm.  I'm just trying to produce fiction that is worth reading, based on specific themes that create some uniformity and hopefully market appeal.  The fact that I'm deep in the Red right now isn't the point, but I'd hope that people would refrain from sending me nasty letters, mocking me for trying.  Yes, I've gotten a few unsolicited notes over the past year, condescending comments complaining that I'm "trying to rip people off" because I'm not offering 6 cents a word, and deriding me for "not helping to advance their careers."  As if I'm raking in a living off of this!  It is pretty pathetic for someone to waste their time to attack a small publisher like this.  I'm glad it is infrequent, but it should be never.

Okay, enough ranting.  I have a lot to consider.  So many good stories that just don't fit; it's a damn shame, but I can't compromise the contents of the anthology too much.  It wouldn't be fair to the consumers who will buy this expecting to get "Alternate History."

Check out the Altered America submission guidelines.

Editor's Notes & Rejection Letters

A wise editor once advised me to "never give out detailed rejection letters," and after more than a year of serving as an editor I understand and appreciate their advice more than ever. Mind you, I knew enough to avoid giving out lengthy rejections from the start, so I didn't run into a lot of the problems that other editors have noted over the years.

I'd like to take a moment to assure every Martinus Publishing submitter, both accepted and rejected, that your entire story was read before any decision was made (in some cases, they're read twice or three times).  Yet, some people may feel that they are being ignored or that their writing wasn't really given consideration, as I do not generally go into detail about why I reject a story.  That isn't the case, and I'll explain why.

There's one big issue you run into when writing up extensive rejection letters, and that involves the emotional reaction from the writer in question.  In some cases, a writer will get very nasty and upset over things that you pick apart from their story, and most editors do not have the time or interest in arguing with a writer about why a story was rejected. 

These days, if a writer wants feedback about a story, they can find any number of online critique groups or utilize their friends and acquaintances to improve their story.  It isn't an editor's job to be a "beta-reader."  It is our job to find stories suitable for our publication(s), and we generally need to devote ourselves to that, above and beyond giving out explanations for why we don't want to accept a particular story.

It is very time consuming to point out what I like or dislike about every story, so I reserve that for stories that are what I'd call "borderline," ones that could fit with a little work/adjustment.  Once in a while, I do find a story that is almost right, but needs something different to make it work.  If it is a minor revision, I sometimes do that, myself, but if it has a major creative impact on the overall story I want to leave it up to the writer.  This is when I will point out a change I'd like to be made; when I would like a writer to make a change and resubmit.

Altered America needs more exciting
 alternate history stories.
Deadline is December 31st 2013!

In a lot of cases, I will let a story go due to my personal preference (it didn't grab my attention, the theme wasn't what I was looking for, etc...), so there is nothing technically "wrong" with it.  In these cases, a detailed rejection wouldn't work, since it's all subjective.  Another editor might love a story that I found uninteresting.  Either way, most writers aren't looking to totally rework a story to satisfy a small-press editor's taste.  If so, they're probably better off writing a totally new story and submitting that.

It's a hard job searching through slush, but somebody's got to do it.  Right now, I'm hoping to see some more submissions for VFW & Altered America.  The deadline has been pushed to the end of the year, so hopefully we'll see some more thrilling adventures submitted.

Write What You Like

I'd like to thank Ellie Garratt for inspiring me to write this particular commentary.  Her recent post debating the merits of writing what you love versus writing to sell reminded me of my own experiences with that very question, and now prompts me to share a little advice on the subject.

Of course, everyone who writes wants to make money doing it.  We all have dreams of being the next Stephen King, JK Rowling, or Robert A. Heinlein.  However, there just isn't a big enough marketplace to make us all rich and famous, so most of us will not be hitting the big-time.  In fact, most fiction writers will never be able to quit their day jobs and live entirely on their storytelling.  But don't let that grim reality discourage you.  The odds are always against us, no matter what we do (hell, your very existence is the result of a million to one genetic convergence, so never say a dream's not worth pursuing).

