Showing posts with label Publishing. Show all posts
Showing posts with label Publishing. Show all posts

Wednesday, 20 November 2013

Ten tips for dealing with pdf proofs

Ten tips for dealing with pdf proofs:

  1. PDF proofs are for annotating, NOT editing.
  2. Adobe Reader XI (free) has a good set of annotation tools.
  3. Sticky notes are best saved for general notes about a page or section.
  4. The Text Correction Markup tool is the best way of showing text changes.
  5. The highlight text tool is the best way of commenting on specific text and asking questions (e.g. Is this font too small?) or giving instructions. Also good for simple changes.
  6. The underline tool can be used to ask for italics.
  7. Squiggly underline can be used to ask for bold.
  8. Show don’t tell, so far as possible – e.g. if something needs deleting, a swipe with the Strikethrough tool shows it more clearly than a highlight with instructions that say what needs deleting.
  9. Repeating yourself is really, really helpful – if the same thing needs doing in ten different places, it’s really worth copying and pasting the same instruction into each comment rather than referring back to earlier comments.
  10. Users with iPads should consider getting Goodreader. It’s cheap and fantastic.
Any other tips? In particular, has anyone found anything as good as Goodreader for Android devices?

Wednesday is list day. This is list #11.

Sunday, 10 June 2012

Amazon reviews – even more corrupt than you thought, thanks to Fiverr?!

First, introductions! This reviewer on Amazon and Goodreads seems to be this user on Fiverr, who offers reviews of books at five dollars a pop. And this reviewer on Amazon is, I reckon, this guy on Fiverr, who will for his five dollars produce a video review, for another five add your book to Listmania lists, and, for five dollars more, buy your book so that he shows up as a verified purchaser. Sneaky!

I had an email chat today with someone who seems to have been a client of both people. The writer acknowledged that they had made a mistake, being desperate to draw attention to a rewritten, re-edited version of their book following an extremely critical review, and so I asked if they would let me interview them about it, there being a lot of interest in – and bafflement concerning – the business of paid-for reviews at the moment. (We've just had the big flap about SFcrowsnest offering to review for a £300 fee, for example.)

Unfortunately the writer in question declined to be interviewed, and seemed quite distraught (and, I think, naive) about the whole thing, so I won't name names here, but these are the questions I wanted to ask:

  • How did you hear about the review services being offered?
  • What made you want to hire this reviewer?
  • Had you tried to find reviewers in the usual ways, submitting to magazines, blogs, etc? Did you try Goodreads giveaways or anything similar?
  • Why are you so desperate to get reviews?
  • Did you understand, when placing your order, that hiring people to write reviews of your book is unethical? Did you know that for a reviewer to post such reviews on Amazon was against Amazon’s rules?
  • Were you happy with the reviews that the reviewer produced for you?
  • When I read the reviews of your book, two things struck me. Firstly, that the reviewer said (on Goodreads) that she’d read your 600pp book in a couple of hours. And secondly that there is very little detail in her review. Do you think she actually read it? How much review do you think five dollars would buy?
  • Have you bought other reviews? And have you paid for other services on Fiverr?
  • Are you happier with the five-star reviews that you paid for, or the one-star review you got for free from a real reader? Which do you think you should trust?
  • Did you realise that if these shenanigans came to light you would look like a complete fraud?
  • You seem to admit fairly readily that you struggle with grammar and spelling, and so on. You hired an editor to work on your book, and then hired a second editor when the bad reviews came in. If you aren’t very good at it, why do you want to be a writer? What are your goals?

So I'm still waiting on the answers, but I can guess at most of them. The moral of all this: don't trust anything you read on Amazon, especially about self-published books. Assume it's all bollocks that someone's been paid to write and you won't go far wrong.

I spoke briefly to one of the reviewers too: she suggested I might want to start accepting money for reviews too. Hmm. I'll have to think about that.

And she explained that the review she was paid for was the one on her blog, not the one on Amazon. That one was just for free! I guess that's how they wriggle around Amazon's rules against this kind of thing.

(Why the picture of Superman super-smoking? Because this post is all about bad habits!)

Friday, 1 June 2012

Reasons why we will review your self-published book (maybe)

