Following the advice of bloggers and magazines is a sure recipe for entrepreneurial ruin. Does this mean don’t read the blogs or magazines? NO! It means, make the news, don’t follow it. Or—to paraphrase a successful ad campaign: “If you read it, it’s history, if you do it, it’s news.”

Reporting Versus Analyzing

ForeWord, true to its name, is almost certainly the best of the trade magazines—very ForeWord thinking (the theme of my blog today—and clearly the most useful source of information for any independent publisher, independent bookseller, or independent author or librarian. And no, I’m not suggesting you stop reading the trades. Rather, that as a publisher, agent, librarian, bookseller or author, you owe it to yourself to read all the trades—especially the innovative ones such as ForeWord—to give you the foundation from which to launch your new ideas.

But make no mistake—no entrepreneur survives on other people’s ideas. No author succeeds by cloning Harry Potter or The DaVinci Code—or Kunati Books. (Mind you I was tickled to find an indie publisher who "borrowed" our tag line: "Controversial. Bold. Provocative." ) No publisher can thrive for long with an unchanging list of ideas, concepts, marketing plans or authors.

So, read the trades, and the blogs (especially this one, and my publisher blog: http://www.kunati.com/our-publishers-blog/) but only as a base for new-thinking. What’s In and What’s Out is not a good foundation for publishing decisions.

What’s In; What’s Out?

This is the biggest issue I have with the larger magazines and newspapers and their predictions of What’s In and What’s Out in any area: books, fashion, food, wine, you name it. Some journalists and bloggers take on the role of creating fads and fashions, instead of reporting on them.

Independent “Fill-in-the-Blanks” Do It Best

Fortunately, readers don’t always follow these trends, and publishers who simply try to follow fads often find these titles heading straight to the remainder tables.

ForeWord-thinking indies often take the larger risks to introduce new talent, ideas and concepts. I recently read a blog that proclaimed, “Indie’s find the new authors, big publisher’s poach them.” Well, that may be an exaggeration, and clearly the authors have the right to profit from their new-found fame.

But it does highlight the role Indies have taken on; Indie publishers find the new talent and through innovation help them succeed, assisting debut authors to build their brands and careers. Indie booksellers do the same by hand-selling books. Independent magazines such as ForeWord, even more so. Read the story of ForeWord’s inspirational start-up in the 10th Anniversary issue of the magazine. Indies (in any field) are the unsung heroes, you could say.

An Inelegant Segue...
I’ll gratefully make a small plug here that only subtly ties in with my point in this blog: First happy 10th to ForeWord (much deserved!) And thank you ForeWord for recognizing the role of the Indie Publishers with your new Independent Publisher of the Year Award… I’m beyond delighted Kunati and our author’s were honored, and am so much hoping this inspires other indies to innovate, take chances and find new talent. Which is my crazy segue into …

Memoirs… In not Out!
Today I spent two hours chatting with a very talented memoirist with an important story to tell about abuse. Now, I was trying to explain, “post Frey, memoirs are out” but I found myself not believing it. And, in the end, I made an offer on this most wonderful book.

When I look at our book list, I see a dozen memoirs. So, clearly, we don’t believe they’re "out." They sell well. They are not famous people—just important stories from real people with genuine writing talent. Such as Mothering Mother: an important story of a daughter coping with her mother’s Alzheimer’s. And Paul Cook’s new memoir Cooked in LA: a stunning story of addiction to fame, alcohol and drugs. And most certainly Wendy Aron’s amazing Hide & Seek, both a memoir and a story of recovery from one of America’s most debilitating conditions: depression.

Clearly, we don’t believe memoirs are dead. Today, I saw Publisher’s Weekly described Memoirs as “Unstoppable” and cited bidding wars on memoirs. “Publishers continue to snap up memoirs, undermining the perception that the genre is embattled in this post-Frey, post-Seltzer era.” Indies, of course, knew this long ago. It's not news to us.

Novels, a Shrinking Affair?
Commonly accepted “publishing trends” indicates that novels are shrinking affair, certainly for the debut author. Now, here we may be somewhat different from the prototypical indie, and clearly different from the larger publishing houses. We love debut fiction and fiction in all categories. It’s one of the reasons why we’re in business. And we continue to show that debut fiction can be successful, even in a 1 million plus title universe, where self-published fiction will soon outnumber trade-published titles.

But What is the Secret?
Hard work? Innovation? Risk-taking? Creating new trends? All of the above. Our director Kam Wai Yu created the first book trailer back in the eighties. Movie trailers were his inspiration, but it hadn’t been done. Why, we asked? The synergies of two industries combined to create a new phenomenon. Now, we lead with book trailers. But, it’s hardly considered innovative now. Almost mainstream. Nice to set the new mainstream I suppose.

