How to get personalized autographed copies of my books if you can’t make it to a signing

I am going to be signing at Uncle Hugos in Minneapolis on the 27th. Because they do a lot of mail order, I fly in a day early so that I can sign all the books to be shipped. The cool thing is that on the order form you can specify any personalizations. So if you want a bunch of books for gifts, made out to specific people, or you want me to draw a cartoon in it or something, and you can’t make it to one of my events, this is the best way to get it.

http://www.unclehugo.com/prod/ah-correia-larry.php

They’ve got all of my stuff in stock, but Don emailed me yesterday to tell me that he’s got his copies of Son of the Black Sword in. So if you want personalized copies of the new one, and you aren’t going to be at any of the other tour stops, this is the best way to get them. It is better to get your shipping orders early, because last year we had a bunch of people order Nemesis wait until a couple of days before the actual signing. Because of that I ran out of books at the actual signing. So if you want personalized copies shipped, order soon so he can get more in in time.

I used to sell and ship personalized copies myself, but that just got way too unwieldy to do out of my house. (many of you had not so positive experiences with my 11 year old daughter “shipping department” 🙂 )  So I’m glad Don offers this.

Ask Correia #17: Velocity, Releases, Rankings, and Remainders

 

I’ve been procrastinating writing this post for a while, but since I’ve got a new book out at the end of the month, I figured this is the perfect time to explain how much a big release week helps an author. Hint. Hint.

These terms have come up a few times in various other discussions and I’ve been asked why they are important. When I do these writing posts I either go artsy or crunchy. This stuff is all crunch. I’ve talked about them a little before, but today I want to get into the nuts and bolts of books sales. This isn’t about how to marketing, I’ve done other posts about that, but rather this is background about why we have to do marketing.

The impression I get is that many traditionally published authors think that this is the stuff the marketing people will handle for them. Maybe. But it helps for you to have a clue because for most authors, even traditional, you are your own marketing department. Self-published authors have to figure this stuff out in order to differentiate themselves from the herd. However, this post is going to be aimed more at the traditional, physical stores side of publishing, because you can’t rip the covers off and return electrons.

Velocity

When we talk about velocity we mean the speed that a book sells. Books that sit in inventory forever have poor velocity. Books that sell quickly and get reordered have good velocity.

Ending up on bestseller lists is all about velocity, not total sales, but I’ll talk more about that later. Getting reordered and restocked is all about sales velocity. Basically, velocity is why I do Book Bombs for people. Selling more in a short period is better, because the book gets noticed more as a result.

In order to continue existing bookstores must move product. Their shelf space is for selling. Any shelf space that isn’t selling is a financial waste to them. If Author A’s books are selling, then that store is making money off of the section of space they’ve allocated to him. If Author B’s books aren’t selling, then they are making zero money. And when that happens, they will take some of B’s space to give more to A. If B doesn’t hurry and sell books, then pretty soon he’s not going to have any shelf space because they’ll allocate it to those authors who sell.

It is better to sell quickly than slowly. This is basic accounting (which is probably why I love it). It takes money to buy inventory. Inventory that turns over gives you more money to do things like pay the rent and order more books. Inventory that sits there longer represents money that is tied up. (and yes, for the hard core, I know that publishing is far more complicated with really weird distribution models between publishers and stores, but I’m trying to keep this simple).

So if you turn over constantly, stores tend to like you, and will order more. The more shelf space they give you, the more new people are likely to see your stuff. Success breeds success.

Here is an example. A bookstore orders 3 copies of your first novel. If all of them sell in the first week, then the bookstore is probably going to reorder 3 more. Then when your second novel comes out, they’ll look at their prior sales, and instead of ordering 3, they’ll order 6. Do this for decades, and it is why new James Patterson or Dean Koontz novels are delivered to your local book stores on pallets.

But if those 3 copies of your first novel sat on the shelf for months before selling, then the store probably didn’t bother to restock when it finally does sell. They may or may not order 3 copies of your second, but either way they’re not super excited about you.

I’ve been inside about 300 book stores since I started my professional writing career in 2009. I can usually tell how well I’m doing at any particular store even before I talk to any of the employees, just by going by where my books are and seeing how much space they give me on their shelves. A couple of books means that I don’t do well at that store. Five or six books tells me I’m okay. Eight or ten tells me I’m kicking ass in that town. If the books are faced out, that means I’ve got somebody on staff who is a fan (and that is incredibly important).

