A Scam Hiding In Plain Sight

I think I may have mentioned this on Twitter awhile back, but I came across this again and wanted to post it here. Basically, a recent trend in small press anthologies have this kind of payment:

Editor's Favorites Authors of the editor's top 3 favorite stories will receive the following payment: 1st Place - $50.00 + 1 contributor's copy of the book 2nd Place - $25.00 + 1 contributor's copy of the book 3rd Place - $10.00 + 1 contributor's copy of the book

All other authors will receive EXPOSURE ONLY (no payment, no contributor's copy)

Anyone see anything wrong with that? I understand how hard it is for publishers, how there's very little money to fund a project, and if there is very little money to fund a project, maybe some of these publishers should be think twice before announcing such a project.

It's always nice to get paid for my writing, but sometimes I'm happy with taking just a contributor's copy if one is available. But why would I submit to an anthology that only pays three of its contributors with money and a copy of the book and doesn't give any of the other contributors anything? (Keep in mind that this is an anthology that will probably be read by hardly anyone else besides the contributors.) It's like the writers submitting are participating in a lottery, though not a fair lottery. Because it wouldn't surprise me if the top three stories happened to be awarded to somewhat more established writers (thought I can't imagine many somewhat more established writers would submit to these types of projects in the first place).

Basically, the horror/sf community frowns upon markets that don't pay. So some of these publishers have found a loophole. They will only pay three of the contributors, so they can still be considered a "paying market." And yet ... and yet ... writers will still submit to them.

But as they say, such is life.

Conception Of Inception

In case you haven't seen it yet, the Wigleaf Top 50 has been announced. This year's selecting editor was Brian Evenson. The top 50 is a must-read for flash fiction writers and readers alike. Years ago when I started submitting to online markets, Wigleaf's top 50 introduced me to a number of new markets and helped me understand just what kind of really great work was being put out there. Also check out the long shortlist. I'm honored that my story "No Shirt, No Shoes, No Service" was selected. Big thanks to Scott Garson and Ravi Mangla at Wigleaf, and Jensen Beach at Hobart.

And it looks like my friends over at Narrative Magazine have given up the pretense of charging obscene fees for regular submissions and are now just begging for money. Blake Butler tells them where to stick it over at HTMLGIANT.

Finally, for your Freaky Friday Fun, I present to you one of the best movie trailers I've seen in awhile. Because Hollywood has this thing where they like to show you as much of the movie as possible in the two minutes or so that the trailer runs -- if it's a comedy they show all the funny parts; if it's a thriller they show you all the high action parts -- it's refreshing to find a trailer that actually makes you want to see the movie. It also doesn't hurt that the film is written and directed by Christopher Nolan, who is without a doubt one of my favorite directors working today. I saw Memento when it first came out (and I mean when it first came out; this was in an indie art house a month or two before it made it to major theaters) and I liked Insomnia and The Prestige for what they were and I absolutely loved Batman Begins and The Dark Knight. I also have his second film Following around here somewhere which I hope to watch soon. But his latest, a film called Inception? I haven't been this excited to see a movie since the first Matrix sequel. Here's the trailer, which features yet another excellent score from Hans Zimmer:

httpv://www.youtube.com/watch?v=z75o-F6ja2I

Pretty kewl, no? You ain't seen nothing yet. Because here's a mashup trailer done with Inception and Toy Story 3. Enjoy, and have a great weekend.

httpv://www.youtube.com/watch?v=jHJwgA54Gqk

Talking In Circles

It is clear that many methods of traditional publishing are undergoing seismic shifts. The notion of self-publishing does not carry the same stigma it did just a few years ago. Yet there is a danger in self-publishing that becomes clear when you compare these two authors, and how they got to where they are. I wonder, with the incredible ease in which authors can now publish their rejected manuscripts online, whether fewer authors are going to take the time to hone their craft, get good at what they do, and achieve their full potential. Will new technology stifle budding talent?

-- Jason Pinter on the "Konrath" Effect

I don't know about anyone else, but I'm getting a little sick and tired hearing the same old bitchfest about how print publishing is dying and how electronic publishing is the way of the future and everyone needs to accept it now and you might as well self-publish your work because nobody else will publish it for you and blah blah blah.

