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John Scalzi’s righteous assault on bad deals for authors continues, with a look at a contract from Alibi, a sibling imprint of the previously discussed Hydra. The downsides look very similar and the upsides are few and very far between:

A Contract From Alibi

So, don’t ask me how, but I have in my hands (from what I consider a reputable source) a contract from Alibi, which is the sibling imprint of Hydra, the Random House imprint that I thumped on roundly in the previous entry.

And if you need more evidence that signing over all rights for the term of the copyright is a terrible idea, check out this DBW piece on Wool author Hugh Howey’s latest contract. He cut a deal with Simon & Schuster for print rights only to the tune of a seven-figure advance. Yes, apparently Howey’s self-published e-books were bringing in $150k a month already, but no matter who you are, why sign your work over to anyone else for nothing? Heck, you’d be better off printing your book out and using it for party invitations. Or tinder. Or any other use you can think of that is controlled by you and not someone else.

Just saying.

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A great discussion is going on right now over on Whatever, John Scalzi’s site, around publishing contracts. Specifically, Random House’s new science fiction imprint Hydra is (so far as has been determined) acting as a vanity press. No advance, signing over copyright forever, and the author pays for expenses. In sum, Hydra somehow manage to make the music industry’s often exploitative contract terms look more reasonable in comparison.

Read John’s excellent salvo here:

Note to SF/F Writers: Random House’s Hydra Imprint Has Appallingly Bad Contract Terms

Random House recently started Hydra, an electronic-only imprint for science fiction stories and short novels. But, as noted by Writer Beware here, the terms in a Hydra deal sheet shown to them are pretty damn awful…

I’d say this is a must-read for all new or un-agented (i.e. unprotected by someone with industry experience or a lick of financial sense) writers. John’s right, there’s no justification for terms as bad as these.

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I’m fiddling. I have several stories in progress, some of which are really quite close to completion, or should be. Except that I’m fiddling. I’m spending way too much time trying to get it “right” and not enough time trying to get the work done. Because it’s never going to be perfect.

Parkinson’s law: Work expands so as to fill the time available for its completion.

What I really need is a deadline.

Perhaps I should decree March my personal “Short Story Finishing Month,” or ShoStoFiMo. Yes, that should do nicely.

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More free stuff available, this time it’s Mary Robinette Kowal putting out a novelette in honor of her 44th birthday (it was on February 8th, but better late than never). Here’s her intro to the piece:

This is “The Lady Astronaut of Mars,” which I wrote for Audible.com’s anthology, RIP-OFF!, edited by Gardner Dozois. It’s a fun anthology. Each story starts with the first line of a classic novel. Mine starts with the first line of The Wizard of Oz.

Happy belated birthday, Mary, and thanks!

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Oooh, shiny!

If you are at all interested in good writing or genre fiction, check out Stupefying Stories’ “The 2013 Campbellian Pre-Reading Anthology.” The name is a bit of a mouthful but get past that and you are in for a treat. This collection contains 80 short stories by authors eligible for this year’s John W. Campbell Award for Best New Writer award, and all free free free.

Limited time offer, get yours today!

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** This happened in November but it fits so perfectly with my current mood that I decided to post it today.**

It was a fine day, although just before I started work on my novel the cat got out of the yard and I ended up with sixteen bandages and a lot of bleeding. Nothing too horrific, just lots of scratches and some annoying flaps of skin, but I am now pleased to know that I am the sort of person who can have four bandaids on one hand and still write almost 3,000 words. It was actually really satisfying, I must say.

That brings to mind a Neil Gaiman quote that I hope serves you as well as it has me:

“When writing a novel, that’s pretty much entirely what life turns into: House burned down. Car stolen. Cat exploded. Did 1500 easy words, so all in all it was a pretty good day.”

Finish the damn story. You’ll be happy you did.

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photo by Benimoto on Flickr

photo by Benimoto on Flickr

I’m writing. How’s it going? Not bad, considering. Ann Patchett has a terrific essay called The Getaway Car. One particularly telling passage details her view of writing. While the work is in her head it is perfect, she says, a beautiful, multi-dimensional butterfly in the most magical and vibrant colors. The problem with bringing the story into being is that she has to take that gorgeous creature and smash it onto a black and white page, a two-dimensional and wholly inadequate representation of the original.

It made me laugh and want to cry because I know exactly what she means.

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I am relatively new to fiction writing. I submitted my first story in 2011 and have been fortunate enough to have some success publishing since. That said, I have also had an awful lot of rejections. Here’s the thing: I’m an academic. Ok, not anymore, but once upon a time. Getting a Ph.D. was terrific but did a number on my writing. What was I left with? Verbiage. Semi-colons. Colons. And commas, lots and lots of commas. Ever heard of a tale titled “An In-Depth Analysis of One Woman’s Experience with Conflict, Work, and Marriage: A Speculative Analysis of Gender Roles, Cross-Generational Attitudes, and Female-Centered Power Struggles in Medieval Europe”? No, because it’s a lot easier to just say “Cinderella.”

No matter what your background, writing for others is awash with rejection. I dare say that even writers like Ken Liu and John Scalzi have been rejected a time or two. The good news is that it’s not all bad. I’ve got a piece on blazing your own trail, and the potential usefulness of rejection in that process, over at the Clarion Foundation today. If you’re interested in ways to make even this potentially unpleasant experience work for you, check it out.

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I stumbled on this TED talk by Elizabeth Gilbert yesterday and loved her characterization of creative genius as something that we encounter, rather than have (or, more devastatingly, do not). Sure, it could be considered a cop-out, but any idea that can help artists move forward while avoiding the pitfalls of despair seems like a good thing. Also? She’s funny.

 

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