Inspired by a post on Gav Reads, giving his reasons why “Reviewers Won’t Read Your Self-Published Book”, here are a few (sometimes overlapping) reasons why we might well review your self-published (or self-published by proxy) book:
  1. It’s not too long.
  2. It’s the kind of thing we like.
  3. It’s the kind of thing our readers might like.
  4. The concept is interesting.
  5. The approach seems novel.
  6. It doesn’t look like a knock-off of something else.
  7. The first few pages weren’t boring.
  8. Your prose isn’t utterly pedestrian.
  9. We read something else you wrote and it was good.
  10. It looks rubbish, but in an interesting or amusing way.
  11. We haven’t had to deal with a nutter lately and we’ve begun to forget what a minefield reviewing self-published authors can be.
  12. You haven’t had a public meltdown over previous reviews.
  13. You, your publisher and your friends don’t harass reviewers on Goodreads and Amazon.
  14. The reviews on Amazon and Goodreads aren’t by your publisher, friends and family pretending they don’t know you.
  15. You know how to use punctuation.
  16. The first few pages of your book are not so full of errors that reading the book would clearly be something of a trial.
  17. We’re not in the right mood for any of the hundreds of books we’ve previously been sent (or the thousands that we own).
  18. Your Twitter, Facebook or blog posts are funny, intelligent or engaging, and that made us wonder what your books are like.
  19. You don’t use a pseudonym on forums to recommend your own books, or generally get up to scuzzy, underhand behaviour.
  20. We haven’t seen you swearing on Facebook every time you get a bad (or even mildly critical) review.
  21. You’re not pretending that the book was “traditionally published”, when your “publisher” is simply a paid provider of publishing services.
  22. Your email was polite, well-written and not full of daft claims about your book.
  23. It’s not book 5 in a series of 13.
  24. You’re not just in it for the money.
  25. You haven’t made a huge financial investment in the book that you're desperate to recoup.
  26. You sent us a proper ebook or a pdf of the typeset book, not just a pdf printed out from a Word file.
  27. You supplied the version of the book that is actually on sale, not an early draft.
  28. You didn't send us the book at all, but we bought it. 
  29. Having read it, we thought of something to say about it.
Pretty much the same reasons we decide to review (or read) anything… The chances of us reviewing any particular self-published book are pretty low, given the number of books we receive, but I think there tends to be at least one reviewed in each issue. If your book looks interesting, and you're not a complete jerk, we don't care who published it. Give us a try.

Thursday, 1 December 2011

Writing Raw: Amazon clamp down on paid-for reviews

I was immensely cheered today to read in Writing Raw that Amazon are clamping down on paid-for book reviews provided by author promotion organisations. Ironically, the article was penned by someone who runs one such website, Shirley A. Roe, of Allbooks Review.

Writing Raw is an online magazine that grew out of Raw Edge, a nice Arts Council-funded literary magazine that was handed out for free at libraries here in the Midlands. (I always picked one up, and our own Michael Thomas reviewed books for them.) The current issue is here, but apologies to future readers: from the look of it, old content on the site is scrubbed when a new issue is added, so I can't permalink to the issue, and I can't directly link to the articles I'm talking about.

Shirley Roe's article, "David vs. Goliath or Allbooks Review Int. vs. Amazon.com", can be found about two-thirds down the left-hand column on this page. It begins:
"Allbooks Review started in 2000 and has reviewed thousands of books, encouraging and supporting new and established authors for more than eleven years"
According to the Publishers' Area on the Allbooks website, the cost of a review is currently $45. Quite a bit of money for an author, although if you wanted to pay someone by the hour to read and review a book of any length it wouldn't come close to minimum wage. The FAQs reassure authors that "98% of our reviews are positive". Their Goodreads account is still up, and all books get either four or five stars, including, naturally, five stars for Shirley Roe's books.

Amazon have removed all of those reviews from their website, because:
"We found your reviews to be in violation of our guidelines and have removed them. Because of this violation, we've removed your reviewing privileges from your account."
Looking at Amazon's review guidelines, I would guess that this is the part of the guidelines that the company is said to be violating:
"Reviews written for any form of compensation other than a free copy of the product. This includes reviews that are a part of a paid publicity package"
Seems perfectly clear and sensible to me. Free books sent out to reviewers are fine, but reviews for which you have been paid are not. Another relevant part (and it's something that I will have to be careful to do in future) is that:
"If you received a free product in exchange for your review, please clearly and conspicuously disclose that that you received the product free of charge."
At the conclusion of the article, Shirley speaks of becoming the "Michael Moore of the book industry". Erm, no. The Michael Moore in this situation would be whoever noticed the thousands of paid-for book reviews that were potentially misleading consumers and got Amazon to do something about them. Ideally by way of a comical prank.

So, in short, good for Amazon.

To open the issue out a bit more generally, indie and self-published authors and their friends should really understand that in many regards a range of reviews is better than nothing but five-star reviews. A range of reviews looks honest. Think of your favourite book of all time, and look at it on Amazon: I bet it's got a handful of one and two star reviews (often from complete idiots, or relating to particularly bad editions, but you get my point).

By all means encourage your friends and family to read your books, and to review them on Amazon. But encourage them also to be honest and to disclose their relationship with the author. Do all you can to discourage them from harassing less enthusiastic reviewers. Someone doing this kind of thing is not doing you any favours. (That commenter is also responsible for the silliest, unfairest review I've ever read.) Even if they didn't like your book, those are your actual readers, and if your friends and family post harassing comments, mark their reviews as unhelpful, and so on, that's going to put them off ever trying and reviewing your work again.

If you want the wider world to treat you like a proper, professional writer, ask your friends and family to treat you like one as well.

The other article that caught my eye in this issue of Writing Raw was a guide to "How Book Awards Can Boost Your Marketing Campaign" by Mary Greenwood. (It's the first article in the left-hand column here.) She's not talking about serious awards, but rather about paying to enter your books in things like the ForeWord Book of the Year, which I think are called awards mills (though apologies if I have the terminology wrong). Note that like Allbooks Review, ForeWord provides a paid-for review service.