One question many fiction writers struggle with is "what should I write?"  This question naturally arises: what can you write that will increase your odds of success?  Well, when it comes to fiction, (and Sci-Fi & Fantasy in particular), there is no easy answer.  It's tempting to think that we can boost our sales if we write something based on what's popular today, but from my own experience, that doesn't necessarily work.

There are a few reasons that I would advise writers to not go after the pop-theme story.  One is the fact that there are a million other writers out there with the same idea; as in, they're going to write what's hip and cool today.  So, you'll find your pop story in amidst a sea of similar slush, and it will be increasingly hard to get it to stand out.  The second problem is timeframe.  Often, by the time a particular theme is hot in the marketplace, the publishing community is already growing cold on it.  It's been done before, and they've had enough of your teenage vampires and cookie-cutter zombies.  They aren't interested in what is hot; they're looking for what will be hot next.  Therefore, you're liable to miss the boat if you're playing catch-up and emulating yesterday's fashion trends.

As a writer, I've dabbled in trying to write stories "for today's market" before in the past, and it did not bring me any success.  In fact, it sucked the life out of my writing, and defeated the purpose of fiction, which is to entertain.  If the writer isn't enjoying the story, then the reader probably won't, either.  That's fictioneering 101.  Therefore, you need to like what you write, and write what you like.

As an editor, I've found that some of the best stories are those from writers who follow that entertainment model. They write something that they enjoy, in the genres they enjoy, and by doing so they create stories that have caught my attention and kept it.  Some of the stories I've had to reject over the past year have been clear examples of "pop" culture; stories that are nothing new and clearly designed to emulate preexisting story models.  I suspect these were written under the "business model" format, with an eye on marketing over creativity.  That isn't to say that every rejected story was created this way, or that I haven't accepted a few stories written by authors with the marketing in mind, but I'm saying that most good stories written these days are created by people who are looking to entertain, not those seeking a fast buck.

When it comes to making money and writing, fiction isn't the clear choice.  If you want to make a living with the written word, you might want to pursue a career in journalism, or write non-fiction books.  Those are the "day jobs" that pay.  Fiction is an art, and like most art forms it doesn't always pay.  For the aspiring, unknown author, the best course of action is to write what you like.  Only when you are better known and already making money can you increase your market share by selling out and writing what's popular.

With that said, there's no reason you can't find a magazine or anthology and write a short story based on their desired theme or prompt.  The whole point of that is to make the theme your own, creating your unique take on an idea.  And therein lies the comfortable middle ground between marketing and creativity.  If you can write something that is marketable, all the better, but don't go into it thinking about the bottom line.  The creation must be a purpose unto itself, or your passion will become a burden, and your chances for success may actually decrease.  Like it, or leave it; that's my writing philosophy.

Fantasy Anthology Seeking Stories

Today I'd like to mention a story anthology that is seeking submissions.  It's being put together by Robert MacAnthony, a contributor to The Temporal Element.  While this project is not a Martinus Publishing anthology, he asked that I pass the word along, and I wish him the best of luck with it.  It's also a good opportunity for writers who would like to get more exposure and collect a few dollars in the process.

Shadows of a Fading World

-A Sword & Sorcery Anthology-

Shadows of a Fading World  is a classic sword-and-sorcery style fantasy e-Book anthology in the dying earth subgenre. Submissions should pay homage to the roots of the genre - adventure, romance, dark sorceries, mysterious locales, and the grit and grime of common life all have a role to play.

The "dying earth" aspect of the stories form a commonality for the anthology. This element should be present in all submissions. Authors may make this an integral part of the story, or simply use it to provide background and flavor.

We are looking for original stories, set in a world of the author's own creation. Stories should invoke visions of the classic tales of Robert E. Howard, Fritz Leiber, Jack Vance, Michael Moorcock, and others., but authors should not feel bound by any particular style.

For more information, and to submit your story, visit the publisher's website here.

Of course, Martinus Publishing anthologies are also open at this time, and two more will be opening in December (Visit Martinus Publishing's Submissions Page for details).  Get your stories ready and submitted!

Naysayers Be Damned

Over the years, I've run into my fair share of hostility toward my literary career choice.  I believe all writers have, and echoing the sentiments of my previous column on reviews, you can't please everyone.  There are those out there who are going to slam you, hate you, berate you, and think you're just plain stupid for writing fiction.  Though some of the "glass half full" optimists may feel that that's a bit harsh, it is the truth.  Some people, even those close to us, truly think we are out of our minds and should stop writing altogether.

