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  • KameronHurley
    It’s the end of 2011, and it’s been a bloody busy year for me.

    I had two books come out this year, signed a contract for a third, switched day jobs, experienced some medical madness, fought hard to get back into some semblance of fitness, and am just about done with a draft of aforementioned third book.

    Along the way, I learned some things about the skills I needed to be a better writer – both on the business side of things and the personal side of things.

     1)      I need to learn to write faster. Maybe some of this is knowing the demands of the marketplace. Maybe some of it is just being very aware of my health, and how it may be that I have a few years less to knock out books than maybe some other people do. Whatever the reason, I need to stop being happy to squeeze out 200 or 500 words a day and start actually… writing books like a professional. That means no longer pecking at the keys like this is a fun hobby, but sitting down, planning out my scenes, and knocking them out like a professional, the same way I do at my day job. Fiction writing may be more fun, but that’s no excuse to treat it like an idle pastime. I treat my night-job writing a lot more seriously now, and the simple act of planning  a scene before I open my manuscript has worked wonders.

    2)      I need to stop making excuses. I had all sorts of excuses this year for being tired and cranky and not writing enough. I had a couple surgeries. I switched day jobs. I had two books come out back-to-back (trust me, six months apart feels like thirty days in writer time).  I read too many reviews.  But at the end of the day, the world doesn’t care about your excuses. It cares about results. You only have so much life, and the clock is ticking.  As with fitness, writing is something you need to build into your schedule according to what your deadlines/goals are. You should build everything around the work, instead of trying to shoehorn it in.

    3)      Some fights are worth fighting. Every time I got a draft cover from my publisher, my whole body tensed up and my stomach sank. I hate conflict, believe it or not. I hate being “a problem.” But I also know that if something is important to me, I need to say so, even if it’s uncomfortable or difficult. I worked with my publisher and the cover artist until we got the covers right, even though some of the discussions left me sleepless and anxious.  As writers, we’re responsible for the images we put onto the page, and if your publisher values your opinion at all, it’s also your responsibility to do what you can to ensure your cover is right. Luckily, I had a great publisher and a fantastic cover artist, and in the end, it all turned out great.

    4)      Negotiation will get you everywhere.  I had a girlfriend once who taught business negotiations to MBA students. Living with her for four years, I was privy to a lot of discussions about how to negotiate for things that you wanted.  I learned about BATNA, but most importantly, I learned that women were far less likely to negotiate than men were – whether it be the price of a car or a job offer or a book contract. There are all sorts of reasons for this, and I know that for me, much of that had to do with aforementioned aversion to conflict. You’re supposed to be happy and thankful to get anything for your work. But when you look at the numbers, and how a mere 2% negotiation in your pay rate can add up over time, you have to realize that nobody is just going to give that to you. You have to ask for it. And, if necessary, fight for it. Even if you can only ask for 2% or even 10% – do it. A job offer, or a book offer, is just that – an offer. Figure out what you want/need, talk it over with your spouse or agent as the case may be, and just bloody ask for it.  Generally, this gets easier the more you do it.

    5)      Write what you love – because nobody else is going to. This is actually a really important thing to hang onto in the “everybody needs to write YA vampire fiction to be successful” age. I read a lot of “reviews” from people who either couldn’t make sense of my books at all or who just despised anything dark and morally ambiguous with a lot of violence and swear words. These were not my target readers. But when I started writing my blog back in 2004, originally titled Brutal Women, I found a whole lot of other people like me. Women who wanted to be strong – who *were* strong – physically and emotionally. Who liked morally ambiguous fiction.  Who were tired of Urban Fantasy that was 90% romance and 10% action, with the usual pat plot formulas. I knew these folks were out there. I just needed to find them. If you think these books are a love letter just for you – I can tell you that yes, they are. I wanted the same kind of books, and because I didn’t find them on the shelves, I went and wrote them myself. There are other people like you out there. They will love what you write. Have some confidence in your story, and your own unique voice. At the end of the day, anybody can write any knockoff of anything. There’s no shame in it – money is money, afterall – but you’re far more likely to get attention writing something only you can write than writing something anybody could write.  

