This is going to be a very short -- for me -- blog post. I'll expand it later, but you'll have to come to the blog itself to see the rest. And no, I'm not sure when it will be.
Here's my question:
If several self-publishing authors formally associate with each other, whether as an organized "group" on a readers-and-authors website or on their own collective blog or face to face or whatever, and if they proceed to rate and review each other's books without disclosing that they have agreed ahead of time to do so, are they engaging in deception for their own gain? Why would they not identify themselves as friends or colleagues or associates or . . . whatever? Are they ashamed of something?
Let me reiterate: Are they ashamed of what they've done?
I have said all along that reviews by real people should be allowed. Not reviews by 25 sock puppets of the author, 19 sock puppets of her mother, and 769 computer-generated sock puppets. Authors are real people, and there's no reason why they shouldn't be allowed to post reviews of their friends' books if they want to.
But shouldn't they have enough integrity to identify themselves? If not, what are they trying to hide?
Those of you who have been following me at all know that I generally include a disclaimer in my reviews. Not only do I review under my own name, but I let the reader of the review know when and where and how I obtained the book; whether I've had any contact with the author and what kind of contact that is; and that I am an author of historical romances. Personally, I feel that kind of honesty allows the reader to make an informed decision about the validity of my comments.
How is a reader to make that kind of decision when a book has five, or ten, or 20 5-star ratings but not one of the reviewers admits to being a member of an authors' review swapping group?
Again: Are they ashamed of what they've done? And if they're not ashamed of what they've done, why won't they admit it?
Monday, November 11, 2013
Sunday, October 27, 2013
On eating one's words: The good, the bad, and the real
This blog post has been more than two months in the writing. It seems every time I go back to the draft to complete it, events have occurred that have direct bearing on what I'm trying to say. I'm really going to try to wrap it up today.
Over the past several weeks, I think I've re-read this previous post and this one at least a dozen times each. Maybe more than that.
And maybe I've done so to rationalize my position on reviews and reviewers given the, ahem, ongoing fracas regarding them you-know-where.
But there's been a little more to it in my case than what's been discussed publicly, and that's what's been stewing. And it's why I've spent so much time on this particular essay.
Not too long before the big explosion/implosion "over there" and in the wake of yet another author meltdown over a review she didn't like -- neither the title, author, or the reason is important -- I received some private comments regarding my stance to defend all reviews and all reviewers, no matter how vicious, no matter how vapid, no matter how insincere, especially since I'm an author, too. The people who contacted me were not antagonistic; they were, and still are, friends who were asking if I still felt the same after reading the reviews that had prompted the author's meltdown. Some of the comments in those reviews were, though not at all personal, pretty damn harsh. The reviewers basically said there was nothing at all to recommend the book: The writing was terrible, the characters had no redeeming qualities, the plot was simplistic (where it wasn't totally incomprehensible), and the sex scenes were. . . .well, never mind that. The reviewers pretty much all said the book was terrible and should never have been (self)-published.
My response in all cases was the same: Reviewers have the right to say whatever they want. They don't owe the writer a damn thing.
But...but...but...my friends protested. Didn't I have any compassion for my fellow creative artists? (A non-friend basically said the same thing, publicly, on this blog. We won't go there.)
Well, no, I didn't. And yet, yes, I did. And in that seeming contradiction lies my defense of an issue I have visited far too often. I would leave it alone if it didn't keep coming up, again and again and again and again. And because it lies at the heart of The Great Debate.
The author was devastated, went on a rampage, got more hostile reviews, and eventually flounced. We're all familiar with the scenario; what few details vary from case to case really don't matter. We read the same words -- mean, vicious, troll, bullies -- and yawned, ho hum. And we got ready to move on, leaving the writer to do whatever she chose to do.
Wait a minute. Let's back up a bit. Did I write "insincere" in reference to some reviews? I did, and I'm quite well aware that the word is used as a surrogate for a variety of other words. Like inaccurate, untruthful, retaliatory, mean, and yes, even bullying, as well as fake, bought, squeeing, and sock puppeted. Can something that's insincere also be kind?
During this whole discussion in various venues and over considerable time, someone posted, somewhere, one of those cute little poster things about kindness. And I think I even responded, quoting in turn the little epigram sometimes attributed to Etienne de Grellet, and sometimes to William Penn.
I took a break from all that angst for a while. For one thing, I was wrapped up in the republishing of my own book, Legacy of Honor, and I needed to concentrate on that. A good portion of what little free time I have this time of year also has to be dedicated to preparing for the seasonal art shows I participate in. So worrying about reviews of other people's books was not high on my priority list. The whole brouhaha continued unabated anyway; it would no doubt be still raging when I came back to it.
And of course it was. Legacy of Honor was now out there, ready for any reviews positive or negative, and I was going to be put to the test.
I don't look at my reviews. Not ever, unless by accident or someone brings something specific about a review to my attention. Maybe I should look at them more often, but I figure what's the point? If someone likes the book, they'll say something nice, and I'll get all over-confident and conceited; or I'll find out someone doesn't like it and I'll go into a dismal funk the way I did over Moonsilver. (Which funk had nothing to do with reviews, but anyway.) So I just don't look at them.
And anyway, they're not for me. They're for other readers. That's what I keep saying, and I damn well better mean it.
Of course, I'm not stupid, and I know that there are probably a few or even more than a few retaliatory reviews on my books from people whose books I didn't like. Maybe someone found a typo I missed (shit happens) or they just felt like being mean. They're allowed to do that. It's only a book review. It's only a book.
But what if there's an error? A great huge gaping plot hole I missed in all my various revisions and someone catches it and I could easily fix it and reupload it and. . . . and. . . . . . . and. . . . . . .. .. .
If there is, that's my fault. I could have asked someone else to read it, someone I knew and trusted who would be able to find any such plot holes or internal inconsistencies or whatever. Not that I really know anyone like that. A critique partner? To go through all 194,000 words? To keep track of all the little details the way a professional editor would? Oh, wait, a professional editor did edit it and left lots and lots and lots and lots of plot holes in it 28 years ago.
Sure, I know. That was Leisure, and they weren't noted for their attention to detail. (Like, typos on the back cover copy? Hello?? Excuse me?!?!)
But whoever edited my later books at Zebra didn't catch the big errors either. Like the crucial bit of dialogue that was virtually copied and pasted and duplicated due to one of my own revisions and no one caught it. Not in editing, not in copyediting, not in typesetting, not in proofing, not in page proofs. It was embarrassing for me, yes, because I was the author. But at least I could shove some of the blame onto the editorial team for that one.
Ultimately, therefore, if a reviewer finds an error, oh well, she finds an error. Other readers will be alerted to it and I'll continue in blissful ignorance because I'm not going anywhere near those reviews. (If there even are any!)