One example from my own life would be my late mother, God rest her soul.  She was someone who deep down hated the idea that I was a writer.  Though now and then she would try to be supportive, other times she went out of her way to discourage my artistic pursuits.  When I received my first publication acceptance in the winter of 2007, I happily brought her the contract, hoping to get her approval.  Her response was, and I quote, "How much are you paying them?"  There was no sugar in her tone—she absolutely couldn't believe that anyone would want to read or publish anything I wrote.  Again, in her words, "Don't you think your time would be better spent on a real career, like stocking the shelves at Walmart?"  That wasn't meant to be sarcastic, either.  Though, to be fair, I think a lot of that sentiment came from a few well-to-do Church friends of hers, who had a very low opinion of me.  I'm sad to say certain individuals felt I was no better than a lowly peasant, who should be kept in his place.  Writing was a lofty pursuit for the preppy and well-to-do, not a common working man.

I don't mean to depress you with this tale of familial rejection, but rather to bolster your spirits.  I know there are a lot of you out there who have real talent, though you also have a naysayer or two who want you to stop chasing dreams and "face reality."  I don't want you to be cajoled by those people in your life, for without dreams what is the point of living at this time in human existence?  Truly, there is a greater purpose to life than simple entertainment, but how cold and dreary is this life without the color and flavor of our artistic ambitions?

A few words of advice to those who think you need a college degree to write.  You don't go to school to learn how to write fiction.  You go to school to perfect your writing skills, and that's something you can also do on your own after you know the basics from Elementary School.  The storytelling itself is a gift that those of us who weave fiction must have in our blood.  It is a spiritual thing, maybe even a genetic trait, but it's something you either have or you don't, and you don't get it with a diploma.  So what if you're working a 9 to 5 day job?  It doesn't matter if you make your living paving roads, laying shingles, or pushing papers around an office.  If you have the gift, and you work to perfect it, you can be a writer.  Don't listen to the stuffed shirts who look at the superficial, peripheral aspects of your life and say you don't have the necessary résumé to be a "real" writer.

I can remember one instance in particular when I ran afoul of an "educated" editor.  I submitted one of my short stories to a particular magazine some years ago (the story and the magazine in question will remain nameless to protect the guilty—though I will say they are a fairly small Sci-Fi & Fantasy market).  In the very personal rejection letter I received, the editor started out by saying, "This would be a really good story, if it were totally rewritten by a different author."  The editor didn't give any specifics about what I did wrong with the story, other than saying "I know you fudged the science on this one, but I don't know enough to say how."  (The science in question was well researched, proving they really didn't know enough.)  There were a few lines complaining that they personally didn't enjoy my "writing style," that my characters were "lame cardboard cutouts," and they then concluded by saying, "If you want to be a real writer of any sort, you should wait until you have the necessary college degrees to do so with authority and credibility before wasting an editor's valuable time."

This letter was very atypical.  For the most part, the editors I've encountered over the years have been sympathetic and considerate.  Most of them will say they don't care what your background is, as long as you write a good story, so don't think I'm putting editors down.  Heck, I wouldn't have become one if I thought that they were all monsters like the offending elitist.  On the contrary, most of us who publish fiction are seeking to uplift our fellow writers and help them succeed, not berate them for being inferior daydreamers.

By sharing these examples, I'm letting you all know that you are not alone out there, and you shouldn't quit.  Damn the naysayers.  We don't write for them.  We write for ourselves, and for those who enjoy our stories—whether that is one person or one million people isn't the point.  Sometimes it's hard to remember that when so many voices are putting you down or ignoring you, but you must continue to strive for the mark.  Someday, you may make it!

An Editor's Job

This weekend, I finished the final proofing of "The Temporal Element" anthology.  This puts me ahead of schedule in many ways, and some pre-orders will ship out in a few weeks, putting them almost a month before of the scheduled release date.  Contributors will also have the opportunity to see their work in-print early, before their words hit the marketplace.

