Think

Opinion pieces offering commentary on various aspects of book culture, publishing and self-publishing.

Five Reasons Great Horror Stories Work

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This post by Joe McKinney originally appeared on Moon Books on 10/5/14.

There is a fine art to scaring people, and like all art, it is the product of raw talent honed by craft and technique. No one can teach raw talent, of course. You either have it or you don’t. But craft and technique can be taught, and in the following few sections I’m going to walk you through five basic characteristics that all great horror stories share. Learn to incorporate these into your stories, and you’ll find your stories make more sense and, hopefully, sell better.

 

Creating Insularity

First, let’s talk about your story’s setting.

The key to good, memorable horror is much the same as it is in the business world – location, location, location. Many beginning writers come up with potentially great settings, be it an abandoned town, or a graveyard, or a mill, or a big scary house, and then fail to carry through on its potential. As a result, their great setting never rises above the tired old mainstays of B grade horror.

Think about all the great works of horror you’ve ever read. My guess is that, in every single one, you can point to the setting and say, “That right there sealed the deal for me. When the mother and child were trapped in that Pinto in Cujo, I was scared. When the priests entered Regan’s room in The Exorcist, I felt her bedroom door close behind me. When Pennywise the Clown spoke to the children of Derry, Maine through the drains in their bathrooms, I wanted to escape.”

But why does Stephen King’s story about a creepy old hotel in the middle of nowhere get the scares, and Joe Schmoe’s story set in a similar creepy old hotel fail to deliver? Well, think of some of the words I used in the previous paragraph. “Trapped.” “The door close behind me…” “Escape.” In every sense, the effect created is one of insularity. Through the characters in the story, we get a sense that we are closed off from the rest of the world, that we are no longer free or able to run away, that we are shut in with something very bad.

 

Click here to read the full post on Moon Books.

 

Ten Things That Make an Editor Stop Reading Your Manuscript

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This post by Elizabeth Law originally appeared on her Elizabeth Law Reads blog on 7/16/14.

Inspired by Broadway personality Seth Rudetsky‘s extraordinary “Seth Rudetsky Reveals the 5 WORST Audition Mistakes,” I humbly offer my own List of Dreaded Errors you should try to avoid in your children’s or YA manuscript.

#1 NOTHING AT STAKE FOR THE READER This is a BIGGIE, because readers, and maybe even your editor, will forgive a multitude of sins if you’ve got this one working. Is there something in your story we’re rooting for?  A character we care about whose situation we can relate to?  Don’t give us a kid who has a lot of things to say about his life, his parents, his school, his crush, but doesn’t have any problem that pulls us through your book.

#2. THE VOICE IS TOO YOUNG, OR TOO OLD, FOR THE AGE OF KID YOU ARE WRITING ABOUT. Think carefully about what your character would notice at his or her age. And please don’t try to sound cute. Deliberately misspelling something to appear childlike, or having your character say, for example, pasgetti instead of spaghetti, may cause an editor to turn off his computer and start rummaging for an Advil.

 

#3. TRYING TO SOUND HIP, STREET OR ETHNIC IF THAT’S JUST NOT YOUR THANG. We editors implore you to cut this one out! I’ve seen Italian mothers come out with sentences that are practically “Mama mia, that’s a spicy meatball” or an Asian kid in a lunchroom say “my grandfather says, reading enriches a man, conversation makes a man shrewd.” Really? A kid in the school cafeteria would say that?

 

Today this mistake turns up most often when writers try to write in what I’ll call Black or Latino street lingo. We need diverse books, absolutely. We all agree on that. But you don’t have to try to right every wrong in your own novel. If you can’t comfortably and naturally write in a particular dialect, don’t do it.

 

Click here to read the full post on Elizabeth Law Reads.

 

Is the NYT Coverage of Amazon vs. Hachette Really Propaganda?

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This post by J.A. Konrath originally appeared on his A Newbie’s Guide To Publishing on 10/6/14.

