Publishers to Drop Anti-Piracy Technology

Tor and Baen books, two major publishers of speculative fiction, have decided to drop DRM technology from future e-books.  DRM, or Digital Rights Management, is an approach used by publishers to control the use of e-books and limit copyright infringement, a.k.a. piracy.  The technology has come under fire because it limits legitimate use by paying customers—such as transferring an e-book from a Kindle to a Nook reader—and hasn’t proven to be an effective anti-piracy tool.  Writer John Scalzi notes that DRM hasn’t stopped his books from finding their way to “the dark side of the Internet” and feels that “people who do spend money to support me and my writing have been penalized for playing by the rules” because of the limits imposed on them by DRM.

As an aspiring writer, I am more aware of piracy than I used to be.  The rights to my story are what allow me to earn income, and will be the foundation of any career I build as an author.  Stealing those rights is the same as stealing money out of my pocket.  In no way do I support the piracy of intellecutal or other property.

That said, I’m not convinced that piracy is “all bad” and will lead to the collapse of the publishing (or music) industry.  In fact, studies have suggested that some level of piracy can actually enhance profits (for example, see here and here).  By having an opportunity to read a book or story they would otherwise not buy, some “pirates” opt to become legitimate users in the future.  To me, this has some similarity to checking out books from a library: I check out authors unfamiliar to me whose books I’m unwilling to pay for, and if I like them, I will often buy their other books.  Without having read the first book for free, I likely would never have bought the others.

Is this a rationalization?  I don’t know, but I suspect there’s some truth to it.  While not all “pirates” will become legitimate readers, some will.  Piracy of an e-book costs me (the author) effectively nothing, especially if the person had no intention of purchasing my book in the first place.  Converting any of this group to legitimate future readers is a net gain.  Of course, this makes the assumption that the people who would ordinarily buy the book, continue to do so instead of choosing to steal it instead.  I don’t know if this is a valid assumption.

Regardless, if people are going to pirate books, then I want them to pirate my books.  I’m not the only one to think this way either—a Microsoft executive has said: “If [you’re]going to pirate somebody, we want it to be us rather than somebody else.”  While Microsoft certainly does not support piracy, they also see some potential benefit from having their software pirated.

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“The Sea Shall Have Them” Podcast Now Available

In February, Liquid Imagination published my story “The Sea Shall Have Them.”  At the time, I hadn’t noticed that they produced a podcast (I’m not sure it was posted at the time).  I was pleasantly surprised to find that one is now available.  Bob Eccles, who has an incredible voice, did an exceptional job reading a story that was never meant to be read aloud.  “The Sea Shall Have Them” is an experimental story in which the format on the page provides important clues about what is happening.  Mr. Eccles handles this exceptionally well, and I am very happy with the result.  Overall it reads better than I ever would have guessed.

If you haven’t had a chance to read “The Sea Shall Have Them,” and your preference is to listen to something while working, walking, or whatnot, then head over and give Bob Eccles’ reading a listen.  You won’t be disappointed.

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Joining Codex

Let me be up front: I’m committed to my writing group Hopefull Monsters, and I have no intention of leaving it.  They are too valuable as trusted first readers, and I genuinely enjoy their “virtual” company.  That said, I joined a new online writing group called Codex

Several years ago, I stumbled across Codex while looking for a writing group.  At the time, I didn’t qualify for membership—Codex is only open to writers who have made at least one pro-rate sale.  So I promptly forgot about it until Michael Vella, one of my fellow Hopefull Monsters, asked if I had joined Codex.  I checked into it again, and decided to give it a try.  

I haven’t had a chance to fully explore all that Codex has to offer, but it is a fairly large and active community of “neo-professional” writers who share all sorts of information on the business of writing, the craft, new markets, etc.  Codex has a lot of similarities to Hopefull Monsters, but due its larger membership, it can cast a wider net for information.  Also, many of the writers are farther along the career trail than me (several are starting to land agents, have published first novels, etc.), so their advice should prove valuable.  Where Hopefull Monsters tops Codex is in the detail of the story critiques.  This doesn’t surprise me; a small group allows the writers to develop familiarity with each other, which I think allows for greater “honesty” without fear of potentially offending.

Given all this, I’m happy with my decision to branch out and join Codex.  It looks like it will be a nice complement to Hopefull Monsters.