Going over the collection of stories, I have to say that these contributors really know their stuff.  About half of the stories were so clean I didn't have to change a word, and most of the others only needed minor typos fixed.  There were a couple that needed a few sentences reworked for clarity, and one required a bit of cosmetic surgery, though all in all they were an impressive batch from the get-go.

Talking to the minor edits that were necessary, I'd like to take a moment to discuss my thoughts on the job of an "editor."  Back in the old days, that's what an editor did.  They "edited" work.  In some rare cases, that meant rewriting whole sections of text, performing creative changes that made the stories "marketable."  I can see where the drastic reworking of a story wouldn't sit well with a writer, and these days most editors have more of a hands-off approach, some even becoming little more than glorified proofreaders.  That isn't such a bad thing when you have a good story from a skilled writer, but I feel there are a lot of interesting stories out there that get rejected these days because an editor decides it's too much of a hassle to fix a few minor things.

That's not to say a writer shouldn't be on top of their game.  Of course it is the writer's job to learn how to perfect their manuscripts for an editor's eyes, but in some cases an editor should be able to meet them partway.  When you run into a story that shows real promise, it is sometimes necessary to lend a helping hand.  It's a fine line an editor must tread, knowing which stories are right for their market, and knowing which ones they must let go.  Obviously, with so much talent out there, it's impossible to accept everything that could be a good story.

In the case of The Temporal Element, I had different reasons for rejecting the stories I did.  Some just weren't a good fit, with themes or ideas that didn't mesh with the anthology I was seeking to create.  Another reason was a matter of weak writing, though it could have been a matter of style.  I read a number of stories that were confusing and very ambiguous, which may have been the author's intent, though sometimes it was impossible to tell.  A few submissions just rubbed me the wrong way, which dovetails with the first reason; they weren't a good fit.  There were some other reasons, as well, but those were the three that applied to multiple rejections.

There are many reasons an editor has for not working on imperfect manuscripts, and many of those reasons are good.  To be fair, a writer needs to know their craft, and if they are incapable of performing real edits on their own work, then they are not ready for publication.  Another issue is creative license.  Some writers can get really upset if an editor "tweaks" their work, changes their sacred words, and dares to print anything that isn't verbatim.  This leaves some editors sympathetic (they wouldn't want their words changed, after all), and it leaves other wary of the histrionics that might arise.

I've learned from working with different editors on my own stories that you often have to accept their perspective.  Sometimes, you have to rework a few sentences to make things clearer, and sometimes you have to drop that odd joke or perfect phrase that you think is so clever.  You're not always going to like the changes, but in many cases they are for your own good.

As I shift into the double-life of a writer/editor, I'm finding the job a rewarding one.  It is really what I'm meant to do, and with any luck others will appreciate that, especially the writers I work with.

Martinus Publishing's Week in Review

This past week has had some interesting landmarks for Martinus Publishing.

First off, I have done a fairly thorough proofing and formatting for "The Temporal Element," and with any luck that will be ready for the printers sometime next week (though it will not be officially released until April 1, 2013).  Once the final proofing is complete, I will have a cost projection, and other important data.

Secondly, I have received the first submissions for the "Veterans of the Future Wars" anthology.  There's one in particular that I'm seriously considering, and a few that I'll have to let go, for different reasons.  It's still early, but it's good to see some initial interest.  No doubt, the prospect of royalty payments is a good incentive.

I'd like to take a moment to discuss the idea of offering royalties for anthology contributors.  This is something that I have decided to start doing with future anthologies, despite the effort involved with keeping track of everything.

When it comes to the small press, nothing is terribly certain these days.  Some books sell thousands of copies, while others won't even crack 100.  In most cases these days, publishers buy stories with an up-front payment (and from most small-presses, it isn't a big pay-out, either).  If the book sells a lot of copies, the publisher makes a lot of money on that initial investment, but the author doesn't see a cent over their initial payment.  However, if the book doesn't sell well, the writer ends up making out better than the publisher.  It's an uneven gamble.