While I don't agree with everything Mr. Pinter says in his article, I find the comments to the article completely fascinating in one of those "Oh my God I can't believe I'm actually wasting my time reading this" sort of ways. Basically, the commenters are people who don't fully understand publishing but think they do and getting in arguments with others who don't fully understand publishing but think they do. Here's a taste of the inane babbling:

Traditional publishing can't die soon enough for me. They've screwed good authors over for decades and now writers are finding ways to circumvent this closed, inbred world. Sure it means a bunch of crappy writers will put a bunch of drivel out there, but I guarantee that there will be literary gems that are self-published too. The jig is up, and traditional publishers' game is almost over. Hooray.

Look, I'm not saying I know all the ins and outs of publishing, but I know enough not to get into pointless debates over it. The fact is yes, ebooks are coming into their own. Does this mean print publishers will disappear? No. While before publishers were very fickle in which books they published, they'll become even more so now. But publishing is publishing -- it will never go away. It might downsize some, but you will still have some kind of major publishers around publishing the big-name authors and taking chances on no-name authors. And then you'll have places like Amazon who will sign on authors exclusively (think of it like the iPhone -- if you want to use the iPhone in the United States, you have to go to AT&T no matter how much you might not want to; the same applies here, so if readers want to read a certain author's work, they must purchase it from a certain store, i.e. Amazon).

There are many different writers out there, and just because self-publishing is now only a few clicks away doesn't mean those writers with great talent and potential who want to have their books distributed in major bookstores are simply going to give up after a couple rejections. No, they're going to keep writing and submitting and who knows, maybe it won't happen, maybe it will, but they're nothing like the other kind of writer who gives up after a few rejections or who maybe decides that they don't even need to try to begin with and just self-publishes their book right away. (Yes, yes, you have uploaded fifty novels into the Kindle Store, good for you, but how many of those books have actually sold and are being read by people other than your family?)

Let's face it -- Konrath has certainly set a precedent by signing with Amazon. What's more, that one kind of writer will see this as an inspiration and figure, hey, I can do the same thing. Only it's not that simple. I mean, Stephenie Meyer is making millions of dollars off her books, but that doesn't mean I'm working on a bunch of different vampire novels right now. What works for one writer isn't going to work for another -- hell, it probably won't work at all.

Writers write. Or at least that's what they're supposed to do. How much actual quality writing can writers get done while arguing with other writers in comment sections of articles (published at The Huffington Post no less!)? If these writers worried more about their own books and learning to become better writers they wouldn't have to bitch and moan how nobody wants to publish them so they're going to publish themselves and make lots and lots of money like Konrath.

But hey, that's just me. What the hell do I know?

Beatrice & Virgil & Ripped Off Readers

Last month Erin Fitzgerald was kind enough to send me a copy of Beatrice and Virgil, Yann Martel's latest self-proclaimed masterpiece. Here is the author himself telling you what it's about (don't mind that he comes off as a massive douche; he's just very successful):

httpv://www.youtube.com/watch?v=IYZH2drbfR8

Last year the New York Times reported that Yann Martel got a $3 million deal for the book:

After a monthlong auction Spiegel & Grau, an imprint of Random House, one of the world’s largest publishers, bought the rights to publish Mr. Martel’s third novel, as yet untitled, in the United States sometime next year. Like “Life of Pi,” the new book is an allegory — this time about the Holocaust — involving animals. It relates the story of an encounter between a famous writer and a taxidermist who is writing a play that features dialogue between a donkey and a monkey, both imprinted on a shirt.

Of course, in the article Martel declined to talk about his advance, saying, “Frankly, with all the years it took to write this book, if you amortize it out, it’s not as much as one would like it to be.”

Uh-huh. But here's the thing. The book itself is about 200 pages. With the font size and layout, I'd be surprised if the word count is anywhere over 60,000 words. So yes, it took him over seven years to write that many words, but the sad part? Not many of those words are very good. You'd think if the publisher was paying him close to $3 million (which, let's be honest here, is a nice chunk of change) they might -- oh, I don't know -- have an editor actually go through the MS and fix it up. And who knows, maybe they did, but the book I read felt like it had been written by a high school student -- and not even an above average high school student.

Also, there are seven pages of Beatrice and Virgil discussing what a pear is. Seven pages!!! I'll admit, I skimmed most of this book, and I'm glad I did. The main problem I had with the story is that the author tries to play up this great mystery of what the taxidermist's play is supposed to mean, while almost every reader going into the book already knows it's supposed to be about the Holocaust. That's like going to see The Sixth Sense already knowing that Bruce Willis is dead (sorry if I spoiled that for anyone; if I did, watch Stir of Echoes instead, it's a much better film).