Having fans working at book stores is amazing. Take for example B&N. I’ve been in literally hundreds of B&Ns. In a store where nobody on staff is a fan, I might sell tens of books a year. In a store where I’ve got fans, I sell hundreds. Staff hand selling books to customers makes a huge difference. I’m talking order of magnitude difference. So be nice to your book store employees!

Then I can look from the Cs over to B, and see that Butcher has his own shelf, if not a shelf and a half. Why? Because he consistently sells everywhere. That is good, safe real estate for the store that will turn over and make money for them. Back when True Blood was the big thing on cable, I saw authors complaining how much space those novels took up on the shelves. Well too damned bad, because those books sold like hot cakes, and got customers in the door.

Velocity tapers off. But the bigger the initial impact, the longer it takes to taper off. After a bit the hotness cools, then hopefully the book just keeps selling (I think MHI is in its 9th printing). But normally an author makes most of their money during that initial burst. However, as we’ve talked about before, you get a mini boost for all your existing books each time you turn out a new one.

Rankings

This is how velocity gets extra tricky. It also determines most of the rankings and bestseller lists. Books that show up higher in various rankings get more attention. More attention means more new eyeballs on it, which equals more sales.

The thing you need to keep in mind is that all of these lists are aggregated over a limited period of time. Yes, there are some that look at the bestsellers for the year or whatever, but most of the ones that people pay attention to represent one week of sales. Or in the case of the Amazon sales ranks, they’ve got a secret rolling average algorithm that updates hourly (with about an eight hour delay as far as I can tell). So on those lists it isn’t about totals, but it is about totals over a short period of time.

A book that is a slow burn, selling constantly but continually, is awesome, but it is going to get artificially limited exposure because it isn’t ever going to be ranked that high on the bestseller lists. Hypothetically, if you sell about a thousand books a week for a year, that’s freaking solid. However, that book probably won’t ever show up on any of the bestseller lists. But you can take another book, sell five thousand copies in one week, and never sell another copy again, and that book will be a “bestseller”. The first book sold ten times as many copies, but the second author gets to put “bestselling author” after their name for the rest of their life.

I’ve made the NYT list a few times, but overall as far as I’ve made my money it has been on the slow and continual sales side of things, but you still want to make the lists whenever possible, just because of the added attention it brings you. Each time I’ve gotten on there it has given me a bump the next week, found me new readers, and also gotten more attention for the sales of ancillary and foreign language rights.

The NYT is big and famous, and everybody who has made it uses it in our bio because regular people have heard of it, but it isn’t a particularly accurate list. Just ask Ted Cruz. The one that most people in the business look at is the Nielsen Bookscan. I’ve talked about its shortcomings on here before too, but it is still probably the most accurate measure of book sales available. However, Nielsen isn’t watched by the public, it is watched by the book business. So getting on there helps get you attention with the people who stock and sell books.

The online lists, like Amazon, are fantastic because new people browsing genres find you. So if your initial big sales week can put you up in the top 10 of the “Scottish Time Travel Romance” list, that’s going to mean more a bunch of new people are going to click that link and check it out. Get on the top 10 list for “Fiction” and that equals millions of new eyeballs on it.

Releases

For most books, the first week is almost always its biggest single sales week. Every now and then a book that has been out for a while will get some amazing marketing boost later, but that’s rare. For most of us, you either make the lists the first week, or not at all.

The release week is the single most important week of a book’s life. This determines that initial velocity. It helps establish how many of your next book that store is going to stock. For online sales, this is probably as high as your numbers will spike (barring Book Bombs obviously).

This is why most big publisher’s marketing efforts are geared toward pushing the book before and right around its release. The bigger the initial spike, the longer the tail. The more books that are preordered, or go out the door during the release week, the more initial readers, more reviews, more word of mouth, and more attention you get.

Preorders are fantastic because all those sales and shipments count during release week. Plus, the more books that are preordered, the more likely the stores are to increase their overall orders, because they take that as a good indicator of total demand. So as an author, the more you can get your fans to preorder, the better.

