Multiple Enthusiasms

Infinite jest. Excellent fancy. Flashes of merriment.

Category: books (page 1 of 5)

Last week, in an event specified as education-related, Apple announced new software that enables authors to more easily create and publish media-rich digital content. They’re calling the sales app iBooks 2 and the creation app iBooks Author, but they seem to be making a very marked distinction that what has generally become known as an e-book is not what Apple has in mind when it talks about iBooks.

A lot of authors—especially independent authors—and other people in the publishing industry have been writing about the agreement that comes with the software, and complaining about how restrictive and evil it is. I’ve read the agreement in question, and I think that all the discussion around it is based on simple misunderstanding.

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End of the year means time for lists. I’ve seen lots of book lists over the past few weeks, but they’ve hewed to conservative choices like the new Stephen King time-travel novel or Chad Harbach’s The Art of Fielding. I’ll be honest: I tried both before I got distracted (Kindle’s make it easy to get distracted by another book. Just a few pages that don’t grab and suddenly button-click I’m back to my home library with all those other books I wanted to read . . .).

I’ve also seen lots of discussion about the top-selling indie (or “self-published”) books of 2011. Notable: two of the top ten bestselling books at Amazon this past year were independent novels (and fine books to boot).

But I haven’t seen any lists of terrific independent novels–and by independent, I mean what people with corporations would call “self-published.” And I thought, hey, I’ve read some great independent novels this year. Why not talk about them? Of course, I probably should be less declarative and more accommodating and title this something more generic like “My Favorite Indie Reads of 2011,” but none of the other lists I’ve seen have done so, so I figure why not?

I don’t really think in lists, so I’m not going to make one, but here are some independent books I thought highly of. A caveat: through social networking, I’ve “met” a lot of the authors on this list, as we run in the same circles, but they’re not here just because I follow them on Twitter. I follow them on Twitter because they’re here.

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After careful consideration, I’ve removed my collection from Smashwords and enrolled all my books in Amazon’s new KDP Select program. I did it for both professional and moral reasons that disagree with most everything else people say about Amazon, so I thought I’d tell you about why, but first I wanted to mention that one benefit of doing so means that, for a very limited time (until December 27th, in fact, so just five days including today), all my short stories, essays, and collections will be available free.

Totally free. No catch. No caveat. You don’t have to be a Prime member.

You can find them all right here.

Now. Why am I going Amazon exclusive (if only for 90 days at a shot), when most people in the publishing industry are decrying the evil of the Seattle corporation–even though that’s kind of ironic, given that pretty much everyone who’s called them an evil corporation is either a corporation or deeply associated with one (or many)?

Because I don’t see them as evil. I’m a reader, first–I write because some of the books I want to read haven’t been written yet–and Amazon has done more for me as a reader than anyone else ever. It’s also done more for me as a writer than anyone save my editrix.

But let’s talk about Amazon. And evil. And corporations.

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I’ve been sitting on some news for a while, but now that some books are up and things are moving forward, I feel more comfortable making a formal announcement: I’ve officially founded Exciting Press, a new independent digital publisher, and as director have signed bestselling author Nick Earls to a major digital distribution deal.

For a lot of years, I was pursuing what’s now called a “traditional book deal.” I wanted an advance and book tours. It was always my dream.

And I mention that because this feels like my dream come true even though it sort of isn’t. I can’t tell you how proud I am of this venture, and how deeply honored and humbled I am to be working with Nick, who is both a truly accomplished author and a truly cool guy. His agent, Pippa Masson of Curtis Brown Australia, has also been terrific to work with.

So what does it mean to found a press?

A new website for one. There will be more to come on the site.

For now, being a small start-up, I’m working to focus on Nick’s work–which at this point includes more than a dozen books. Our plan is to release them over the spring and summer of 2012, but we’ve also managed to publish a few in time for the holiday.

We’re going to work to make it all easily accessible; for now, the best way to find the work is to search for “Nick Earls” in the Kindle store. But a couple of stories might get you started:

“Problems With a Girl & a Unicorn”

“The Secret Life of Veal”

Over the past few weeks, I’ve encountered several essays in which authors have enumerated reasons not to “self-publish.” I think that their use of the phrase implies some prejudice already–no lesser a source than Hachette (one of the big 6 publishers) notes in a leaked document that “Self-publishing is a misnomer.” When one major corporation acknowledges the phrase is misleading, another is tries to pawn off vanity services as “assisted self-publishing,” and more writers are discussing all the reasons not to do it, one possible implication is that it has become more viable.

