How to Achieve Success

1. Work your butt off.

2. Take your punches.

3. Get lucky.

Order may vary, and there may be many cycles of rinse/repeat.

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Advocates

A thought for you novelists out there:

“In industry after industry, the driving force behind a strong core business is a far-above average percentage of… customer advocates.”  — Chris Zook, Profit from the Core

Or, as famous author Michaelbert Collings ( ;D ) once told me:

“You’re not looking for people willing to buy your books. You’re looking for people willing to sell your books.”

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Bookshelf: The Lure of Fools

9k=The lure of fools, Jekaran’s uncle Ez warns him, is the mirage adventure. The longing for adventure draws youths from their home into danger, death, and even crime.

Shortly thereafter, outlaws arrive, after Uncle Ez himself, who used to be one of their number as Argentus the Invisible Shadow. Ez shoves a magic sword into Jekaran’s hand and sends him running out of harm’s way.

Harm just doesn’t want to stay away from Jekaran too long, though. His simple job as a digger in a troupe looking for the magical mineral apeira goes south when he intervenes to save a beautiful woman from footpads. His possession of the enchanted weapon gets him in trouble with local authorities, and then worse — the woman he’s saved turns out to be an inhuman enchantress, an Allosian, on the run from her own people. She’s a thief, having snatched a pendant of illusion to disguise her flight, but at the heart of her journey is a mission of mercy: she wants to warn the humans that the Allosians, not understanding and fearing want they don’t comprehend, are coming to put all the humans to death.

The Lure of Fools is good-hearted high fantasy, in the tradition of The Sword of Shannara, only leavened with more humor. I couldn’t put it down.

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Quote

Begin with the End in Mind

End in Mind

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Denver, Here I Come!

Dave-Butler-RUB-proof-Rev1
Denver, here I come!

Look for me at Denver Comic Con this weekend. How will you know where to find me? I’ll be at the WordFire Press booth, as usual, and specifically, I’ll be standing front of the fantastic banner, above.

Design by Kathryn Renta. Cover art and layouts by, among others, Ken Pak, Carter Reid, Nathan Shumate, and Quincy J. Allen.

 

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Bookshelf: Theocracide

9k=Jason Hunt is a gamer, a university athlete whose game is a lasertag-esque team shootout, with this twist: because each player sees the game through a computer headset, each athlete is seeing a different skin on the game they play together. While one sees medieval combat with crossbows, a second sees the contest in terms of pirates, and a third sees ninjas.

In fact, in Jason’s dark future America ruled by its Undying Emperor, everyone lives virtual lives. Most universities teach only virtual classes, athletic contests are virtual, and many people never leave their homes. Jason’s father Jay is a crank in this world, a paranoid old man who stubbornly lives off the network and teaches his son dead skills like martial arts.

Until one day, in a literal explosion, Jason’s life comes apart. The Undying Emperor, he learns, is not a benevolent immortal leading American in a long war against Alien invaders; Jay is not, after all, Jason’s dad; and the Hunt men are heirs to an old unfulfilled mission that will make Jason both hunter and hunted in his quest to overturn the order of the world: Theocracide.

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I Do Not Regret

You know, when I was a kid, I wanted to write fantasy novels. I read Tolkien, and then I cracked open my journal and started a story:

“Aroon!”

The old door opened.

As I recall, that was as far as I got at the time.  When I was a senior in high school, I wrote a fantasy novel, an entire manuscript. As one does. Mercifully, the manuscript does not survive.  I expect it was probably on the same quality level as my earlier attempt, only much longer. I also wrote short stories in high school, but then I basically stopped. I kept writing fiction, in the form of songs and screenplays, but I wrote my second novel at age 37.

So here are some things I don’t regret:

Starting Late. I look at S.A. Butler and Sarah E. Seeley and Chris Husberg, my friends starting their novelist careers in their 20s, and some part of me thinks I should be envious. Only I’m not. My career as a published novelist is coming in mid-life (unless those guys at Google Calico have their way, and I certainly hope they do — I’m a science fiction writer!), as career number three (not counting McDonald’s). That means I bring to this career things I didn’t have in my 20s: life experience, tolerance, a stronger grasp on history and language, a degree of business sophistication, negotiation and selling skills, and maybe even a little insight and wisdom. I’m okay with the trade-off.