So, on to the next innovation. Blog tours. Okay, that’s mainstream now too. Ezines. Been there, done that. Social Marketing 2.0. Very yesterday. What’s next… well, I’ll share, but not today. (Hint: I share often at http://www.blogertize.com)

Does this Mean You Must Invent?
Of course not. It does mean you must be an enthusiastic early adopter. Make it your own.

By watching ForeWord and the blogs, you stay on top of the next great trend: interactive trailers, paperless galleys, paperless catalogs, live web, online PR... And then you add your own personality to what has proven successful. Blend your brand of enthusiasm with the hottest new trend. Ignore the big publisher trends. By the time you hear what’s hot, it’s yesterday. Live author chat? So old now. Virtual book plates. Done. Think beyond.

Make it your own. Work it (that’s the hard work part). Take risks, especially the ones that only cost time versus money. Invest the time (who needs TV time or sleep?—if I wanted TV time would I be writing this blog?) These are the tools of the indie. There’s no secret.

We Just Want it More
Why does this work for the indie? It’s simple, really. We want it more. We work harder because we want it more. There’s no stopping innovation--and innovation has always come from individual minds.

Individuality is definitely the territory of independent publishers, independent booksellers, and independent magazines such as ForeWord. We have to invent to succeed. We have to work to grow. And we do it with a big smile, because enthusiasm is a big part of the formula for success.

Posted by: Derek Armstrong

The first year in any business is a sink or swim time. In publishing, there are two first years: the planning year, when you find your distributor, raise your capital, set up your web site, and buy your titles; and the printing year, measured from the day that your first book arrives crated at the warehouse. I am in my planning year now. My print year starts in the Winter season, 2009.  

For my first print year, I was looking for books that fulfilled both my creative and my capitalistic vision. The books needed to be good, but they also needed to be marketable. I wanted to fall in love.

And I did.  

My first book is Brian Evenson’s LAST DAYS. Currently the MFA director at Brown, Brian is my perfect kind of writer—a writer who walks the line between the literary world and the genre world, a writer who knows a good story and who knows how to write it well. He has everything: craft, structure, character-driven plots. He’s an NEA recipient, as well as an O. Henry prize winner. He translates from French, he’s won the Horror Guild Award, and his last book, The Open Curtain, was picked as one of the ten best books of the year by Time Out New York. All that, plus he’s a great guy to have across the table at a meal. You can read more about him here: http://www.brianevenson.com.

I met Brian at BEA, when I was an editor at Dark Horse. He agreed to write an Aliens novel for Dark Horse, which was a bit of a triumph, I thought. LAST DAYS is a detective novel set in a secret society of self mutilators. The detective was kidnapped by members of the society, and is forced to solve a murder mystery for them. It’s a down the rabbit hole kind of story, where nothing is as it seems.

My second book is Jeff VanderMeer’s third novel set in the Ambergris world, FINCH. I met Jeff through Brian, and, though Jeff and I have never talked face to face, we carry on a lively email correspondence. Jeff pitched me a Predators story when I was an editor at Dark Horse. The resultant Predators novel is also a bit of a triumph.

Jeff is one of the most prolific writers I’ve met. He has ten (yes, ten!) books coming out next year. He’s widely considered to be one of America’s best fantasy writers, having won the World Fantasy Award, been translated into 17 languages, been featured on the NYT’s blog and Wired.com. He’s kind and intelligent, and also a gonzo marketer, with ideas coming out of his ears. Read more about him (and see some pretty cool art) at www.jeffvandermeer.com.

FINCH is a noir tale, set in a world where the gray caps, mysterious underground inhabitants, have taken over the city. Martial law is in place. Against a backdrop of oppression and rebellion, the hero, John Finch, must solve an impossible double murder while trying to make contact with the rebels. His girlfriend, Sintra, might or not be the leader of the resistance. Something is about to happen.  

Third up? Will Elliott’s PILO FAMILY CIRCUS. Talk about the genre / literary crossover… The book is about a troupe of demonic clowns working in a between-worlds circus. The currency that the circus runs on is bits of white crystal—or souls. The writing is smart, dry, and humorous. The book made me both look over my shoulder in fear, and laugh out loud. The word Elliott creates crackles with tension. He’s a fantastic writer, and to think that this is only his first book…

I bought the North American English rights to Will’s book from Quercus, his U.K. publisher. The book was originally printed in Australia, where it won the ABC prize. The novel also won the Aurealis Award, the Shadows Award, and the Ditmar Award. Elliott got a nod from the Sydney Herald as the best young novelist for 2007.  

