I spent 7 days in a car with Larry Correia, International Lord of Hate, and lived to tell about it

Larry-Correia

I think this was taken when someone stole  the ILOH’s Cheetoes

Seven days.

San Diego, Phoenix, and a wild trip through Wyoming, around Denver, and back to Utah.

Seven days.

Five nights.

In Arizona, I was told by a wild-eyed denizen of the Barnes & Noble we were signing at that my epic fantasy book was true–we are ruled by lizard people!

Imagine how shocking it was to learn that. I mean it doesn’t have anything to do with my book, but lizard people? A hollow earth? Is the CIA in on it? I don’t think I’ve recovered yet.

In San Diego, we rode around with Dave Farland in his old four-door sedan. A Lincoln? All I remember is that it was big and floated like a dream. After some narrow misses, Dave asked me to drive. Two big guys up front. One older, rough-looking guy being chauffeured in the back. At one point we walked to a restaurant during the day like some made man and his two goons. The restaurant was empty except for three rough characters sitting around a table on the far side. They looked at us, sized us up, then looked away. We sat at a table on our side.

In Wyoming we drove in high winds that sent streams of snow across the highway like multitudes of slithering snakes. At one point we passed one semi that was on fire, winds howling about. About an hour later, we passed a truck driver out in the median, thigh-deep in snow, a huge knife in his hand. He was trying to saw off the frozen antlers of an elk that had been hit. I looked up at his rig as we passed and did not see anyone behind the wheel. I swear the thing was rolling slowly down the highway, unmanned.

On the way back from Denver, we rode along a wintery, icy highway with trucks and cars littering the sides. Larry white-knuckled the steering wheel, but we made it. Two big guys, one 6’4″ the other 6’2″, in a tiny Ford Focus.

Did the very road fear the Lord of Hate? I cannot tell.

On this trip, Larry, that man of hate, brought a bag of Walmart beef jerky that smelled like, well, a particular kind of flatulence. What kind of person does that to beef? But we ate it. Because you do such things on epic journeys.

Now, here’s the thing. If you spend any amount of time with me, you will eventually tell me your life story.

You will.

Not because I’m a prier. But because I’m simply and sincerely interested. In people. If you work for the sanitation department, I’m going to want to know about garbage trucks. If you bowl, I’m going to want to know about bowling. If you’re some kind of wackadoo, I’m going to want to hear your wackadooness. Sooner or later, you’re going to talk. And, yes, there will be things along the way that I just might put in my zing file. That’s not why I’m talking to you. But sometimes the slices of life are too good not to capture.

So you put Larry Correia, International Lord of Hate, into a car with me, and he’s going to spill his guts.

Let me tell you what I found. Oh yeah, wait until you hear this.

Larry loves Bridget, his wife. No, do not turn away in horror. You must hear the rest of the tale.

He doesn’t like taxes, which is outrageous. Simply beyond the pale.

He’s a strong advocate of the right to bear arms. He figures people are safer with guns than without. And he was loaded. I remember getting to the hotel in Denver and seeing he draw his guns and put them on the table. A Kimber/Bul Poly .45 from his waist and a little Kahr MK9 on the ankle. Frightening. Of course, I never worried about going anywhere with him, but the guns had nothing to do with that.

He doesn’t like the idea of a small group of people in Washington telling folks what they need to do. He’s not anti-government. He just likes a minimal amount of government. This too is outrageous. Government is the source of all good in the world.

He doesn’t like a lot of what Franklin Delano Roosevelt did. One of those things he doesn’t like is the rounding up of Japanese Americans and putting them in war camps. Another was Roosevelt’s attempt to pack the Supreme Court with justices who would rule his way, essentially eliminating that branch’s check on the presidency. Nor does he like Roosevelt for being the first president to explicitly embrace deficit spending. The list with Roosevelt could go on. Of course, we all know that wise people everywhere thought Roosevelt made the right choice on these things.

Larry honors the folks who serve in our military and law enforcement. Big time. Guys and gals who put their lives on the line or support those who do. I roll my eyes.

