Has anyone told you that with a life like yours, a mind like yours, or a story like that you should write a book? They’re probably wrong.
You can tell a story to anyone who’s willing to listen. But writing a book that people will pay money for or take a trip to the library to read, requires an awareness few storytellers have. It is not performance, not a one-person show. It’s a relationship with the reader, who’s often got one foot out the door.
Speaking from a traditional publishing angle, literary agent Kate McKean explains what it takes it get published and how it’s different from telling a good series of stories. (Via Prufrock News)
If you’ve been waiting for a Kindle version of Viking Legacy (have I mentioned I translated it?), it’s available now. $9.99 is your price. Tell ’em Brandywine Books sent you.
I mentioned a while back that we’re going to bring out another paperback edition of The Year of the Warrior. Baen Books continues to publish the e-book version, but we’ll be doing it in dead tree. Our talented friend Jeremiah Humphries has come up with a cover I’ve approved, and I’m over the moon with it.
We don’t have a definite date for the book release yet, but you can be sure we’ll let you know.
The publishers of Viking Legacy (which, in case I forgot to mention it, I translated), are pleased with the sales results of my article at The American Spectator Online yesterday (see below). So I thought I’d share a snippet of the book tonight. I chose this excerpt pretty much at random, except that I made a point of finding one concerning Erling Skjalgsson. This one deals with an aspect of Erling’s relationship with King Olaf Trygvesson that never occurred to me when I wrote The Year of the Warrior. It starts by discussing Olaf’s treaty with King Ethelred the Unready of England, entered into before he left for Norway. This treaty is documented (you can read it in the book), and it involves, among other things, a promise by Olaf to restrain Norwegian raiding in England.
When Olav returned to Norway in 995, he lacked the necessary authority to convince the chieftains of western Norway to abandon their traditional plundering economy, based on raids in England. Plunder was an important source of income for the communities of western Norway. Only Erling Skjalgsson, as the foremost chieftain of the Gula Thing, had the power to enforce Olav’s agreement so far as the people of western Norway were concerned. Erling was thus the key to Olav’s hopes of maintaining a positive and enduring relationship with England. But Erling in his turn would have to make sure of the other chieftains’ support. It would have been no easy task for him to keep his followers on a leash in order to guarantee Olav’s English agreement. Breaking off the raids in England would deprive the great men of part of their economic and political base.
For that reason Olav had to have some means of substantially compensating the people of western Norway if he was to persuade them to leave England in peace. He had procured the economic means to do this – among other things tons of silver, including what he had plundered himself. It is nearly impossible to estimate what Olav’s entire fortune would have been worth in today’s money, but we can assume that Olav Tryggvason in 996 was the richest man in Norway. Olav would have used these financial resources to woo the chieftains – while expounding the terms of his agreement with King Ethelred….
It was in Olav’s interest to avoid war with the inhabitants of western Norway. The terrain was difficult to control, with numberless fjords and mountains. Olav was effectively a foreigner in Norway. The people of western Norway would have been capable of setting a number of traps to defend their region, and it goes without saying that Erling’s willing cooperation was crucial to Olav. With Erling at his side as a loyal ally, the nation-building project would be much simpler than if he were a hostile or half-hearted vassal. He could hardly hope for a more influential collaborator.
Prospects for trade with England may also have played a part in the debate. Nor could Olav have been stingy when it came to the question of his sister’s [Erling’s wife’s lw] dowry. Miserliness in this matter would have weakened his reputation as a trustworthy man, and so Astrid must have brought a tidy sum of English silver into the marriage. This would have increased Erling’s fortune, as well as his influence, considerably.
The beloved old cover.
Had a very nice moment on Facebook today. One of my readers posted a list of novels that affected his life, and The Year of the Warrior was at the top of the list. He said, “Each of these moved me spiritually and intellectually. I connected with the characters and the story surrounding them, and finished the book feeling emotionally deeper in my understanding of the world and others.”
Mark Twain said something along the lines of “I can live a whole month off a good compliment.” I think my food budget should be covered for most of June.
In a related matter, I guess I’ll mention that I’ve decided to bring out paperback versions of some of my novels through Create Space. (Actually Ori Pomerantz is doing the real work.) I’m starting with The Year of the Warrior, because then I’ll be able to sell it along with West Oversea at Viking events and have them in sequence. Hailstone Mountain should come later.