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  • This year, after writing and submitting stories and manuscripts for 15 years, 10 years since attending Clarion, 9 year since I went to my first SF convention, 7 years after I started blogging, and 3 years after my first book acceptance… my first book was published. Followed six months later by the second.

    It was a strange thing to happen, after so many years of just… well, work. And because it had been such a long road getting there, it felt like it happened all at once. Sometimes my head spins just thinking about it.

    Here’s what I learned from this wild year of author firsts:

    1. Going to Clarion, conventions, blogging, and networking with other writers is totally worth your time. You can write a great book all you want, but unless you can get the word out, you’re sunk. It helps to have people who are willing to give you space to speak about it on other sites, or who have already heard of you. If you read my long road to publication, you’ll find it littered with nudges and good words and recommendations and coincidences that involved connecting with people who knew somebody… who influenced somebody… who called somebody. Not only that, but you may also find people generous enough to read and critique your early stuff. This is vital to writing a good book. Which leads us to…
    2. You better have written a good book. It doesn’t matter who you know if what you write is crap. Even your best friend isn’t going to put their rep on the line by pushing a book off on other people that’s total crap. If you’re still writing total crap, none of this will make any difference.
    3. Having an agent really is worth it. If you have a day job, and a life outside of writing, then handling the long submission and negotiating process involved in pitching to big publishers will give you hives. And if, as happened with my book, there are contractual hiccups along the way, you don’t want to have to be the one screaming at everybody on the phone. And having a good agent gives you a lot of cred that you otherwise wouldn’t have gotten from the Big Guys.
    4. Marketing your book is exhausting. It is probably the toughest part of the job. I knew I wouldn’t have a ton of help with this from my publisher, and there was a lot of legwork involved. A lot of cold pitches to folks. A lot of “saying yes” to everything. Though I was ready for the physical work of this, I didn’t realize just how much mental energy it was going to take out of me. If you know when your release date is, you should take some time off the day job and/or ensure you have a lighter workload during this time. Plan for your book release the same way you would for any other work project, allotting the proper resources.
    5.  Figure out where to invest your time. Speaking of marketing, shotgun marketing doesn’t do anybody any favors. It will just make you more tired. Figure out where your audience is, and what venues you show up in that get results. Either in mentions/retweets, clicks, or actual sales numbers. Sign up for Amazon Associates and track clicks that way. Even if people don’t immediately buy, it gives you an idea of whether or not the people you want to reach are reading/viewing the venue you show up in. This will save you a lot of time and wasted effort.
    6. Your family may be a lot more awesome and supportive than you think. What I write is pretty weird, so I was surprised my family came out so enthusiastically for these books. My dad even went so far as to build it into a performance promotion for the restaurants he oversees operations for. And more than a few wait staff and waiting rooms on the West coast ended up getting free copies. My mom has spammed every publication in Southwest Washington with the news – twice.
    7. Know what you need to break even. When you’ve got your first book out, it’s good to know what your print run was and how many books you need to sell to earn out your advance. Not necessarily because you can do anything about it, but because it will make you more realistic in your expectations for success. Knowing what “success” actually looked like was good for me. It ensured that me, my agent, and my publisher were on the same page.
    8. Bookscan is a piece of crap. This is a free service through Amazon (you have to pay for it elsewhere), which is the only reason it’s a good price. Don’t rely on it to give you accurate book sales. All it can do is tell you the overall trend in your sales – sales are up relative to this week over this week, or down this week over this week. Don’t use them to plan your pity party.
    9. Know when to fold. I am just a meatbag. I cannot do ALL THE THINGS. Especially not if I want to spend time actually writing books. I planned a three month marketing calendar for each book, which turned out to be too much for me. Eight weeks is what I can do. Devoting more than that and keeping up with the day job and writing the next book proved… maddening.
    10. The hardest stuff is yet to come. I always thought that publishing my book would be the hard part. After that, I figured I’d have proven myself. I could just write books and get recognized as a pro and tra-la. But it doesn’t work that way. Pro careers end. Sometimes spectacularly, but most often with a whimper. Poor sales, generally. Or just poor publishing decisions. Or bad luck. It happens. Careers fizzle. Or are relaunched. And with every new book, you are issued a new set of challenges, and a new chance at succeeding or failing. Books fail all the time. Careers implode. Everything you worked half your life for can be gone in a second. Because, of course, novel writing isn’t like leveling up in a video game. It’s more like a fitness regime. You have to work out every day. Maybe hire pros to help. You have to explore new routines, get new trainers, and above all you have to work at it – every day. It’s never over. Never done. You’re on the treadmill now, and you sink or swim not only on everything that has come before, but everything you’re doing now.