Larry’s a big believer in pulling yourself up by your boot straps and getting to work. He worked on his father’s dairy farm milking cows early in life. Busted his chops in school. Busted his chops at work. Busted his chops writing novel after novel. And now he lives on Yard Moose Mountain. A supposed example of can-do economic mobility, which all smart people know is a farce.

I mean, work? Come on. Do you see how unreasonable the man is?

He’s an accountant and pretty good with numbers. Ergo he doesn’t like a lot of bureaucratic waste. It stinks to his accountant soul. And he saw a lot of that as a military contractor. I’m really for a lot of waste of taxpayer dollars, but I let him have his say.

Larry was once a bouncer.

He’s a big guy, but got his trash kicked in some early amateur MMA. But he still loved it.

LarryCorreiacismale

The International Lord of Hate in multiple colors

In a friendly wrestling match, he broke his roommate’s toe, and said roommate responded by breaking the International Lord of Hate’s nose. Yes, the nose, Ladies and Gentlemen.

Larry is funny.

Larry has a lot of friends because, shocker, he’s a friendly guy.

He’s also kind of a sheepdog.

Larry is a capitalist. And it appears he’s the dirty greedy kind who uses his capitalistic ties for helping folks down on their luck.

There’s more. But let me tell you what I never heard. I never heard him make a racist remark. Not even when he told me about growing up in California’s Central Valley, or when some idiot kids who had been tasked with beating someone up to to join a Hispanic gang targeted him. Never heard him make a misogynistic remark.

I did hear how he loved to argue with folks on the internets. And then saw that later when I started reading his blog. It’s clear Larry likes a good fight. He’s a barbarian with big boots. But, in truth, he’s a friendly barbarian.

That’s the expose. I know. Shocking, isn’t it.

Now he’s gone and done this Hugo thing and calls people names and uses four-letter words on his blog posts.

I’ve found that Larry in person is not quite the same as Larry online when you disagree with him. In person he’s usually very conversational when you disagree.

Some might say he needs to be more polite online. Use more class.

They might have a point. Sometimes I think he steps over the line. Then again, they might not. He does get people to listen. And some of the things he has to say are insightful and worthwhile. Others are just plain funny.

Whatever your opinion, all I know is that if you’re wanting Abraham Lincoln, you’re going to have to look elsewhere. If you come out swinging, he’s not going to regale you with Kumbaya.

larrycorreia

The International Lord of Hate radiating fearsome hate

And because he fights the way he does as Internet Larry, his posts seem to push some folks buttons to the point that they actually miss his intent.

For example, when Larry responded to Alex MacFarlane’s call for “an end to the default of binary gender in science fiction stories,” he never once suggested that we should discriminate against the folks MacFarlane wants to read stories about. He never suggested there shouldn’t be any such stories. Nor did he ever suggest folks who are discriminated against never have a case. His point was that the best way to write an entertaining story was to put the entertainment first, not some political agenda. His point was also that he’s sick of folks trying to foist their interests on him and everyone else. If you want to write about certain types of characters, do it. But don’t tell everyone else they must.

That was lost on some people. All they saw was someone who disagreed “rudely,” and they saw red.  I’d be seeing red too if I felt ruded upon. At the same time, they still missed his point. A lot have missed his point about the Hugos as well.

But whatever happens with this latest kerfluffle, I had to tell my tale. Because I spent seven days with Larry Correia, International Lord of Hate. It was nip and tuck the whole time, but I survived his horrible onslaught. And then we enjoyed some ice creams and tropical trail mix, which I can happily report smelled a lot better than the beef jerky.

Indie Thoughts: When an author should self-publish and how that might change

From publishing consultant Mike Shatzkin:

For a number of reasons, the belief here is that most of the time for most authors who can get a deal with an established and competent house, their best choice is to take it.

Sounds reasonable, but then we get to the money quotes.

The strength of the traditional publishers and the traditional deals is directly related to the amount of the market that is served by inventory in stores. When that proportion was “nearly all”, the power allocation was “nearly all” to the traditional publishers.

***

Self-publishing and new-style digital-first publishing can grow more to the extent that the book-in-store share of the market shrinks more. But while that’s happening, the big publishers are also adding to their capabilities: building their databases and understanding of individual consumers (something that all the big houses are doing and which the upstarts seem not to believe is happening, or at least not happening effectively), distributing and marketing with increasing effectiveness in offshore markets, and controlling more and more of the global delivery in all languages of the books in which they invest.