That’s because it has.

Which means the big question is whether or not you should do it.

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Just received an email that Amazon has made a special KDP Select option available on its Kindle Direct Publishing platform, which what many authors–including me–use to publish our work for Kindle. Which is awesome. I know a lot of corporate publishers, literary agents, retailers, and authors are wary of Amazon, its continued growth, and its possible dominance, but for many of us–again, myself included–it’s been uniquely empowering.

The new Select option is interesting; authors who agree to digital exclusivity with Amazon can both make their books available as part of Kindle’s new Lending Library and take advantage of free promotions.

I decided to try it out to see what I could see. I went ahead and enrolled “Jamais Plus: Explorations in the Curious Case of the Mysterious Death of Edgar Allan Poe”, while at the same time increasing its “normal” price to non-promotional level (and taking advantage of that free promotion). “Jamais Plus” is a choose-your-own-adventure noir, a twisting-winding throwback to the adventure novels so many of us grew up on, in which C. Auguste Dupin investigates the death of the man who made him an infamous detective. It required substantial and specialized coding to make it work on Kindle, and it’s sort of even more a reading experience than a story.

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So what might a writer learn from Locke? You’ve written a “good enough” novel–whatever you’ve decided that means. Maybe you just finished it for NaNoWriMo (and in which case, congratulations!).

Maybe you’re an experienced indie author still frustrated when you see other authors selling crazy amounts of books while sales of yours trickle in.

Maybe you’re an author who got a corporate deal–advance and all!–but your publisher never really got around to marketing you. Maybe you signed with Simon & Schuster, and they’re too busy with uploading and then deleting Snooki YouTube videos.

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In discussing Locke and How I Sold (as well as Hocking and Eisler et al.), I think one huge caveat that must be enumerated, and can’t be mentioned often enough, is that: there is no magic bullet. What’s worked for one writer might not–and probably will not–work for others.

I’m sure someone could make the argument that people don’t discuss that bit because it’s understood, but I don’t buy that.

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In Malcolm Gladwells’ book “The Tipping Point,” Gladwell discusses myriad companies whose products tipped the industries they were in, changing them around them in such a way as to not simply be successful but even rewrite a paradigm. During the past several years, several different events have increasingly tipped publishing from being a business based on print and bookstores to transforming into one based on digital readers and online retailers; Amazon’s Kindle, which debuted in 2007, was a first step in a march of tipping points that has progressed inexorably since then.

Amazon’s announcement that independent author John Locke had sold a million Kindle downloads might have been the first real tip of independent publishing from a specific designator used in a specific way toward a more general appellation embraced by myriad creators operating outside of so-called “traditional” systems.

Over the weekend, I read Locke’s “How I Sold a Million Ebooks in Five Months!” The exclamation point is his (he has a propensity toward the punctuation. I don’t think a single page didn’t contain at least one). As I read his recounting of his experiences, I started to wonder how authors might use the knowledge, but I also started to wonder if the fact that Locke exists in the first place might be even more important than his techniques and books.

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I never do anything today. Black Friday keeps me safely home, away from bargain-seeking crowds in the retail jungle.

Still, who doesn’t like a good deal, right?

Which is why, for a limited time only, all my books for Kindle are just 99 cents.

This includes the essays and short stories, of course, “Jamais Plus” and “Struck by the Light of the Son,” and “Blues’n How to Play’em.”

But it also includes both:

Meets Girl


The Prodigal Hour

Both of which have been consistently well received and so far well reviewed.

So if you’re looking for some Exciting books to give to people you love, filling up their digital readers or sending them a gift for their phone they can read during their morning commute, they make for a perfect gift. And just 99 cents for a very limited time only.

Funding has often been one of the most difficult elements of any artistic endeavor. Guys like Shakespeare and Marlowe got patrons, rich blokes who basically gave them a bunch of cash to write for them. Lots of authors nowadays hope to get funding from big corporations, as advances against the potential that the books they write might sell enough copies to turn a profit.

Now, there’s Kickstarter, which is a website that makes crowdfunding possible. Very interesting.

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Last week, I caught a post by Angela Perry, in which she mentions she’s considering “self-publishing” but ultimately moves on to discuss writers and tone. I honestly think that tone is at the heart of why people think a “debate” exists, and why there are two sides to it. Some of the rhetoric recently used has been hyperbolic and not-so-helpful, but I’ll be honest: I can, in ways, see why it’s been used. Why some loud, brash independent authors have resorted to using somewhat shocking language.