Getting Dumped. I got dropped by my first agent. Man, that smarted. But in that pile of manure sprouted many interesting blossoms: I co-wrote with Emily and saw her career start to take off, I started self-publishing (see below), and I turned to non-fiction projects I otherwise might never have taken up. And then I got picked up by Deborah Warren, whose cheer and persistence and general approach are a much better fit for me.

Getting Rejected. I’ve had rejection letters. Lots of ’em. Form rejections. Dishonest rejections. Arrogant rejections. Once in a while, kind rejections or even helpful rejections. I’ve had multiple rejections from the same agents. I’ve had agents reject manuscripts, then subsequently offer to represent them. I’ve had agents pass on manuscripts, and then subsequently sell them. I have not enjoyed any of the rejections. But without those rejections, I wouldn’t have made any of the progress that I have.

Getting Bad Reviews. After three years, I think I’ve finally got to the point where I’ve stopped reading reviews. I’ve had some bad ones. I’ve had reviewers who didn’t finish and gave me one star. I’ve had reviewers who clearly didn’t read the book at all, and just made up rotten things to say. I expect I’ll have more of all of the above. Bring them on. That just comes with the territory.

Self-Publishing. The market out there is changing, it always has been, and it always will be. Self-publishing forced me to learn to sell, to market, to network, and to strategize in that fluid environment. As a self-published author I built a coalition of allies that continues to grow as I’m transitioning into other publishing methods. Self-publishing let me start finding an audience and show publishers that I can stand on my own two feet and pitch. It let me create a portfolio, a presence, and a brand, all of which I think has only helped me with other professionals, be they convention organizers, writers, cover artists, agents, publishers, marketers, anthologists, or whatever.

So yeah, regrets… too few to mention.

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First Things First

Because I thought you might need a motivational thought today.

First Things First

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The Problem with Scott Taylor

2Q==The problem with Scott Taylor is that he acts too much.

I’m sure his acting is accomplished and entertaining, that’s not my complaint. The problem is that all his work on the stage has left him too little time to write. With his wit, his easy good humor, and his experience, Scott has a lot to contribute as a novelist, but has not yet delivered a novel.

We are fortunate, though, that he has delivered numerous short stories. Many of them are collected in his anthology Speckled, released just earlier this year. These stories run the gamut in tone and theme, from the elegiac and mournful thoughts of a dying elder in a world whose youth are utterly oblivious to the cosmic change around them to the wry punchline humor of a family band that accidentally convinces a festival crowd that they’re not only polygamists, they’re apologists for the practice.

All this is written with a charming and simple grace that makes me continue to look forward to Scott’s debut novel.

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It’s Not a Job

MTE5NDg0MDU1MzM0OTc5MDg3One piece of wisdom I’ve heard at many writing conferences goes something like this: “Writing is a job. You have to treat it like a job to be successful.”

But that’s wrong.

Writing is not a job. A job means somebody pays you and you show up and take orders, and 70% of us do it without engaging.

Writing is a business.

The minute you set pen to paper or open your first Word file with the hope that someone will one day pay you for your poem or story or song, you have become an entrepreneur.  You are sole shareholder, chairman, and chief executive officer of the business (that picture, if you don’t recognize him, is Tim Cook; he’s a CEO).  In addition to the things I said the other day about being professional, that means that you must:

  • Decide how your business allocates its finite resources. That means especially your time and cash, but it also means the time of other people who interact with your business, physical space, and any other assets your business relies on.
  • Decide what other businesses to interact with. As CEO, you make the call about whether to enter into joint ventures with publishing companies, editors, marketers, agents, convention organizers, filmmakers, cover artists, and other writers.
  • Decide what terms your business accepts. You are responsible for every contract you sign, every oral agreement, and every failure to clarify terms. Every decision you make is a business decision about investment, risk, and reward.
  • Choose your business’s mission and vision statement. Every business has one, whether stated or not. The Fortune 500 agonize over these things, and sometimes pay consultants millions of dollars to advise them. As CEO of your writing business, your mission and vision are up to. Please make them bigger than “get paid.”
  • Set your business’s culture. This may seem ridiculous when your business is just you at the table behind the furnace, chicken-pecking out your first manuscript, but you’re going to grow. Every new partner, every new reader of every book, adds to the participants in your culture. So what kind of culture is it? Are you open and responsible? Secretive and clever? Innovative and hard-charging? Cooperative and patient? Make conscious decisions now, or look back in ten years and find that a culture has just happened.
  • Choose your business’s goals. There’s no manager here telling you how productive you have to be, or what are acceptable targets.

It’s all up to, because you’re the owner.

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