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Using Kickstarter to battle tired tropes: An interview with Monica Valentinelli

March 15, 2016 by Andrew Leave a Comment

Monica Valentinelli is one of the two editors of Apex Publications’ proposed project “Upside Down: Inverted Tropes in Storytelling”. It’s a proposed project because the publishers have turned to Kickstarter to raise the funding. At the time of writing the project will be a success; over 800 backers have pledged contributions worth over $13,000 which beats the $10,000 funding goal. There are nearly two weeks left to support the project and you can follow progress here.


[Back this Project]

We asked Monica about the Kickstarter. Zebra Eclipse’s focus is very much on the evolution of marketing and publishing (they’re merging as they evolve) but commercial model in this instance is just as exciting.

What’s wrong with tropes?

Tropes and cliches, by themselves, are powerful because they are omnipresent and resonate throughout our media. Over the years, however, as we continue to produce and enjoy more stories, games, comics, television shows, and films these same devices need to be examined for many reasons. Overused tropes regarding gender and race, for example, perpetuate stereotypes that have been around for decades and feed into the popular narrative. By ignoring tropes and cliches, writers run the risk of boring or alienating readers who are sensitive and aware of the tropes rampant in many genres. And, even more so, works presented may be considered poorly researched or written–simply because the writer defaulted to a crutch without considering it further. Thus, tropes and cliches tend to generate a lot of discussion when they don’t work–and we hope to do exactly the opposite, to show what happens when they’re used as the basis for a story in new and interesting ways.

You have a stretch goal at $15,000 which is of interest because it offers backers nothing new. Instead you’ll be paying contributing authors more. What helped influence that decision?

We’ve already achieved our first stretch goal, which was to add critical non-fiction essays to the collection. Our stretch goals include two pay bumps; one for our authors and the other for our essayists, editors, and marketing folks. We felt that these stretch goals would be a show of support on our part for the work our authors have done to think about and research various aspects of their stories as well as market themselves and their stories. After all, six cents a word may be the industry standard, but that is a base amount that doesn’t cover marketing or research costs.

Is a Kickstarter needed for a trope-busting collection because the anthology wouldn’t be commercially successful otherwise?

Most anthologies are, quite frankly, not commercially viable for small press publishers for a number of reasons ranging from the need to produce significant up front costs to building enough marketing buzz to cover the number of copies sold before turning a profit. There are also logistical concerns, too, which can effect an anthology’s efficacy. With a novel or short story collection, a small press publisher works out a deal with a single author as opposed to making arrangements with the many people involved in an anthology. So, in many cases, anthologies aren’t smart to pursue without a mechanism in place, like Kickstarter, to make it worth a publisher’s while. Kickstarter allows us to pay writers professional rates and cover the costs of printing, layout, marketing, and distribution that a publisher would normally have to pay up front and out-of-pocket.

How does running a Kickstarter to fund and launch the anthology affect the marketing of the book?

I’m of the mind that Kickstarter is marketing, because it brings awareness to a project and encourages backers (800+ and counting!) to financially invest in the idea in order to bring the project to life. This tool allows us to reach out to backers, to communicate directly with them, to get them excited about an anthology that couldn’t be possible without their help–both during the Kickstarter and afterward.

Regardless, successful Kickstarters tend to be at the center of a marketing plan before, during, and after release, for the backers need to be notified and taken care of before sales are opened up to the general public. Since the Kickstarter still lives on the site long after the campaign ends, many readers discover the campaign at a later date and anticipate the upcoming release, with the understanding that the core audience (e.g. backers) do come first. In this way, Kickstarter serves as the center of a book launch, and that success/enthusiasm helps fuel a launch.

How does a publisher’s commitment to promote a book differ from when dealing with an anthology rather than an author’s own title?

I’m sure the amount of attention to marketing books vs. anthologies is often contingent based on the people and marketing knowledge/experiences involved. In our case, Apex Publications is an established small press publisher that has produced novels, non-fiction books, and anthologies. We view Apex Publications as a partner as opposed to a mere client, and that furthers our ability to remain visible and connected to their future plans for marketing the anthology once it’s been released.

Upside Down

What could publishers offer? An interview with T Q Chant

February 5, 2016 by Andrew Leave a Comment

Sam Cane
Sam Cane: Hard Setdown

Tim Chant self-published Sam Cane: Hard Setdown and the ebook is now available on Amazon. Tim kindly gave me time to talk about the book, about self-publishing and what he might be missing by not having a publisher.