Publishing never used to be so divided, but then, it was never really so conglomerated, either.

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As Amazon takes on more roles and responsibilities in the book world, many wonder if that’s a great thing. I remember back when Amazon sold only books, before it was the retail powerhouse it has become, the online equivalent of big-box stores. Now, it’s refocused on books, first with Kindle and then with publishing-related endeavors, setting up imprints as it has become both retailer and publisher in some cases.

Lots of smaller, independent bookstores–by which one means bookstores that are privately held, and not part of a chain, which means anyone besides Barnes & Noble and Books-A-Million, basically–don’t like this. They see Amazon as they saw Barnes & Noble when it was first beginning. The big boy on the block who set up shop next door and ultimately drove them out of business.

As a reader, it saddens me. As guy with a business degree, it makes me wonder.

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When I first heard about the Occupy Movement (which has now spread far beyond Wall Street), I was intrigued because I felt like I identified with the frustration behind it. I wasn’t sure what it stood for or wanted (and still, in ways, am not), but I was glad someone was acknowledging rampant injustice.

I still am, but I’m realizing everything’s a little more complicated than that.

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Print versus digital. “Self-publishing” versus “traditional publishing.” “Plotters” versus “pantsers.”

Everything in publishing seems so binary lately and has a “debate,” and it’s starting to drive me crazy.

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Yesterday, I caught Chuck Wending’s post over at his Terrible Minds site, “Writers Are the 99%.” Interesting post about the marginalization of writers in industry and culture.

It’s something I’ve been thinking about lately, and especially with regard to the Occupy Wall Street movement.

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I often note that I realized I was a writer after I finished Stephen King’s Needful Things, and while that’s not untrue, it neglects all the other elements and stories and media that played a role and influenced me as a storyteller. Stuff like Where the Wild Things Are and The Hardy Boys. Don’t forget Star Wars and The Empire Strikes Back and Quantum Leap, and that’s not even mentioning Infocom games.

And that’s what Ernest Cline’s Ready Player One is all about, and it’s brilliant.

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A year ago today, I began to serialize Meets Girl, then published it in paperback and on Kindle over the Thanksgiving holiday, three weeks into its serialization. I refrained from writing about it for a couple of reasons, the most major being that I didn’t want to spoil anything for anyone. However, given that a year–give or take–has passed, I feel the statute of limitations on spoilers has expired.

So I thought I’d take a moment to write about it. If you haven’t read it yet, pick it up here, for Kindle or in paperback, and come back.

If you have, more after the jump.

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A couple weeks ago, I caught this article, “A Self-Publisher’s Manifesto,” by Martin Lastrapes and posted to the Self-Publishing Review. I thought it was a fairly good post, with a cogent argument presented, in which Lastrapes discussed the perceived “stigma” associated with so-called “self-publishing,” and made this claim:

So if the readers aren’t holding onto this stigma, then where exactly is it coming from? Unfortunately, the answer is it’s coming from the writers themselves.

Now, I disagreed, there; I remain of the mindset that the “stigma” associated with independent publishing is propagated mainly by the people who argue that independent publishing shouldn’t be called that, because IT’S DIFFERENT AND YOU ARE IGNORANT. Generally, the people who do so are agents and editors, or at the very least people who have some bias toward the late twentieth century distribution model as a result of being tied to it. I’ve also seen it from authors who have signed with corporate publishers after first finding some success via independence. MJ Rose, for example, has tweeted that authors should “own self-publishing.”

I think Lastrapes does have a point in that a lot of authors go indie first but yet never give up the hope of that elusive publication contract, that rockstar book tour, that etc. I’ve seen a lot of authors pursue independent publishing as a means to an end, rather than as an end itself; that is, that many seem to hope that rising up the Kindle charts will attract a corporate publisher.

But before I get off on too much of a tangent, the point of this post; shortly after I commented on Lastrapes’ article, to much the same effect as I elaborated above, he contacted me personally about the possibility of stopping by this site to do an interview.

I’ve never done that before. And I thought, well, okay. Why not? But, I thought, before I do anything, I should read his book. Which was just less than a buck.

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Happy Fourth of July!