It will compound the pressure on the alternative players if Amazon continues to grow its global market share for ebooks. The bigger the percentage of the market that can be reached by self-publishers with one stop at Amazon, the less interest they’ll have in picking up smaller chunks of the market with additional deals and the more powerful will be any incentives Amazon cares to offer for making the title exclusive to them.

Link to the rest at The Shatzkin Files, and thanks to Passive Guy for the original link.

Shatzkin’s discussion of the amount of the market served by inventory in stores is right on. But his “best choice” conclusion doesn’t follow.

Why?

Because the question for each author has to be which stores will I be in, what kind of floor space will I have, and how long will I be there? And in many cases the answers to those questions do not compete well with indie options.

For example, a lot of in-store sales come from the drug store, grocery store, airport, Walmart, Costco type venues. But it’s rare than an author getting an average deal will see the light of day in those places. Those are reserved for bigger sellers. And not very many of those. So unless you’re getting a big deal, you can’t count that floor space.

Poof. Tens of thousands of venues are now no longer part of the equation.

So you are now left with whatever number of stores the publisher can get you into at Barnes&Noble (a max of 675 stores), Books-a-Million (max of 200 stores), Hastings (max of 149 stores), non-chain stores,  etc. I think the total number of book stores in the USA is around 10,000 or so. But publishers won’t get you into all of them. Some don’t carry your type of book: they’re used books stores, or kids book stores, or Christian book stores. And even if it’s a store like Barnes&Noble, you probably won’t get into all their stores. So how many stores will you actually be in?

Next, you have to wonder where you’ll appear in the stores you do get into. Will you be face-out somewhere prominent? Or will you have two copies spine-out in the back? If you’re spine-out, that’s just reduced the value of the floor space publishers offer you yet again.

Finally, how long will you be there? If you sell your two copies in a store, are you done at that store? Will your books be there longer than 12 weeks? Will they be there even 8 weeks?

James Patterson can sell millions of books because he has multiple copies in tens of thousands of stores with great display. And he’s usually there for more than just a handful of weeks. If you have two books spine-out in each of 500 stores for eight weeks, how well are you going to do?

Here’s some math on author revenue and units sold. Is selling 1,000 books with the royalties and contract terms offered really worth it? What about 4,000 books? 7,000? Are you going to be in enough stores with a decent placement to get those numbers?

If you’re going to be in thousands and thousands of stores with good placement, and the terms of the contract are reasonable, then, good golly, working with a publisher looks great. But if you’ve got a book that’s good enough to make an editor somewhere want to buy rights to it and the publisher is offering to put you spine-out in a little over a thousand stores with all sorts of contract crap, then Shatzkin’s “best choice” is really a poor one. In those situations my money is on going indie.

EDIT: It seems there are about 12,700 book stores in the USA. But that includes big-box stores, which I think are the Walmarts and Costcos.

Curse Update: April 29, 2014

CurseV2FinalV1Folks, I have moved into making the line edits, which means we are on the home stretch. The manuscript is 888 pages long. I expect it to take 40-50 hours to make all the edits I marked. However, you have to remember that has to be worked in around my day job. Then we do the copy edit. I expect my portion of that will take another 40 hours. And then I take a day off work to create the book in the POD and ebook formats and publish.  We are oh so close!

Indie Thoughts: Publishers know profit, but haven’t tapped best seller lists

In The Business Rusch: Generational Divide Kris Rusch points out that the new on-demand and long-tail market for books has changed the duration of the opportunity a book has to be successful, but that it seems the industry still isn’t recognizing this in how they measure success.

The problems come from the fact that those of us who run things—people in our forties, fifties, and sixties—use metrics that were developed by our parents for their world, that tightly controlled Mad Men world where everyone was expected to be the same, not just in what they wore or bought but in what they listened to or watched or read as well.

The bestseller list?

It measures velocity. (A good essay on this topic, “The Meaningless Metrics of Fame,”  came from Mike Briggs, husband of Patricia Briggs, earlier this week. I’ve also dealt with it.)

