Contest: What’s FWYCR book about?

“What’s the book about?” – It’s the question everyone asks, and they want a quick and easy answer. People who think like marketers want it in the form of an “elevator pitch” and people who browse in book stores want my book covers to fit neatly into the patterns they expect – but everyone wants a fast, easy way to make a snap decision about the book.
 
The problem I have with this is that if I could have expressed what I wanted to express in a hundred words or less, it wouldn’t have been a book, it would have been a business card!
 
So, I’m having a contest:
Tell me what my book is about, and you could win a prize. As Forget What You Can’t Remember draws near to its final podcast episode and people all over the world hear its convoluted conclusion, I thought the time was right to ask readers and listeners this oft-repeated and oh-so-important question. But what are the prizes?
 

  • One (1) First Prize: I’ll name a character after you in my next novel & let you decide whether that character lives or dies, plus send you a signed paperback copy of one of my books (your choice).
  • Two (2) Second Prizes: I’ll send you a signed paperback copy of one of my books (your choice).

 
How to enter:
Email your answer to the question “What is Forget What You Can’t Remember about?” to teel@modernevil.com. The deadline for entry is May 1st, 2009, two weeks after the final chapter goes live at Podiobooks.com.
 
Void where prohibited. No purchase necessary: You can read the eBook or listen to the podcast for free. Officially open to US Residents only – but only because I don’t want to deal with shipping books internationally. You can still enter from anywhere & if you win I’ll still name a character after you… and… I don’t know, maybe look up international shipping rates & customs paperwork? Winners will be selected by whatever method I want – probably I’ll just pick the answers I think are best, but I’m not ruling out asking people on Twitter or some such. By submitting an entry you are granting me an unlimited, nonexclusive right to use your entry and any derivations thereof for any purpose, including commercial – ie: the point of having a better answer to this question is to be able to get more people to read and/or buy my book, so I need the right to use the best answers to that end. I will be running a very similar contest for both Lost and Not Found and Dragons’ Truth in May, in case you want to go read and/or listen to those books & prepare your answer in advance.

Productivity, Profitability

Still having trouble with staying focused. I feel like I’m not productive enough, almost daily. Things are getting done; the podcasts are all running on time, I’m doing two or more Art Walks/Fairs/Detours a month & I’ve painted a dozen new paintings since the first of the year. I’m even blogging semi-regularly, which you already know, reading this. But I could be doing more.

Yesterday I only did three or four hours of audio work, and even though I know I worked on other things, it feels like I didn’t get anything done, since it’s harder to tally the hours and to quantify what’s work and what isn’t. Does Twitter count? Reading publishing & other blogs? Blogging? It’s all part of connecting with people, with building an audience and building myself as a “brand” and educating myself about what’s going on, what’s working, and driving ideas forward. So in a way, yes. Then there’s the oft-repeated idea that everything an author does and experiences is a sort of reasearch for future books; this is somewhat true, but feels like a sort of excuse.

In addition to feeling that perhaps I’m not being productive enough, I also think a lot about my not being profitable enough. Even with the reduced up-front costs of doing business the way I am, not a single one of my books has even reached break-even, yet. The art, comparably, has been doing great – not bringing in enough to live on, but if not for the cost of going to Tools of Change in New York (ie: if not for a big, extra publishing expense), I’d already be profitable this year on art sales alone, with only bluer skies on the horizon. The margins on the art, even with prices basically cut in half & then frozen since 2004, are great – not just in money, but in time. It takes me hundreds of hours to produce a book, and somehow it’s harder to sell a copy of the book for $14 (or less) than it is to sell a painting (that took me less than 10 hours to create) for $150.  Lately I’ve been creating a lot of “Mini Paintings”: 8×10″ for $20, 5×7″ for $15, and 4×4″ for $10, right now.  Most of them are done in under 1 hour of work (though admittedly, some have taken up to 3), and they earn me as much as or more than a book does, usually without having to try to sell them at all.

Obviously, the art sales can only scale to the limits of my creativity & time to produce original works – I’m not sure what the upper limit is, but perhaps dozens a month. Certainly not hundreds.  Whereas the book sales can scale without proportional extra work on my part – Lightning Source prints however many copies people order, whether it’s dozens a month or thousands.  If/when I “hit it big” the books will quickly win in this regard.  Not to mention I can sell a book more than once, and without doing prints (something I am currently opposed to), I can only sell an original work of art once.  So it takes orders of magnitude more work to produce a book, but I can keep selling it over and over again forever, instead of just once.

