Category: So you want to be a writer

Regard Fear as the Enemy

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A little over a year ago, I did a guest spot on Southern Writers. Several months on this seems a perfect moment to reproduce that blog here, though an introduction explaining why won’t hurt.

Writers everywhere get days when they would like nothing more than to remain in bed, and to draw the pillow over their heads. Despite the longed-for dream, not everything about writing is fun. I always look at writing and publishing as two different ‘beasts’. This is one of those not-so-fun instances.

I’ve moved. We’ve jobs to do in the house, and this being the biggest relocation of our lives (so far), we’ve much to organise. I’d love to be one of those people who can compartmentalise, push everything to the back of my mind and write. I’m much better at getting everything finished and then concentrating on one thing at a time. No way in publishing can that happen. Right now I’ve a book to finish that I wanted to sub at the end of January. I’ve another in a trilogy that requires approximately another 20k of words and I should send in… oh about now. There’s no set deadline, but I’m trying to reach readers, publisher, and my expectations. Then I’ve another, and, in some ways, a far more important book to finish that needs a whole subplot adding to it. I’m swamped.

At the weekend I walked away from it all. I took a time out I couldn’t afford because something was going to snap; bad enough it should be my temper, but I didn’t want it to be me. All that leads me into the subject because writers live with a good deal of fear. Fear they won’t meet deadlines. Fear they won’t be able to finish a book. Terror that each fresh work won’t be received as well as their last. Fear of taking on new projects, especially those outside of their comfort zone, and the temptation to walk away from it all.

While the books I refer to below are currently unavailable, I’m working on other projects that feel as terrifying, maybe more so. Add to that the dread of days that end in what feels like a blink, and a bed and a pillow seems evermore enticing. The trouble with that temptation, like so many types of avoidance, it cures nothing.

I wish I could write an encouraging ‘how-to’ narrative, revealing all the secrets of mastering the writing craft. Such a missive might make the task easier and eliminate writer anxiety. My own included. My advice? Be afraid but grasp opportunities, anyway.

The secret is there is no secret. What may work for one author may not work for another, same for genre or market. There’s no specific wrong or right way to write, wrong or right way to market (though spamming is never a good choice). There’s no yet revealed way to kill the worry of finding the next idea, the right publisher, receiving a terrible review, or jumping in and trying something new. I’ve learned to view the occasional fluke as providence.

I try anything, and file what doesn’t work now in case something becomes useful. This goes for stories as much as promoting. I find stories often by ‘accident’. May begin with two seemingly unconnected incidents, a vague idea of characters or places, or a single occurrence. I’ve even created stories from a title idea, a phrase, or a random selection of words, tried many genres. Some markets I stumbled into because an idea nagged me to write it, or because I was searching for submission calls. That’s when an accident bridges the gap to intent. Where one formula won’t work for one writer, it may do so for another. Where a blueprint doesn’t apply to one genre, another must be rigid. Study the market. It’s amazing how many writers still send the wrong material to the wrong editor or publication. A horror publisher doesn’t want romance, or vice versa. Pay attention to guidelines.

I read anything and everything; have too many interests, so with writing it was hardly surprising I wanted to run in all directions. I called myself a multi-genre author, little knowing I was making an already arduous task more problematic. Branding is important, possibly imperative. My stories appear from the mysterious well of my imagination working together with a brain that seems to tuck away the quirkiest detail; I sometimes feel as if I’m fooling myself if I think I’m in control of them. There’s no knowing where I’ll head next, so I keep my options open. That’s why my next publication will take me to Jupiter, where there are dragons.

Being willing to make ‘accidental’ connections both in real life and in my storytelling is how I got embroiled in the steampunk world of Space 1889. I received an invitation. I quietly panicked. Then I took a breath, started reading and researching. Now I have three titles (one co-authored) in a series that is a minor part of history. Regard fear as the enemy.

Why ARe’s Closure Matters to All

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Some stopping by may have heard the shocking news of the closure of All Romance Ebooks, otherwise known as ARe. Others may not and that’s why I’m rehashing some details before moving on to explaining why situations like this and the outcome are important to all. The shock comes because of the way the owner, Lori James, dealt with the closure and treated the people who have supported this book distributor and publisher for so long.