On July 4th, 1776, the United States adopted the Declaration of Independence, a formal explanation of why it had declared itself independent of Britain on July 2. It was widely distributed and, most historians believe, fully and formally signed nearly a month later, on August 2nd. It is not the key document in the formation of the US; that distinction belongs to the Constitution, which formally founded our government, but it is arguable that the Declaration made the Constitution possible. It was issued near the beginning of the American Revolutionary War, which would last another 7 years.

Independence is a wonderful thing. And it should be celebrated.

There’s a new revolution in independence occurring, this time around in media and culture. The Internet has made possible instantaneous and widespread distribution of information, an unprecedented degree of sharing never before imagined. It’s a glorious thing, and many people are taking terrific advantage of it.

I’m one of those people, but I am not the only one.

This July 4th, I’ve made my novel The Prodigal Hour available on Amazon. It’s the world’s first pre-/post-9/11 novel, and Elizabeth Eslami, author of Bone Worship, called it “A thrilling head rush of a book.”

It’s right here.

Again, however, I’m not the only one. This isn’t about sharing one novel. It’s about independence, and it’s about tellers of stories and makers of films and players of songs, all of whom are doing so because they love it and want to share it with the world. So it’s about helping to share those stories and films and songs. It’s about the beginning of a revolutionary new era, and one that can only be made better with support from each other.

So share this. You don’t have to buy anything; this isn’t about money, or destruction, to allude to the Beatles. Just tell your friends. Tell everyone about the most recent indie movie you saw. Tell your family about a new indie novel. Go to a bar and listen to a new indie band.

I’m Will Entrekin, and this is my declaration of independence:

When in the course of telling stories it becomes necessary for one author to eschew pursuing engagement with corporations and to assume among the powers of the word the separate and equal station to which the Laws of Stories and of Written Words entitle him, a decent respect to the opinions of mankind require that he should declare the causes which impel him to that decision.

I hold these truths to be self-evident: that all books are not created equal but deserve an equal chance among readers; that they are written by their creators with certain inalienable hopes; that among these are dreams, passion, and the pursuit of ideas.

I, therefore, but a single author among legion, do independently publish my work.

What’s yours? Feel free to share your work and link in the comments. In addition, I created a Facebook event page; feel free to attend it and share it among your friends.

Mark Coker’s Smashwords seems, ostensibly, a rather brilliant idea. It’s sort of the ebook equivalent of Amazon’s Author page; whereas Amazon’s page lists all the work an author has available on Amazon in one spot, Smashwords makes available a single title in myriad different digital formats, including the usual ePub and mobi formats (for pretty much all readers and for Kindle, respectively), as well as PDFs (people still read those?), html (for web viewing, I figure, whether by desktop, laptop, or tablet), Microsoft’s Word (er. For people who want to word process it?), and even text (for people who . . . I give up. You can tell me why people want text files).

I like the idea in theory. My job, as I see it, is to both write the story and make it accessible, and accessibility works on several levels. I want to make the story appeal to readers, but I also want it to be available in any way a reader wants. Even if I can’t imagine why a reader wants a certain story available in a certain way.

Nowadays, there are myriad ways for people to read stories. There are no fewer than four different Android tablets available right now, and that’s only Android. There’s also the iPad and now the new HP tablet running WebOS. In terms of ereaders, we’ve got Kindles and nooks, of course, but also Kobo and Sony’s efforts and several other somewhat generic readers all of which have e-ink displays and most of which display ePub files and etc.

So far as I can tell, Smashwords seeks to solve the actually legitimate problem of making one story available for every platform. Maybe that’s the reason for the txt file?

And it’s not a bad solution, by any means.

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I should open this post by noting that Lulu made possible many of my achievements as an author, and for that I’m grateful. Back when I first decided I wanted to experiment with publishing and make an actual book people could actually buy, Lulu was the best way to do so. CreateSpace was, of course, another option, then, but from what I gathered from research, Lulu put more of an impetus on the author. Lulu seemed to give me more control. In addition, it was totally and completely free. There was no “pro” option. There were marketing and cover-design plans and offers, but for the most part, I could do absolutely everything myself, without interference.

I could make better mistakes, in other words. And boyhow, did I. But I also did a lot of cool things.

Lulu, for example, made it possible to offer digital singles of my stories, allowing me to implement what I called, back in 2007, the iTunes model of publishing. I priced those stories, to start with, at 99 cents each, with the full collection download priced at $10 for the digital version and $15 for the print.