Reviewers have to feel free to write whatever they want. Computer-generated sock puppet accounts are not reviewers. Paid shills are not reviewers. (Edited to add: They're commercials, and should be identified as such. Should their reviews be allowed? Yes, as long as they're identified as what they are: Paid advertising.) Friends and relatives and colleagues at the same publisher and editors and so on -- yes, they're reviewers. They should, if they're honest, disclose their relationship, but hey, people aren't always particularly honest. If they're the competition, they should note that, too.
Regardless, however, real reviewers need to be able to review freely. They shouldn't need to ask if the book has been edited or proofread. They shouldn't need to ask if the author is 12 years old or 30 or 70. They shouldn't need to ask if the author is depending on income from the sales of this book to put her children through college or pay for her pending kidney transplant. They shouldn't need to ask if the author wants an honest review or just ego strokes. Unless and until the author makes her behavior part of the selling of the book, the review should only be about the book.
Is it well written? Does it make sense? Did the reader find it enjoyable?
I feel pretty confident that my writing -- blog, discussion posts, fiction, non-fiction -- can pass as reasonably professional. My spelling, grammar, punctuation, syntax haven't been called into question at least since I graduated high school, and that was in 1966. The fact that I sold seven novels to royalty publishers does give me some reassurance that I can come up with decent story ideas and then develop them into readable books.
In other words, I'm pretty sure my writing is competent enough that my republished digital editions aren't going to be slammed for bad writing and huge plot holes. What's left is reader opinion, and as far as I'm concerned, that's sacrosanct. As long as it's a real person writing it, the review is untouchable by the author of the book.
Which brings it all back to the beginning. Not just the question of whether a reviewer, any reviewer, has an obligation to be kind to the author, but the specific question of whether I, as writer and reviewer, have a special obligation to treat my fellow wordcrafters with a unique brand of kindness reserved for colleagues.
It would be easy to fall back on the "reviews are for readers, not authors" mantra that I've spouted often enough. And it's true. But I've also never made any secret of the fact that many of my reviews are essentially critiques leveled at the writing if not directly at the writer. Yes, I definitely feel readers should be alerted to research errors and sloppy formatting and whiny characters and dull narrative and so on. If I don't know the writer and have never had any interaction (even secondhand) with her either online or in person, how can I possibly write a review based on anything other than the writing? Seriously -- it's always going to come back to the writing.
Still, how does that answer the question: Do I as a writer have an obligation to temper my reviews with kindness simply because I'm a writer? Does kindness trump my obligation to give an honest review? Does kindness to the author, if it requires lying, matter more than telling her the truth about her terrible writing? Does kindness to the author, if it requires lying, overrule letting potential readers know how bad the book is?
I think I've mentioned the experience of a fellow writer some 25 or so years ago whose career was essentially killed by kindness. After completing a novel, she sent it to her agent who requested some minor changes. She made the changes and resubmitted. The agent asked for just a few more little alterations. Done and resubmitted. The agent then suggested a few more tiny revisions. Well, when all was said and done, the book bore little resemblance to what the writer had originally written, and she gave up in frustration. The agent told her she didn't want to overwhelm her with so many changes all at once; she was trying to be kind. To my knowledge, the writer never wrote anything else.
Is it therefore better to say nothing, to write no review at all, to pretend a badly written book doesn't exist, than to express the opinion that it's badly written? Or am I merely justifying my own meanness and cruelty and whatever? Who determines what constitutes a mean or cruel review? And who is the cruelty directed at?
I struggled with this, as I have struggled with it before, and I reached no resolution. I read the poor author's reaction to reading the reviews of her novel and I wondered if the reviewers had been unnecessarily harsh. Had I been unnecessarily harsh in some of my reviews? Had I hurt the authors' feelings unnecessarily?
Was it possible, I pondered, to write a scathing review that spared the author's sensibilities? Was it possible to write a negative review that still offered encouragement and support to the author? Was it possible to warn readers who might have come to trust my judgment that this was a book they might want to avoid, while at the same time not hurting the author's feelings?
Yes, I'm sure it is. It's also possible to run an under four minute mile, but I sure as hell can't do it.
I will continue to write reviews honestly, and if some writers take that honesty as unkindness or cruelty, I am sorry. But I'm not going to change the way I review. I cannot temper my remarks to spare the author when to do so would be lying to the readers.
And I expect the same honesty from anyone who chooses to review my books. If they want to be mean and nasty, go right ahead. I'm not going to read them, and any writer who doesn't have the confidence not to read reviews probably should be hurt by harsh criticism. Her work is probably not ready for publication. And I'm not going to be kind to her at the expense of those readers who have come to trust my judgment. Some of them, after all, may be my fellow writers. And above all else, I owe them my honesty, not my kind lies.
Over the past several weeks, I think I've re-read this previous post and this one at least a dozen times each. Maybe more than that.
And maybe I've done so to rationalize my position on reviews and reviewers given the, ahem, ongoing fracas regarding them you-know-where.
But there's been a little more to it in my case than what's been discussed publicly, and that's what's been stewing. And it's why I've spent so much time on this particular essay.
Not too long before the big explosion/implosion "over there" and in the wake of yet another author meltdown over a review she didn't like -- neither the title, author, or the reason is important -- I received some private comments regarding my stance to defend all reviews and all reviewers, no matter how vicious, no matter how vapid, no matter how insincere, especially since I'm an author, too. The people who contacted me were not antagonistic; they were, and still are, friends who were asking if I still felt the same after reading the reviews that had prompted the author's meltdown. Some of the comments in those reviews were, though not at all personal, pretty damn harsh. The reviewers basically said there was nothing at all to recommend the book: The writing was terrible, the characters had no redeeming qualities, the plot was simplistic (where it wasn't totally incomprehensible), and the sex scenes were. . . .well, never mind that. The reviewers pretty much all said the book was terrible and should never have been (self)-published.
My response in all cases was the same: Reviewers have the right to say whatever they want. They don't owe the writer a damn thing.
But...but...but...my friends protested. Didn't I have any compassion for my fellow creative artists? (A non-friend basically said the same thing, publicly, on this blog. We won't go there.)
Well, no, I didn't. And yet, yes, I did. And in that seeming contradiction lies my defense of an issue I have visited far too often. I would leave it alone if it didn't keep coming up, again and again and again and again. And because it lies at the heart of The Great Debate.
The author was devastated, went on a rampage, got more hostile reviews, and eventually flounced. We're all familiar with the scenario; what few details vary from case to case really don't matter. We read the same words -- mean, vicious, troll, bullies -- and yawned, ho hum. And we got ready to move on, leaving the writer to do whatever she chose to do.
Wait a minute. Let's back up a bit. Did I write "insincere" in reference to some reviews? I did, and I'm quite well aware that the word is used as a surrogate for a variety of other words. Like inaccurate, untruthful, retaliatory, mean, and yes, even bullying, as well as fake, bought, squeeing, and sock puppeted. Can something that's insincere also be kind?