Let’s be clear, this isn’t simply another case of a publisher letting down its writers — a situation that is always a blow resonating through and carrying consequences for the industry. This closure affected publishers, writers AND readers. The publishers and writers were incensed and disgusted to be ‘offered’ a fraction of all monies owed, but they were as much if not more concerned for the readers who had extensive libraries stored on ARe, libraries that short notice would never give them the chance to download.

Let’s deal with the closure first. Lawsuit documents reveal Lori James (and I quote from sources) ‘screwed’ her business partner, Barbara Perfetti, who sued James in early 2015, stating claims to which James never responded. In addition, there are only vague references to a decline in business and ‘poor financial forecasts’ to explain the closure, unsupported ‘mutterings’ from a company who reported sales running into the millions in recent years, worked with both publishers and writers, published its own titles, and who claimed more than a million books listed.

But what raises the level of suspicion is the abruptness, the indifference and the blackmailing tactic of the company’s closing ‘offer’, and that, mere days before the closure, James distributed ARe’s advertising rates for 2017. Publishers and writers took out and paid for advertising for 2017, and James ‘accepted’ those payments, knowing full well the announcement to close was to follow. I know because I received the same offer and was one of the fortunate few who did not take out advertising… but my publishers did. To my knowledge, there has been no offer to repay any of those advertising spots. That screams of nothing less than fraud.

ARe wanted to pay 10 cents on the dollar to publishers, an actual blow to those owed thousands (yes, thousands) of dollars. Those publishers needed to pay their own salaries, pay their writers, pay their editors, pay their cover artists and more. It’s been documented and I can confirm, some publishers have contemplated trying to withstand the loss themselves to pay those they owe, but such decisions could put their own companies at risk. James proposed a payment in order to avoid filing for bankruptcy. Sorry to sound flippant, but boohoo. Even if the company is in as large a financial mess as it claims (though it really hasn’t stated specifics) the situation did not arise overnight. And as part of accepting the 10 cent payoff, James stipulated that those who accepted must waver their legal rights to take further action. In short, James stated that the payment may be the only one anyone would see, take it or risk receiving nothing, and in so doing, no one could chase her, no matter what happens to the rest of the takings.

Lori James also hurt the readers. Even after the announcement, books were still up for sale spurring publishers to remove their books from the sites as swiftly as possible. Some succeeded; some did not. James then blocked access so readers could download their libraries and then finally stopped selling more books (as far as I know only after complaints). Readers lost books removed by publishers, but it mattered not as they had insufficient time to download their libraries in just ‘four days’, and may not have even received their notice to do so in time, being that this took place over the Christmas period with the site shutting down on 31st December.

Four days. Everyone got ‘four days’ to download libraries, or to make informed and difficult decisions regarding payment, and this does not even address worthless gift vouchers unlikely ever to receive a refund. Readers should be angry, too.

To those who have contacted some authors saying it’s not a blow to the industry (yes, unbelievably, some have written to authors directly, which is my reason for writing this post as I feel incensed on behalf of others), how many times do writers have to say that what they do is work and it comes with a cost? What part of cover artists want paying does not compute? What part of editors want paying does not sink in? Why are writers not entitled to receive payment for every word they put on the page? The writer only gets a fraction of the cover cost and a fraction of a fraction is nothing. Why is a writer’s time worth nothing to so many?

Publishing at any level is an ‘industry’. It is BUSINESS. The same way the public purchases a cinema ticket, those who wish to read a story need to put down money at the door. And where do those blockbusters we love to sit in darkened cinemas spring from? It’s born from the imagination and talent of a writer and many people helping that spark along the way. There are many behind the scenes whose name and craft the viewer or reader will never know of. They all want and NEED their cut. So do not come out in defence of people like Lori James who treat those they owe with such disregard. Do not claim it doesn’t matter. It very much does. It’s why writers go it alone. It’s why the good works get entangled with the bad and why Indie publishing is a growing threat to traditional publishing. Writers often ‘go it alone’ simply because they feel safer doing so, believe they have more control. In a case like ARe even Indie writers got stung.