Though the content of the article is not untrue or misleading, I would suggest that a magazine like Writing Raw shouldn't really be encouraging its readers to pay "$50.00 to $150.00" to enter such awards. You may well be able to tag it onto your bio and make a few people think your book is a worthy award-winner, and it might even help sales, but – and this is a big but – these awards are there to exploit writers, to take your money. Even if you might get something out of it, should you encourage and participate in such exploitation? To readers who don't know what it is, a ForeWord Book of the Year award has no more weight than an award you made up yourself; to people who do know what it is, it is arguably worse than no award at all.

If you want my advice, instead of paying $45 on an Allbooks review or $150 on the ForeWord awards, set up a Goodreads giveaway. For that money you could send ten or twenty copies of your book out to real-life, independent, interested readers, all of whom have friends, online and offline, who trust their opinions and reviews.

Wednesday, 28 September 2011

Kindle Fire - but not in the UK

Bit disappointed that the new Kindle Fire isn't launching in the UK yet - although I imagine Amazon's recent investment in LoveFilm (and hence getting its hands on LoveFilm's streaming deals) means it'll be out here eventually.

Although I love my iPad, it mainly gets used for reading, listening to music and the radio, idle browsing and playing the odd game. The only serious work I do on it is proofreading. I do all my writing on our Samsung Chromebook nowadays: it has a proper keyboard, for one thing, and doesn't get annoyed when I try to use Google Docs.

The Kindle Fire looks to me like it can do almost everything I still use the iPad for, but is much, much cheaper. If it was available here, I'd have pre-ordered one already for Mrs Theaker's birthday. (Last year I got her a third generation Kindle, and she's used it pretty much every day since.)

Theaker's Kindle
The US is also getting the Kindle Touch, which has no keyboard, but does have speakers, and unlike the Kindle Fire still uses e-ink, which is great: I was worried by rumours that Amazon were planning to ditch e-ink screens altogether, and that would have been nuts. The iPad screen is great for reading comics or watching movies, but I wouldn't choose to read a long novel on one, and I imagine it'll be the same for the Kindle Fire. Bit worried by the touchscreen – the Sony Reader Touch was horrid – I spent more time cleaning the blasted thing than reading it – but I can't imagine Amazon would put out something quite that hopeless.

All the UK is getting for now is the new, ultra-cheap Kindle, which lacks speakers (so no audiobooks) and lacks a keyboard. For most readers, the trade-off in weight and cost will probably be worth it. It's down to 6oz now, apparently, which is old-timey talk for... checks with Google ...170g. About the weight of a small 200pp paperback. I think it'd be a downgrade from the Kindle I've already got (which is now renamed the Kindle Keyboard) – I love being able to make annotations with the keyboard – so I won't be getting one, but I imagine it'll do very well for them, especially at £89.

Sunday, 18 September 2011

SF Gateway republishing the complete Dumarest saga – and lots more besides

Although my collection of books is pretty big, there are gaps, even when it comes to my very favourite authors. Not for much longer! The SF Gateway plans to have 5,000 backlist titles back on sale as ebooks by the end of 2014 (press release here), and wherever possible they will be republishing the complete backlists of authors. Complete backlists!

This isn't new news, but the significance of it is only just starting to strike me. For example, a few weeks back I discovered a bunch of John Brunner books in the Kindle store I hadn't read before (e.g. The Super Barbarians, Manshape), and pre-ordered them – incidentally, the first Brunner books I've ever bought new instead of secondhand – and today I noticed that they're also reissuing all the Dumarest books (they're listed here on Amazon UK).

Fantastic news, especially since there are lots of gaps between the dozen or so in the series I bought on eBay a couple of years ago, after hearing of the series for the first time in a Craig Herbertson article for Dark Horizons. If they're all as good as the one I've read, I think they'll do very well on Kindle. They're ideally suited to the format.

I suspect other publishers may see the SF Gateway as a huge and rather worrying landgrab, but as a reader I love them for doing it. And so must the writers. I loved collecting secondhand books, but none of the money I spent on them ever went to the authors. I seem to remember reading that when John Brunner died, all his books were out of print. That shouldn't ever happen again to an author of that calibre.

Friday, 9 September 2011

Juliet McKenna: "Everyone can promote equality in genre writing"

Juliet McKenna has blogged (here) for SFX - the gender balance of whose reviews she's been tracking on her blog (e.g. here) - about the disparity between the proportion of genre books written by women and the proportion of books reviewed that are written by women. She suggests:

"Every reviewer can check their personal choices of books, to make sure there’s balance. Each reviews editor can do the same; monthly, quarterly, annually. If balance is lacking, we can ask why without necessarily accusing anyone of sexism."

I couldn't agree more. A month or two ago I started tracking the gender balance of books we were receiving - if it's working there should be a pie chart here to show where we currently stand:



At the time of writing (9 September 2011) the figure stands at 20.5%, so in theory at least 20.5% of my reviews would be of books by female writers and editors. I want to do a bit better than that, not least, as I've mentioned previously, because I'm unhappy with how few female writers have been appearing in the pages of our magazine.

So far the Even Stephens approach I've adopted - alternating my reviews between books by men, books by women (excluding comics for now) - seems to be working well. Apart from anything else, it makes choosing my next book that little bit easier.