Tell us about Sam Cane: Hard Setdown

It’s a tense and at times horrifying SF survival adventure (or so I’ve been told…). It follows Sam, a newly minted security specialist with a shady past, as she arrives on a far-flung colony world only to find the settlement deserted. Stranded by a callous corporation lightyears from help, what follows is a desperate struggle to survive, stay sane and work out what happened. These are the opening shots of a saga that will pit Sam against a ruthless enemy and that will range across the early stages of human interstellar colonisation.

Sam Cane is available on Amazon for Kindle. There’s no publisher listed. Why go it alone?

Going straight to self-publication became the plan fairly early on in writing this. The SF market is pretty crowded right now, and there’re also some issues in it that I wanted to keep a handle on. The story
was in my head, though, and writing it gave me a break from redrafting a much larger work, so self-publication made sense. It’s also done me a power of good just to publish something after years of scribbling – I’ve been far more productive since taking the leap.

What do you think a publisher could offer that you or a boutique PR agency couldn’t?

Reach. There’s a lot of good fiction out there and people only have so much time to put into reading, so any help getting noticed would be a massive boost. I’ve been really lucky in knowing some very talented people who have provided editorial input, done the cover art and the proof reading, so yep, marketing is the key thing a publisher could bring.

Talking to authors you’ll sometimes hear Amazon described as the huge villain and sometimes as the saviour of the industry. What are your views on the behemoth?

I don’t do absolutes – I’d hesitate to describe anything as being absolutely good or evil. I think we have to accept that technology has changed the way we shop for and own everything, and you can’t deny Amazon has been very clever in taking ownership of this change. At a time where publishers are (perhaps understandably) focused on hanging on to their big earners, Amazon has made it possible for writers like me to get our work out there and maybe get noticed – and while other companies offer similar services, I don’t think they’ve got the same market as Amazon. I think this has driven a trend for publishers to consider work that’s been self-published, which I think is a healthy thing.

What tips and tricks have you picked up?

In terms of writing? I’ve been given all sorts of good advice, some of which rings true (no such thing as a magic bullet, it’s all about hard work etc). The thing I found most useful when writing Sam was to be transgressive. This started life as a fairly straight-up Mil-SF with a fairly standard main protagonist – what really brought it to life for me was when I decided the main character should be a woman from a multilcultural background (I’m slightly embarrassed to admit that Sam is my first female protagonist) – from there flowed a far more interesting background that has been really helpful in planning out how she reacts to things and what will happen next for her.

Tips for self-publishing? Plan ahead and do your research – I maybe leapt before I’d looked properly, and while I don’t regret it for a second I could have made some steps of the process a little less stressful for myself.

What are writer groups and are they important?

I’d go as far to say absolutely vital, particularly when starting out. Working at its best, a writer’s group is a collection of people who may not be like-minded but are all going through the same process, where everyone puts forward their work for constructive criticism. As long as you’ve got a thick enough skin to take it, rigorous criticism can be very important in tightening and polishing work, getting you to realise that a passage you’re maybe overly proud of doesn’t work, and helping to crystallise your thinking. It’s more than just being critted – reading and commenting on other people’s work and listening to other people comment can be just as helpful in honing your own work, and honestly just chatting over lunch

I’ve been lucky enough to be a member of the Edinburgh Science Fiction and Fantasy writer’s group for years now (big shout out to M Harold Page for the initial invite) and have been critted by both established authors like Caroline Dunford and those like me who are just starting out. It’s been hard, sometimes, and I haven’t always taken on board all the criticism, but it’s been worth it.

Which books from indie or small press authors would you recommend to readers who enjoyed Sam Cane?

With a certain amount of chagrin, I must admit that I don’t really pay much attention to who publishes the books I read. I’ve been enjoying the Daniel Leary series by David Drake (Baen), sort of Patrick O’Brian in space, and I’m currently working through the first volume of James S.A. Corey’s ‘Expanse’ which has a similar slightly lower-tech horror feel to it. I’m a slow reader and alternate factual and non-factual books so my recommendations may be a bit lame…

What can we expect next from Tim Chant?

I plan (hope?) to release Sam Cane in 30,000 word or so novellas (in a way, Amazon has allowed a look back at the original SF serial publishing) so keep an eye out for ‘Sam Cane: Hard Lessons’ in four or five months. I’m also finishing a ‘Steamquill’ work which I’m soon going to be sending to agents and publishers, and starting to plot out a turn of the 20th Century naval adventure.