Lori James writes under a pen name and no doubt in the future will write under more. I’ll have to be on the lookout in the hope I never put another cent/penny into this woman’s hands. I can’t tell anyone who to read, but I hope their conscience will.

Being Busy, the art of Tinkering, and Screaming

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I came across this post from 2012 and repeat it here now almost word for word as I wrote it then. This year is different. I am writing. Have been doing lots of editing and I’ve more of both ahead of me. I’ve not done anywhere near enough promotion and those ‘life’ annoyances are different, but still very prevalent, maybe more so. Part of me wants to sum up the entire post into a single sentence: I’m a writer and I’m forever busy:

A friend sent me a text last night: “I hope the writing is going well.” I had to reply that I’m not writing. I haven’t been for… well, I’m not sure. Several days, maybe three or four weeks, and it’s annoying me. I’ve found a moment here and there to ‘tinker’ but not to write, although that’s not entirely true either.

I’ve ‘tinkered’ with a bit of story, but not had time to sit down and truly write, so I’ve hardly written a word. On the other hand, I’ve written plenty. Had edits. I’ve written long-overdue emails. I’ve three works out in December so have written blurbs and promo, and typed my book details everywhere I can think of, and written blog posts for places I’m hoping to show up at pontificating about my books or the writing process that created them for anyone who has asked me, or cares to read them. And sometimes just to say hi — to connect with other writers and readers and thank them for their support, understanding, and lovely words and messages.

This is another side of ‘writing’ and I’ve had lots of that to be going on with, but I’ve also spent some time out to attend to daily ‘life’. Much as I’d like to claim otherwise, we all have them, these daily lives, and maybe that’s a good thing to keep a person grounded. I’ve a relative in the hospital, the extension roof sprung a leak, and I’ve done some shopping, some of which I can’t avoid as we head towards Christmas. There’s the Christmas run of presents to attend to, and I have parcels to pack up, post off, or deliver. I have cards to write, and a yearly letter to put together for those I have and haven’t neglected equally — either way, it will be a chance for them to catch up on what is happening at ‘our house’.

I’m — deep breath — busy, but in that, I can’t say this time is all that different from any other time. I’m always busy, because when I’ve ticked off all the things on my current to-do list, there will be another one to attend to, and another one, and another after that. It doesn’t stop. It’s part of writing, living this double life, and sure, sometimes it’s part of any normal life, too, but having all this going on occasionally means I procrastinate and tinker a bit with something trivial because it stops me from screaming aloud, which will only earn me strange looks and speculative whispers. And if there ever should be a time when I’m not busy — as if that’s going to happen — I’ll still be occupied because what writers do when they’re not busy is get busy writing. See how that works?

Still, I’m getting antsy and I’m longing for the moment — and it will arrive this week — when I sit down and begin work on something. It may be something that needs editing — it may be old or new, may require a complete re-write, or may be ticking over quietly in a dormant brain cell for now, but I’ve reached a point where if I don’t write ‘story’ it’s quite possible you’ll hear me screaming.

Plot vs Pants

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First, an explanation.

A writer who is a ‘plotter’ plans out the course of the story, thinks about the plot, theme, subtext, characterisation, and many other elements ‘before writing’.

A ‘pantser’ sits down at the keyboard with an idea or a model (these are two different things I won’t explain here except to say one is more fully fledged than the other) and writes. ‘Pantsing’ is to ‘fly by the seat of’ (one’s pants), though I prefer to call it organic writing.

I’m (mostly) a pantser, which I realise doesn’t mean I don’t plot but having read a reference to Stephen King recently, a proverbial lightbulb went off in my head illuminating the fact that, like King, I’m an intuitive plotter. I am NOT for the record stating at this point in time I do it as well as he does, but here’s hoping one day, preferably soon. Really, that’s the definition of (successful) pantsers — they are intuitive plotters.