It's interesting to note how it works against publishers who haven't published any books by women at all, and there are a few out there (for example...) - they're not in the running for half of my review slots.

Sunday, 14 August 2011

Are novels about to get shorter?

Changes in the book market have always had a big effect on the length of novels: compare the novels in your collection from the 1850s, the 1950s and the 2010s to see what I mean. We're now well on the way to ebooks becoming the lead format for commercial fiction, and I think that's going to lead to another big change: shorter commercial novels. Here are a few reasons why:

  1. People shopping for Kindle books don't seem to compare books by length the way bookshop buyers do.
  2. Economies of scale in printing stop being an issue.
  3. Low pricing of ebooks - if a 200,000 word novel sells at the same price as a 30,000 word novella (e.g. I paid more or less the same price for UR and The Colorado Kid that I paid for Under the Dome), it makes sense for the author to produce shorter, more frequent books.
  4. Ebooks don't disappear from the shelves as quickly; you don't need to snap them up just in case it goes out of print. So it's in the interest of writers to write books that readers finish, rather than just collect, so that when your next book comes out they're ready to read it.
  5. Shorter books are less work for everyone involved, so if people can make the same money selling short books that they make selling long ones, they will.

That doesn't mean every book will be shorter, any more than every book is now long - the small press will carry on doing its own thing, as will authors who can set their own terms - but I think these factors will exert a powerful downward pressure on the length of commercial novels over the years to come.

But I could be wrong - we'll see!

Friday, 12 August 2011

Kindle in the UK, almost a year in

Amazing to think that it is still less than a year since Kindle launched in the UK, given the impact it's had…

The bigger Waterstone's in Birmingham already looks like a gift shop downstairs, although I suppose that's not just down to Kindle – it's Kindle on top of all the bookselling Amazon was already doing. It's always been hard for Waterstone's to compete with Amazon's wide range of books, its low prices, and (not a minor issue for me) the good condition of the books on sale. But I think Kindle's the straw that's prodding them over the edge.

It was very nice on holiday this past week to have The Guardian delivered to the Kindle first thing each morning, and that finished I had dozens of books and audiobooks on there to choose from. The free internet access came in very handy as well. On the iPad, I had a bunch of graphic novels, the British Library's brilliant 19th Century Books app, articles, stories and interviews in the McSweeney's app, and access if I needed it to hundreds more books stored in Dropbox (use this referral link to earn me bonus space!).

It was also very nice to know, given where I live and what was happening here while I was away, that a big chunk of my book collection would survive any fire.

Monday, 4 July 2011

Online vilification

There’s been a lot of online discussion about Ian Whates’ slightly unfortunate article on Putting the Gender in Genre. The narrative being constructed is that Ian has been unjustly vilified and is coming under intense personal attack. That seems odd to me: what he's written has been criticised, but as far as I can see most of the personal attacks are all heading in the other direction, at the poor saps who dared to say anything.

A few comments collated from the web: “a witch-hunt”, “absolute idiots”, “complete idiots”, “deliberately antagonistic”, “hyper-ventilating zealots”, “I wish these guys ... would just STFU”, “I’m half ready to dismiss it as trolling”, “making-shit-up-to-‘prove’-your-point”, “mud-slinging”, “nasty, unnecessary, bitchy”, “nasty”, “how spiteful some people can be”, “people are being vile”, “pseudo-egalitarians”, “purposeful spite”, “ridiculous and nasty”, “silly and embarrassing”, “some people just enjoy spitting bile on the internet”, “someone’s sad little vendetta”, “spitting dummies out of prams”, “strident participants”, “they did make themselves look stupid”, “this is far into the land of internet idiocy”, “this kind of nonsense”, “unpleasant, mildly bullying, and a bit of an ass online”, “(lack of) thought process”.

I don’t think I’ve seen anyone say anything quite that rude and personal about Ian! And why would they! He’s not a terrible sexist, he isn't evil, he just isn’t, as Tricia Sullivan (one of the contributors to the anthology being discussed) observed, “up-to-speed” on the issues: “This is an area with a lot of 101-level issues still floating around, and unfortunately Ian’s recent guest post throws in some remarks that I would consider not-up-to-speed. … This discussion has come a long way in the last year or so online, and I get the impression that Ian may not have kept up with it as well as some who are posting here.”

I’m not even going to pretend I’m up to speed on these issues either. Put me on the spot and I’m sure I’d get myself into an even worse mess than Ian has!

But editors – and their sometimes over-enthusiastic defenders – shouldn't treat questions about the gender balance of their publications as a dreadful impertinence or a personal attack. Rather, they should expect them as the inevitable consequence of publishing a book with very few female contributors. It should be a question they are well prepared to answer, because they should have been thinking about it from the moment the contents page began to take shape.

Wednesday, 29 June 2011

Minefield, what minefield?

I'm basically a buffoon when it comes to gender issues, but here's a suggestion for publishers, editors and awards organisers...

Next time someone asks a  "drearily predictable" question about the slightly male-skewed gender balance in your publications or list of nominations, try saying "I know, I'm unhappy about it", instead of "it's not my fault and I'm sick of people complaining about this stuff".

By the way, we've got no contributions from female writers in TQF37, and I'm unhappy about it.

See how easy it is?