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“The Beauty of Wynona” Finds a Home

My historical, speculative-fiction novelette, “The Beauty of Wynona,” has found a home with Lacuna.  When I wrote this sometime ago, I never realized how hard it would be to place such a long work (11,000+ words), so I’m happy that it’s finally found a home, and I couldn’t be happier with where.  Lacuna is a small-press publication that specializes in historical fiction, so this story set at a Victorian summer home in the 1870s is a great fit.  I have to thank the editor, Megan Arkenberg (whose an accomplished writer herself), for being willing to make room for such a long story—I know her preferences run toward shorter works.  “The Beauty of Wynona” is scheduled for issue #7, due in October 2012.

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Kicking and Screaming

It seems like a lot of people I know are going through a tough writing spell.  Maybe the planets are out of alignment or the increased sunspot activity is sapping creative forces (if you believe such things).  I must confess that my writing the past few months has been dragging along with more resistance than normal.  It’s not that I lack ideas; it’s more like the stories just don’t want flow out, so I’m forced to drag them out kicking and screaming.  This is a tedious process, and it increases the likelihood that I’ll walk away from the story.  I’ve noticed an increased number of story fragments in the last three months, and this doesn’t sit well with me—fragments represent wasted time unless they lead to a finished story.

Good thing I have a backlog of story drafts to work on.  The last six weeks I’ve focused on revising these while plodding through a few hundred words a day of new writing.  I don’t like having a bunch of stories sitting around in draft form—finish what you start and submit it!—so this has been good opportunity to polish them up and get them out the door.  I’m starting to get low on first drafts, however, so I hope the planets realign soon.

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“Do Not Go Gentle into the Night” Finds a Dark Dark Home

My dark speculative tale “Do Not Go Gentle into the Night” has found a home at Darker.  I’m pleased this one has found a place because it’s one of the darkest stories I’ve ever written, and it’s not horror, which made it a challenge to locate publications where it might be a fit.

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Handling “The Hold”

Writing is about rejection.  I think I’ve said it before, and I’m sure others have, too.  Over 95% of all submissions are rejected—and the rejection rate at pro-rate publication is more like over 99%.  Given this high rate of “failure,” how an author deals with rejection is important.  I’ve dealt with it in three ways: (1) growing a thick skin, (2) becoming doggedly persistent, and (3) engaging in a bit of pre-rejection rejection. 

What do I mean by pre-rejection rejection?  After I submit my story, I simply assume it is already rejected, so when the rejection slip comes, I’ve already moved on, in a sense.  This makes it easier for me to rapidly turn a story around and submit it elsewhere.  Additionally when/if an acceptance shows up, I’m elated.  Until recently, this approach has worked well, but with more frequency I’ve been experiencing something new with my submissions: The Hold.

The Hold is a good thing, I realize.  It’s a tangible sign that my writing is taking the next step.  But it’s playing havoc with my rejection psyche.  The Hold is when a publication reviews a story and decides not to reject or accept it; it puts off the decision until later.  That my story was not outright rejected tells me that it was solid enough to catch the editor’s (or the slush reader’s) eye.  That’s a good thing.  The flip side, however—or so my pessimist writer’s mind says—is that my story wasn’t good enough yet to be outright accepted.  Many stories that get held, are still ultimately rejected.  Most editors make this point in their I’d-like-to-hold-your-story response, with some going so far as to give you an actual number—Andromeda Spaceways Inflight Magazine, for example says that 1 in 20 held stories get accepted.

Regardless, when a story get’s held, it increases my optimism that it will get accepted, so when/if a rejection comes, it seems to sting a little more.  My old method of just assuming it’s rejected isn’t working as well as I’d like—those dang editors have given me a glimmer of hope.  So I’m looking for an effective, short-term, alternative strategy to deal with this “psuedo-acceptance.”  I say short-term, because I already know (and am actively working on) the long-term solution: consistently write stories that are good enough to be accepted outright, thus bypassing The Hold.

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Inspiration: “Wings Over the Suicide Rocks”

I often get asked about where I get story ideas, which was the genesis for my series of “Inspiration” posts.  Sometime it’s easy to pinpoint a specific inspiration, but often numerous things inspire a story.  For my story “Wings Over the Suicide Rocks,” which appears in the April 2012 issue of 10Flash Quarterly, it’s easy to pinpoint the initial inspiration, but the route to the final story is not so straightforward.