Yes, I can face the blank page and craft a story with nothing more than a vague idea in mind. I often write from beginning to end. I seldom jump around. The story comes to me as if I am reading, and in that respect, it appears I’m lucky the way King is fortuitous. We can ‘pants’ it. The same cannot be said of every writer, though it doesn’t diminish the effort required, and a simple but painful truth remains: sometimes planning isn’t a bad idea even for pantsers. A story may not work for many reasons. Vital elements may be missing. Or be in the wrong order. Even a good book may benefit from being looked over to check all the important formations of story-telling are present and/or in the right place.

I imagine most writers start out as pantsers, unless they have a professional writing background. Most writers are readers who range from someone ‘wanting to have a go’ to those who have always dreamed of it being a vocation. Some (the lucky few) will discover they are intuitive, their writing tends to be organic, and they write something good enough to capture a publisher’s interest. Those who aren’t intuitive writers who don’t put in more work likely publish nothing, or nothing well-received.

Stories have patterns. Don’t worry if you didn’t realise this. If you’re a reader, you shouldn’t. I was ‘only’ a reader once, though there’s no such thing as ‘only a reader’ to those who love books, who buy them or produce them. A reader should enjoy a book without seeing its framework. The reader isn’t supposed to know the design is there.

Pantsers write and either give up or get nowhere (I throw my hands up and confess there are always the often-dreaded exceptions) because they don’t realise this, or they are intuitive and form the shape without realising. Once pantsers become published authors, they may or may not perceive the hidden construction of stories. Some will continue to be intuitive without thinking about it, while some (of which I am one) will spot these layouts.

A note of warning: IMHO recognition of these designs ‘may’ spoil the simple enjoyment of reading somewhat (at least for me). As an author, I now read a book more aware of the narrative. I’m able to spot the ‘inciting incident’ (for example). Don’t worry if as a reader you don’t know what that is, but writers should understand. For me, books were more enjoyable when these plot points were ‘invisible’ because as a reader I did not tune my mind in to spot them.

Plotters know stories require an arrangement and they set out to make the task easier for themselves by laying the groundwork beforehand.

To a pantser, plotting feels like studying for an exam. A plotter to a pantser can seem like one of those irritating kids in school who enjoyed the study process. Ironically, I was one of those who didn’t overly mind studying — good thing because as a writer sometimes I need to do research.

The trouble is, depending on what level of intuitive grasp the writer has of the subject, the pantser can be the one looking wistfully back, wishing they had spent the hours pouring over the textbooks in order to get a better result, but I’m not advocating either option.

Which is better? This is a simple question with a simple answer: use the one that works for you. Some writers plot, some pants, and some do a mixture of the two, and what’s required can differ from work to work, genre to genre, project to project. The choice often comes down to which the writer finds easier, more natural, or even which he or she can withstand. For some pantsers, plotting can seem torturous. For some plotters, pantsing must seem bewildering and disastrous.

Real Publishing, Real Books

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An ebook is a book in what may be, for some, an unfamiliar format. This causes the reader to get used to different methods of reading and storing books, but the end product is still that of a story. The writer has other differences to consider between electronic and print markets.

First, there are seldom advances. Some publishers have introduced a small advance but, generally, this is not the case and don’t expect the type of up-front payment as the ‘big six’ might offer if they feel a book has the potential to be a bestseller. To be fair, many mid-stream print publishers aren’t so free with initial payouts. When offered, these prepayments aren’t always as large as they once were and based on several books a publisher ‘expects’ to sell. I’ve heard of enormous advances withdrawn if an acceptable manuscript isn’t delivered and, sometimes, if books simply don’t retail well and meet expectation. Advice is, don’t spend an advance — bank it for a good while.

Print books are often also released electronically now whereas predominately electronic books will not make the shelf in a local bookstore, not unless they eventually go to print, or the shop has the facilities to offer electronic books as part of its ‘stock’. Maybe not even then. Many printed books never make it to local shops, either, and require ordering, but let’s not forget technology is advancing. Predictions are one day a book ‘shop’ may comprise a catalogue and a screen from which to order, the books appearing ‘magically’ as some sort of electronic download or almost instant POD (Print on Demand). While this sounds like science-fiction such scientific applications are being considered and are in development.