    So spend your time wisely.

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  • KameronHurley I can’t plot my way out of a paper bag. I think I have mentioned this before.

    This was less obvious to me before I went to Clarion. I was pretty good at stuff like creating engaging characters and crazy settings, and often, because those things were so compelling, it was difficult for me to see what wasn’t working. All I ever saw was the awesome characters running around in cool worlds. It didn’t occur to me that they needed something to do besides be awesome and maybe save the world. What I didn’t realize was that “save the world” isn’t a plot. It’s an endpoint. The “plot” is all the stuff inbetween. And generally not something I concerned myself with.

    In fact, plot was so secondary to my initial dabblings in fiction that my greatest plotting “device” when I was a teen was to take out a deck of index cards with plot points/action scenes in them like, “Somebody falls off a cliff,” “somebody dies,” “somebody finds out a terrible truth,” “somebody accidently kills a dog” and just pull one out at random whenever I hit a lull in the story.

    When you’re writing quickly, like a short story a week the way we did at Clarion (or 20k a month like I’m doing now on deadline), it’s harder to use your strengths to cover up your weaknesses. It becomes really clear what you’re good at and what really effing sucks.

    At some point, you have to make a choice. You can continue to focus on your strengths, and create the most epic worldbuilding/character wandering novel ever that you can never sell, or you can tuck those talents into your hindbrain and put them on autopilot while you actively concentrate on what you’re bad at. (more…)

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  • On May 15th, 2006 I was about 3/4 of the way through writing a book called God’s War. I was drinking a lot of whiskey and writing a lot of disjointed dialogue and fight scenes. I was also slowly dying of an immune disorder, and didn’t even know it. All I knew was that for the first time in my life, I could eat whatever I wanted and continue to lose weight… despite the fact that I was becoming physically weaker day by day.

    People are always asking writers where ideas come from. Though there are all sorts of influences that went into the creation of the Bel Dame Apocrypha, it’s worth pointing out how much of my experience during the year I was dying and the subsequent stay in the ICU – with its syringe-carrying nurses, hourly bloodletting, complete dependence on strangers, memories of fragmented consciousness, and the thin bearded Indian doctor who attended me post-ICU, went into a lot of the key scenes in these books.

    It’s also an interesting example of how some of the worst experiences of your life can turn out to be some of the best… if you just know how to apply them.

    Here’s what I wrote about that experience on May 20, 2006 just a day after getting out of the hospital: (more…)

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  • Kameron Hurley‘s novel, Infidel, got a great review in Strange Horizons, which had this to say, “Infidel is a fast-paced book with a lot of action and smart character moments, mixed with cynical battlefield philosophy. I highly recommend it.

    Thomas Roche‘s short story “Hell on Wheels” can now be heard as a radio programme at the BBC Website, read by Peter Maniker, at the BBC Four Extra Radio Pulp Fiction website.

    Over at Speculate, Brad and Greg Wilson finished Episode 29, up their discussion of Night Shade’s The Book of Cthulhu by discussing writing technique based on the stories they read and their interviews with editor Ross Lockhart and contributors Laird Barron and our own John Hornor Jacobs.

    Read an interview with Martha Wells over at Insite Magazine, in which she talks about her career and how she finds inspiration for characters.