Now, with the royalty system, both the publisher and the writers will share in the profit, and everyone will get paid based on the number of books sold.  This is something that has come up on different occasions with sales of my own work.  One notable example would have to be "West of the Warlock."  During contract negotiations, Hall Brothers offered me the option of either royalties or a generous one-time payment.  I opted for the royalties, because it was fairer.  It was enough that they paid for the cost of producing the book in the first place.

So, for the time being, I'll be offering royalties.  With 20+ authors contributing to each book, it won't be a large percentage per individual, but everyone will get something.

Moving on the third bit of publishing news, I recently commissioned a new piece of artwork for an upcoming anthology.  This art isn't for either of the anthologies I have announced.  It will be for something special that is being produced by a select group of writers, and I'll have more information about this project as things progress.

There you have Martinus Publishing's week in review.

The Blunt Art of Criticism

Over the years, I've grown accustomed to literary criticism.  I think that's true of any writer who has been in the trenches marketing their wares.  In the freelance field, it's important to grow a thick skin, and to let people think what they will.  A writer who cannot accept honest and fair criticism cannot grow, and they'll find it impossible to succeed.

I've gotten my share of negative reviews, both for my published works and for the unpublished works I've marketed over the years.  Beyond the fair criticism that aided my growth, I have been able to accept the negative comments as personal opinions.  Such things as "His characters [in The Guns of Mars] lack the depth and definition necessary to become real people" and "His [Fantasy Western] is really just a clichéd western trope" are just what some individual readers think, and it speaks to their personal tastes and preferences.

Yet, over the years, I've gotten a few particularly nasty reviews/comments, which I believe went above and beyond honest criticism, and delved into the reviewer's personal attempt to play "Simon Cowell."

I've found that the worst "reviews" I've ever received have come from writers of inferior ability.  I don't say this lightly, nor as an insult, but as something I've learned through experience.  I've run into quite a few "writer reviewers" who have gone out of their way to tear down other writers unjustly.  There are several reasons behind this; some are merely copying their own critics and seeking to share the misery, while others think they can elevate their own material by putting a negative connotation on the "competition."

One key example of trying to knock down competition came during the 2nd Amazon Breakthrough Novel Award contest, when the Guns of Mars was in the Quarterfinalist stage.  There were a couple of people (fellow contestants) who reviewed the first 5,000 word excerpt and went out of their way to invent problems with the story, and complain about its complexity, all in the hopes of improving their own chances in the contest.  As a satisfying show of justice, The Guns of Mars advanced to the semi-finals, while my detractors had their stories dropped.  Yet, I do wonder if their negative reviews might have soured the finalist judges in their decision-making process.  Could the handful of 1 & 2-star reviews on my excerpt have made them wary of putting The Guns of Mars in the finals?  We'll never know.

The truth is, you can't control what other people are going to say about your work, and even the best writers get nasty, unfair criticism laid against them (amidst the fair, honest comments both positive and negative).  The right review at the right time can make a career, just as the wrong review can break it, though it's rarely that drastic.  Still, I end up feeling like Vincent Van Gogh all too often; mocked and ignored in my own lifetime, despite my true talent.

Yet, in the same vein, you can't go around challenging your critics.  Most of the time, you must ignore their slams.  I've seen some amazing "flame wars" that amateur writers have started, attacking their critics over negative reviews.  The most memorable had the writer eventually telling everyone to "F--- Off!" thus destroying her career.  We must show professionalism in our response to reviews, and stand above petty personal attacks.  If our detractors are fair, we should be grateful for their assessments; if they're not, we must hope that others will set the record straight.  There is no point in someone rebuking their own critic, for it comes off as self-serving and unbelievable. Yet, if third party voices challenge a critic's assessment, then you receive vindication.  That often requires tact and patience... and sometimes it never comes.  But, we must carry on.

I'll conclude with a piece of advice to readers.  Small press publications are often in dire need of honest online reviews.  This is especially true for multi-author anthologies, which get even fewer reviews than novels.  For every review that is posted, there are often a dozen or a hundred people who have read the book and haven't bothered to say a word about it.  This isn't a problem for the big imprints, but small press releases depend on word of mouth from readers.  It is important to share reviews, so people will know what you think.  It's also vital that a larger percentage of people post reviews, so the views of a few don't have an overwhelming (and sometimes unjust) influence on public opinion.