Wednesday, 1 June 2011

"Three in 10 households do not contain a book"? Nonsense, nonsense, nonsense!

An article on The Bookseller's website is doing the rounds today, bearing the provocative headline, "Three in 10 households do not contain a book", which would be pretty bad – if it were at all true.

The figure in the headline doesn't even slightly match the findings in the Literacy Trust's report, which I think can be found here: Book ownership and its relation to reading enjoyment, attitudes, behaviour and attainment.

The first thing you'll notice is that the report is based on a questionnaire sent out to schools, and so it has nothing to say at all about all the households in which there are no children. (You might well speculate that people without children in the house get more time to read than those of us who do have the little dears around!)

The three in ten figure comes from page 8, "Who has books of their own? Some background information". Three in ten children don't own books of their own. That's not good, of course, but you might guess that lots of those are little brothers and sisters.

On page 11, you can see Figure 5, which gives the information about whether there are books in the home. (The report at this stage does warn you, by the way, that "the accuracy of these figures should be taken with a pinch of salt".)

Here we learn that of those 30% of children surveyed who didn't own books themselves, only 9.4% live in houses without any books at all. That is, I think, only 2.82% of all kids.

We also learn, weirdly, that of the 70% of children surveyed who did own books themselves, 0.06% lived in houses where there were no books at all (they must keep their books at Grandma's!). That makes another 0.04% of all children, I think.

I'm not terribly good with stats, but I make that a total of only 2.86% of all children living in households without books. About 1 in 35 households, rather than 3 in 10.

2.86% is bad enough, of course, but not quite as chilling as the 30% suggested by the Bookseller's careless article…

Saturday, 9 April 2011

We hate it when our friends become successful...

...especially when they are at least a dozen years younger and so very much better looking!

Bitter, crippling jealousy aside, we're really, really chuffed for Theaker's Quarterly Fiction (and Dark Horizons) contributor David Tallerman, who has just been snapped up by up-and-comers Angry Robot – and an agent too. Here's the info about the first book:
"The notorious Easie Damasco is a rogue and a thief and a scoundrel, who somehow always lives to see another day. In the first of his outlandish adventures, Giant Thief, Damasco manages to steal the wrong treasure and ends up with an entire army on his tail. Riotous swashbuckling adventure in the popular tradition of recent fantasy successes Scott Lynch and Joe Abercrombie, the Easie Damasco adventures will run to at least three books."
More details here and here. Congratulations to David – and to Angry Robot!

Friday, 25 March 2011

The sky is falling! PS Publishing publish ebooks!

PS Publishing have always combined a commitment to quality in fiction and production with a willingness to embrace experimentation. Not just in the texts they publish, but also in their publishing: for example they were supplying pdfs for review to bloggers years before Netgalleys was around. The review section of our magazine pretty much owes its existence to that generosity.

I'm delighted to see that they have now begun to publish ebooks. What's more, they've settled on much lower prices than originally announced.

We've reviewed six of those announced, and all were well worth the tiny amounts of money being charged:

  • LIVING WITH THE DEAD – Darrell Schweitzer, £1.99 – our review
  • THE BABYLONIAN TRILOGY – Sébastien Doubinsky, £3.99 – our review
  • WHAT WILL COME AFTER – Scott Edelman, £3.99 – our review
  • SONG OF TIME – Ian R. MacLeod, £3.99 – our review
  • GILBERT AND EDGAR ON MARS – Eric Brown, £1.99 – our review
  • THE LIBRARY OF FORGOTTEN BOOKS – Rjurik Davidson, £1.99 – our review

Also publishing at £3.99 are these titles:

  • THE LAND AT THE END OF THE WORKING DAY – Peter Crowther
  • BLACK WINGS – ed. S.T. Joshi
  • CATASTROPHIA – ed. Allen Ashley
  • A YEAR IN THE LINEAR CITY / A PRINCESS OF THE LINEAR JUNGLE – Paul Di Filippo
  • CLOWNS AT MIDNIGHT – Terry Dowling
  • CAGE OF NIGHT – Ed Gorman
  • OUT THERE IN THE DARKNESS – Ed Gorman
  • THE MOVING COFFIN – Ed Gorman
  • SEEING DELL – Carol Guess
  • DARKNESS ON THE EDGE – ed. Harrison Howe
  • GRAZING THE LONG ACRE – Gwyneth Jones
  • TALES FROM THE FRAGRANT HARBOUR – Garry Kilworth
  • MOBY JACK – Garry Kilworth
  • DIVERSIFICATIONS – James Lovegrove
  • CINEMA FUTURA – ed. Mark Morris
  • URBIS MORPHEUS – Stephen Palmer
  • LITERARY REMAINS – Ray Russell
  • OSAMA – Lavie Tidhar
  • THE PAINTING AND THE CITY – Robert F. Wexler

And for £1.99 you will be able to get these novellas and shorter collections of short stories:

  • THE EXTRAORDINARY VOYAGE OF JULES VERNE – Eric Brown
  • STARSHIP SUMMER – Eric Brown
  • STARSHIP FALL – Eric Brown
  • STARSHIP WINTER – Eric Brown
  • THE BROKEN MAN – Michael Byers
  • THE MERMAIDS – Robert Edric
  • THE LIVES OF SAVAGES – Robert Edric
  • HOMESCHOOLING – Carol Guess
  • REUNION – Rick Hautala
  • SEVEN CITIES OF GOLD – David Moles
  • THE LANGUAGE OF DYING – Sarah Pinborough
  • THE ENIGMA OF DEPARTURE – Nicholas Royle
  • IMPOSSIBILIA – Doug Smith
  • CLOUD PERMUTATIONS – Lavie Tidhar
  • GOREL AND THE POT-BELLIED GOD – Lavie Tidhar

And lots of individual short stories are available too, for just 79p.