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  • KameronHurley When I took theater classes back in high school, I knew I wasn’t doing it with an eye toward becoming an actor of any sort. I like eating, and being a tad physically intimidating, so a traditional Hollywood-style frame was not in my future. But for somebody deeply introverted and sometimes paralyzed by long, tangled thoughts of what other people might be thinking of me, getting up on a stage, spreading my arms, and basically screaming, “LOOK SEE ME HERE I AM” was a really good exercise. It also didn’t hurt when I was cast as Banquo in a post-apocalyptic version of Macbeth. Slipping on that particular skin ended up giving me some insight into creating that type of character on the page, and hence the brutal women of my fiction were born.

    But before there were brutal women characters, there was the long and arduous process of developing my own self-confidence. I will never be “naturally” comfortable in front of groups, but as I’ve learned throughout my professional life, there are very few people who are naturally good at anything, whether it’s writing or public speaking. You have to work hard to be good at something.

    For me, readings are absolutely a type of performance, and I practice them the same way I would if I was getting up onto a stage to convince somebody I was a Midwestern house wife at the turn of the century or a bad-ass landowning warrior about to be betrayed by her best friend. But because readings are a performance, they’re also really exhausting. There’s a lot of prep for 15-20 minutes of reading and 10-15 minutes of Q&A, but the alternative is that you’ve pulled in two or three or ten people and totally wasted their time with some lackluster reading that would have gone off better in their head than live. (more…)

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  • This week in member news!

    Brad Beaulieu’s epic fantasy, The Winds of Khalakovo, got a great review from Risingshadow, receiving a Highly Recommended rating. Read the full review here.

    Staffer’s Musings is holding a giveaway for 2 signed copies of The Whitefire Crossing by Courtney Shafer. Click here to enter! Deadline is 11:59pm ET Monday Oct 31.

    In other giveaway news, Goodreads is giving away 2 more free copies of Kameron Hurley’s second novel, Infidel. Click here to enter. The first book in the series, God’s War was also discussed in this week’s Galactic Suburbia podcast. Find out what they thought about it!

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  • So, here we are. There is more chocolate in my house than will ever be eaten and half a dozen gourds scattered across the porch and in the garden. This is my first real Halloween in the new house (we were still in a state of move-in panic last October), and I wanted to go all out with the full graveyard and giant roof spider and fog machine, but I’ve got a fence to put up next year around this wild third of an acre compound, so all extra $$ are going toward that between now and April.

    I have a fondness for fall holidays. From now til the first of January, there is food and merriment and pretty lights and décor that help bring a bit of fantasy into the otherwise pretty normal little life I’ve got out here in the wilds of Ohio.

    Holidays are good for shocking us out of the everyday, for helping us look at our lives and our spaces differently. I honestly wish we had more of them, though I’d prefer that they concentrated more on encouraging us to take about three times as much time off and spend about three times less on crap. Next year, I’d even like to have planted my own fine gourds.

    But let’s get back to the fantasy.

    I was a big believer in all things fantastic when I was a kid. Santa, the Easter Bunny, the Tooth Fairy, unicorns – you name it, and I tried to think up logical ways it could possibly exist. It turned out this was really good practice for worldbuilding in later life, because even as all my fantastical impossibilities were dismantled one by one, I started creating more explicitly fictional ones.

    Perhaps it’s no coincidence that about the time I stopped believing the world was full of magic creatures, I started writing about worlds where different types of fantastic creatures could believably live. Houses really were haunted, and unicorns and red bulls really did fight, and troll’s blood and dragon’s blood really could cure any sort of ill imaginable.

    I’ve gone back-and-forth on the morality of encouraging children to believe in fantastical creatures. The letdown when I finally let go of Santa at the ripe old age of 12 was pretty shitty (I believed in Santa longer than I believed in God, if you can wrap your head around that), but what researching and understanding those phenomenon did was give me a taste for all things unexplainable; all things impossible. It wasn’t just trolls and tooth fairies I started researching, but spontaneous combustion and the origin of the universe. The world was full of mysteries.