Profanity and Editing

In this modern age of free speech and foul talk, the concept of profanity is blurring.  It has been for a long time, really, but that doesn't make it acceptable.  You still can't stand in a public venue and start shouting expletives without risking a visit from a policeman (or psychiatrist).  Likewise, schools are still generally swear-free zones, and that isn't such a bad thing.  Do we really want our pre-teens shouting "F___ You!" on the playground?  Maybe a handful of burned out hippies might argue the point, saying "kids deserve free speech, too, man (insert joint-toking sound)."   But, seriously, there's still a certain negative connotation toward the use of certain words in our language.

When it comes to "literature," there is a certain level of creative license that people tend to exercise.  In the hopes of adding spice or realism to their stories, writers have the tendency to slip in the occasional swear word, and that's okay in some circumstances.  However, I've encountered some really good tales that would be perfectly PG if not for a handful of F-bombs and other shitty slang tossed into the mix.  Yes, sometimes these words add emphasis or an element of style, though in others the words just seem to be stuck there for shock effect.  We, as writers, should be cautious whenever we use such foul language, and make sure it is absolutely necessary and that we're willing to cut ourselves off from a certain reading demographic.

In my own writing, I have ended up censoring my characters to a certain extent.  While I'm not afraid to throw words that are acceptable on broadcast television or radio, I tend to avoid uses of the more extreme and offensive four-letter words.  That isn't to say I never speak said words in real life (I must admit, I curse more than is polite, though I'm working on that), but when it comes to the type of fantastic stories I write, curse words just aren't integral to the stories.  Also, by limiting my profanity, I open my work up to younger and more prudish audiences (yet, I doubt my Amish readership will ever be a significant factor).

As I enter the world of publishing, I find my editing prerogative weeding out profanity, though it's not something I do lightly.  Speaking to The Temporal Element specifically, most of the stories I received were free of extreme language, though there are a few instances (in particularly good stories) where I've had to censor a few words to preserve the PG-level collection I've strived to produce.  Though the stories are obviously written for adults, I expect an 8th grader to be able to enjoy the anthology, as well, without parental concern over language.  The curse words really weren't crucial to the stories involved, and I hope the authors in question respect my decision.

The point I'm seeking to make it this; just because a story is written for an adult audience doesn't mean we need to throw in a bunch of "adult" language.  Obviously, there are gritty and erotic stories that demand such language, but your average adventure story doesn't need the characters being that real.  Readers have imaginations, and they can read between the lines if they want to.   On the other hand, there's no need to offend those readers who might not appreciate the salty flavor.

With that said, one of these days I might assemble a profanity-laced monstrosity of an anthology, but then such language will be appropriate.

Check Your Email

This is a problem I've run into over the years, and it grows more prevalent as I venture forth into the Publishing industry.  Many of the email contacts I have for writers are secondary "free" email addresses, ones that the authors in question may or may not check on a regular basis.

I'm often left wondering if my emails are getting through when I send something to certain people and they never reply.  When I fail to get any kind of response to my messages, I can't tell if they've failed to get the letter, or they are just ignoring me.  It's entirely possible that some people have no interest in talking to me, or giving me the courtesy of saying "no thanks" to a particular invitation, but it's also a great concern that they may be missing out on something because they've changed email addresses, or forgotten about a certain inbox they set up way back for special purposes.

I'm sorry to say I've also lost a few email addresses over the past year, including some belonging to distant cousins I was talking to about our shared ancestry.  If you haven't heard from me recently, feel free to drop me an email, and let me know how you're doing.  I've still go the same earthlink email, if you're wondering (I'd particularly like to hear from a certain Counts cousin whose email was lost in my last computer crash last year).  Note to self: In future, keep a written record of email addresses in case of disaster!

The moral of today's blog post: check your email, and please respond if you get something from me, even if it's to say "stop writing me, you freak!"  It'll help everyone involved.

Submissions Open!

It's October 1st, and that means the submission period for "The Temporal Element" anthology is officially open!  Stop over at the previously posted submission guidelines for details about how you can submit your own time travel related story to this collection.