If only my sales numbers were orders of magnitude better.  Did I mention not a single one of my books has yet earned back the costs associated with its production, yet?  That’s with $0 value associated with my time, no less.  Which is to say: if I were more productive (of books), I’d perhaps only be digging myself deeper and deeper into a hole.  Being more productive of art is good, but when I really need to figure out is how to be more productive of profitability.  I need to produce more book sales.  That’s a hard one.  The podcasting thing is meant to be helping with that – it certainly puts my writing in front of a lot more minds than everything else I’ve been doing, even if it is for free, right now.  Something approaching five hundred times as many people have downloaded Dragons’ Truth from Podiobooks.com than have purchased a copy of the paperback (not counting sales to family) – that’s a huge multiplier.  Unfortunately, for whatever reason, it hasn’t translated directly into interest in my other podiobooks or in sales of my paperbacks or eBooks.  Gotta keep it up, though.  Gotta keep working on it.  Gotta get back to work, right now – I’m supposed to be editing together next week’s episodes of Forget What You Can’t Remember, right now.  Gotta go.

ForgetWYCR is Not a ‘Zombie Book’

Originally posted at modernevil.com:

Forget What You Can’t Remember is a book that has zombies in it, but it is not a zombie book. It is not a horror book. It is not a science fiction or a fantasy book, either, despite the existence of a flying city, robots, and elves in the world where it takes place. It is not an action book — in fact, it may be the antithesis of an action book, when you step back and look at the whole experience. What is Forget What You Can’t Remember, if it is not these things?
 
It is a novel about people. Some of the people in the novel encounter zombies and, in fact, survive a full-scale zombie outbreak in a major US city. Some of the people in the novel, after becoming rescued rescuers, find there are gaps in their memories; whole swaths of their lives and their histories that are entirely lost. Suddenly given limitless possibilities for the future and robbed of their pasts, each charater reacts -and interacts- in different ways. Some follow their dreams, some try to continue living in the past they’ve had to leave behind, and at least one loses his grip on sanity.
 
The bulk of the story is told, not through description of actions, settings, and characters, but through the dialogue those characters have about the settings they find themselves in and the actions and events they’re experiencing and planning. This is simultaenously so intimate that a reader can lose track of the boundaries between characters and so distancing that it can give the impression that you are only experiencing the story second-hand. That feeling of being both present and distant at once mirrors the way more than one of the main characters’ minds reacts in the wake of tragic, traumatic events. In the scene in chapter 17 which inspired the cover image, two characters discuss this experience which could probably be diagnosed as depersonalization disorder:

“Huh.” Paul couldn’t identify personally or exactly with Brady’s experiences, but somehow understood him, in a way. “Are you experiencing this disassociation from reality right now?”

“No, I,” Brady paused to consider whether what he was saying was true. He stopped walking, and stood in the street for a moment looking down at his body and back up to the world around him. He held his right hand up in front of his face, staring intently at it. “I’m trying to decide if it feels like I’m staring at my own hand or if I’m watching me stare at my own hand.” Paul was now also staring intently at Brady’s hand, trying to more consciously notice his own awareness of perception. “Though just being present enough to be able to think about the difference is probably both a sign that I’m not experiencing it, and what truly surreal experiences even its memory allows me now to have.”

“Truly.” Paul was now staring at his own hand and contemplating the separation between perception and awareness as though for the first time. “Consciousness itself is clearly not mere eyes and ears and instincts, but the thought of being able to be conscious of one’s own consciousness is a sort of Klein bottle with no boundary, zero volume, and which despite seeming to be immersed in the visible world always keeps some critical part in a higher plane of being, beyond our grasp.”

Brady now took his turn to stare at Paul, though more like an examination of another’s sanity than one’s own perceptions. Brady stood there, staring at Paul staring at his own hand, apparently deep in thought, then spoke. “I have no idea what you just said.”

 
Then, when the narrative takes a dramatic turn toward long description and to action, the character experiencing and initiating the action is turned increasingly away from it by his own apparent memory loss and the philosophical line of thought it takes him down. A strange and difficult twist near the end of the book then seems to erase all evidence of his action -of everything described in detail rather than in dialogue- from the book, leaving nothing behind but the second-hand and the distant. The reader, if they realize this post-modern slight of hand at all, is left in the same situation as the characters; what you thought happened hasn’t, and what has happened is at least out of arm’s reach.
 
In trying to create this meta-experience paralleling that of the characters, the book loses the ability to easily serve the expectations of mainstream readers. It loses the ability to meet the expectations of readers looking for a traditional zombie book. It loses the ability to serve those looking for it to fit neatly into a genre slot, any genre at all. Instead, it serves the mind. It encourages thought. It attempts not just to describe a thing, but to deliver it into the reader’s consciousness. Forget What You Can’t Remember is not a book for everyone, and it may not be what you expect, but it may be the only book you read this year that is what it says.

Free copy of FWYCR paperback!

I’m giving away 5 copies of my new novel, Forget What You Can’t Remember, through GoodreadsFirst Reads program. “How can I be the lucky recipient of one of these free books,” you ask? It’s easy:
 
1) Sign up for a Goodreads account.
 
