Tag Archives: Fiction

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Profitable post-web publishing: is patronage the answer?

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OK, it may be a little cruel to ask you to do the thinking on a Monday morning (especially as you Statesiders are probably still recovering from Labour Day weekend), but I think it’s high time this one was thrown open to the floor – and by “this one” I mean, of course, the perennial question of how to make fiction publishing a viable business in the internet age.

The trouble is, there’s no shortage of potential business models to choose from. For example, Tor.com is ad-supported, but has the advantage of being associated with a strong publishing brand in its chosen genre; meanwhile, Strange Horizons is a not-for-profit that relies on donations, but even they’ve found it tough to bring in the necessary funds without the welcome publicity and assistance of notables such as John Scalzi. Both of those are purely web-based publications; print brings its own logistical and economic difficulties to the proceedings, as the decline of the “Big Three” and the shuttering of many smaller magazines demonstrates all too clearly.

I’m increasingly coming to believe that visibility is half of the battle, which is why I was intrigued by Cory Doctorow’s latest Locus column, in which – after demolishing many of the standard objection raised against the methodologies of his own success as a novelist – he mentions his “With A Little Help” project, which intends to investigate whether public donations are sufficient to support the writing and publication of a novel, and what degree of work is needed to equal the promotional support of a traditional publisher for such a project.

The results will be interesting regardless, but Doctorow has the advantage of a ready-made audience – one that he has worked hard to build rather than simply blundered into, I might add. But the question remains more open for lesser-known authors… and for fiction magazines, be they dead-tree or digital. The Scalzi/Strange Horizons avalanche shows that people will donate to support short fiction publishing online, but how much of that generosity is due to SH being a not-for-profit organisation? How much is due to them paying professional fees for their stories? How many of the Scalzi donors will donate again if they’re not encouraged by Scalzi or a similar figure?

Only time will answer those questions. But what is becoming obvious is that patronage is crucial to supporting niche publishing – be it direct financial patronage from readers, or the patronage of a vocally supportive figurehead (the patronage of publicity, if you will), or the patronage of an animal further up the publishing foodchain. Underpinning all these is the need to cultivate a supportive audience – turning a percentage of your free readers into donors or buyers, in other words.

What should be equally obvious is that I don’t know how to do it – which is why I think Doctorow’s experiment will be fascinating to watch, as well as projects like Robin Sloan’s New Liberal Arts essay anthology (and his subsequent ongoing novella project), World of Warcraft: the Magazine and a whole raft of wild ideas currently sculling their way out of the boondocks of the independent music scene.

But hey – you guys are readers, right? So, tell me: leaving aside dead-tree or digital books bought in the traditional manner, where do you pay to read fiction, if anywhere? What does it take to get you to pay, and what amount seems reasonable to you for what you’re getting – if anything?

Do you object to advertising on the sites where you read fiction, or are they acceptable so long as you’re not paying for the privilege of seeing them? Would you pay a small premium for an ad-free version of a webzine, or are the mechanics of a paywall off-putting enough to keep you away from a publication you might otherwise click through to regularly?

Yeah, lots of questions, and they’ve all been asked before… but I don’t think I’ve ever collected them all in one post here at Futurismic, and I’d be interested to read your answers – not just for the benefit of this here site, but for the nascent industry of web fiction publishing as a whole. And if there are business models I’ve missed out that you’ve either seen in operation or heard proposed elsewhere, please pipe up and let us know about ’em!

Fiction

NEW FICTION: IS THIS YOUR DAY TO JOIN THE REVOLUTION? by Genevieve Valentine

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If you asked me for three words to describe this month’s Futurismic fiction offering, I’d give you “short, sharp and timely”. Genevieve Valentine wastes no words in revitalising (and spoofing) the classic sf dystopias in this brisk story of an all-too-plausible tomorrow. “Is This Your Day To Join The Revolution?” Read on and find out…

Is This Your Day To Join the Revolution?

by Genevieve Valentine

When Liz left her building, Disease Control workers were standing on the corners, handing out pills and little paper cups of Coke.

“Do you need one?” the old lady asked, holding up a handful of paper masks stamped with ads for Lavender Fields Sterile-Milled Soap. Liz pulled out the one she kept in her bag, and the lady smiled.

The TV in her subway car showed “What You Can Do on a Date.” The young man and woman went to the fair twice – once where he screwed everything up, and again where he helped her into the Ferris Wheel and handed her a paper mask before he put on his own.

The movie closed with swelling music and a reminder in cursive: ARE YOU DUE FOR A DATE? CHECK WITH YOUR DOCTOR. Continue reading NEW FICTION: IS THIS YOUR DAY TO JOIN THE REVOLUTION? by Genevieve Valentine →

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Is piracy irrelevent to authors?

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Looks like book piracy will be one of this week’s genre blog hot topics after io9 had a chat with successful media tie-in novelist Michael Stackpole, who seems to have come round to Tom O’Reilly’s aphorism that obscurity is a bigger threat than piracy:

Writers still trying to break into the publishing world have an unprecedented chance to start their own websites, build an audience and create a market for their work without relying on major publishers at all, said Stackpole. Posting short fiction or even a serialized novel on a website won’t cause problems if a writer tries to sign a publishing deal at a later date because mainstream publishers don’t see digital publishing as a serious threat.