The good news for the writer is royalties on ebooks are higher and here’s where the ebook author has a tough choice. Print books are wonderful and many writers will say they long for their titles to be in print. They may read ebooks themselves and love them, but the writer wants to hold their work as something ‘solid’. Touch makes something feel more actual. It may be why many mistakenly conclude the electronic markets aren’t real publishing, while others love being able to cart a library around on a small device that fits into a pocket. In context, there are those who say emails aren’t real letters, but the technology still transfers information effectively.

However, the writer also needs to consider he or she can earn approximately 25, 35 or 50% in royalties from an ebook. From a print book, royalty payments can be as low as 7%. Let that sink in for a minute before I add a writer can earn more in royalties from an ebook, but these titles may not have such a wide distribution, so the potential to sell fewer copies, though this has improved through distributor networks more recently. As more mainstream titles appeared in electronic formats so more companies became distributors same as they would with print, and even printed works can have the problem with limited markets and outlets.

Now we move to why ebooks cost so much. After all, they skip the printing stage. Yes, they do, but this is another matter for those who scorn ebooks to consider. Printing is the ONLY element that the ebook skips. This is a rough guide only based on experience, but consider the levels a story goes through before release.

When submitted to a publisher, the submission goes to a reader. A reader may be an editor at the publishing house or a reader only, but either way, from a synopsis and the first three chapters, a reader will decide whether to ask for the entire manuscript. If the reader likes the draft, they’ll pass it on, discuss it with others in the publishing house, including management, and a team will decide whether to offer a contract. This is especially true if the writer is an unknown name to them. If accepted, they assign an editor, and the work goes through the editing process.

Some publishers allow a writer to work with a single editor for all the work submitted. Sometimes, publishers simply hand the next book scheduled for editing to an available editor. I much prefer building up a relationship with an editor to learn how we both work, and where we can trust each other. This can make for less friction and time wasted. Depending on how much attention the work needs, it may go through one, two, three, or more edit rounds before the line-editing department provides a fresh ‘set of eyes’ to look the story over. This time, they specifically check the book for punctuation errors, house-style etc., and even obvious story problems. When line editors are finished, they return the work to the main editor, who will look at the changes before sending them back to the writer. The writer and editor collaborate and, once happy, send the work to the proofing department. They make a last effort to spot any errors before the book gets formatted* and ready for release. The writer may or may not get to proof the final galley. (*They often leave some formatting to the author, but I’ll not go into that this time.)

While this sounds like a leisurely process, it isn’t. I’ve grown used to “Can we have this yesterday?” It’s often a fraught time. Think of all the effort that goes into this editing procedure. As much as I love my books when I’ve gone through all the revisions I do prior to submitting and all these edits, and considering that I try to re-read at every opportunity, by the time the book is published I’m feeling a little sick of it. Also, keep in mind most writers work part time if not full-time as well as write. Many editors do likewise. Sometimes, so do the publishers. Many companies, except for extremely large publishing houses, run as secondary businesses. Management, editors, line editors, proofers, and the authors all give of their so-called ‘spare’ time — a phrase that quickly becomes an in-house joke. When considering the number of work hours, it makes the financial rewards paltry.

There’s also the cost of cover art. Early on, the writer may be required to submit a cover art request to provide an idea of the book’s subject. Providing the artist with enough details takes considerably more thought than many expect. Some publishing houses ask the writer to ‘okay’ the cover, some don’t. I’ve heard of some authors being extremely upset by their book covers. I’m sure there are good and bad examples in all markets but, so far, most have taken my comments into consideration. Covers can range from quite cheap to expensive.

Wait. We’re not finished. Who writes the blurb? That’s the short teaser on the back cover of a printed book to get the reader interested in buying. Often, that’s the job of the author, too. A publisher may change the blurb completely or simply tweak it, but the author has to provide an original and full blurb. The writer also has to submit a new story with a synopsis and usually needs to maintain a website. The author needs to promote, though if with a decent publisher the company will do at least of a portion of promoting, too. Some now request an entire marketing strategy, along with a manuscript. I’d be wary if the publisher asks for this with no sign of what they will do in return, but it is a part of modern-day publishing. A writer’s best ability is to be accomplished in marketing. Promotion shouldn’t be left entirely to the author, but any ‘wannabe’ needs to know they are expected to play their part. For the writer who envisages the romantic image of sitting at a desk tapping happily away, one work after the other, nothing could be further from the truth.