Reviews?

They only want new books, and then only at the time of release.

Brick and mortar bookstores?

They only have room for the latest releases, and then only the ones that are the most popular with their customers (whoever those folks might be).

Books have come late to this fight. Books have been available on demand for only about four years now, in the U.S. In other countries, there’s been even less time.

And we’re all still fighting over meaningless metrics, to use Mike Briggs’ term, because those metrics only measure things that were important around the water cooler, not things which are important now.

What’s important now?

She goes on to say:

The publishing industry isn’t even talking about new metrics. That idea hasn’t occurred to traditional publishing, and indie (or self) published writers are constantly seeking validation from the old system—trying to figure out ways to game the bestseller lists or to get a fantastic review from somewhere that has old-world prestige . . . But at some point, traditional publishers are going to have to develop new ways to figure out which products sell well and which ones don’t. All of their systems—from sales figures (which measure books shipped not books sold) to bestseller lists to critical acclaim—are based on the old models.

Kris is a very experienced with publishing, but her last point conflates internal accounting with marketing. Publishers DO know which products sell.

The primary measure of success in a financial enterprise s not new. It’s been around for 100’s of years. And on demand and long-tail markets don’t change it.

The measure is how much a product or service contributes in profit to the bottom line. You take revenues, minus expenses, and that’s the contribution that product (a book in this instance) makes to your total profit. Or to covering your fixed costs.

Booksellers have measured the success of their books with actual or estimated profits for quite some time. Publishers already know which books sell well and which don’t. No accountant in the world is going to report books shipped as the measure of success. And they don’t. The very fact that publishers have a profit and loss statement and show returns on royalty statements demonstrate that. They look very closely at actual and estimated profits. And to they do this by channel, which is reflected in a small way when they break out ebooks on royalty reports. This is all basic accounting.

Here’s an example. Until Ender’s Game the movie, Ender’s Game the book hadn’t appeared on any best seller list since it was first released. And its release was 30 years ago! Yet over the years Tom Doherty touted its sales numbers many times. Tom knew that book was gold. Of course, he did. Because he doesn’t use best seller lists to tell him what’s selling well. He knows those lists are marketing devices. He has the real data in house. Why would he need a list to tell him anything?

And Tom isn’t going to use books shipped either. Tor may report those numbers to Publishers Weekly for marketing purposes, but he will always multiply that number by an expected return rate to estimate sales. He wants to do that. Because books shipped is meaningless to the bottom line and everyone knows it, including the auditors.

Publishers are well aware of the long tail. They see it with books that have been rotated out of the brick and mortar channels but are still selling in the online ones. They report it in their annual statements. They know the online channels work differently from the brick & mortar ones.

The measure of success is still the same as it ever was—how much profit is this property contributing to our bottom line?

Marketing, however, is a whole other ball of wax.

What the long tail and on-demand allow are marketing campaigns that are impossible in the brick & mortar channel. In brick & mortar you have a limited time to advertise (roughly 8-15 weeks). After that period, most books are rotated out of the store. This means that any marketing for those brick & mortar buyers MUST coincide with the period when the books are in the stores.

But the online channels open up all sorts of other opportunities. You can market forever. And the contribution margin is always positive. The online and POD costs are easily recouped with each sale. (Publishers are well aware of this profit potential; this is why we have so many making grabs for backlists.)

And I see publishers taking advantage of these new marketing methods. This last week I saw publisher books not currently stocked by brick & mortar retailers on BookBub, BargainBooksy, and Book Sends. And the industry isn’t totally focused on new books for reviews. I just had a large newspaper agree to look at my book that was published four months ago. Still, Rusch is right when she says that the publishers haven’t adapted one of their biggest marketing tools to take advantage of the new opportunities–they haven’t done anything with the best seller lists.

Amazon has lead the way in creating new ways of marketing books to different types of readers with their best seller lists. These lists create the excitement of discovery.

But every one else is still reporting weekly sales on the big lists.

If I were a publisher, I’d be asking USA Today to provide more than just the weekly view of the top 150 books. And USA Today is THE list to watch because their numbers are not based on units shipped to a sample of stores, but actual sales. Here are some lists that readers would be interested in.