Without that option, my collection never would have become the first ebook, ever, on the iPhone, just a week after that device was launched, at a time when Steve Jobs was claiming nobody reads books anymore.

I’m still proud of that. I’m still proud of that collection, in fact, because it’s a good snapshot of where I was at the time, both personally and professionally. I think it was Hemingway who said something like, “Fuck ’em all. Let ’em think you were born knowing how to write,” and my collection, I think, very much demonstrates that wasn’t the case. It’s very early work. Nascent, if you will.

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The other day, I read, somewhere, about a new publishing technology that will supposedly allow people to use paper as a medium by printing words on what is essentially wood pulp—albeit, wood pulp distilled and refined and repackaged to be more amenable.

Some publishing companies are already courting writers in an attempt to embrace new technology, though not many actually can; it’s an expensive process that, in the long run, simply isn’t as cost-effective as using digital means for distribution. We all know paper pretty well—we carry it in our pockets as currency, use it to facilitate the exchange of goods with others in a way that allows indirect but possibly more objective valuation. It was always so difficult to figure out the price of a well-bred bison compared to that of a hand-hewn chair—nevermind the price of the transmission of data over the air to our electronic devices.

It seems to me, however, that the medium on which we print currency just isn’t suited for long-term narratives.

It should be noted here that the technology we’re discussing isn’t actually new; a couple of centuries ago, a man named Gutenberg tried to do the same thing with what he called a “press.”

It never took off. People liked to watch Shakespeare’s plays—not read them. It’s called “storytelling,” not “storywriting.” Why carry printed pamphlets and paper books when people could talk directly to each other to engage in social exchange?

Which isn’t to say there haven’t been instances that have required the recording of information in such form, but it’s never really taken off, in terms of general public consumption, until very recently, and now especially with adoption from these publishing companies.

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Yesterday, the Good eReader site broke the news that Amazon was telling publishers that they should start submitting their books in ePub format. Previously, submissions to Amazon were generally in the mobi format, which was a carryover from Mobipocket. This is both great and not so great.

Amazon’s use of mobi (or, more specifically, AZW, which was Amazon’s proprietary version of mobi) was kind of like Apple’s use of AAC for iTunes. There were a couple of different formats vying for widespread adoption (Windows had their Windows Media Audio, WMA, format, for example), and while MP3 was most widely used, there seemed to be some hope that there was room for contest. Nowadays, pretty much everyone uses MP3. The digital reading situation is somewhat analogous, where the format equivalent to the MP3 is, arguably, ePub–every reading device besides Kindle recognizes the format, and most of the other formats are based on it.

If you want to use Barnes & Noble’s Pubit platform, chances are you submit an ePub for best results. The iBookstore is based on the ePub format. Sony Readers display ePub.

So Amazon’s the odd man out. But it’s a rather large man, considering it basically owns the ereader market.

But they’re adopting the ePub format is not the biggest change this week.

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About a week ago, I got the final edits of The Prodigal Hour from my editrix. Though her education and training are as an editor, her current job is unrelated, so this most recent round of edits took a little longer than before. I think she turned Meets Girl around in about a week, give or take.

There are reasons unrelated to work that this particular edit took longer.

The Prodigal Hour is her favorite novel. It’s the project I was working on when we met at USC, and I think my first work she ever saw. In a way, that made it as personal a project for her as it always has been for me, and that made her want to be really careful and make it ever better.

Now that I’ve gotten the edits back and finalized a revision, I think she’s right.

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This weekend, I turn 33 (seriously? 33? When did this happen?). Well. I have a lot of things planned this weekend, including a luncheon tomorrow and a Walk for the Cure on Sunday and various parties and destinations between, so I’m trying to figure out where I’ll pencil in the “Turn 33” part, but I’m hoping to get to it.

Maybe next weekend.

Who knows?

This past week, I completed my MBA. I got the “Congratulations graduate!” email yesterday, and today found that my final grades had been posted. After acing this past semester, and solidly, I pulled my GPA up to a respectable 3.769. Not bad for a guy with a background in literature and science.

If you’d asked me, when I packed up my car to drive to Los Angeles for USC, where I saw myself in five years, I don’t think completing an MBA in Pittsburgh would have occurred to me, but then again, I never would have predicted much of the past decade.

So in celebration of completing my MBA, and probably turning 33 if I can get around to it, and everything else that’s been going on, I thought I’d have a big Exciting Writing sale. May has always been my favorite month, because finally it’s actually spring, now boubt adout it as my pop used to say, and flowers are in bloom and the world’s turning green again and pretty soon it’s going to be summer and that means bikinis and reading.