The titles are available in DRM-free epub and mobi formats (suitable for Sony Readers and Kindles respectively, along with many other devices) from the ebooks section of the PS Publishing website. There are at least half a dozen titles there that I'll be buying as soon as they become available…

Thursday, 28 October 2010

There are no stories by women in the next TQF...

Peter Tennant, having read literally thousands of anthologies for the latest review column in Black Static, has produced a fascinating analysis of the gender balance in them: see Women in Horror Anthologies.

Peter asked Best New Horror editor Stephen Jones about this issue in an interview for the most recent Black Static, and coincidentally I asked Catastrophia editor Allen Ashley about it too, in an interview for the last issue of Dark Horizons, and both gave pretty much the same reply: I choose stories by quality, I don't have a quota system, etc.

This stuff is on my mind at the moment: there are no female contributors to the next issue of Theaker's Quarterly Fiction. And both books by women reviewed in this issue get a bit of a pasting.

I'm a bit unhappy about how that looks, but I do think our ratio of acceptances of stories by women is pretty much in proportion with our ratio of submissions by women.

When larger magazines make that point, the answer is usually that they should reach out to female writers and encourage them to submit, but that's not really an option for a non-paying zine like ours.

And even with bigger magazines that can be awkward: asking someone to submit puts you in a difficult position if the story they submit – the one they have written especially for you! – is not their best work.

On the website of Mslexia there's a thought-provoking article on women in writing, one which I think anyone working in the field should at least read: Three Cures for Mslexia.

One thing in particular caught my eye, in the context of discussing lower submission rates from women:
"The only exception we found was for writing competitions, where for some reason women seemed less inhibited: perhaps because competitions seem more of a lottery, and so less personally threatening; perhaps because it’s easier for them to find the time to complete a single poem or short story for a competition."
My experience with the BFS bears out the idea that women submit in greater proportions to short story competitions. 43% of the entries to the BFS short story competition this year were from women, while only 15% of submissions to Dark Horizons in the same period were.

(The competition and the magazine were both open to all fantastical genres. The same person was in charge of both, and both received roughly 150 submissions in that period.)

I don't want to go very far in speculating why the difference is so huge, but I think the perception that a competition is fairer must be a factor. The short story competition rules get disseminated further, through competition magazines and websites, so that might be another. Is losing en masse more appealing than being personally rejected? Does the prize make a difference? Are men just more willing to give their work away to non-paying markets?

Trying to answer some of those questions could very quickly lead the unwary onto dodgy ground. But it does seem to me that from examining the differences in submission rates, and the reasons for those differences, a way might be found to encourage more submissions from women, and hence publish more stories by women – which would be brilliant.

Sunday, 17 October 2010

Why aren't I reading my print books any more?

Yesterday I blogged about my realisation of how few of my print books I've been reading lately. The last time I read a print novel that I bought was in January of this year; the time before that was in 2008. I've got about 1100 unread books on my shelf – at the current rate I'd be lucky to read 50 of those before dying!

So naturally that got me to wondering why I've stopped reading them.

Getting lots of books for review

This is clearly a big factor. I'm getting lots of brand new books to review all the time. Nowhere near as many as Book Chick City, but enough to keep me ticking over. The novelty of a brand new book makes it more attractive, while the deadline for a review gives the reading a bit of urgency. Reading new books for review obviously leaves less time for digging into my collection.

But looking at my list of books read over the last couple of years, when I have had a break from reviewing, I haven't gone to my print books. I've bought books for the Kindle (Best Served Cold, Bauchelain and Korbal Broach, The Third Man, UR), and before that the Sony Reader (The Eyre Affair, Elder Scrolls: The Infernal City) or grabbed them for free from Feedbooks (The Pirates of Zan), Project Gutenberg (Stand by for Mars!) or the Baen Library (The Sea Hag).

So this can't be the only factor.

The chain effect

If I finish reading a book on the Kindle, chances are I just open up the next book I fancy on the Kindle and start reading that. My tolerance for hunting through my bookcases for particular books has withered away to nothing, for one thing! But also, when I finish a book I'm rarely sitting in my study surrounded by my print books. I'm usually lying in bed. Sometimes I'm on a bus or a train, or at the in-laws, or at a friend's house. If print books aren't handy during that crucial handover from one book to another, they're locked out until the next time I finish a book; my ebooks are always close to hand.

The way I buy books has changed

In the past, I would see a book I wanted and buy it right away, because it would probably be gone the next day. Even now, with Amazon, new books can go out of print very quickly. With ebooks it's a bit different. The publisher may eventually withdraw the book from sale, but they're not going to run out of copies, or dither over whether to reprint. I don't need to hoard books any more. So instead of buying everything I see, I download a Kindle preview, and once I've actually started reading the book – and if I like it – I buy it.