Every issue of 10Flash Quarterly is built around a writing prompt.  The April prompt was The falls are beautiful this time of year.  This prompt was the starting point for “Wings Over the Suicide Rocks.”  Taking this writing prompt, I used a word association approach to brainstorming.  I started with words and phrases naming things that could fall, and for each one I came up with, I wrote the very next first word or phrase that popped into my head.  I continued in this fashion for several minutes, until I eventually hit on a phrase that became the seed for my story: “the bombs fell like birds in her dreams.”

This image was particularly vivid to me and made me think of Japanese haiku poetry (not sure why, it just did).  I have read a few Japanese novels and was always fascinated with the way they would juxtapose seemingly incongruity images of nature with the events of the story.  I decided I wanted to try something like this, and this led me Tomoko, the main character in “Wings Over the Suicide Rocks,” and her struggle against the expectations of her society.  The final piece of this story came from my time living and working in the Mariana Islands.  I decided to place Tomoko’s story during the Battle of Saipan, when thousands of Japanese civilians committee suicide in the closing days of the battle by leaping off the cliffs at the north end of the island.

Once I finally sat down at my keyboard, “Wings Over the Suicide Rocks” was written quickly—a single sitting.  I am always hesitant to write stories from different cultural perspectives than my own (it doesn’t stop me, of course) because it’s important to me that I get the details right.  I hope I have correctly captured the time period, and especially the Japanese culture and philosophy of five elements.  My apologies if I have not.

If you haven’t already, head over to 10Flash Quarterly and check out the stories in the April issue.  This issue will be final issue of 10Flash Quarterly; after three years and twelve issues, the editor has decided to close down the publication.

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2012 Hugo Award Nominees

The Nebula Award nominations have already come and gone, and the Hugo Award is up next.  The Hugo Award, presented by the World Science Fiction Society, is speculative fiction’s other major writing award.  While there is often considerable overlap in nominations  between the two, very few works tend to win both awards.  Personally, I’ve tended to enjoy the Hugo Award winners a little more than the Nebula Award winners, especially in the novel category. 

As with the Nebulas, this time around I’m most interested in the short fiction categories.  Here are the 2012 Hugo nominees for best novelette:

The Copenhagen Interpretation” by Paul Cornell (Asimov’s Science Fiction)
Fields of Gold,” Rachel Swirsky (Eclipse 4)
“Ray of Light” by Brad R. Torgersen (Analog)
Six Months, Three Days,” Charlie Jane Anders (Tor.com)
What We Found,” Geoff Ryman (The Magazine of Fantasy and Science Fiction

and for best short story:

The Cartographer Wasps and the Anarchist Bees,” E. Lily Yu (Clarkesworld Magazine)
“The Homecoming” by Mike Resnick (Asimov’s Science Fiction)
Movement,” Nancy Fulda (Asimov’s Science Fiction)
The Paper Menagerie,” Ken Liu (The Magazine of Fantasy and Science Fiction)
Shadow War of the Night Dragons: Book One: The Dead City: Prologue” by John Scalzi (Tor.com)

Comparing the Hugo and Nebula nominations, I notice the two stories from Gignotosuarus are conspicuously missing from the novelette category, which I find unfortunate (I particularly liked Katherine Sparrow’s “The Migratory Pattern of Dancers”).  Likewise Lightspeed Magazine, which had three stories with Nebula nominations, were shut out in the short fiction categories.  That said, I’ve read most of these stories already, and all are worthy of their recognition.  I look forward to reading the ones I’ve missed.

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Colum Paget Wins the James White Award

Colum Paget, Hopefull Monster’s man in Britain, has won the James White Award

The James White Award is one of the major speculative fiction awards for “amateur” writers, so the competition is tough.  This year, Colum’s story “Invocation of the Lurker” beat out a record number of entries.  The field was so good, in fact, the judges decided to award a special commendation to a second finalist, Tori Truslow, something that has been done only once before in the award’s history.

In addition to a cash prize, Colum’s story, “Invocation of the Lurker” will be published in Interzone Magazine, Britain’s foremost speculative fiction publication.  Congratulations to Colum!

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