Getting published: An interview with Justin Lee Anderson

June 7, 2015 by Andrew Leave a Comment

Carpet Diem
Carpet Diem

Justin Lee Anderson was born in Edinburgh and spend a chunk of his childhood in the US as his family followed his father’s career in pro football. He’s spent time in France, Dundee and finally settled back in the Scottish capital where he works as a Content Editor.

Carpet Diem: Or…How to Save the World by Accident is published by Wild Wolf Publishing and is the story of a man who discovers his ornate living room carpet is the deciding element in the bet between God and Satan.

What would your three top tips for someone approaching getting their first book published?

1. Write the best book you can. That probably seems obvious, but I suppose what I’m saying is don’t rush it. Write your first draft, then put it away for at least a month before you do your first edit. Once you’re happy with it, get some beta-readers; people you trust to give you honest feedback – not just tell you you’re brilliant. False praise is good for your ego but useless for getting your book into the best possible shape. So grow a thick skin and ask people to be completely frank. Only when you are absolutely, totally happy with it should you consider sending it to an agent or publisher. At that point, forget about it and start writing something else, while you wait.

2. Write your book. Write the kind of book you want to read and write it in your own voice. If you try to ape someone else’s style or fit within some rules you read somewhere, it’s going to be very difficult to write and probably feel unnatural in the end. Write for you – there are sure to be other people who will share your tastes.

3. Don’t give up. Try sending it to agents and publishers. You will be rejected. Probably a lot. No, really, you will be rejected. Probably a lot. But here’s the thing: even if you get rejected by everyone, we live in an age where you can take matters into your own hands and self-publish if all else fails. Never despair. Believe in yourself.

What would you do differently given the benefit of hindsight with Carpet Diem?

I would really have liked to have it ready for publication a lot quicker. It took me over ten years from start to finish. However, I’m a better writer now than I was ten years ago, so in at least one way, it’s a good thing that I’m publishing it now and not sooner. But I’ll be a lot more focused with my next book – and if I could just get a clone to do all the other family and work things I need to do, that would help!

What role do agents play in today’s era of self-publishing and Kindle?

Good question. I think their role has historically been as advocates for writers and I think they’ll continue to perform that role, but with publishers being so risk-averse in the current business climate, I think we’ll see fewer agents taking on unknown writers and more of them approaching writers who have made a name for themselves either through self-publishing or publishing with a small indie press. At that stage, they’ve got a proven product to sell and then their role is to get the best possible deal for their client.

How hands on do you expect to be when it comes to marketing and promoting Carpet Diem?

Very. It’s just inevitable now, with social media and word of mouth being the main method of promoting books, unless you’re lucky enough to have the marketing budget of someone like Harper Collins behind you. I’m happy to do it. I’m very social media-friendly and I like talking to people, but I suppose in an ideal world I’d be working on my next book instead, so the idea of having someone just handle it all and let me write is also appealing. But for new writers, we have to be involved, it’s essential if we’re going to have any chance of successfully finding our audience.

Where do you think the publishing industry is heading?

I think we’re seeing a whole new model with publishing splitting into tiers, where it’s going to be uncommon for new writers to come in at the very top. Instead, they’re going to be found through self-publishing and indie publishing before the big publishing houses will take a gamble on them. I’ve been very lucky to find an independent publisher like Wild Wolf to work with and I know I’ll benefit hugely from their experience and support.

I don’t believe print is dead – there are too many people who love the feel and smell of a book, and the experience of reading is enhanced by them. But will that love for the physical product remain through the new digital native generations? I don’t know. Who keeps a physical address book these days?

Ultimately, I can see print books becoming obsolete as all books are delivered electronically. It’s cheaper and easier. However, at the moment, print is still seen as a marker of quality. The ability to self-publish e-books at no expense is a boon to authors, but it also means there’s a huge range of quality being published. A lot of established media won’t even consider reviewing e-books until they’ve been printed. I suppose that’s a vetting issue – they assume that if a publisher has invested in the cost of print, they must have faith in the book, so it will have at least some merit.

Having said all of that, it’s still a great time to be a writer – simply because you can get your book out there under your own steam and if it’s good enough, with a little luck, you can find your audience without having to convince someone else to take a risk on you.

Which brings us back to the beginning. The most important thing is to write the best book you can. Everything else follows.

Recent ZEST posts

  • Using Kickstarter to battle tired tropes: An interview with Monica Valentinelli
  • The Guardian’s Key Publishing trends
  • This week’s link herd February 8, 2016
  • What could publishers offer? An interview with T Q Chant
  • Does The Society of Authors’ open letter to the Publishers Association miss a trick?

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