By now you’ve seen the NYT Public Editor’s piece criticizing her own newspaper’s coverage of the Amazon/Hachette situation.

Note to David Streitfeld: see what Margaret Sullivan did? Being a competent reporter, she researched the situation and presented both sides of the story. That means quotes from authors representing both sides, and quotes from the very source (you) she was critical of.

She’s an excellent, smart, fair journalist, Mr. Streitfeld. Put your hat in your hand and go thank her. After you have, ask her for some pointers.

As well done as the piece was, Ms. Sullivan did write something that I didn’t agree with.

“A pro-Amazon author (Barry Eisler) charges that the paper is spewing propaganda…“propaganda” is a stretch…”

Is it really a stretch? Let’s dig a little deeper.

According to Wikipedia:

Propaganda is information that is not impartial and used primarily to influence an audience and further an agenda, often by presenting facts selectively (thus possibly lying by omission) to encourage a particular synthesis, or using loaded messages to produce an emotional rather than rational response to the information presented.

Hyperlinked in that definition is “impartial” which leads to a wiki about journalistic objectivity:

Journalistic objectivity can refer to fairness, disinterestedness, factuality, and nonpartisanship, but most often encompasses all of these qualities.

Also linked is “lying by omission”:

Also known as a continuing misrepresentation, a lie by omission occurs when an important fact is left out in order to foster a misconception. Lying by omission includes failures to correct pre-existing misconceptions.

And “loaded messages”:

In rhetoric, loaded language (also known as loaded terms or emotive language) is wording that attempts to influence an audience by using appeal to emotion or stereotypes.

Mr. Streitfeld says his stories have been driven by one value: “newsworthiness”. Back to Wikipedia:

Newsworthiness does not only depend on the topic, but also the presentation of the topic and the selection of information from that topic.

Is Streitfeld presenting his topics well? What information is he selecting about the topic? Does it err to the side of journalistic objectivity?

Let’s go back to May when the Amazon/Hachette story broke and Streitfeld wrote this piece. Looking at the definitions above, do these quotes from Streitfeld’s piece qualify as propaganda?

Streitfeld: Among Amazon’s tactics against Hachette, some of which it has been employing for months, are charging more for its books and suggesting that readers might enjoy instead a book from another author.

Joe sez: Amazon “charging more for its books” actually means Amazon is charging Hachette’s suggested retail price. Amazon suggesting that readers might enjoy a book from another author “instead” is unproven. Amazon advertises other authors’ books on every book page. This isn’t unique to Hachette. Amazon also offers used books for considerably less than the price of the new version, on the very same page. (buy Whiskey Sour for only $0.01!) But where has Amazon said “Buy this instead of this”? The word “instead” is loaded.

 

Click here to read the full, lengthy deconstruction of Streitfeld’s piece with Konrath’s commentary on A Newbie’s Guide To Publishing.

 

Science Says You Can Split Infinitives and Use the Passive Voice

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This post by Chris Mooney originally appeared on Mother Jones on 10/3/14.

Steven Pinker explains why you don’t have to follow bogus grammar rules.

Leave it to a scientist to finally explain how to kill off bad writing.

In his new book, The Sense of Style: The Thinking Person’s Guide to Writing in the 21st Century, Steven Pinker basically outdoes Strunk and White. The celebrated Harvard cognitive scientist and psycholinguist explains how to write in clear, “classic” prose that shares valuable information with clarity but never condescension. And he tells us why so many of the tut-tutting grammar “rules” that we all think we’re supposed to follow—don’t split infinitives, don’t use the passive voice, don’t end a sentence with a preposition—are just nonsense.

“There are so many bogus rules in circulation that kind of serve as a tactic for one-upmanship,” explains Pinker on the latest episode of the Inquiring Minds podcast. “They’re a way in which one person can prove that they’re more sophisticated or literate than someone else, and so they brandish these pseudo-rules.”