And about the wovel? Last week, I found my wovelist. He’s young, he’s smart, he’s ready for a break out from the limited edition publishers. He’s Kealan Patrick Burke, and if you haven’t heard of him, you will.

His wovel, called The LIVING, is set in a world torn apart by civil war—the undead humans versus the living humans. The undead are not your typical zombies. They were created by genetic mutation, and they are the underclass of this new world. Our heroine, Madison, might be the last hope for peace in this world. The wovel follows Madison’s attempted escape from a city ravaged from the civil war.

In preparation for writing this wovel, Kealan sent me not a plot synopsis but a conflict synopsis. With the help of the readers, who will vote on the plot branch points as they come up, Madison might escape from the city alive. Or she might not… The readers get to decide. Read more about Kealan at his web site www.kealanpatrickburke.com.

I can’t announce my fourth print title yet, because the contract isn’t signed…

Know these authors? Have thoughts about the lineup? Comment here, or write me at Victoria@underlandpress.com.

And thanks for reading the blog. It’s been fun to write for ForeWord. Keep in touch by visiting www.underlandpress.com, and signing up for our newsletter.

Best of luck, and happy reading…

Victoria

Posted by: Victoria Blake

My hunt for a web writer continues. I’ve been knocking on doors, sending out emails, calling friends, pitching hard. I’ve gotten one writer lined up, but I’m looking for one more.

Here’s the idea:

I want to publish a Wovel, or web novel. The concept is to allow readers to participate in the formation of the plot arc, while leaving the writing, characterization, setting, description, and problem solving up to the author.  

Here’s how the Wovel works: The author posts an installment every week, say every Monday. Every post ends with a plot branch point. For example: the heroine, chased by zombies, reaches her car. The car a) starts, b) does not start. The readers get to decide. Every installment is between 1,000 and 3,000 words: long enough to get somewhere, but short enough to read Monday morning in your cubicle at work.

The post would go up on Monday, voting would be open until Wednesday, the writer would work on a draft until Friday, I would edit it, turn it around for final correx on Saturday, to repost it Sunday night.

Sound like a magazine or newspaper schedule?

It is. And that’s one of it’s strong points.

We wouldn’t be asking the readers to read fifteen or twenty pages of text. We’d be asking them to read short, and then vote. It could work out magically.

To my knowledge, this structure for writing on the web has never been tried before. There have been other variations, and each has had its own failings. Remember Steven King's much-publicized e-book The Plant? He kept it up for six chapters, before bowing out, saying that too many readers had jumped ship. The Wovel form, by contrast, gives the readers a stake in the book, providing them a reason to come back for more.

I’m incredibly excited by this idea. As with everything on the web, though, it takes a certain slantwise look to understand how it would work, and what the practical benefit would be.

For the author, the benefit would be a pure and simple readership build. The principle is that the more people read, the more people want to buy it. Interest equals monetization. It’s the same principle behind publishing for pittance in quarterlies.  

The author would come out of the Wovel term with a workable manuscript for possible reprint in the traditional book form. Some authors and agents say that publishers won’t want a manuscript that’s been online already. It seems to me, however, that the growing trend of print publishing blogs has well paved the way for a second print life for a Wovel. In fact, I would think that the print life would equal the online life, the two would build off each other. Heard of how well the Radiohead album In Rainbows is doing, despite being offered free online? What about the book Julie and Julia? It sold more than 150,000 in trade and cloth, and it was based off a blog.

For the publisher (Underland), the benefits would be to drive traffic to my site, to increase interest in my books, and to build my stable of authors. It’s a no-brainer for me, if the author and I can make it good, and if the readers keep coming back for more.

There’s a certain amount of experimentation that goes with this online territory. I don’t yet know what will happen with the Wovel, and there’s a possibility it will fall flat on its head. What do you think? Good idea? Bad idea? Scary idea? Interested in hearing more? I’m still working on my web site. I have a holding page up there now with an email capture. Sign up, and I’ll send you news as it comes. Underland Press is online at www.underlandpress.com. Or email me directly. I’m at victoria@underlandpress.com.

Next week is my last week as a guest blogger for ForeWord. I’m planning on announcing my first-year title list, plus announcing who my Wovel writer will be…

Posted by: Victoria Blake

A few months ago, I invited a group of my smartest web developer friends to sit at my big table, bought a case of Terminal Gravity, a pack of Oreos, and said “Go.”

They went.