During this whole discussion in various venues and over considerable time, someone posted, somewhere, one of those cute little poster things about kindness. And I think I even responded, quoting in turn the little epigram sometimes attributed to Etienne de Grellet, and sometimes to William Penn.
"I expect to pass through this world but once. Any good therefore that I can do, or any kindness or abilities that I can show to any fellow creature, let me do it now. Let me not defer it or neglect it, for I shall not pass this way again."And I wondered, not for the first time, if kindness trumps honesty. And to whom is kindness owed, if kindness to one party harms another?
I took a break from all that angst for a while. For one thing, I was wrapped up in the republishing of my own book, Legacy of Honor, and I needed to concentrate on that. A good portion of what little free time I have this time of year also has to be dedicated to preparing for the seasonal art shows I participate in. So worrying about reviews of other people's books was not high on my priority list. The whole brouhaha continued unabated anyway; it would no doubt be still raging when I came back to it.
And of course it was. Legacy of Honor was now out there, ready for any reviews positive or negative, and I was going to be put to the test.
I don't look at my reviews. Not ever, unless by accident or someone brings something specific about a review to my attention. Maybe I should look at them more often, but I figure what's the point? If someone likes the book, they'll say something nice, and I'll get all over-confident and conceited; or I'll find out someone doesn't like it and I'll go into a dismal funk the way I did over Moonsilver. (Which funk had nothing to do with reviews, but anyway.) So I just don't look at them.
And anyway, they're not for me. They're for other readers. That's what I keep saying, and I damn well better mean it.
Of course, I'm not stupid, and I know that there are probably a few or even more than a few retaliatory reviews on my books from people whose books I didn't like. Maybe someone found a typo I missed (shit happens) or they just felt like being mean. They're allowed to do that. It's only a book review. It's only a book.
But what if there's an error? A great huge gaping plot hole I missed in all my various revisions and someone catches it and I could easily fix it and reupload it and. . . . and. . . . . . . and. . . . . . .. .. .
If there is, that's my fault. I could have asked someone else to read it, someone I knew and trusted who would be able to find any such plot holes or internal inconsistencies or whatever. Not that I really know anyone like that. A critique partner? To go through all 194,000 words? To keep track of all the little details the way a professional editor would? Oh, wait, a professional editor did edit it and left lots and lots and lots and lots of plot holes in it 28 years ago.
Sure, I know. That was Leisure, and they weren't noted for their attention to detail. (Like, typos on the back cover copy? Hello?? Excuse me?!?!)
But whoever edited my later books at Zebra didn't catch the big errors either. Like the crucial bit of dialogue that was virtually copied and pasted and duplicated due to one of my own revisions and no one caught it. Not in editing, not in copyediting, not in typesetting, not in proofing, not in page proofs. It was embarrassing for me, yes, because I was the author. But at least I could shove some of the blame onto the editorial team for that one.
Ultimately, therefore, if a reviewer finds an error, oh well, she finds an error. Other readers will be alerted to it and I'll continue in blissful ignorance because I'm not going anywhere near those reviews. (If there even are any!)
Reviewers have to feel free to write whatever they want. Computer-generated sock puppet accounts are not reviewers. Paid shills are not reviewers. (Edited to add: They're commercials, and should be identified as such. Should their reviews be allowed? Yes, as long as they're identified as what they are: Paid advertising.) Friends and relatives and colleagues at the same publisher and editors and so on -- yes, they're reviewers. They should, if they're honest, disclose their relationship, but hey, people aren't always particularly honest. If they're the competition, they should note that, too.
Regardless, however, real reviewers need to be able to review freely. They shouldn't need to ask if the book has been edited or proofread. They shouldn't need to ask if the author is 12 years old or 30 or 70. They shouldn't need to ask if the author is depending on income from the sales of this book to put her children through college or pay for her pending kidney transplant. They shouldn't need to ask if the author wants an honest review or just ego strokes. Unless and until the author makes her behavior part of the selling of the book, the review should only be about the book.
Is it well written? Does it make sense? Did the reader find it enjoyable?
I feel pretty confident that my writing -- blog, discussion posts, fiction, non-fiction -- can pass as reasonably professional. My spelling, grammar, punctuation, syntax haven't been called into question at least since I graduated high school, and that was in 1966. The fact that I sold seven novels to royalty publishers does give me some reassurance that I can come up with decent story ideas and then develop them into readable books.
In other words, I'm pretty sure my writing is competent enough that my republished digital editions aren't going to be slammed for bad writing and huge plot holes. What's left is reader opinion, and as far as I'm concerned, that's sacrosanct. As long as it's a real person writing it, the review is untouchable by the author of the book.
Which brings it all back to the beginning. Not just the question of whether a reviewer, any reviewer, has an obligation to be kind to the author, but the specific question of whether I, as writer and reviewer, have a special obligation to treat my fellow wordcrafters with a unique brand of kindness reserved for colleagues.
It would be easy to fall back on the "reviews are for readers, not authors" mantra that I've spouted often enough. And it's true. But I've also never made any secret of the fact that many of my reviews are essentially critiques leveled at the writing if not directly at the writer. Yes, I definitely feel readers should be alerted to research errors and sloppy formatting and whiny characters and dull narrative and so on. If I don't know the writer and have never had any interaction (even secondhand) with her either online or in person, how can I possibly write a review based on anything other than the writing? Seriously -- it's always going to come back to the writing.
Still, how does that answer the question: Do I as a writer have an obligation to temper my reviews with kindness simply because I'm a writer? Does kindness trump my obligation to give an honest review? Does kindness to the author, if it requires lying, matter more than telling her the truth about her terrible writing? Does kindness to the author, if it requires lying, overrule letting potential readers know how bad the book is?
I think I've mentioned the experience of a fellow writer some 25 or so years ago whose career was essentially killed by kindness. After completing a novel, she sent it to her agent who requested some minor changes. She made the changes and resubmitted. The agent asked for just a few more little alterations. Done and resubmitted. The agent then suggested a few more tiny revisions. Well, when all was said and done, the book bore little resemblance to what the writer had originally written, and she gave up in frustration. The agent told her she didn't want to overwhelm her with so many changes all at once; she was trying to be kind. To my knowledge, the writer never wrote anything else.
Is it therefore better to say nothing, to write no review at all, to pretend a badly written book doesn't exist, than to express the opinion that it's badly written? Or am I merely justifying my own meanness and cruelty and whatever? Who determines what constitutes a mean or cruel review? And who is the cruelty directed at?
I struggled with this, as I have struggled with it before, and I reached no resolution. I read the poor author's reaction to reading the reviews of her novel and I wondered if the reviewers had been unnecessarily harsh. Had I been unnecessarily harsh in some of my reviews? Had I hurt the authors' feelings unnecessarily?
Was it possible, I pondered, to write a scathing review that spared the author's sensibilities? Was it possible to write a negative review that still offered encouragement and support to the author? Was it possible to warn readers who might have come to trust my judgment that this was a book they might want to avoid, while at the same time not hurting the author's feelings?
