A Very Special One-Time Offer

In honor of the really fun reading at KGB Bar, I’ve got a special promotion going today and tomorrow on Amazon. You can get Second Son for free. Give it a shot. If you don’t have a kindle, you can still read it with the Kindle app for your mac, pc, iPhone, android device or iPad.

And while you’re there, why not go on and pick up a copy of The Final Appearance of America’s Favorite Girl Next Door.

 

Also, check out Carter Sickels‘s work. He read with me last night. Really good, finely observed stuff. Can’t wait to read the whole novel.

Reamde

Reamde, Neal Stephenson’s newest novel, is, as many reviewers have noted, a doorstop of a thriller. That much is true. All through my reading, though, which took me way longer than many of his other novels, I kept thinking that the book ought to have been shortened by about 300-500 pages. That’s not a statement I would make about Stephenson’s other door stop-sized books.

I started reading Stephenson a long time ago, but I don’t recall exactly how I first came across  Snow Crash. What I do remember how I got so totally hooked on the novel that I spent one late night during a family vacation more or less hiding in a bathroom at a beach rental Continue reading

Disintermediation will not make publishing as we know it go down the tubes [U]

In a recent interview with The Rumpus, Laura Miller of Salon (her work also appears in a lot of other places), was asked what she sees “as the major challenge facing book publishing today.” In response, she laid out a number of concerns and issues, all of which are worthy of more discussion (and it would be cool if she did an essay on this, because I’d love to see her expand her thoughts).

[It should also be said that she says a lot of other stuff that is worth reading—about personality and reviewing, and reading outside of her comfort zone—and totally worth reading, regardless of what you think of her reviewing habits. There being, as one old friend used to put it, no taste accountants. But I love this remark: “trust me, there is no joke so broad that there won’t be someone out there who’ll think you mean it seriously.” Happens every day.]

Each of the following “concerns” are direct quotes from her response in the interview. I’ve put what she likely just rattled off informally into a more formal structure, which means I could be seen as taking her out of context.  So be it.

Concern #1. The whole stratum of expertise embodied by agents and editors and booksellers might be lost in the disintermediation currently going on.

While this is a legitimate concern, to a certain extent, it’s a nonissue. I think Tim O’Reilly has it right when he said that “isn’t necessarily the old economic models that survive, but economies survive, and new players and models arise.” Read his post here. Continue reading

Is it Final, or Does it Just Appear That Way?

Now and then a well-meaning, experienced publishing-type person has asked me, apropos of  The Final Appearance of America’s Favorite Girl Next Door, ‘Are you wed to the title?’ Or something approximating the same sentiment. (Which seemed to indicate the sentiment that a), It’s so long; or perhaps, b) I don’t get it.)

To which my response has been, Yes. Totally. (With the unstated ‘Can we not talk about this any more?’ implicit in it.)

Yes, it is a long title. But it is the title. It is the only title that would do the novel justice. I tend to refer to it in casual speech as ‘Final Appearance,’ which is more convenient for someone like me who likes to talk at great lengths. Appearance and finality are two huge parts of the novel. I hope the thinking reader will come away from the novel wondering what the final appearance actually is, or if it is any one thing at all. At least in terms of this story, appearance means a whole slew of things — plain old looks, an ‘appearance’ on a tv show, a false front — you (I hope, as a thinking reader) get the point. Continue reading

TFAOAFGND Outtakes, part 1

Not everything you write goes into the novel, especially if, like me, you take 10+ years to write a novel. Sometimes you write a scene and then decide that the scene is more efficiently alluded to than actually in the novel. I’m going to post some of the more interesting (in my mind — you may think otherwise) bits and pieces here. So here’s a start…. Continue reading

Got the Advance Reading Copies

Of TFAOAFGND, and I think they look pretty good. But so I’m reading the first page, and thinking this is a killer first page, and then get down a few grafs and see, crap, a freaking typo. But this is what advance copies are for, or one of the things.