Among the ideas for the web page: an RSS calendar that ticked through the worst things that happened on the day in question; an “eye” that hacked into the computer’s on-screen camera, re-routed the feed, and reflected the user back to himself; a room that the user could wander inside, picking up knives, opening doors, finding links, etc.

Impressive? Yes.
Overkill? Possibly.
Exciting? Absolutely.

My intent with Underland has always been to try to use the web not only to market and sell the books that Underland publishes, but to push the boundary of what is currently being done with text on the web. It occurred to me early on that print publishing is where music was in 1996: pre-Napster, ready for something big.

I don’t think that big thing is going to be the new digital readers. I’m in the camp that thinks paper and ink are pretty close to the best technology we need for books. But text has gone digital, and we haven’t yet figured out what to do with it. The issue might not be a readability issue. Finding and keeping online readers might require a new way, or at least a new style of writing.

Consider: A journalist writes an A1 story differently than a newspaper feature, differently than a long-form magazine feature, differently than a front-of-book news item. Each of those forms has its own requirements and limitations and opportunities. Indeed, professional journalists are extremely good at writing for all the various content platforms: newspapers, magazines, radio, TV. They have courses for this in their degree programs. They specialize.

Fiction writers? Fiction writers are lagging a bit behind. The majority of fictional prose I read online is originally written for print. Or it might have a second life in print. Or it wanted to be print, before it was put up on the web.

When I hear industry people talking about web publishing, I hear them talking about intellectual property rights and technology issues. I have never heard anybody talk about writing style and form issues. I recently had a writer send me a sample as a "audition" for an Underland Press web novel. The sentences were long and complicated, the paragraphs were long and complicated, and I couldn't find a story outside of the synopsis.

I don’t know if I’m right about this, but it seems that in order for prose to be successful online the sentences would have to be shorter, the story more obvious (ie less subtle), and the paragraphs would have to move more quickly. Chapters would have to be shorter, too. Maybe even short enough to read in the cubical at work, with the back turned to the hallway and the finger on the minimize button…

You know. Like blogs.

I’m going to keep thinking about this problem. I’m going to talk to the writers I know. I’m going to talk to the lawyers. I’m going to talk to my web guys. I might not be the one to crack the problem, but I’m in the generation of publishers who will.  

As before, and as always, I welcome your comments. Unlike print journalism, the blog gives us a way to talk back. I love that, though it might force me to develop a thicker skin.

Posted by: Victoria Blake

Say “genre fiction” and you bring to mind books about aliens, about vampires, about mutilation, about kidnapping, about incest, and about straight up good old fashioned murder. You bring up images of mass market trim sizes and covers with foil and embossing and a dark road with maybe the shadow of a tree and noose in the background. You also bring up the idea of books that are more plot driven than character driven, books where the language and syntax sometimes seems ignored, books that rely on cheap thrills more than craft for effect. Say “genre,” and the nice lady talking to you at the dinner party will turn away.

With this in mind, I’m going to describe a book, and I’d like you to tell me if it fits in “genre.” Here goes:

After a catastrophic nuclear event, America has become a vast, deadly field of starvation, crime, and man-against-man contests for survival. Through this wasteland, a man and his young son walk along the left over roads of America, confronting their basic fears and searching through the rubble of civilization for hope.

Know the book? It’s one of the best genre books to be published in the last twenty, if not fifty years. It has murder, suspense. It has mutilation and cannibalism. It sold incredibly well—about a million copies so far according to Bookscan. It’s a page turner: Everybody I know read it in forty-eight hours, and passed it on to everybody they knew. Its author won a well-deserved Pulitzer, as well as a spot on Oprah’s list.

Know the book? It’s The Road, by Cormac McCarthy, and I swear it’s as genre as they come.

Here’s my argument. It’s the argument at the center of what I do and what I’m interested in, and it’s the creative push behind Underland Press. Here’s the argument: A genre is a body of work defined by similar characteristics. A category is a marketing niche. The two things should not be confused.  

When I say genre fiction, I mean fiction that takes on weird and scary subjects. I mean books about aliens, apocalypse, vampires, mutilation, kidnapping, incest, and murder. Weird is my genre. Horror, fantasy, dark fantasy, those are my categories, my BISAC codes, my cover designs. When I say genre, I do not mean fiction that ignores craft in favor of the cheap, easy thrill. The word “genre” does not imply a license to ignore character entirely, nor does it allow a writer to write badly. When I say genre, I mean books that entertain me. Books that I can pass with confidence to my friends and family members. Books that keep me coming back. And yes, sometimes books that make the nice lady at the dinner party turn away.
    
Argue with me. This is slippery terrain, and it’s something I think about a lot. How do you define it? What do you mean?

Posted by: Victoria Blake