Yes, I'm sure it is. It's also possible to run an under four minute mile, but I sure as hell can't do it.
I will continue to write reviews honestly, and if some writers take that honesty as unkindness or cruelty, I am sorry. But I'm not going to change the way I review. I cannot temper my remarks to spare the author when to do so would be lying to the readers.
And I expect the same honesty from anyone who chooses to review my books. If they want to be mean and nasty, go right ahead. I'm not going to read them, and any writer who doesn't have the confidence not to read reviews probably should be hurt by harsh criticism. Her work is probably not ready for publication. And I'm not going to be kind to her at the expense of those readers who have come to trust my judgment. Some of them, after all, may be my fellow writers. And above all else, I owe them my honesty, not my kind lies.
Friday, October 18, 2013
Letting go of the words. . . . again
So, it's done.
Legacy of Honor is live on Amazon.
I was never a shameless hussy of self promotion, and I doubt I'm ever going to be. This blog and my comments on various books-and-authors websites like Booklikes and maybe a post on Facebook are as much promo as I've ever been comfortable doing.
But as I blogged earlier, something about this republication of my first print-published book has been very emotional for me. I'm not totally sure why.
Back in March of this year, when I really began the process, I blogged some of my thoughts about to change or not to change a book that had been written over 30 years ago, whether I should bring it up to the, for lack of a better phrase, market sensibilities of 2013. Back then I made the decision not to.
In March I already knew some of the problems with the various versions of the book, and I knew I was going to have to make at least some revisions. I had no idea then how extensive they would be or how much effort they would take, but I didn't really think the process would be too difficult or complex.
I was wrong. Very wrong.
Part of that March blog post was intended to form the basis of an author's foreword to the digital edition, and I did paste it into the digital manuscript as I worked on the edits. What started as a couple of paragraphs, however, quickly grew to several pages. As usual, I was telling someone how to make a watch when all they'd asked for was the time. Fortunately (I hope!) for my readers, I cut that foreword back to just a couple of paragraphs for the now-republished digital version.
While sitting at my desk today, working at my day-job and waiting for Legacy to go live on Amazon, I experienced a very unexpected emotional assault. Like my heroine Alexandra, I cry easily, and so I wasn't particularly surprised that I found myself near tears several times this afternoon. I know myself pretty well, and that's how I am. But I also usually shake that stuff off pretty easily.
In the context of all the ruckus online regarding negative reviews and authors responding inappropriately and especially my own comments, I sat back to examine how I felt about all this. In particular, how did my emotional reaction compare to the "my book is my baby!" nonsense I had criticized when other authors offered it as an excuse for their tirades against negative reviews.
Was I more sympathetic to them? Did I have a clearer understanding of how they felt? Did I accept their defense as valid? In words of one syllable: No, yes, and hell no.
What follows now is that much, much, much too long "Author's Foreword to the 2013 Edition" further expanded with some thoughts now that the book has in fact been republished. Some of this text will be familiar to those of you who have read the earlier version in March, but much of it is new.
Because there were some other issues.
Then it was time to write the blurb (that's a blog post in itself!) and put it all together and actually publish it. I did that about 11:00 this morning, and around 6:00 this evening, Legacy of Honor went live for the first time since 1985.
And for most of those seven hours, I was a basket case.
Do I have a better understanding now of how an author feels when her precious work receives a negative review? No. I always understood that. I also understood, better than those who have never been through the process, what it's like to put your creative work in the hands of someone who will not have the intimate respect for it that the author does and who ultimately puts it out there in the public's hands with what amounts to a dirty face, mismatched socks, and holes in its underwear.
I took that poor abused child back, washed its face, made sure its stockings were the same color, and put on brand new undies.
And then I let it go.
Because that's what you have to do. It's what you have to do as a parent and as an author. You have to let go.
Legacy of Honor is live on Amazon.
I was never a shameless hussy of self promotion, and I doubt I'm ever going to be. This blog and my comments on various books-and-authors websites like Booklikes and maybe a post on Facebook are as much promo as I've ever been comfortable doing.
But as I blogged earlier, something about this republication of my first print-published book has been very emotional for me. I'm not totally sure why.
Back in March of this year, when I really began the process, I blogged some of my thoughts about to change or not to change a book that had been written over 30 years ago, whether I should bring it up to the, for lack of a better phrase, market sensibilities of 2013. Back then I made the decision not to.
In March I already knew some of the problems with the various versions of the book, and I knew I was going to have to make at least some revisions. I had no idea then how extensive they would be or how much effort they would take, but I didn't really think the process would be too difficult or complex.
I was wrong. Very wrong.
Part of that March blog post was intended to form the basis of an author's foreword to the digital edition, and I did paste it into the digital manuscript as I worked on the edits. What started as a couple of paragraphs, however, quickly grew to several pages. As usual, I was telling someone how to make a watch when all they'd asked for was the time. Fortunately (I hope!) for my readers, I cut that foreword back to just a couple of paragraphs for the now-republished digital version.
While sitting at my desk today, working at my day-job and waiting for Legacy to go live on Amazon, I experienced a very unexpected emotional assault. Like my heroine Alexandra, I cry easily, and so I wasn't particularly surprised that I found myself near tears several times this afternoon. I know myself pretty well, and that's how I am. But I also usually shake that stuff off pretty easily.
In the context of all the ruckus online regarding negative reviews and authors responding inappropriately and especially my own comments, I sat back to examine how I felt about all this. In particular, how did my emotional reaction compare to the "my book is my baby!" nonsense I had criticized when other authors offered it as an excuse for their tirades against negative reviews.
Was I more sympathetic to them? Did I have a clearer understanding of how they felt? Did I accept their defense as valid? In words of one syllable: No, yes, and hell no.
What follows now is that much, much, much too long "Author's Foreword to the 2013 Edition" further expanded with some thoughts now that the book has in fact been republished. Some of this text will be familiar to those of you who have read the earlier version in March, but much of it is new.
There
is sometimes a temptation, when preparing a work for republication many years
after its debut, to alter the story and make it more suitable for the present
day's audience. In essence, to write it
the way it would have been written today.
After some considerable deliberation, I chose not to do that with Legacy
of Honor, which was my first published novel.
I have,
however, made some minor changes that I feel will improve the reading
experience without changing the substance of the book, in either content or
tone.
Written
over a period of roughly two years between 1980 and 1982, Legacy endured
rejections by several of the major paperback publishers. During the submission process, one editor
suggested the manuscript be trimmed from its original hefty 240,000 words (Version #1) and
she'd take another look at it; I made substantial cuts and resubmitted the
manuscript (Version #2), but that editor ultimately did not offer a contract.
At some
point after that rejection, I decided on my own to make a major revision to the
ending, for reasons detailed in one of the previous blog posts. I also purchased a new
typewriter. Since the entire manuscript
would have to be retyped to lead into the dramatically altered ending, I rewrote the synopsis to
reflect that change, then typed the standard outline-and-sample-chapters
submission to send to Leisure Books. I
anticipated at the very least the usual two to three months before receiving
any response, which would be plenty of time to make all the revisions necessary
to accommodate the new ending as well as type the rest of the approximately 650
manuscript pages.