[As many other commenters have already pointed out, that’s not really the case… and certainly won’t remain the case for much longer. Still:]

Rather than simply changing the method of delivering stories to readers, Stackpole believes digital formats will change the nature of the stories themselves. At the very least, authors should tailor their work to these new mediums. He cited what he referred to as “the commuter market,” people who read two chapters per day on their half hour train ride to work. It’s an ideal market for fiction broken into 2,500 word chapters, and could presage a resurgence of serial fiction. “It’s kind of like a return to the Penny Dreadfuls,” he said. “But the readers today are more sophisticated, so we as writers need to put more work into it.”

Insert your own joke about skiffy media tie-ins and the word ‘dreadful’ here… 😉

Still, the web’s ability to change the publishing game is a given (as we’ve discussed here many times before). What remains to be seen is how things will look when (or if) the dust settles. A commenter at BoingBoing has a summary that seems pretty plausible:

… I’ve been saying that in the future books will be either cheap and print-on-demand, electronic, or expensive beautifully designed and crafted art objects, and that publishers will soon become irrelevant but you will see the rise of superstar editors and designers.

Nobody has disagreed yet.

Anecdotal, sure, but it matches up with similar theories from a whole raft of people both within the publishing machine and without.

In related news, fiction isn’t the only printed medium that is finding a new (and more affordable) home online. The American Chemical Society plans to move its dozen-or-so scientific journals to being published online only, according to a leaked memo:

In it, the publisher lays out the basic facts: printing a hard-copy version of a journal is expensive, and researchers simply aren’t demanding one anymore. Advertisers are undoubtedly aware of the reduction in print readership, which means that the former calculus that made print valuable—more ads per journal than could possibly fit on a webpage—was reaching a point of diminishing returns. According to the Nature article, the journals publisher flatly stated, “Printing and distribution costs now exceed revenues from print journals.”

The person who finally cracks the online publishing business model is going to be a very rich man indeed. So let’s hope it isn’t Rupert Murdoch… he seems to be heading in the wrong direction, anyway.

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Self-publish and be damned… or not?

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There’s lots of discussion going on about self-publishing for authors at the moment. Over at Apex Online, Maurice Broaddus talks about why he’s resisted the temptations of self-publication:

I know the temptation of going the self-publishing route. I have a novel that I’ve shopped around, but have been rejected. I believe in the book, I want to see it in print, but I won’t self-publish it. The rejections have taught me that the book isn’t ready. Self-publishing would mean that I would have a bad (at worse) or prematurely released (at best) novel on my resume.

[…]

Self-publishing if fine if you’re a hobbyist and just want to see your name in print. It’s fine if you have a small niche you wish to reach. It’s also fine if you have a guaranteed audience that you can get product to. I know a few writers with dedicated fan bases for whom it made perfect sense to self-publish a project. It’s your career choice. Do your research.

The prevailing wisdom is that self-publication is a mistake for an aspiring author, though attitudes are relaxing in some quarters as times change. Here’s Jeff VanderMeer laying out the situations in which he thinks it can be beneficial:

I self-published my first fiction collection, The Book of Frog, and also The Surgeon’s Tale & Other Tales (with Cat Rambo)–the context for each consistent with my views on self-publishing as it exists today. If you can’t get traction in the publishing world with a first collection despite having had stories in good publications, I think it’s okay to self-publish. If you’ve got books out from major publishers and you want to do a less commercial project, I think it’s okay to self-publish. That said, within five to ten years, self-publishing in general will probably lose its stigma altogether and we’ll have a situation closer to what you find in indie music.

Self-publishing’s image is tarnished primarily because it gets used as a short-cut to publication for writers who – to be nice about it – simply aren’t yet up to writing a decent book. The obvious defence to that accusation is that not all unpublished writers are bad writers, and that’s certainly true… but I know from my editing work that the overwhelming majority certainly are.

So, as Jeff points out, things will be come much like the indie music circuit: the barriers to participation and distribution will be much lower, but it’ll be no easier to sell your work to people if you’re just not writing what people want to read (or writing it very well). Perhaps that will raise the profile of reliable reviewers and critics? A medium operating under the economics of abundance has a greater need for aggregators and gatekeepers to filter the infinity of choices, after all.

Any of you lot read any good self-published books that don’t deserve the stigma? And are there any self-published authors who’d like to share their experiences?

Fiction

NEW FICTION: HOMEOSTASIS by Carlos Hernadez

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It’s the first of July – time for your monthly dose of Futurismic fiction! This time, we’ve got a story that probably comes closer to the sort of thing we try to achieve with our blogging output than anything we’ve yet published. “Homeostasis” is a plainly-told story about real people adapting to a plausible piece of tomorrow’s life-saving medical technology; Carlos Hernandez understands that science fiction can pitch hard and still have a heart. Enjoy!

Homeostasis

by Carlos Hernandez

Eight seconds of footage, from a security camera so old it surrounds every object in the picture with rainbows. Man at a gas station robbing the attendant. Pantyhose flattening his nose. Waving a knife like a snakecharmer’s pungi.

Customer walks in. Good-looking guy, California hair, white as a country club. Has no idea; walks in texting. The robber runs over and slams the knife through the top of his head. In to the hilt.

On 4chan’s boards, someone posts an animated gif that infinitely loops the last two seconds. The word “pwnd” flashes at the end. Dozens of people respond with “lulz.” Continue reading NEW FICTION: HOMEOSTASIS by Carlos Hernadez →