Unlike past sages of style, Pinker approaches grammar from a scientific perspective, as a linguist. And that’s what leads him to the unavoidable conclusion that language is never set in stone; rather, it is a tool that is constantly evolving and changing, continually adding new words and undoing old rules and assumptions. “When it comes to correct English, there’s no one in charge; the lunatics are running the asylum,” writes Pinker in The Sense of Style.

Indeed, Pinker notes with amusement in the book that in every era, there is always somebody complaining about how all the uncouth speakers of the day are wrecking the Queen’s English. It’s basically the linguistic equivalent of telling the kids to get off your lawn. Why does this happen? “As a language changes from beneath our feet, we feel the sands shifting and always think that it’s a deterioration,” explains Pinker on the podcast. “Whereas, everything that’s in the language was an innovation at some point in the history of English. If you’re living through the transition, it feels like a deterioration even though it’s just a change.”

 

Click here to read the full post or listen to the podcast on Mother Jones.

 

The Self-Publishing Revolution Is Only Just Beginning.

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This post by Joanna Penn originally appeared on her The Creative Penn site on 9/21/14.

Reflections On My Stockholm Trip

I spent a couple of days in Stockholm last week, and did three events in just over 24 hours for Lava Forlag, meeting authors at all stages of the journey. Here are my reflections on my time there.

The indie revolution is expanding…and it is incredibly exciting to see the light dawning in people’s eyes.

The Swedish publishing industry is still in the old traditional, print dominated way of doing things right now. Ebooks haven’t taken off yet, Amazon hasn’t opened its .se store and authors are still focused on the route of agents and publishers to reach readers.

I was told that the biggest publishers are integrated with the media companies – in the same way as Rupert Murdoch’s NewsCorp owning Harper Collins, the Fox Network, The Times and the Wall Street Journal.

When big media owns all the publishing channels, there is little chance for the independent voice against such established behemoths. But change is coming…

I was asked to Stockholm by the lovely Kristina Svensson, an indie author who sees the digital future coming to Sweden in the next few years. I spoke to the audience of authors about my reality, the world I live in, where authors are writing what they want, publishing what they want, and in many cases, making a decent living from their words.

 

Click here to read the full post on The Creative Penn.

 

What's The Big Idea?

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This post by Nick Green originally appeared on Do Authors Dream of Electric Books? on 10/3/14.

I shelved the blog post I was going to write, because something caught my eye and made it pop out in anger. You may or may not have noticed that last month was the deadline for The Big Idea Competition, an apparent bid to find the ‘next big thing’ (you’re not yawning already?).

This is the brainchild of Barry Cunningham, well-known as the editor who discovered Harry Potter, which was the biggest Big Thing in publishing history, and also Tunnels, which… wasn’t. The premise is simple. As in, simply infuriating.

‘Have you got an idea for a story that children will love?’ the website asked. ‘Then tell us in 500 words! Win the chance of seeing your idea transformed into a book, movie, TV or theatre production!’

There is so much wrong with this premise – in fact the whole concept is so breathtakingly cynical and disingenuous – that I hardly know where to begin. The supposed rationale, as explained in its publicity materials, sounds reasonable enough: there are lots of people out there who might have a great idea for a story, but who lack the skill / patience / masochism to actually sit down and write it. But don’t worry! the organisers assure us. We’ve got stacks of authors and playwrights and impresarios right here! You come up with a good idea, and we’ll do the rest. Simples.

 

Click here to read the full post on Do Authors Dream of Electric Books?

 

You Know What You Can Do With Your DRM

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This post by Greta van der Rol originally appeared on her blog on 9/7/14.

Okay, folks. You heard it here first. I’M NEVER GOING TO BUY ANOTHER BOOK WITH DRM ON IT.

Yes, that’s me shouting. Do I hear you asking why?