I didn't
count on a letter arriving just five days later -- via snail mail, which was all we had in 1984 -- requesting the complete
manuscript. Somehow or other, I managed
to make the changes so the book matched the revised synopsis, to retype the
whole thing, and to send it back within about a week. That was the version (Version #3) Leisure purchased, of
roughly 180,000 words.
Months
later, the editor requested further cuts – about 15,000 words – to meet
production costs; I made those in two or three days (Version #3a), with little time to make
sure internal consistency was maintained and no glaring plot errors were
created in the process. I did the best I
could, then trusted any details I missed would be caught and fixed by the
editor.
Except that
they weren't caught or fixed. With the
exception of typesetting and other errors, Legacy of Honor was published
exactly as I had written it. There were
no revisions requested; there were no revisions made. I never saw the page proofs prior to
publication, so was quite stunned to discover the product that hit bookstore
shelves in February of 1985 was riddled with typos and other minor errors that
I probably would have caught if offered the opportunity to proofread. But in those days, a published novel was
essentially carved in stone. My name was
on the cover and I had to live with the errors. I could always blame the editors for the errors; after all, they were the ones responsible for the errors -- including typos! -- on the back cover blurb. I had nothing at all to do with that.
Fast-forward
to 2013. With the publishing rights
reverted to me after the Dorchester bankruptcy, my first task in digitizing the
text was to catch as many of those errors as possible, just as I would have
done if I had proofread the print version. I made an OCR scan of the print version to digitize it and thought it would simply be a matter of proofreading and fixing small errors.
In the
process, however, I also discovered minor line-editing details – many of which
were related to those cuts demanded by the editor at the last minute – that I
had thought would be fixed but weren't, such as a character who entered a
conversation before entering the room.
Most of these errors required little more than the restoration of a line
or two from the original, untrimmed manuscript or other similar quick fixes. I knew I had a copy of the original Version #2, and I located a copy of Version #3 to see where most of the cuts had been made and what could be restored. I felt comfortable that I would be publishing
a digital version that was 99.5% identical to what was printed in 1985, and
that the 0.5% (or even less) would be virtually undetectable.
As I began
what I thought was a final proofread of the digital edition, I discovered a
much more significant error of exactly the type I had expected an editor to
catch. I'm not sure if I would have
noticed it in 1985 when all I'd have been looking for was typos, but on
revisiting the story almost 30 years later, the omission of some crucial text
was glaring. I went back to my original
manuscripts and realized that, for various reasons, this problem could not be
solved just by adding back in a paragraph or two from a previous manuscript version. Several scenes needed substantial revisions,
not so much to change the story but to make it make sense.
I recognized that the major change I'd made between Version #2 and Version #3 really required more revision than I'd been able to make in that ten day or two week period. There were some rather large continuity errors, some of which had in fact been exacerbated by the later cuts that became #3a. I realize this almost certainly makes much more sense to me than it does to you, dear reader, because I know how the novel evolved through those changes.
But that is what led to the dilemma. Did I want to make the
changes now, in 2013, that I felt an editor should have requested to correct
what appeared to be, well, some rather significant plot holes? Or did I want to preserve the original as much as possible?
I had to
give the matter some thought. Serious
thought.
Writing
in the days before the Internet, before Google and Wikipedia and all the other
wonderful research tools now available at our fingertips, I had to rely on much
more limited resources for historical detail, and as a result there were some
minor errors of fact – minor, that is, in terms of how the story was
constructed. I didn't want to leave those
uncorrected, which meant at least some changes from the original text.
Given
those changes and the fact that I had already made minor line editing
corrections and restored other bits and pieces that had been cut from the
original, I finally decided that if the book was worth republishing at all, it
was worth republishing with its flaws fixed so it at least made internal sense.
I still work a day job, though I do work at home and have a certain amount of flexibility. My day job, however, requires a great deal of intense mental focus, which precludes using that time to write or even think about writing. I had to do all of my rewriting, all of my proofreading, all of my writing in short bits of time snatched here and there from other endeavors. Because the revisions also required very tight focus -- I had to weave everything in as seamlessly as possible to the existing narrative and not change any more than absolutely necessary -- I was rarely able to do very much at a time. And I had to keep going back and checking to make sure I didn't make more problems with each revision than I was fixing.
Unlike the other previously published books I'd put into digital format, Legacy was demanding a lot of original creative effort. In a way, this was good, very good. I was enjoying that creative effort immensely and only wished I had more time to devote to it. My frustration came not from the complexity and delicacy of the project but from the time I had to give to other activities.
Slowly, slowly, page by chapter by revision, everything began to come together. I found a cover design I really, really liked. I made it through a second read, then a third to do an intense proofreading. I found more small errors that had to be fixed, so I fixed them. Then came the conversion for Kindle -- with no misspelled words on the first try!! -- and another proofreading. Even on this fourth read, I found tiny, tiny mistakes that reminded me no matter how carefully I would go over it, undoubtedly there were still errors. Nothing is ever perfect.
Then it was time to write the blurb (that's a blog post in itself!) and put it all together and actually publish it. I did that about 11:00 this morning, and around 6:00 this evening, Legacy of Honor went live for the first time since 1985.
And for most of those seven hours, I was a basket case.
Do I have a better understanding now of how an author feels when her precious work receives a negative review? No. I always understood that. I also understood, better than those who have never been through the process, what it's like to put your creative work in the hands of someone who will not have the intimate respect for it that the author does and who ultimately puts it out there in the public's hands with what amounts to a dirty face, mismatched socks, and holes in its underwear.
I took that poor abused child back, washed its face, made sure its stockings were the same color, and put on brand new undies.
And then I let it go.
Because that's what you have to do. It's what you have to do as a parent and as an author. You have to let go.
So how does this saga end?
Cleaning
up the typesetting and a few research errors, plus restoring some of the excised text
(a total of approximately 25,000 words, including the original Prologue, thus bringing it to 194,000 or ~550 Kindle pages) and revising for clarity were the only changes I made. The story line, the events and actions and
the characters remain otherwise unchanged from what was printed in 1985. And
I've left my writing style alone, too, pretty much.
Did I
write the book differently in 1983 than I would if I were writing it
today? Of course. But the Legacy of Honor I wrote in the
early 1980s was true to its time. In
releasing it again, I wanted to keep it true to itself, and to myself as the
writer I was then. So yes, there is
rampant head-hopping. Will it drive the
reader crazy? Oh, maybe. And if I'd had an Internet to do research, I
might have gone into more historical detail.
But I wrote with the tools and experience and style and editorial
guidance that were available to me, and that's the way it will stay.
I hope you
enjoy it.