The e-book of TYOTW is published by Baen, but it turns out I have full rights to publish a palpable version. Can’t use Baen’s cover though, so our friend Jeremiah Humphries is working on a new one.
Oh yes, don’t forget that Viking Legacy, the book I translated, is now available!
Today I got my complimentary copies of Viking Legacy, the book I translated.
It’s always a strange and wondrous thing to finally handle a book you’ve only known in the abstract up till now. I’m not the author this time (in fact there are bits I don’t entirely agree with). But I worked long and hard on it, and did a lot of polishing. The translation still looks a little rough to me, especially at the very beginning, the worst place for it. The body of the text looks much better though. I like to think the “flaws” are the fault of the editors, but I’m not entirely sure of that.
Anyway, it’s grown up and left the nest now, and I look at it, not as a father but as a sort of uncle, I suppose. I hope it does well in the wide world.
In point of fact, this is an important, groundbreaking book. If it finds its audience it will be controversial.
Buy it now and see why!
The Bollinger Everyman Wodehouse Prize is the United Kingdom’s only literary award for comic writing. Last year, it went to Bridget Jones’s Baby by Helen Fielding. Two works tied for the prize in 2016, The Mark and the Void by Paul Murray and The Improbability of Love by Hannah Rothschild. I believe we mentioned these works and the Alexander McCall Smith’s 2015 win earlier in this space.
But the 62 novels submitted for consideration this year were only funny enough to produce “many a wry smile,” not the “unanimous, abundant laughter” the judges were hoping to have.
Judge and publisher David Campbell said, “We look forward to awarding a larger rollover prize next year to a hilariously funny book.”
“There were a lot of witty submissions, bloody good novels, but they weren’t comic novels. The alchemy was not there.” (via Prufrock News)
“You can’t be a songwriter without having a spare job,” [Andre] Lindal, 41, tells [Pacific Standard magazine], sounding downhearted as he rummages around his Los Angeles home—a home that Lindal can only afford thanks to his other jobs on the marketing and management side of the music industry. “It’s awesome to be working with great people. But it stinks that you’re not going to be able to get paid for what you do. You can only be a fan for so long.”
Lindal had a #3 song performed by Justin Bieber in 2013 with 34 million plays on YouTube, four million more on Pandora. Those YouTube plays earned him $218 due to regulations established in 1941. Songwriters used be able to draw on sheet music, album, and download sales, but streaming services are outside of those schemes. (via Prufrock News)
My wife is beginning to write a book. Her editor is the son of a Nobel laureate, but that is Oldthink. Because he is a clever man who keeps his finger on the pulse, he has my wife recording podcasts even before the book is begun.
Richard Brookhiser of National Review writes about his wife podcasting the subject of her book as she writes it, giving a glimpse perhaps of the future of words. (via Prufrock News)
A thousand trees have been planted in the Nordmarka forest, near Oslo, Norway, as a work of art, literature, and hope in dystopian days. It’s being called a work of art, framtidsbiblioteket or The Future Library; and I don’t doubt it’s beautiful even now. Trees have a way about them.
The trees are to meant grow for 100 years (starting in 2014) and then be cut for the paper to publish anthologies with manuscripts that will be written over that hundred-year period. Participating writers will surrender their original work to the project and allow it to go unpublished until 2114, preventing anyone from knowing how pretentious and unreadable it is until after their death. The writers who submit something in 2100 will be the ones under pressure, because they will have living readers to engage at the next virtual book signing. If their work flops, it will only be another weight to drag the whole project under water.
Who’s going to care to read back fifty years to see whether one of these works will hold their interest? Other writers possibly. More likely it will be publishers who read through these anthologies to find a gem they can exploit for themselves. “Frizzik Notweilder’s Ghosts at Noon Know the Heimlich, written seventy years ago and published in the framtidsbiblioteket anthologies, is the novel of the century, now available through Simon & Zondervan publishers.”
And Notweilder won’t know a thing about it.
There are many kinds of flood, not all of them water. Here: France, green and grey beneath a swift blue sky, and wholly submerged. The flood here is war.