    It was that love of the unknown and impossible that drew me to reading fantasy and science fiction, and traveling, and a master’s degree in history. I wanted to know more about how the world worked, and how we understood it, and what we could do with it. And once I knew what was possible, I was able to extrapolate from that to the nearly-possible, and then the fantastically-possible. I started using fiction to explore that nearly-possible place, and I’ve been happily doing it ever since.

    Today, I think everyone should believe in magic, if only for a short while. It can force you to challenge your preconceptions, broaden your view of the world, and question everything you see and hear. And if there’s one thing we need more of these days, it’s folks questioning what is possible. Maybe magic isn’t about troll’s blood and dragon’s gold – maybe it’s about artificially created viruses and bacteria. Maybe there’s no guy living at the north pole flying around on a sled – maybe there’s a giant alien craft spreading contagion across the stars.

    You’ll never know unless you steep yourself in the fantasy first. It’s the fantasy that helps you question the reality.

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  • KameronHurley
    Write every day.

    Oh, come now, you all know this one, right? Isn’t it the first bit of writing advice you get when you go to a pro workshop?

    If you really want to be a professional writer, folks told me, you’ll sit your butt down on a chair and write every day.  No time off for good behavior. You have to write everyday. Even if it’s just 500 words. Or 100 words. Just… something. Every. Damn. Day.

    Now, to a certain extent, this might be great advice when you’re just a kid getting started. It helps create discipline. You figure out real quick if this is really something you want to plug away at day in, day out, 12 hours a day, for the rest of your life.

    The trouble with writing the same old junk day in day out was summed up perfectly for me by Carol Emshwiller. “Practice doesn’t make perfect. Practice makes permanent.”

    That is, if you’re writing the same old crap every day without improving, then you’re just conditioning yourself to write crap. I wasn’t after quantity of crap, I wanted quality. And once I started actually writing for a living as a marketing and advertising writer, the idea of sitting down to churn out fiction all day, every day, each night after I got home nearly sent me into a fit. Because I really was facing down the idea of writing for 12 hours a day, every day, and that, my friends, will take you down a quick road to burnout.

    No one wants that.

    Instead, what I learned to do was to write when I needed to, or write when I was scheduled to. At the most, I’ll write fiction five days a week now, and then only when I’m on deadline. And between books I may not write any fiction at all for weeks at a time. This is generally when I’m thinking a lot about what I’m going to do, hashing out what I did right and wrong last time, and figuring out how to overcome some of the problems I had with the last book. That way, when I do finally sit down to write again, I’m not just making the same mistakes over and over again. It’s not just churn and burn. I have to do enough churn and burn at the day job because of deadlines that I don’t want to carry over that particular aspect of the day writing into the night writing. Fiction writing is a job too, sure, but it’s one where I get to be the creative director, and damn it all, I’m going to have fun doing it.

    So if you’re just getting started and you want to write every day to make sure this is the right profession for you (cause if you do end up making a living with words, you will be writing every day – note that copywriting day job), that’s great. But if you’ve got a few pro sales and you’re trying to figure out what’s not working (and maybe what is), it might be more useful to concentrate not on writing every day but on writing better every time you sit down to write – whatever odd schedule that ends up being. Writing regularly, with intent, is far better than simply banging on the keys like a trained monkey and hoping a bunch of crap won’t fly out.

    Trust me. I once wrote far more crap.

    So write well. With intent. And for eff’s sake, have some damn fun. Life is too short to fill your nighttime writing time with drudgery.

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  • Kameron Hurley‘s novel Infidel got a great review over at Tor.com, which says (in part): “Hurley’s world-building, vivid and blissfully free of infodumps and expository lumps, was one of the great strengths of God’s War, and it’s a pleasure to return to the fascinating and messed-up world she created — one especially enjoyable for its ethnically diverse cast and freewheeling remixes of traditional gender roles.

    Stina Leicht has a guest post discussing the prevalence of dark YA fiction over at SF Signal.

    Martha Wells‘s novel The Cloud Roads received a rave review from Escape Pod, which says “Books like The Cloud Roads by Martha Wells are why I love fantasy literature.”

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