Three little words
"Save and Publish"
It's been a very long slog, but this afternoon I clicked the "Save and Publish" button on the Kindle Direct Publishing site to upload Legacy of Honor.
I'm not sure why it was such an emotional experience for me. I've published three other books and a non-fiction piece online without this kind of personal reaction. But whatever the cause, this one really made an impact.
I'll let you all know when it's "live" on Amazon.
It's been a very long slog, but this afternoon I clicked the "Save and Publish" button on the Kindle Direct Publishing site to upload Legacy of Honor.
I'm not sure why it was such an emotional experience for me. I've published three other books and a non-fiction piece online without this kind of personal reaction. But whatever the cause, this one really made an impact.
I'll let you all know when it's "live" on Amazon.
Friday, October 11, 2013
Groovy words
The list began my junior year in high school. My best (and often only) friend Mary and I somehow or other began a list of what we considered groovy words, "groovy" itself being one of them in those mid-1960s days.
Many were of pre-Columbian Mesoamerican origin -- Teotihuacan, Tenochtitlan, Macchu Picchu -- because Mary and I were in Spanish class together and our teacher, Charles Schlereth, was introducing us to the native cultures of Mexico and Central and South America.
There were also a lot of French words on the list -- fait accompli is the first that springs to mind without actually looking at the original compilation, and gendarme -- as well as just interesting words that we came across in our reading, such as juggernaut and klipspringer and rambunctious.
I kept track of my copy of the list in a spiral notebook; Mary kept hers, too, though I'm not sure where. Forty odd years later, at a class reunion in 2006, we met again for the first time in decades and both of us had the lists with us.
Words meant a lot to us then, and still do.
But there was more.
Mary and I engaged in a bit of civil disobedience involving words.
We were allowed, in our school, to spend assigned study hall periods in the library. The infamous grand study hall in room 42-44, in the damp and musty basement of the school, was a good place to escape from, and so unless forced to do so, we chose to spend that period in the library. If nothing else, the library was bright and sunny and of course, it had books.
We liked books.
The library had a procedure for taking attendance, which involved the filling out of a small slip of paper handed to you by a library aide as you entered. There were places for name and other identifying information, the date and class period number, the assigned study hall number, and the last line was simply labeled "Purpose."
As far as we knew, no one ever actually filled out the last line. I mean, everyone was there to escape study hall. Whether you were going to study, read, do homework, draw a picture, who cared what you were doing? No one ever wrote anything on the last line.
Mary and I didn't.
And each period, the aide or a student assistant walked through the library and collected all the attendance slips, then sorted them and returned them to the original study hall for attendance.
But one day it came into my head that I was going to fill in the blank space on my attendance slip. Since I was even in those days a writer, I simply wrote "Create." Yes, I could have written "write" as my purpose, but I didn't. I chose "Create." I wrote it in the space in my very nice handwriting and put the slip on the edge of the table for collection.
Nothing happened. The slips were collected, but no one questioned my purpose; probably no one noticed.
Mary and I began to fill in the blank line every day with "Create."
And still nothing happened.
After a week or so of this, we became bored. It would have been easy, since no one paid any attention to our little innocuous prank -- which really wasn't a prank because I was working on my novel and Mary was writing poetry -- to just drop it and go back to leaving the line blank. But people who love words as Mary and I did are not able to leave blank lines blank once those lines have been filled with words.
And so we began to fill the blank each day with a new word, but not just any word. They were always verbs ending in -ate. Pontificate. Elaborate. Elucidate. Incorporate. Prognosticate. Bloviate.
Nothing happened.
We didn't use bad words or suggestive words, and the verbs we chose all had something -- even if remotely -- to do with a legitimate reason for being in the library. Prevaricate. Fulminate. Excoriate.
Of course, after a few weeks of this, we finally got caught. One of the librarians confronted us with our teasing and banned us from the library for a week. We protested that we were only filling out the form as required, but that didn't do us any good. More than likely someone saw one of those -ate verbs, didn't know what it meant, and felt they were being mocked. So we were banished back to the wasteland of study hall for five days, where we had time to ruminate on our behavior and contemplate our sins.
When we were once again permitted to spend that period in the library, we continued to fill in the blank line. Generally we used less controversial verbs to accommodate our oppressors, but we did not change our behavior. The words were that important to us.
When we met 40 years after high school graduation, Mary had a list of all the verbs she'd been able to find ending in -ate over the years. Hundreds of them. Maybe thousands.
And they all had meanings.
All the words do. That's what makes them so groovy.
(Posted in honor of our October birthdays -- Mary's, Charles's, and mine. Librans rule!!)
Many were of pre-Columbian Mesoamerican origin -- Teotihuacan, Tenochtitlan, Macchu Picchu -- because Mary and I were in Spanish class together and our teacher, Charles Schlereth, was introducing us to the native cultures of Mexico and Central and South America.
There were also a lot of French words on the list -- fait accompli is the first that springs to mind without actually looking at the original compilation, and gendarme -- as well as just interesting words that we came across in our reading, such as juggernaut and klipspringer and rambunctious.
I kept track of my copy of the list in a spiral notebook; Mary kept hers, too, though I'm not sure where. Forty odd years later, at a class reunion in 2006, we met again for the first time in decades and both of us had the lists with us.
Words meant a lot to us then, and still do.
But there was more.
Mary and I engaged in a bit of civil disobedience involving words.
We were allowed, in our school, to spend assigned study hall periods in the library. The infamous grand study hall in room 42-44, in the damp and musty basement of the school, was a good place to escape from, and so unless forced to do so, we chose to spend that period in the library. If nothing else, the library was bright and sunny and of course, it had books.
We liked books.
The library had a procedure for taking attendance, which involved the filling out of a small slip of paper handed to you by a library aide as you entered. There were places for name and other identifying information, the date and class period number, the assigned study hall number, and the last line was simply labeled "Purpose."
As far as we knew, no one ever actually filled out the last line. I mean, everyone was there to escape study hall. Whether you were going to study, read, do homework, draw a picture, who cared what you were doing? No one ever wrote anything on the last line.
Mary and I didn't.
And each period, the aide or a student assistant walked through the library and collected all the attendance slips, then sorted them and returned them to the original study hall for attendance.
But one day it came into my head that I was going to fill in the blank space on my attendance slip. Since I was even in those days a writer, I simply wrote "Create." Yes, I could have written "write" as my purpose, but I didn't. I chose "Create." I wrote it in the space in my very nice handwriting and put the slip on the edge of the table for collection.
Nothing happened. The slips were collected, but no one questioned my purpose; probably no one noticed.
Mary and I began to fill in the blank line every day with "Create."
And still nothing happened.
After a week or so of this, we became bored. It would have been easy, since no one paid any attention to our little innocuous prank -- which really wasn't a prank because I was working on my novel and Mary was writing poetry -- to just drop it and go back to leaving the line blank. But people who love words as Mary and I did are not able to leave blank lines blank once those lines have been filled with words.