  1. Most anticipated this week: based on pre-order totals
  2. Most anticipated this month: based on pre-order totals
  3. Hot new releases: based on weekly numbers
  4. Hot new releases for the month: based on monthly numbers
  5. Books with legs: last 3 months; I know it needs a different name (grin)
  6. Best sellers of the last 12 months: annual total of units sold
  7. Best sellers of the last 18 months: total units
  8. Contenders: for each of the lists above show the next 150 books (I always want to see the next 100 books after the top 100 on Amazon’s lists; why not show readers the top 300?)
  9. Movers: for each of the lists above show those that have the biggest rise in percentage sales and meet some unit minimum (you don’t want to feature books with 2,000% increase because they went from selling 1 unit to 20), even if they don’t break the best seller lists
  10. Genre: allow all of this to be sliced by genre.

Let the reader select the view they want to see!

Avid readers will gravitate towards the shorter time periods. Those that read fewer books will gravitate towards the longer periods. Everyone who wants to discover something new will go to the contender and mover lists.

This is about marketing. Not publishers measuring success.

And then armed with those numbers guess what the publishers will do? They will go back to the brick & mortar venues and pitch to have some of these same books carried in the stores for the first time (some publisher books are printed digital first) or carried again.

Awakening by Christy Dorrity

Art is a huge part of what draws me to science fiction and fantasy. I still have the Hildebrant LOTR calendars I got back in the early eighties.

On the web you can browse awesome work on DeviantArt.com and CGHub.com. But something that’s been around for much longer is Spectrum: The Best in Contemporary Fantastic Art. It’s an art annual released each year that highlights the best art produced that year in Fantasy, Science Fiction, Horror, and the Surreal.

This year will mark the 21st year of publication.  Spectrum has become the broadest distributed art annual in the world. Having art included in Spectrum is top honors for artists around the globe.

So why am I telling you this?

Well, Devon Dorrity, the guy who helped me pull together my covers,  not only had his sculpture “Queen of the Seas” included in a past annual, but he’s just won a spot in this year’s annual with the cover he created for his wife’s book, Awakening. It’s a big honor.

Here’s the description of how he put it together.

For the book cover for Awakening by Christy Dorrity, Devon Dorrity selected the cover model, Shelbilee Lee, from hundreds of local models.  Jason Morrison, a photographer friend, was hired to do the photoshoot.  Devon purchased the wig, fingernails, and props from Amazon. Then Dennis Dorrity, Devon’s brother, did an illustration of the photo selected from the photoshoot.  Devon then composited the illustration and the photo together blending the two to emphasize the best of both pieces.  After applying various effects and custom color, the piece was finished.

After the book’s publication, Devon submitted the cover to Spectrum with Dennis Dorrity listed as the Artist.  Dennis did the illustration that plays such a heavy role in the finished piece.  Devon was listed as the Art Director/Designer.  Spectrum announced in the end of March that the Awakening book cover was selected for inclusion in The annual.  Spectrum 21 will be released in November 2014.

Awakening: Book One of The Geis is itself a clean young adult fantasy filled with Celtic mythology, magic, romance, and mystery. And it’s been getting great reviews.

“Dorrity invites her readers to a céilí that will quicken the pulse of anyone with Ireland in their blood! AWAKENING will draw you deep into the mysteries of the Celtic worldview—and leave you wanting more of McKayla and her fascinating Aunt Avril!”
– KERSTEN HAMILTON, author of Tyger Tyger and the Goblin Wars books

“I thoroughly enjoyed AWAKENING, a captivating and unique debut novel that creatively integrates Irish dance.”
– CHRIS NAISH, Riverdance member and Creative Director of Fusion Fighters Irish dancers.

5 Stars! “AWAKENING is an exciting mashup of fantasy, action-adventure, and mystery, with a touch of romance thrown in for good measure.”
– KATE MCCURRY, top 100 Amazon reviewer

How many authors do you know who have unlocked the achievement of having someone from Riverdance plug your book? Awakening right now is free. If you like YA fantasy with a bit of romance, this is the perfect time to give this new author a go.