1b) Actually use your account; put in books you’ve read, are currently reading, want to read, write reviews, and otherwise participate!
 
2) Go here and click ‘Enter to win’.
 
No, really, it’s that easy to enter. Then, at the end of the month (ie: January 31st, 2009) Goodreads will work its mojo and semi-randomly select 5 people to receive free books. ((They have an algorithm and everything: “Goodreads will collect interest in the book, and select winners at our discretion. Our algorithm uses member data to match interested members with each book.”)) Then I’ll ship out the books personally to the winners, and they’ll bask in the wordy-goodness that is the new book.
 
For those of you who either a) don’t win, or b) don’t like paper books, but still don’t feel like paying: Please feel free to enjoy the free serialized audio version of the novel, either by signing up for the Modern Evil Podcast or by going to Podiobooks.com and signing up for either the default feed (which gives you episodes as I post them) or a custom feed (and get episodes on your own schedule). The free eBook version should be available in February, 2009, as well. Enjoy!

Doing everything by myself

I remarked earlier, on Twitter, something about how I can’t get myself to stop working. Yesterday -and I say yesterday, not because it was different from other days, but because I noticed it and did the math- I worked an 18 hour day. I got up, ate breakfast, sat in front of my computer, and without doing it intentionally and without realizing it until I was over 16 hours in, I worked almost continuously, only stopping for food & bathroom breaks and the occasional human interruption. I had actually intended to relax that day. To take some time to play games or just watch TV and/or movies. Something. Alas, I’m in the midst of getting two books ready to send to my printer, and I’m completely occupied. I can’t seem to stop working.

One of the pitfalls of doing what you love full time is, apparently, not being able to get yourself to stop doing it. This entire week, while difficult and frustrating at times and almost always leaving me feeling unsure as to whether the product I’m producing will be marketable, has been enjoyable. I’ve been having a good time. A few hours ago, after I’d added the two new books (Forget What You Can’t Remember and More Lost Memories) to modernevil.com, after tweaking things around so everything displayed okay across 6 different browsers, when I spent over an hour simply rearranging the book cover thumbnails on the main page, I was having a good time. It was fun to play around with laying them out, spacing them out, and otherwise shifting the tiny images around in dozens of different configurations.

So, that’s good.

But then again, there are factors like: It’s already December 21st, I haven’t submitted either book to my printer yet -actually, I’m still waiting to hear back from a couple of people who said they’d copyedit for me, though probably not for much longer- and I haven’t finished composing the music for the podcast version of the novel and with Christmas and New Year’s Day I can’t expect particularly rapid turn-arounds on the book production and the podcast launches January 1st on the Modern Evil Podcast (and January 2nd on Podiobooks.com) and it sure would be nice to have the physical book available when the podcast goes live, but I don’t see things coming together that quickly, at this point. Wait, did that sentence make any sense?

I wanted to have the books to LSI (who prints & distributes them) ASAP, preferably in time to have them on hand before the podcast goes live (and before the Art Walk, Jan. 2nd). I wanted to have them done and ready to go a week ago. Monday of this week at the latest. But I have to do everything by myself. I’m a one-man operation. I write the books. I edit the books. I copy-edit the books. I do the layout. I design the covers. I take the photographs (or, in the case of More Lost Memories, paint the paintings) for the covers. I write the copy. I design and build the web sites. I do the accounting. I handle the “e-commerce”. I do the marketing. Everything. I do everything myself. So, it takes a little longer than I’d like. So, I probably won’t have the books on hand Jan. 2nd. Perhaps not even the proof copies back to be sure everything was set up okay.

Which, if I were trying to do things traditionally, wouldn’t be as much of a problem. A traditional publisher takes 9 months to two years to get a book on store shelves. I finished FWYCR at the end of October and I wrote More Lost Memories in November and I’m trying to have them in print and ready to sell by the end of December. Well, by “January, 2009” right now. If I’d given myself until January 2010 it would have been no problem to get all this done. Heck, I could already have the audiobook in the can. Waiting for people to find the time to actually read the book and give me feedback wouldn’t be an issue. All that. But I’m not trying to copy what’s out there. I’m trying to run the publishing company I want to be. I want to go from first draft to book for sale in as short a time as I am capable of producing a professional product. I want to have several new books every year. This year, 2008, Modern Evil Press didn’t put a single new book in print. Next year, I’m starting with two in January and I have another short story collection about 2/3 finished, and unless the course of my life changes significantly, I should be able to get another novel (or two) written before the end of the year. I want to be the one-man operation that doesn’t hold itself back because of its limitations.

My only limitation is time. There’s only one of me. And I have to do everything. But it’s coming along. And it feels good. Hopefully I’ll be able to send these two books to the printer before Christmas. Then, with any luck, I can get some painting done in the midst of trying to launch yet another podcast novel. Alright, gotta go slice my fresh-baked cranberry bread now, then get ready for church. Thanks for reading.