This still looks as if I’ve not answered why ebooks can cost as much to produce as print. One reason is the difference in those royalties, but we’re not talking millions made by the writer or publisher. Not these days. What this means in terms of actual money, I’ll cover another time, but in brief, an ebook goes through the same or similar process as most printed books. Only the final stage — the format it’s produced in — differs, and this can take ‘more effort’ because there are many types of files available now. Glitches can happen. Returns for errors create more work and cost.

As for whether to read ebooks… as much as choosing what book to read is about choice, so should selecting the format in which one wishes to read be an act of free-will. I’d be devastated to see print books disappear, but I like to own a collection of both if for no other reason than much-needed space. Something else to consider is that I made my decision to write for an e-publisher based on what I could see happening to the book market. Although erotic publishers were at the forefront and the mainstay of the e-publishing market for a long time, books face strong competition. Many people struggle to find the time to read. The way they produce ALL books has changing, with even large mainstream publishers turning to POD technology and electronic formats. I own the works of Poe both in print and ebook. When considering publishing, I decided not to turn my back on what might happen to the future of books. I could see many who sneer being taken by surprise. The author who turns their back on the idea of change could risk being left behind, and may miss out on some wonderful opportunities.

Error in Judgement

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Just the other week I blogged about someone who contacted a writer suggesting she work for free. I noted how common this is. Many often meet these proclamations with disbelief. Fortunately, I stumbled across a news item that illustrates my claims.

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The ad provoked outrage with posters taking to social media. Artist Conor Collins stated the supermarket should deduct funds from its CEOs so “‘starving artist’ wouldn’t have to be a thing.” People asked if they could claim a free food shop, and often referenced the company’s multi-billion turnover, lambasting them with the facts of less than 10k yearly salaries for artists.

The supermarket apologised and declared the advert as an ‘error of judgement’, but I see it reports they describe it as having occurred following a discussion considering ways to improve the canteen and ‘offer an opportunity to the local community’. Being asked to work for free is an ‘opportunity’ writers and artists are sick of. Yet despite the backlash, I’ve seen some posters stating they saw nothing wrong with this.

In plain English, it is the equivalent of someone saying toil in our office doing the filing for a month without pay and we’ll say thanks, pat you on the back, and send you out into the world with that on your resume. That may sound a reasonable deal if you’re a school leaver, if there’s a chance of a good reference, maybe even a job at the end of those four weeks.

The catch comes when they can get another school leaver in for the following month and the one after that, and perpetually have their filing done for free.

The catch comes when no one cares what you have on your resume and even views the free work as meaningless — after all, if you were any good, someone would have been willing to pay you, wouldn’t they?

The catch comes when you’re no longer eighteen, but ten years have passed, or twenty, and companies are still offering you the same ‘opportunities’ for exposure rather than pay.

This is feeding into all creative areas. Artists, writers, musicians, photographers… Wait, photographers? Yes. It’s an endless list. Watch those news items where the newscasters ask members of the public to send in photographs? Those photos are worth money! A friend of mine is a professional photographer, has worked for local newspapers for years. The highest paid photo earned £200, but that is far from the norm, and the chances are that amount would not be offered now because the paper could put out a call for anyone who had taken a photo on their phone to send it in for free. This friend has had work and payment for remaining employment halved, and most times no longer gets expenses. By the time the cheque has cashed, it hardly covers the cost of petrol to go out and take the shot. All the viewers sending in free photos to newspapers and news channels are making photographers unemployed.

Somehow, it’s become the ‘norm’ to ask for something for nothing. The creative arts are suddenly unimportant, regarded as ‘play’, not proper work, despite many in these enterprises working longer hours than the average office-worker for far less pay. Paintings, books, photos, music… these things are deemed as for leisure and in some bizarre twist have become meaningless. My solution to that is we’ll take them away. Imagine the world without these things. Imagine *gasp* no TV, because someone has to ‘write’ the story. Someone has to design the sets. Someone has to paint the backdrop.