I expect to see a lot of qualified stories, so many that competition may be fierce.  Good luck!

*One quick caveat:  As you rush to complete your spectacular story for submission, it may be tempting to overindulge.  Many a night have I, myself, munched on sweet and/or salty snackfoods.  Pig out if you must, but know that too many hours snacking at the keyboard could result in serious health problems.  You have been forewarned.

My Upcoming Anthology

After months of anticipation, it is finally time to reveal the theme of the Anthology that I'll be compiling and editing for Hall Brothers Entertainment.  Without further ado, I'm pleased to announce this great endeavor into short story excellence:

The Temporal Element: Time-Travel Adventures, past, present, & future!  Since the dawn of the modern era, mankind has dreamed about the possibility of traversing the bounds of linear time, to explore the dark mysteries of pre-history or seek out the wild possibilities of the far future in person.  This collection of stories does the next best thing; allowing readers to dream of the possibilities of such a theoretical trip.

The anthology will contain stories all about traveling through time, and not in the natural way.  From spell-casting wizards, to mad scientists, and government-sanctioned time agencies, The Temporal Element will feature the best stories of people traveling beyond their native time.  Explore ancient history, the distant future, or anywhere in between.

I'm sure to get a lot of talented writers submitting to this anthology, so I'm giving you all a heads-up.  The Submission Period will open on October 1, 2012.  At that time, I'll post a contact email where you can submit your stories, along with other submission details.  Here are a few pointers, to help you with formatting prior to the submission period:

1:  Stories must be formatted in either Times New Roman or Courier New, single-spaced.  Do not add an extra space between paragraphs.  I know, a lot of writers separate their paragraphs into blocks, like they're writing a blog post.  It's something I'd just have to undo, so please don't submit it that way.

2:  Keep your stories PG-13 or softer in nature.  While I'm putting together a collection for adults, I'm also seeking to assemble something that would be appropriate for high school students.  If you write the best piece of Erotica about a time traveling gigolo, more power to you, but it's not going to fit this market.

3:  Format stories as either a .doc or .rtf file format.  No .docx files!  I still use Windows XP, so if you send me a .docx file, I will not be able to read it.  Please, no argument about how "there's a patch for that."  I don't want .docx files, period, so make sure your file is in one of the aforementioned, acceptable formats.

These are the only major pointers at the moment.  So, get writing your time-travel story, and let's see what happens.  Remember to visit this blog on October 1, 2012 to submit.

UPDATE:  Check out a more comprehensive list of submission guidelines!

Edits, Forthcoming Releases, and There's Still Room

The Summer Shootout writing contest will be kicking off a week from today, and there is still room for those who want to join.  With publication on the line, any writer who has the time should really give it a shot.  The sign-up thread with all the details is here.

Well, it has been an interesting week, with the Independence Day parade, and all the little happenings in my life.  I've managed to get a bit of editing done on several things, though new writing has been limited.

The final edits for The Curse of Selwood were completed a few days ago, and soon we'll be seeing the first sample chapters appearing online, as we build up to the book's publication.  Unlike West of the Warlock, which had most of the story released for free, this second installment will not be given away.  Even with the large amount of unreleased material that still exists in the first book, there is a complete story told via the free episodes, so people are less inclined to purchase the remainder of it (though we are still selling quite a few).  With the Curse of Selwood, the plan is to release enough of it to give everyone a generous sample online (perhaps as many as 6 chapters), and the balance will be left for those who want to buy the published book and finish reading the tale.

I have also finished my last round of author edits for the 3rd book in the West of the Warlock series.  In addition to polishing it up to the best of my ability, I have given the book a new title, which I expect far surpasses it's previous moniker, "The Six-Gun Conjurer."  Henceforth, the book will be entitled, "The Man Who Shot Thomas Edison."  I know, that gives a little something away, but it also makes you wonder, doesn't it?  I expect the label alone will spur a number of sales for this exciting work, which I consider to be the best book in the series thus far.  We're still looking at an early 2013 release for this one, possibly around springtime.

With any luck, the editing process will help to spur my creative juices anew.  I'm going to tackle revisions on the largely unfinished Time Traveler's Illegal Harem this weekend, and see what can be done to bring it up to publishable status.  It's a very complicated tale, one that deserves to be told.  There aren't enough Time Travel stories out there, in my opinion.  Let's see if we can't remedy that.