I’m so glad you asked. But first, for those who don’t know, DRM stands for Digital Rights Management. Essentially, it’s an attempt by suppliers to ensure that only legitimate purchasers of electronic content (books, software, music etc) are actually able to make use of their products. Wikipedia’s description is as good as any other. Or you could read this one, which describes the restrictions imposed by DRM.

You might think DRM is relatively new. It’s not. The acronym might be, but the technique has been around from pretty much the time when personal computers exploded onto the scene in the early eighties. Products such as dBase III, word processors, spreadsheets and the like were protected with licences. Without the licence key, you couldn’t run them or do anything else with them. Other software companies came up with dongles – a hardware device fitted to the machine running the program. The idea was supposed to be that pirates couldn’t profit from the developers’ hard work.

Uh-huh.

Two things happened.

 

Click here to read the full post on Greta van der Rol’s blog.

 

Giving Readers What They Truly Crave

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This post by Joe Wikert originally appeared on his Digital Content Strategies on 8/11/14.

Publishers need to take a page out of the retailer playbook. You’ve undoubtedly noticed how good certain online retailers are at suggesting additional products related to the one you’re about to purchase.

Amazon is arguably the king here with their “Frequently Bought Together” and “Customers Who Bought This Item Also Bought” recommendation sections. These elements typically appear just below the product image and above the product details. That’s prime real estate on the Amazon product page so you can bet these elements drive a lot of add-on sales.

You’re probably familiar with content recommendation links and widgets that have sprouted up all over the web the past few years. Taboola is a leader in this space and they specialize in offering links to related content from other publishers. For example, if you’re reading an article on USA Today’s website you’ll see a headline towards the bottom that says “Sponsor Content” followed by links to a handful of related articles from other sources.

I believe this is simply scratching the surface of content recommendation and we’ll see much more sophisticated cross-pollination in the coming months and years. I also believe many of these will be human-curated and implemented via a lightweight post-production model. An example will help illustrate.

 

Click here to read the full post on Joe Wikert’s Digital Content Strategies.

 

Publisher Sues “Dear Author” Blog and its Owner, Jane Litte

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This post by Pete Morin originally appeared on his blog and is reprinted here in its entirety with his permission.

Well it’s no surprise, I suppose, that publishing has its share of loons, scammers and reprobates, but the increasingly bizarre case of Ellora’s Cave deserves its own chapter.

Last week, avid reader, book blogger, and lawyer Jane Litte published The Curious Case of Ellora’s Cave, in which she discussed the growing turbulence inside the publisher of erotic romance (the company and the person), where authors, editors and tax collectors remain unpaid as owner Tina Engler brags about “her Rodeo Drive shopping trips and her new property purchase in West Hollywood.” It’s a jaw dropping article, worth a trip over there to see.

Now news comes that, in response to Jane’s post, Ms. Engler and her company have sued Jane Litte personally for defamation. Of all the blogs in the book community that have reported on the Ellora’s Cave debacle, Engler sues the lawyer.

Well, it must have been her security detail that recommended this course of action. They’re on the case!

When Jane establishes a legal fund, I’ll be helping out.

UPDATE: The Complaint can be read here.

 

Ten Reasons Why The Gatekeepers Of Self-Publishing Have Become… You

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This post by Cate Baum originally appeared on Self-Publishing Review on 9/30/14.

One of the biggest driving forces behind authors who self-publish has been the declaration that writing has become stifled by “the gatekeepers of the publishing world.” Many writers now go straight to self-publishing. Be self-published? Sounds great! Let’s do it! We can all help each other, right? Right? Guys?

The online self-publishing clique has become incredibly judgemental of its own kind. These didacts are scaring the heck out of those wanting a nice gentle, creative, inclusive experience. Simply, self-published authors have become dictators of their own industry. Here’s why.