And so we began to fill the blank each day with a new word, but not just any word. They were always verbs ending in -ate. Pontificate. Elaborate. Elucidate. Incorporate. Prognosticate. Bloviate.
Nothing happened.
We didn't use bad words or suggestive words, and the verbs we chose all had something -- even if remotely -- to do with a legitimate reason for being in the library. Prevaricate. Fulminate. Excoriate.
Of course, after a few weeks of this, we finally got caught. One of the librarians confronted us with our teasing and banned us from the library for a week. We protested that we were only filling out the form as required, but that didn't do us any good. More than likely someone saw one of those -ate verbs, didn't know what it meant, and felt they were being mocked. So we were banished back to the wasteland of study hall for five days, where we had time to ruminate on our behavior and contemplate our sins.
When we were once again permitted to spend that period in the library, we continued to fill in the blank line. Generally we used less controversial verbs to accommodate our oppressors, but we did not change our behavior. The words were that important to us.
When we met 40 years after high school graduation, Mary had a list of all the verbs she'd been able to find ending in -ate over the years. Hundreds of them. Maybe thousands.
And they all had meanings.
All the words do. That's what makes them so groovy.
(Posted in honor of our October birthdays -- Mary's, Charles's, and mine. Librans rule!!)
Saturday, September 28, 2013
A few words to set your hearts at ease
Those of you who know who you are, that is.
This is a personal note to a few people who seem to have their knickers in a twist after they stalked me to a popular website and saw something they thought was bad behavior on my part. I want to assure them that I was not doing what they thought I was doing. I'm sure they will sleep better at night knowing this.
When I came to Goodreads something over a year ago, I began cataloguing my books. I think it's absolutely wonderful that Goodreads has this fantastic database of books I have and would like to have.
The first phase of my personal cataloguing was to enter the books I already own. I had a spreadsheet for most of them, or about 1700 titles. I slowly, in my spare time, began entering those.
Next came the now over 2,000 Kindle titles, many of them new and not even in the Goodreads database. Some I added myself to Goodreads; some I just waited for.
I also added specific titles to my "wish list" shelf, which is for books I know about and would like to acquire or read someday. Many of these came as Goodreads recommendations, links from other books I'd listed, or from personal friends. Some came from Amazon links.
As I worked my way through this agglomeration, I also added owned books that had not originally been on my spreadsheet or books I've acquired since creating the spreadsheet. I'm still not finished with this listing. There are two huge bookcases in the living room that haven't been inventoried yet. I add those books as I think of them or find time.
I've also started listing the books that are out in my studio, which is not part of the house; I haven't even begun to tackle to 20+ boxes still in storage in the workshop.
Yes, I have a lot of books.
But how was I going to keep track of the enormous bunches of books I wanted to explore? How could I quickly put them into a separate category of books I wanted to find, books I hoped would appear on Kindle?
A few days ago, I set up a Goodreads shelf for these to-be-explored books, titled "new-new." I found, however, that it was very tedious to go to the pages for the authors I was interested in checking out and adding those titles to my created shelf. Nor did I want to add them to my "want to read" shelf via the UGB because in fact I was also adding new titles to that -- books I already had but hadn't entered. I wanted a way to segregate these easily and quickly.
Here's what I did:
I started by going to the Bodice Ripper Readers Anonymous group, which was the first group I joined when I became a Goodreads member. (It should go without saying that as a writer of historical romances, I also read a lot of them.) I knew there was a list of Zebra books with links to the authors. From that list I clicked on the authors, and added all the titles I didn't already have in my Goodreads library. Anything I did have showed up on the buttons, so I simply clicked on the one-star, thus adding all those books to my standard Goodreads "read" shelf.
It was a simple matter to sort those books by date added and then batch-edit those books to move them to my "new-new" shelf. While it's slightly more tedious to remove the one-star ratings, that task can be accomplished while I continue adding the books and authors I'm interested in. And again, it can be conveniently -- if tediously -- done from that exclusive shelf.
So here's a word to those who have accused me doing something nasty:
It's just not wise to ascribe nefarious motives to people you really don't know. It can make you look like an utter fool. Not to mention, a cyberstalker.
This is a personal note to a few people who seem to have their knickers in a twist after they stalked me to a popular website and saw something they thought was bad behavior on my part. I want to assure them that I was not doing what they thought I was doing. I'm sure they will sleep better at night knowing this.
When I came to Goodreads something over a year ago, I began cataloguing my books. I think it's absolutely wonderful that Goodreads has this fantastic database of books I have and would like to have.
The first phase of my personal cataloguing was to enter the books I already own. I had a spreadsheet for most of them, or about 1700 titles. I slowly, in my spare time, began entering those.
Next came the now over 2,000 Kindle titles, many of them new and not even in the Goodreads database. Some I added myself to Goodreads; some I just waited for.
I also added specific titles to my "wish list" shelf, which is for books I know about and would like to acquire or read someday. Many of these came as Goodreads recommendations, links from other books I'd listed, or from personal friends. Some came from Amazon links.
As I worked my way through this agglomeration, I also added owned books that had not originally been on my spreadsheet or books I've acquired since creating the spreadsheet. I'm still not finished with this listing. There are two huge bookcases in the living room that haven't been inventoried yet. I add those books as I think of them or find time.
I've also started listing the books that are out in my studio, which is not part of the house; I haven't even begun to tackle to 20+ boxes still in storage in the workshop.
Yes, I have a lot of books.
But how was I going to keep track of the enormous bunches of books I wanted to explore? How could I quickly put them into a separate category of books I wanted to find, books I hoped would appear on Kindle?
A few days ago, I set up a Goodreads shelf for these to-be-explored books, titled "new-new." I found, however, that it was very tedious to go to the pages for the authors I was interested in checking out and adding those titles to my created shelf. Nor did I want to add them to my "want to read" shelf via the UGB because in fact I was also adding new titles to that -- books I already had but hadn't entered. I wanted a way to segregate these easily and quickly.
Here's what I did:
I started by going to the Bodice Ripper Readers Anonymous group, which was the first group I joined when I became a Goodreads member. (It should go without saying that as a writer of historical romances, I also read a lot of them.) I knew there was a list of Zebra books with links to the authors. From that list I clicked on the authors, and added all the titles I didn't already have in my Goodreads library. Anything I did have showed up on the buttons, so I simply clicked on the one-star, thus adding all those books to my standard Goodreads "read" shelf.
It was a simple matter to sort those books by date added and then batch-edit those books to move them to my "new-new" shelf. While it's slightly more tedious to remove the one-star ratings, that task can be accomplished while I continue adding the books and authors I'm interested in. And again, it can be conveniently -- if tediously -- done from that exclusive shelf.
So here's a word to those who have accused me doing something nasty:
It's just not wise to ascribe nefarious motives to people you really don't know. It can make you look like an utter fool. Not to mention, a cyberstalker.
Thursday, September 26, 2013
Meteoric words
Take from this what you will.