My bookshelves, on the other hand, are full of stuff that I thought I might want to read at some point. Graham Greene, Carl Hiaasen, James Ellroy, Marion Zimmer Bradley, C.J. Cherryh, Emile Zola, William Shatner. Great writers all, and I've read a novel or two by each of them. But I've anything up to a dozen more by each on my shelves, and I'm not desperate to read any of them right now.

The Mammoth Book of Best New SF 22Then there are the anthologies, the Best New Horrors, the Best New SFs, Year's Best Fantasy and Horror, the Black Books of Horror, the Humdrumming Books of Horror, the Derleth, Haining and Greenberg anthologies – nothing wrong with any of them, but they've been sitting on my shelves for years waiting for me to feel like reading them, and as Shatner himself sang, it hasn't happened yet.

Now, I tend to only buy books on the day I'm going to read them. All those books on the shelves? I still might read them – someday – but probably not many of them.

Reading is nicer on the Kindle

Here's the nub of it. Paper books are not as much fun to read.

I'm not a booksniffer. Booksniffers are those people who, at the mention of ebooks, say things like "Ah, but you can't beat a real book", and accompany those words by opening out their hands as if they were the pages of a book, and for bonus points lift up the imaginary book to their noses for a sniff. They often close their eyes while doing this, which is an odd way to approach reading.

The strange thing is that, too often, they don't just express this idea as a personal preference, but hold it to be a universal truth, and are frequently shocked – and even angry – to hear people disagree. They honestly believe that people who buy ebooks do it under protest, or through aesthetic weakness, or in the dazzle of novel technology (pun intended), and so on. Some will even say that people using ebooks are deluding themselves.

But nope, for me, reading books on a Kindle is a much better experience than reading in print.

Of course, I accept that some people will always prefer print books. Maybe they really couldn't live without the smell of book mould. Many seem to expect an imminent apocalypse, given how worried they are about not being able to recharge a Kindle every three weeks. Most haven't even seen a Kindle, but know for certain that it's just like reading on a computer screen. They shouldn't worry: there will always be publishers and booksellers to cater to their fetish for paper.

The Penguin Concise English Dictionary (Penguin Reference Books)But it is a fetish. From the Penguin Concise English Dictionary, a couple of relevant definitions. Fetish: "an object of irrational reverence or obsessive devotion" – check! And fetishism? "The displacement of erotic interest and satisfaction to a fetish." Exactly: the object of a reader's interest should in theory be the text of a novel, not the paper it is printed on. Displacing the interest from the novel to the paper is fetishism.

I'm still reading a few paper books every month for review, and my goodness they're annoying. Not in any big ways, but in lots of little ways that add up to an inferior experience overall.

Here are a few of the ways paper books annoy me:
  • You have to transcribe any passages you want to quote – you can't just copy them across.
  • You have to choose between using a bookmark to keep your place, or folding back the book's corners.
  • The only way to search the text for a phrase is by re-reading the book.
  • You can't read them in the rain.
  • Lots of them are heavy.
  • And bulky.
  • Reading them in bed on your side is a nightmare.
  • The text often disappears into the spine.
  • Reading the book damages it.
  • You can't change the size of the font when your eyes get tired, or when you get older and short sighted. If you need to read a print book in large print you have to hope someone publishes a large print edition.
  • You need to buy – and build! – bookcases to store them on. They take up most of your house, if you let them. (And boy have I let them!)
  • All those books are a huge fire risk.
  • And once you've got them on those shelves, the only way to put them in order is to do it manually, one book at a time.
  • And if you sort them by author, but then say want to see them sorted by publisher, date bought, date read, title or genre, it takes more than just a single click. They need to be re-sorted one by one, a process that could take days if you have as many printed books as I do. In practice, you will probably never sort your books in this way.
  • When you buy a bunch of new books? You have to shuffle all the books on all the shelves along to make room. And probably buy a new bookcase. And build it. Or throw some books away.
  • They are incredibly wasteful. Do you know how many books Oxfam pulps every year? How many are destroyed by bookshops who rip off the front covers to claim returns?
  • No built-in dictionary. You need an extra book for that.
  • No built-in encyclopedia either. Again, you need an extra book for that.
  • No built-in highlighter. You can highlight with a pen, but it permanently defaces the book.
  • If you do make notes in your print book, or highlights, you can't just export them to your computer. You have to type them all up.
  • If you want to buy a new book, you have to either wait a few days for it to be delivered, or go and collect it from a shop.
  • People look at you funny if you stand in a shop and read the first thirty pages of a book before buying it.
  • If you leave the house with a new book and it turns out to be a lemon, you're stuck with it. You can't just switch to one of your other books.
  • Paper books don't read themselves to you while you're cooking!
  • If you go on holiday or travel for more than a day there's a limit on how many paper books you can take with you, and on how many you can bring back with you (I brought a suitcase full of books back from my honeymoon in Paris, and wished I could have carried twice as many.)
  • If you buy a new paper book, only one person in the family can read it at once. You can snuggle up with the spouse and read together, but that only works as long as you're on the same page.
  • When you've read a book, you can either keep it forever, in which case it'll take up space in your house until the day you die, or you can sell it or give it away to charity, in which case it will be gone.
  • You can't carry all your books with you wherever you go. If a paper book makes an allusion to another book you've read, you can't check it till you get home. When reading Tony Blair's A Journey (perhaps unsurprisingly the only Kindle purchase so far that I didn't manage to finish!) there was a reference to the rewriting of clause 4. Did it agree with Mandelson's account in The Third Man? I wasn't sure, so, despite being in a pub, I switched to that book, searched for clause 4, and re-read Mandelson's version.
    A militant booksniffer will have a counter-argument for all of these. They don't read in bed, so it doesn't matter if books are hard to read lying on your side. Their shelves are all in perfect order. Their eyes never get tired. Or they have a magnifying glass. They don't need bookmarks, because they remember what page they were on. Wanting to copy quotes instead of transcribing is lazy.