Adam Roberts, professor of nineteenth-century literature at Royal Holloway, University of London, has been inspired to take up a screenplay left unproduced by Anthony Burgess, a historical movie on The Black Prince. Roberts is working on developing it into a novel. Above is an excerpt from the work in progress.
Roberts said he talked over his idea “with Andrew Biswell (director of the Burgess Foundation in Manchester the world’s leading expert on Burgess’s writing) and we agreed it would be worth seeing if the work could be completed. I have always felt that a science fiction writer is working in the same sort of territory as the writer of historical fiction (and several of my SF novels have been historical, or included historical elements): the creation of a world, the estrangement of the familiar.”
He has been crowd sourcing his fund this year and is 72 percent to his goal this morning.
Recently, Kirkus Reviews printed a review of the Young Adult novel American Heart by Laura Moriarty. It’s a futuristic story that follows a Huckleberry Finn pattern with its leading teenager helping an Iranian immigrant and professor on the run in an America where Muslims are interned in camps.
Apparently the review was not damning enough, because presumed readers on the social webs decried American Heart for having a white savior narrative. The reviewer, who is a non-white Muslim woman, did think it was that big of an issue, but online pressure got Kirkus to pull the review for re-evaluation. When reissued, the review said this: “Sarah Mary’s [the teenager’s] ignorance is an effective worldbuilding device, but it is problematic that Sadaf [the Iranian] is seen only through the white protagonist’s filter.”
Vulture’s Kat Rosenfield spoke to Kirkus’s editor-in-chief about how this revision was made.
And while Smith says the call-out of said problematic element is not meant to dissuade readers from reading the book — “If readers don’t care that this novel is only told about a Muslim character, from the perspective of a white teenager, that’s fine” — he acknowledges that Kirkus does care, and does judge books at least in part on whether they adhere to certain progressive ideals. When I ask if the book’s star was revoked explicitly and exclusively because it features a Muslim character seen from the perspective of a white teenager, Smith pauses for only a second: “Yes.”
I wonder if this will put American Heart on the banned books list for 2018.
One of the most complex matters they made us study in library school was copyright. Like so many matters of law in the US, it has grown and metastasized to the point where I (personally) doubt that anyone really understands it.
One of the problems in copyright law has been that US statute has extended copyright protection far beyond the original term (it was 14 years at first, as I recall). Now copyright lasts long beyond the author’s lifetime. This may be a boon to the heirs and agents of authors of enduring bestsellers, but in fact most of the books published from the 1920s to the 1940s are now out of print, but still protected. Now the Internet Archive is making a collection of these books (ironically named after Sonny Bono) available, through a loophole in the law. And more are to come.
The Internet Archive is now leveraging a little known, and perhaps never used, provision of US copyright law, Section 108h, which allows libraries to scan and make available materials published 1923 to 1941 if they are not being actively sold. Elizabeth Townsend Gard, a copyright scholar at Tulane University calls this “Library Public Domain.” She and her students helped bring the first scanned books of this era available online in a collection named for the author of the bill making this necessary: The Sonny Bono Memorial Collection. Thousands more books will be added in the near future as we automate. We hope this will encourage libraries that have been reticent to scan beyond 1923 to start mass scanning their books and other works, at least up to 1942.
I expect that this might make a lot of hard-boiled mysteries available again, for free. Good news for me.
Read it all here. Hat tip: Books, Inq., thanks to Dave Lull.
My friend Lelia Rose Foreman has written a text book, Writing Speculative Fiction: Science Fiction, Fantasy, and Horror, Teacher’s Ed. It is aimed especially at home schoolers teaching high schoolers. An excerpt from my novel Death’s Doors is incorporated, with my permission.
According to Chris Power, a golden age of short stories has always been shrouded in a misty past and was on the verge of reemerging.
H.G. Wells thought the short story thrived in the 1890s. H. E. Bates said it was the 1920-30s. William Boyd said 1981 was a great year for the story form everyone secretly loved and read quietly in corner booths with their third beer.
While bitter experience has shown poetry exactly where it stands in the marketplace, and the novel has shrugged off multiple reports of its death and maintained pre-eminence, the short story is continually characterised as the neglected form that will be great again. The funny thing is, when you explore its history you find the perception of a distant golden age, an undistinguished present and a return to glory has always been around: the short story has a problem with reality.
(via Prufrock News)