The book has gotten panned pretty much everywhere. This makes me happy for some strange reason. In fact, the only reason I had any desire to even crack open the book was because of how bad it was supposed to be. And you know what? It's even worse than they say. I recommend everyone read it just to see how bad it is. I'm going to be talking more in depth about negative reviews sometime later, but for now, here's how Martel deals with them (notice how he compares himself to Tolstoy, Shakespeare, and Dante):

What's In A Name

Let's talk about characters for a moment, shall we? Almost every story has them. They're crucial. Without characters, there really isn't much to propel the plot. Even stories that are "character-driven" have a plot of some kind, a story that is happening. So yes, characters are important.

But what about character names?

Oftentimes writers will assign names to characters without really evaluating whether or not the assigned name is the very best name. I know I've done it. I'm writing a story and a character pops up out of nowhere and I look around at books or magazines or whatever is close by to try to come up with a name for this impromptu character, a name that (hopefully) fits. And sometimes, well, I don't give any of the characters names. As Ben Loory (a writer who never gives his characters names) once said, names just get in the way.

Looking back at the stories I published last year, the majority of them consisted of characters without any names. And was anything lacking in those stories because I had not given those characters names? Some will argue yes. In fact, I remember when I published "Incomplete" last year a commenter said something to the effect that he/she related better to stories when the characters are given names. It was such an odd, asinine comment that it has stuck with me ever since. I mean, even if those characters in "Incomplete" -- the boy, the father and mother -- had names, would that have improved the story? If anything I think the story would have less of an effect on readers. Without names, the characters (in my opinion at least) become all that more intimate because, maybe, we see ourselves in them.

Don't get me wrong -- naming characters can be a good thing. Sometimes a character's first and last name can help describe that character instantly. I could run through a hundred of examples, but let's stick with some simple ones: Angela and Jane from American Beauty.

In the film Angela is played by Mena Suvari, a blonde cheerleader who becomes Lester Burnham's fantasy girl. He falls in love with this "angel" who just happens to be friends with his daughter (Thora Birch), a "plain jane" who wears dark clothing and doesn't think herself pretty.

See? This happens all the time. Some writers put a lot of thought into naming their characters, while others ... not so much. Of course, sometimes writers put way too much thought into naming their characters where the conceit becomes much too obvious. Like John Coffey in The Green Mile. I mean, come on, really? I love the book (and the movie), but giving your Christ figure the initials JC is a little bit much, wouldn't you say?

For me, I let the story dictate whether or not the characters need names. If I'm writing a novel, then yes, those characters will have names. A short story? Most times. A flash fiction piece or hint fiction piece? Most likely not. When you're dealing with an economy of words, why waste them on giving your character a first and last name? And if no last name, does the character really need a first name too? So what if his name is Chuck or George or Baron? Does that bring anything special to the story? If not, then why include it in the first place?

Look, I'm not knocking stories where characters have names. Like I said, I do it sometimes. But the mindset where the characters in a story must have names so that they will be more relateable ... that's just stupid. Or no -- that's just a reader's opinion. It's impossible to please every reader, so it's not even worth trying to do it. Someone is always going to complain.

Character names can be distracting, too. I remember reading this book where there were only three main characters and each of their names started with C. The names were all different, of course, but having each name start with the same letter became a distraction. And sometimes the character name in question might be the name of someone we know, and depending on how we feel about that person at that particular moment in time, our mood toward that character could change. But again, it's impossible to please all the readers all of the time

So "Multiplicity" then. I'm sure it's not the first time a story has been written with every character given the same name. But I was thinking one day how writers try to keep their characters' names as separate as possible, and how in real life you can't control a person's name, and how in school there are many kids with the same first name, just as it happens in the workplace, and I thought what if a character named XXX ran into a bunch of other characters named XXX. Thus "Multiplicity" was born. My main goal, of course, was to get to a scene where all these different characters with the same name would be fighting. It would be great fun to screw with the reader's head. So I came up with the basic botched-robbery storyline, a storyline that wouldn't be nearly as interesting and fun if each of those characters were given different names. In fact, if each character was given a different name then the story would just be boring. But it's the fact that each character is named Jeff, and the reader has to work harder than usual to keep those Jeffs straight, that gives the story (again, in my opinion at least) its true effectiveness.