    A lot of booksniffer arguments come down to laziness. Yes, they seem to say, paper books are a bit inconvenient, but if you weren't so lazy, you'd put up with it. The implicit argument is that print books are worth making the effort, that we're not working hard enough to keep them alive. But why should we? I care about novels being published, but I couldn't care less whether they're printed on paper or not. I spend hours every day reading, and so I want to make that time as pleasant as possible. For me, reading print books is like putting my TV on its side: I could still watch all the programs, if I made a bit of an effort and tipped my head, but why put myself to that trouble?

    Kindle Wireless Reading Device, Wi-Fi, 6" Display, Graphite - Latest GenerationFor some readers, each and every one of those counter-arguments will hold true, and the Kindle really would be no benefit at all to them. For example, Quentin S. Crisp has pulled a few examples out from the above list here with the intention of showing that none of them are particularly significant, but that's kind of the point. They're all very small things, but small things add up. The result, for me, has been that when I've come to choose what book to read next, the paper books have been at a disadvantage. The reading experience on the Kindle is a little bit better in every way, which in sum makes it quite a bit better overall.

    It's like Hobnobs: I love the originals, but I very rarely buy them any more, because Chocolate Hobnobs are just that little bit tastier!

    Conclusion

    So I think those are the reasons I'm not reading my collection of print books any more. No big revelation, no great insight: they're just getting squeezed out by books for review, by books on the Kindle, by their own general awkwardness and inaccessibility. When I read a paper book now I find myself having to develop workarounds to do the things a Kindle would let me do without any trouble!

    That's not to say I don't still love the paper books I own, or that if I lost my Kindle or Sony Reader I wouldn't go back to them, but they're second best now. Not by much – maybe just by a fraction – but by just enough that I never seem to pick them up any more, and I think the rate at which they are being shipped off to charity shops is only going to increase.

    Saturday, 16 October 2010

    Is there any point in buying print books if I'm not going to read them?

    I was thinking this morning about buying the new collection of short stories by Johnny Mains, With Deepest Sympathy, from Obverse Books. It looks interesting, and I liked the last book I read from that publisher.

    But it's not out on Kindle, which made me think: am I ever going to read this? When was the last time I bought and read a book in print? I couldn't actually remember. So I went to look at my list of books read on Goodreads.

    Leaving aside the Penguin 60s I used to read when collecting the children from school, I found that during 2009 and 2010 I read just one novel or short story collection that I bought in print format.

    It was Mass Effect: Revelations, by Drew Karpyshyn, back in January of this year, when I was in the full throes of a Mass Effect obsession.

    The one before that was all the way back in December 2008, when I read Derai, a fine book in E.C. Tubb's Dumarest series, and then October 2008, for Deb Olin Unferth's interesting novel from McSweeney's, Vacation.
     
    VacationI read books in print when they're submitted for review, of course, and I have bought the odd book in print this year, most recently The Seventh Black Book of Horror – I was keen to read the infamous "Bernard Bought the Farm"!

    But buying print books – and filling up my house with them – starts to seem a bit pointless if I'm only going to read one or two of them a year – or none at all in 2009.

    In fact, when I do fancy reading one of the paper books I own, especially the hardbacks, my first thought is to look it up in the Kindle store. I'd rather pay a few extra quid and read it on Kindle...

    Sunday, 10 October 2010

    Lulu introduces discounts

    Interesting news from our friends at Lulu: publishers may now set a discount on books sold there.

    It seems like a small thing, but it goes to the heart of a long-standing problem.

    For books distributed via Lulu to other booksellers, such as Amazon, you would have to set a price sufficient for the book to not lose money after Amazon took its cut. The price needed to make a profit via Lulu, however, was much lower.

    Once upon a time, users were able to set one price for Lulu, and another for distribution, but under pressure from other booksellers Lulu removed that feature.

    The result was that books on Lulu ended up being more expensive than they needed to be, just so that they wouldn't make a loss on Amazon.

    To put figures on it, a 160pp paperback would only need to be about £4 to make a profit on Lulu (like TQF), but would need to be closer to £6 or £7 if being sold on Amazon as well (like our books).

    Some people got around this by creating two editions of their books, one for Lulu and one for distribution, but this is much better and should make people really happy.