1. Online Herdism
Thou shalt not pay for any kind of professional promotion. Thou shalt not pay for book formatting. Thou shalt only use your peers with no knowledge of editing a book to – um, edit your book. If you pay for services, you are dumb. Yeah! Just look at the herd go off on paid book reviews without even understanding the different types of paid review or how to use them! Come on, people. Any book needs promotion. After all, you just spent years of your life writing the damn thing. Give it a life. Building a professional book and marketing it with assistance is nothing to be ashamed about, and this truly has to stop being a “thing.” Forum comments start with “I COMPETELY AGREE WITH YOU!!!!” Or “I HATE paid reviews!” or “NONSENSE!!!!” (I noticed it’s always capital letters, many punctuation marks and absolutes, just to be THE MOST AGREEING PERSON!!!!) I always look up the naysayers’ books on these forums, and 9/10 have sold no books whatsoever. But they are “being true to the spirit of indie publishing.” Pffff…

 

2. Everyone Is A Self-Publishing Expert – And Get It All Wrong

 

Click here to read the full post on Self-Publishing Review.

 

Distinguishing Between Straight-Up Advice and Paradigm Shift

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This post by Jane Friedman originally appeared on her site on 5/11/12.

A couple weeks ago I wrote a column for Writer Unboxed, “Should You Focus on Your Writing or Platform?” In short, I said it’s a balancing act, but there are times when you should probably emphasize one over the other.

It generated more than 100 responses, many insightful and valuable, from working writers, established authors, editors, and agents. My colleague Christina Katz was one of the last to comment. Here’s part of what she said.

This post really makes me chuckle … I wonder how much time folks spent reading and chewing on and commenting on and spreading the word about a post ABOUT platform rather than actually spending any amount of time actually cultivating and working on their own platform?

I am a person who does not distinguish between writing, selling, specializing, self-promotion, and continuing ed, and also a person who sees all of these things as essential and necessary to my writing career success. …

For me, there is no separation. Writing is the center. (If you read The Writer’s Workout, you saw the diagram.) But it’s all critical. There’s nothing to debate.

Read her entire comment here.

I’m (mostly) in the same boat as Christina. I find it impossible and irrelevant to distinguish between writing activities and platform building activities. My approach is far too holistic.

So why did I write a post splitting them up?

Because most writers don’t and CAN’T see them as one activity. They’re still asking questions that show they need some concrete ideas on how to manage what they perceive (and what can be) a very real split in one’s life.

 

Click here to read the full post on Jane Friedman’s site.

 

How Copyright Law Protects Art From Criticism

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This post by Noah Berlatsky originally appeared on Pacific Standard on 9/29/14.

Aesthetics aren’t supposed to affect the law. You can’t dump a bucket of fishheads on Kevin Costner, even if he is a festering boil on the body of American cinema. You can’t hack Amazon and delete every copy of every Pearl Jam album, no matter how ludicrous the bellowing of Eddie Vedder may be. Ruth’s Journey, Donald McCaig’s authorized sequel to Gone With the Wind, which will be published later this month, may be wonderful or it may be horrible or it may just be blasé. But, no matter its quality, you’re not legally allowed to sell pirated copies of it.

The rationale here is easy enough to follow. The law is supposed to apply to everyone equally. Aesthetic judgments are contradictory and individual. Some benighted people may even like Kevin Costner or Eddie Vedder. Ruth’s Journey, told from the viewpoint of Gone With the Wind‘s Mammy, looks fairly tedious to me from reviews, but other folks may love it. That’s why, in a famous copyright decision dealing with banal advertising art, Oliver Wendell Holmes declared:

It would be a dangerous undertaking for persons trained only to the law to constitute themselves final judges of the worth of pictorial illustrations, outside of the narrowest and most obvious limits.

Holmes’ admonition is often cited in intellectual property cases, and it’s widely seen as the correct legal position on copyright issues. Courts, everyone agrees, shouldn’t be ruling on whether Kevin Costner or Eddie Vedder or Ruth’s Journey are good art or bad art. Courts should enforce copyright regardless of how good or bad the copyrighted work may be.

 

Click here to read the full post on Pacific Standard.