4th of July Parade bonus picture:  Busta the Clown.
I'd pick him in a fistfight over Stephen King any day!

Write for Yourself

I've had a hard time getting any writing done lately, and while I could attribute some of this to my current work schedule, much of the blame lies with my state of mind.  I just haven't felt the inclination to produce fiction, and that has caused my work to suffer.  Upon reflection, the root of this attitude lies in the fact that I've violated one of my cardinal rules: write for yourself.

To say that my writing career is not as successful as I desire (and once envisioned it would be) is a great understatement.  Long ago, when success was lagging, I came to the conclusion that in order to churn out fiction I needed to write what I wanted to write.  I could not be concerned with what other people thought of my work.  They would either like what I produced, or they wouldn't.  This attitude allowed me to produce some of my best works, but recently I seem to have lost sight of this.

Yes, there are those of you out there who really like my stories, but there are obviously many of you who don't.  Looking closer to home, most of the people I personally know either don't have an interest in my writing, or really don't like it.  This is illustrated by their silence.  They are too kind to tell me that my fiction just isn't for them.  Truly, the majority of my fan-base is people I have never met, and always will be.

While the West of the Warlock series continues to grow in popularity, it is still a far cry from where I need to be for commercial success, and my delayed fame grates at my ego.  I have recently been trying to write stories for other people, thinking of what they might want to read, rather than just writing whatever I will enjoy.  Trying to write stories for an audience that doesn't exist (or is statistically insignificant) is a futile endeavor, and is a common cause of writer's block.

Until I find greater success, and have a much larger audience, I cannot allow myself the luxury of writing for others.  I need to focus my attention on creating stories that I like to write, or I will be doomed to depression.

I don't bring this up because I wish to lament my own misfortune, but to help other writers who may be suffering the same dilemma.  If you don't have a large readership, you cannot be too concerned with what others think of your writing.  You must be your most important critic and fan.  So long as you enjoy the stories you write, they are worth writing.  The day you start making real money from them is the day you can start being concerned with other people's opinions, not before.

Six-Gun Conjurer (Lucky 7 Sneak Peek)

Fellow writer Ellie Garratt bestowed a special gift upon me last Monday, in the form of a tag.  It seems there is a blogtastic exercise rolling around the internet, and I've been given the opportunity to participate.  How fun!

How this works is pretty simple: 

1. Go to page 77 of your current Manuscript/Work In Progress.

2. Go to line 7.

3. Copy down the next 7 sentences or paragraphs, and post them as they are written.

4. Tag 7 other authors.

My current work in progress has yet to reach page 77, so I'll go back to my last finished work, tentatively entitled The Six Gun Conjurer.  I suppose you can still call this a work in progress, since the last round of revisions won't be complete until it goes to the publisher later this summer.

"Do ye be needin' a spot of help, boys?" Flaherty asked, the leprechaun looking as spiffy as ever in his tweed suit.

"Not your kind of help," Ron grumbled, disinclined to trust the magic-using dwarf whose intentions were questionable at the best of times.

 "Well, tough, you've got it," Flaherty argued.  "I"ll not see me adopted home town wrecked like this.  Who'll vote for me then?"

Ron wanted to laugh.  The leprechaun who would be mayor was more interested in securing votes than actually helping anyone.  His valiant effort to quell the disturbance was about personal gain.  If it could win him the election to join the riots, he'd be leading them instead.

Still, understanding Flaherty's motivation, Ron felt he could be helpful.

"All right, leppercon.  Think you've got the power to bust up this pack of brawlers in front of us?"

"Aye, but you maybe want to be standing by to arrest the ringleaders after the fact.  They'll still be stirring for a fight, and they'll get it outside o' jail."

Not the most exciting bit of fiction, but it's the Lucky 7 thingy.

Okay, now to tag 7 more writers, and see how many of them are willing to share:

Tony Benson
Alva J. Roberts
Matt Nord
A.D. Spencer
A.C. Hall
Michael Offutt
D. Nathan Hilliard