If you’re not part of the solution, you are part of the problem. If you think it’s okay to ask anyone to work for free, you are the problem.

Sainsbury’s have had many slogans, one being ‘Live Well For Less’. I guess that’s a typo, and they really meant ‘Live On Less’. In 2005, apparently its slogan was ‘Making Life Taste Better’. Sorry, Sainsbury’s. You’ve left an appalling taste.

Don’t call yourself a fan. Don’t you dare!

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This week I’m passing on this excellent post by Rosalie Stanton.

Read. Seriously. Read this. Follow the link and READ. To anyone who thinks the subject of asking a writer to produce work for free is okay, I’ve news. Anyone complaining about the cost of books needs to reconsider why they’re protesting.

Let’s compare creating a book with going to the cinema. Some people go often, some occasionally. Some think nothing of the cost of a couple of hours of entertainment. Others complain about the charge for the tickets and the food, but most still add popcorn and a drink to the price of entry.

Some of these patrons know that the cinema most often makes its money on ‘concessions’ — that’s the food and drinks. All that popcorn is often the only reason a cinema stays open, and it’s why the price is so high even though popcorn costs almost nothing to manufacture.

The ticket price mostly goes to the movie producers and we all know that movie-making, especially the big action blockbusters, is expensive. Look at the credits — that long list of people employed, all of whom ask for salaries. Some films now even list the number of jobs the project created.

Movie-making is an entertainment ‘industry’. A BUSINESS.

Making books is also a BUSINESS.

I don’t care if the writer writes for leisure, or hopes to make this a vocation, to the publisher it’s BUSINESS, and books often provide several hours, sometimes a lifetime, of pleasure.

Of course, there are self-published writers, but it’s still a business. They are going it alone and so every step falls to them. Chances are works from a publishing company or ‘good’ self-published books have undergone a process. This process involves writing the story — the hours spent by the person creating, researching, plotting, putting the words down on a blank page — and editing rounds. An author should undertake edits before they ever submit the work. A committee often considers the finished manuscript. Even accepted, the story is far from complete. Next stop is for the work to land in the hands of an editor. There are copy and line editors, proofreaders, and cover artists… all requiring payment. If there’s a marketing department that costs, too. With help or not, the author faces hours spent marketing their product. Yes, product. Let’s call the book what it really is for the rest of this blog.

If the PRODUCT goes to print, there are printing charges. If it’s an ebook, someone has to create the files and make sure all formats work. Sometimes both these costs apply. The publisher takes their cut. The writer gets his or hers. If there’s an agent to pay, that’s another share right there, and, last but never least, taxes.

It’s business. Profit needs to be made.

With ebooks, those who read and return or file share are nothing more than thieves. True, people lend print products but it’s a greyer area than many realise. It’s ‘allowed’ only because no one likes the idea of printed products being destroyed, because many are sold through charity shops so further good comes of passing products on, and the circulation of some products can gain an author more readers. But in all these instances the purchaser of the PRODUCT gives up their original copy and, with a loan, risks losing it.

People who share or duplicate work in a criminal act deserve nothing better than a hefty fine if not jail time. What that person is NOT any friend or fan.

To add to this already insulting state of affairs, Rosalie’s post focuses on a writer asked by a ‘fan’ to work for free. Her response and mine are not author meltdown. This is authors telling you like it is. It’s the equivalent of… you. Yes, YOU, the one reading this — it’s YOU going into the office, factory, shop, hospital… wherever you work, for free, and then trying to heat your home and put food on your table.

Since when did writing become a joke? Since when did it become a game?

How stupid does someone need to be not to understand writing is a JOB? Most writers already work for well below minimum wage. In what universe did a reader think it okay to contact a writer to ask that person to WORK for free? In many cultures, that would be called slavery.

Incidentally, where do you think the story came from so that they can make a fil?

I’ll leave Harlan here to speak for writers everywhere.