 

Likeable, Relatable, and Real

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This post by Annie Cardi originally appeared on Ploughshares on 9/17/14.

When I was a junior in high school, we read The Great Gatsby in English class. I hadn’t read the book yet, but I knew the rest of my family hated it. (They’re Hemingway fans.) “Ugh, that Daisy,” my mom said. “Who cares?” Obviously a lot of readers care about Daisy and Gatsby, but many readers also place a priority on likeability.

On popular review sites, reviewers refer to everyone from Jake Barnes and Lady Brett Ashley to Jane Eyre and Mr. Rochester to the cast of A Visit from the Goon Squad as unlikeable. Part of this is a personal taste issue, but it also deals with what kind of people we want to surround ourselves with. A novel that’s over three-hundred pages long is a fair time commitment—it can be grating to spend that much time with a character you wouldn’t want to interact with on a daily basis. Likeability is about ease and comfort and a kind of emotional bond. Connected to that is the issue of relatability, which NPR host and producer Ira Glass brought up when he tweeted that Shakespeare’s plays and characters aren’t relatable.

 

Click here to read the full post on Ploughshares.

 

Writing: Word Counts in Fiction – How Long Is A Novel?

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This post by Debbie Young originally appeared on ALLi on 9/18/14.

Is it a novel? Is it a novella? Is it a novelette? It can be hard to decide what to call your book, but it’s important to get it right so that you don’t confuse or disappoint readers. This post offers guidelines suggested by experienced self-publishing author members of ALLi.

When promoting any work of fiction, it’s important to use the right terms of reference. This will create appropriate expectations in your readers and help guard against disgruntled reviews such as these:

“This turned out to be a short story, not a novel!” (left on a single short story)

“I hate short stories hence my one-star review.” (left on a novel-length collection of short stories)

“I only read non-fiction.” (left on a full-length novel with a cover and title that could have been misconstrued as a biography)

It’s particularly important to get it right when promoting ebooks because the purchaser cannot physically assess the length of the book by picking it up in his hands. Yes, most sites state an approximate page length, but few readers check that detail, which is usually tucked away in small print along with the ISBN and publisher’s name. (Why approximate? Because the actual page length of any ebook will vary in practice according to the settings of the ereader that it’s read on, depending on the text size the user has chosen.)

 

Common Fiction Classifications

 

Click here to read the full post on ALLi.

 

4 Completely Scientific Ways To Know If Your Content Is Compelling

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This post by Jennifer Miller originally appeared on Fast Company’s Co.Create on 9/23/14.

What makes for compelling art? Any creator who has given half a thought to paying the rent, or achieving immortality, has considered what makes art sell. We know that the notion of quality–the idea that “the best” art and marketing and media reaches the most people–is insufficient to explain what gives some creations mass appeal. So why do people–large number of people–find books, ads, movies and art works compelling? How can we know, ahead of time, what will pique our curiosity and sustain our interest? Jim Davies, an associate professor at Carleton University’s Institute of Cognitive Science and director of the Science of Imagination Laboratory wanted to find out. The result is a theory of compellingness, outlined in his book Riveted: The Science of Why Jokes Make Us Laugh, Movies Make Us Cry, and Religion Makes Us Feel One with the Universe.

Davies’s entry point into what makes art riveting, however, did not start with an analysis of best-seller lists or top-40 charts. He came to the question of compellingness through the one thing in human experience that has inspired passionate feelings (good and bad) in the majority of the world’s population: religion. “Unless a religion is compelling in some way, it’s not going to take off,” he says. “Religion has explanations, stories, rituals, and that all caters to our basic psychological proclivities.” Today, he says, we treat old religions, like the Greek myths, as though they are works of art. “Those were stories that people wholeheartedly believed. Even an atheist can look at stories from Bible and admit that they’re good stories.” So what makes religion, and its compelling counterpart, art, truly riveting? And what impact will that have on the way we create and consume culture?

 

Click here to read the full post on Co.Create.