It’s a curious thing, a physical copy of a book that is going to be an ebook — all the heft you’d expect from a book that will, when it is finally published have no heft.

a stack of Final Appearance advance reading copies

If you’re a reviewer or tastemaker, thought-leader, or just a general bon vivant (you must have evidence of status as bon vivant), shoot Margaret an email at margaret@shelfmediagroup.com and request a copy. You might get lucky.

Is Big Publishing on the Borders of Collapse?

Okay, it’s a bit of a hyperbolic headline, but still, if you’re in Big Six publishing, you have to be a bit concerned about your business model.

When you look at the numbers, it seems pretty clear that Big Six publishing seems to be headed to a place it does not necessarily want to be. Publisher’s Lunch has a fascinating piece on Amazon’s effort (subscription required) to come up with a subscription service. In describing the plan, which would give Amazon exclusive rights to “to offer free access to wide swaths of backlist ebooks to Amazon Prime members,” Michael Cader writes that, for most publishers, it’s a nonstarter:

Publishers who have already declined told us the exclusive was one of the easy reasons to not even consider the plan, with one person suggesting that the scheme is directly targeted at taking customers and share away from Barnes & Noble.

The thing that really struck me was, however, this:

…most traditional publishers are trying to uphold the value of selling authors’ work at a price that supports a professional process and allows for broad investment in the funding of new work.

And then this:

For standard trade publishers who license individual works from authors (and through agents), the structural, rights and relationship obstacles are manifold.

Later, there’s a quote (unattributed) about how disruptive the scheme is “to the economics that we know are working.” Which seems to me the real problem facing Big Six publishing these days. The economics may be working at this moment, but how long this moment will last is anybody’s guess. Especially when you consider how fast sales of ebooks are overtaking trade books. In March, Hachette Livre reported that nearly a quarter of US sales were from ebooks. According to Publishers Weekly, ebook sales jumped “167% in June” and:

The major trade segments took big hits in June due in part to the closing of more Borders stores. Trade paperback sales had the largest decline, down 64%, while children’s hardcover sales were off 31%. Adult hardcover sales fell 25%, mass market sales were down 22% and children’s paperback was off 13%. Sales in all the trade segments were also off by more than 10% for the first half of the year.

This concerns me for obvious reasons — I’m a writer and my novel is about to be published by Shelf Media Group only as an ebook. How this came to be so has as much to do with serendipity as it does with any actual design. It’s going to be very interesting to see how this works out. We know that publishing is going through a major, major shift and, like global warming, that shift would seem to be happening at a faster pace than anyone anticipated.

I used to work in publishing many, many years ago. I keep saying, “I used to know how publishing worked, but I don’t anymore.” I’m guessing that’s true of a lot of people these days. Even those who do.

More to come.

Are Publishers Irrelevant?

Pat Holt, on her Holt Uncensored Blog, has had an interesting series of posts on what she calls the DIY author. These are people (she starts with Seth Harwood) who have essentially bucked or avoided or been ignored by the major publishing houses—that is until they’ve created an online platform and established a fan base—and have done it themselves, creating iPhone apps, podcasts, offering up their work for free, and so forth.

I am not, as Holt termed Harwood, one of ”the new breed of whiz-kid authors.” I’m a middle-aged novelist who published two novels way too long ago, has ghosted a number of nonfiction books (some of which have been national bestsellers [which, believe me, does not make me anything close to rich]) and has one complete novel on the shelf that was enthusiastically turned down by all of the major publishing houses, and another that’s almost ‘finished,’ finished meaning in this case I almost have the ending done, but much work still needs to be done. Continue reading

What's Wrong with Jay McInerny is what's wrong with the rest of America — but it's not what you think

I’m in the midst of reading Richard Powers’s new novel, GENEROSITY: AN ENHANCEMENT. I’m a big fan of Powers’s work, and despite some not so great (and in my mind kind of ill-conceived) reviews, I’m liking it a lot so far. Jay McInerny reviewed the book in the Times Book Review this week, and I was surprised by his statement in the “upfront” section. Continue reading