I don't know without digging into my records what the exact time frame was, but I'm pretty sure it was in the early 1990s. Harlequin Enterprises had started gobbling up its competition and establishing itself as a near monopoly in category contemporary romance. They'd bought the Silhouette operation from Simon & Schuster in about 1984 and proceeded to dominate until most of the other lines -- Rapture, Candlelight, Candlelight Ecstasy, Second Chance at Love -- had folded. Bantam's Loveswept was ultimately the last to fall in about 1995. Again, I'm not positive on the dates, but that should be pretty close.
There had been, for a number of years, a company called HCA, or Hosiery Corporation of America, which sold pantyhose by mail subscription. You signed up, chose your color, style, size, etc., and every month they sent you four pair. The price was extremely competitive and the quality was every bit as good as most and better than a lot of what you could buy in the store -- No Nonsense, L'eggs, etc. I know this because I was a long-time customer of HCA and still have a bunch of their product.
Harlequin, and some other publishers, were cashing in on their own subscription services, and someone at HCA got the bright idea to go into the publishing business. Their line of category contemporary romances was called "Meteor," and they were going to undersell the big brands. They had a HUGE mailing list of women who were already buying things on a repeat monthly basis.
They sent editors to RWA conferences and they began buying manuscripts. They didn't pay a lot in terms of advance against royalties, and I don't know right off the top of my head what their royalty rate was or what rights they bought -- I'd have to do more research than I have time at the moment to do -- but they were not a scam. They published the books, sold them, and so on. How successful were they? I don't know. I'm sure there's some information in the RWA "Rate the Publishers" surveys from that time, and I have those. I'll look later on, if anyone is interested.
I suspect they were reasonably successful. Yes, their authors were lower tier, and undoubtedly many of them had been rejected by the other, better paying houses. The books were decently produced, though some of the cover art was kind of on the cheap side. At least Meteor was successful enough that they represented some kind of threat. After about a year of operation, they were bought out/shut down/silenced by Harlequin.
Despite assurances that any and all books already under contract would be published in some form or other, pretty much nothing happened. Meteor disappeared, many of the authors disappeared, and of course there was no concern whatsoever about the readers. I'm not even sure if RWA took much of a stand on it.
By about 1995, when the uproar over royalties on subscription sales was reaching a crescendo, I wrote, as the PAN "rabble rouser," an impassioned plea for someone, anyone, to step up and provide some competition to Harlequin. That plea was quoted at length in Paul Grescoe's Merchants of Venus but ultimately nothing happened. Loveswept folded, authors are still being screwed by Harlequin, and the only competition is from the small digital publishers and independent writers who are putting their work on Amazon and Smashwords and selling it for 99 cents or giving it away for free.
Harlequin didn't give a rat's ass about the writers at Meteor. They didn't have to. That entire operation stood in their way and all they saw was an obstacle. They allowed the writers to vent and whine at RWA conferences, much the way Steve Zacharius allowed us to vent in the Zebra forum, but then they went ahead and continued to do what they intended to do all along.
As I recall, now that I'm thinking about it, Kate Duffy was the start-up editor for Meteor. Kate's obituary in the New York Times a few years ago was one of the little omen-like events that prodded me toward resuming my writing career. A couple years after that, the friend who showed me Kate's obituary showed me Walter Zacharius's. I don't believe in omens, but that was kind of the reminding nudge that got me started again.
The point is, for those ofyou us who are complaining about The Powers That Be not listening to us, it's not because they are afraid of us or don't have answers. It's because they never had any intention of answering. They don't care. They don't have any fucks left to give.
Neither do I.
I don't know without digging into my records what the exact time frame was, but I'm pretty sure it was in the early 1990s. Harlequin Enterprises had started gobbling up its competition and establishing itself as a near monopoly in category contemporary romance. They'd bought the Silhouette operation from Simon & Schuster in about 1984 and proceeded to dominate until most of the other lines -- Rapture, Candlelight, Candlelight Ecstasy, Second Chance at Love -- had folded. Bantam's Loveswept was ultimately the last to fall in about 1995. Again, I'm not positive on the dates, but that should be pretty close.
There had been, for a number of years, a company called HCA, or Hosiery Corporation of America, which sold pantyhose by mail subscription. You signed up, chose your color, style, size, etc., and every month they sent you four pair. The price was extremely competitive and the quality was every bit as good as most and better than a lot of what you could buy in the store -- No Nonsense, L'eggs, etc. I know this because I was a long-time customer of HCA and still have a bunch of their product.
Harlequin, and some other publishers, were cashing in on their own subscription services, and someone at HCA got the bright idea to go into the publishing business. Their line of category contemporary romances was called "Meteor," and they were going to undersell the big brands. They had a HUGE mailing list of women who were already buying things on a repeat monthly basis.
They sent editors to RWA conferences and they began buying manuscripts. They didn't pay a lot in terms of advance against royalties, and I don't know right off the top of my head what their royalty rate was or what rights they bought -- I'd have to do more research than I have time at the moment to do -- but they were not a scam. They published the books, sold them, and so on. How successful were they? I don't know. I'm sure there's some information in the RWA "Rate the Publishers" surveys from that time, and I have those. I'll look later on, if anyone is interested.
I suspect they were reasonably successful. Yes, their authors were lower tier, and undoubtedly many of them had been rejected by the other, better paying houses. The books were decently produced, though some of the cover art was kind of on the cheap side. At least Meteor was successful enough that they represented some kind of threat. After about a year of operation, they were bought out/shut down/silenced by Harlequin.
Despite assurances that any and all books already under contract would be published in some form or other, pretty much nothing happened. Meteor disappeared, many of the authors disappeared, and of course there was no concern whatsoever about the readers. I'm not even sure if RWA took much of a stand on it.
By about 1995, when the uproar over royalties on subscription sales was reaching a crescendo, I wrote, as the PAN "rabble rouser," an impassioned plea for someone, anyone, to step up and provide some competition to Harlequin. That plea was quoted at length in Paul Grescoe's Merchants of Venus but ultimately nothing happened. Loveswept folded, authors are still being screwed by Harlequin, and the only competition is from the small digital publishers and independent writers who are putting their work on Amazon and Smashwords and selling it for 99 cents or giving it away for free.
Harlequin didn't give a rat's ass about the writers at Meteor. They didn't have to. That entire operation stood in their way and all they saw was an obstacle. They allowed the writers to vent and whine at RWA conferences, much the way Steve Zacharius allowed us to vent in the Zebra forum, but then they went ahead and continued to do what they intended to do all along.
As I recall, now that I'm thinking about it, Kate Duffy was the start-up editor for Meteor. Kate's obituary in the New York Times a few years ago was one of the little omen-like events that prodded me toward resuming my writing career. A couple years after that, the friend who showed me Kate's obituary showed me Walter Zacharius's. I don't believe in omens, but that was kind of the reminding nudge that got me started again.
The point is, for those of
Neither do I.
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