Two of my favorite things ever.

So, for the weekend (and probably a couple extra days), Meets Girl is just 99 cents.

As is my collection. As are all Exciting books, for that matter.

So you’ve got a novel, a collection, two short stories, and a long essay concerning literature and poetry and medical education to choose from. Heck, get it all for less than five bucks, and you’ll have enough reading material to last you a month or two.

At which time, The Prodigal Hour will be available.

Pretty cool how that’s gonna work, right?

And again with the link. Right here! Exciting writing for a dollar! Read all of them!

Today, the Association of American Publishers released their findings for February sales figures in publishing.

They are both encouraging and daunting.

I think the most important trend is the simplest:

For the year to date (January/February 2011 vs January/February 2010), which encompasses this heavy post-holiday buying period, e-Books grew 169.4% to $164.1M while the combined categories of print books fell 24.8% to $441.7M.

Yesterday I posted about going to a going-out-of-business Borders, and included some thoughts about the future of the publishing industry. Which, I think, is very much up for grabs.

One thing I keep reading is people proclaiming that publishing is a business. It’s one of the first reasons people cite when corporate houses bestow ridiculous advances on unproven writers who have good otherwise platforms–by “otherwise platforms,” I mean they’re reality show stars, or actors, or political candidates. The overarching idea seems to be that publishers can use those platforms to make those unproven writers successful authors, and there are varying degrees of success achieved.

It is, however, a false assumption, on several levels, not least of which is that initial one of publishing as a business.

Because, you see, publishing is not, actually, a business.

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Yesterday, I went to a 70%-OFF-WE’RE-CLOSING-GET-DEAD-TREES-NOW Borders location. It was big bold letters on Day-Glo yellow and Blood-Spatter red, empty shelves and fixture sales.

You know you’re in trouble when you have to sell the shelves as well as the books.

The books were all shelved like authors would ideally hope: each book with its own spot, title and author proudly (?) displayed. Islands of misfit books, the remnants and remainders and left-behinds. Three sections of romance bleeding over into science fiction and fantasy (which, let’s be honest, isn’t far from the truth sometimes). Lots of young adult, following previous publishing trends, and lots of titles and authors that make me feel a little less bad for Borders in the first place because it makes me think that when they’re publishing that, they’re asking for it: Twilight, Going Rogue, Glenn Beck.

And even despite the 70% off, even despite new titles steeply discounted, I browsed and, when I saw something interesting, thought, yeah, I’d pay seven bucks for this hardcover, or I could go home, pay the same-ish, and have it on my Kindle.

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Let’s spoil this early: if I’d ever managed to put together a ten-best books of last decade list, this novel would have been on it. It’s just that good. I’ve read it several times, and every time, it devastates me in the best possible way. It is one of my very favorite novels.

Earls is Australian, and this was published several years ago–2002, so far as I can see by Amazon, but that may just be the American publication. I’m not sure.

I read this back when . . . what are we calling this sort of lit now? Used to be, when this sort of book was written by women about women for women, it was often called “chick lit,” a term I’m pretty sure I still see with somewhat regular frequency but am also pretty sure has fallen well out of fashion. When this sort of book was written by men about men for–men? . . . there I’ve heard it called several things, including but not limited to “dick lit” and “lad lit.”

Basically, if you think of Rob Gordon and John Cusack in High Fidelity (which might have been another book on that ten best list, except it might have been out before 2000), you get some idea of the sort of book this is.

Except it’s not.

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You’ve known it’s coming.

I hope you’ve prepared.

I just went over the proof myself, and just handed it to my editrix, who’s informed me she’s attacked it with her red pen.

This summer, I’ll be releasing it to you.

I plan on a similar schedule as with Meets Girl, with some differences, the most notable being that The Prodigal Hour is a vastly different book with a vastly different structure, and I intend to post through to the end of the second act. That’ll be 30 chapters.

You won’t have to wait for each one, though.

I’m aiming to make it available in time for July 4th weekend. The Prodigal Hour has always been my huge, mainstream, uber-commercial, blockbuster of a time-travel novel, and with that in mind, at what better time to make it available than over a big summer weekend?

And for an independent author like myself, what better big summer weekend to do so than the one that celebrates independence?

To celebrate, I’m releasing the first teaser today:

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