This is also why author’s book tours coincide with the release of a new book. It is all about that initial push. Even library sales help. If people are asking for their library to stock an upcoming book, and there are a lot of requests, then the libraries will order more to meet the demand as well. Most authors don’t realize just how big a market libraries represent, but they purchase a huge number of books.

Books have “street dates” of when they’ll be available at retail. The books are actually shipped well in advance of that release date, but for any book that might show up on a bestseller list, the publisher is going to be adamant that the book stores don’t actually put those out on the shelf available for sale until that specific date. Why? Imagine that you have a release date of the 10th. The books arrive at the stores on the 7th..  Some book stores are excited and put out the books immediately, but those sales go into the 1st week of the month. Then the on 2nd week of the month, the book has its official release, and just misses making the bestseller lists, or doesn’t rank as high, because of the books that were sold early. Or worse, the bookstore that doesn’t put the book out until a week late. For them it is an inconvenience, but for the competitive author it is a nut kick.

Either way, your initial spike has been spread out instead of concentrated. So if you sold 1,000 books a week early, 4,000 books during your official release week,  and 1,000 a week late, that 4,000 is going to be your highest showing. Congratulations, you made #23 on the NYT extended list. Too bad those others weren’t stuck in there, because you would’ve made the short list and gotten more attention.

Remainders

So what happens to those books that are taking up shelf space and not moving? They get remaindered.

This is the ugly side of the book business. Most people don’t realize how many books get returned to the publishers. On paperbacks, the bookstores rip the covers off, throw the books away, and mail just the covers back for a refund, because the unsold paperbacks aren’t even worth the cost of shipping them again.

This is the killer deal breaker that keeps most small presses from having distribution through bookstores. They simply can’t afford to eat all the returns. It is actually a complex system, with publishers, distributors, and the bookstores having contractual agreements.

Our contracts talk about an Allowance for Returns. Basically, they ship a bunch of books, stores sell as many as they can. However, your publisher doesn’t pay you royalties on everything they shipped to the stores. Once the royalty period ends, then they wait a little bit after the close before figuring it up to see what percentage of those books they shipped get returned. Sadly, for many authors that is a really high percentage.

When an author gets their royalty statement there is a section called Sell Through Percentages. It gives the breakdown of books shipped versus books returned. This is an extremely important number, because this is how your publisher is going to determine the size of your future print runs. Say, if they shipped 10,000 books, and 5,000 came back, they aren’t going to print 10,000 books next time. They aren’t going to spend as much marketing money on you, or if you do really badly, you don’t earn back your advance and they see you as a financial loser.

Ideally, you don’t want the stores to return any of your books. I’ve heard different numbers tossed around for industry averages, it varies by publisher and genre, and I’ve not seen them officially stated anywhere, so I’m not actually sure what is considered a normal industry rate. However, every percentage I have heard from an industry insider as a suggested average rate sucks and they are worse than you’d think.

As an accountant my reaction was how does this industry stay in business? But as an author luckily, this is one area where I’ve personally done really well. For most of my books my sell through percentages are excellent, way above average, but if I shared them my publisher would probably murder me.

Basically, getting remaindered is what happens when the velocity runs out.

##

So now you know why authors get so hung up about release weeks.  I hope that was educational. 🙂

Sad Puppies Guest Post by Chuck Gannon

I don’t normally do guest posts, but I saw Chuck Gannon at a con last month and he asked if I would be willing to post this essay. There are parts I agree with, parts I disagree with, and there are a few bits where I think Chuck’s take is completely wrong, but the reason I’m posting this is because somebody dared him to post it on a Puppy blog to see our reaction. 

Well, okay then. 

I didn’t bother to read the comments Chuck linked to, but I hear they are a hoot. 

-Larry

###

It will help to have some context on the origin of this essay—which I never anticipated writing beforehand.

On August 31 of this year, I posted the following on Facebook:

My thought for the day:

Choose your battles carefully.

If you find yourself constantly in combat, you’re not being choosy enough.

Or you’ve decided that you are actually at war. Which means that you are now committed to destruction, not discourse.

 

No value judgments implied, but it was a call for courteous self-awareness when in discourse, and, more directly, a kind of diagram of what our discursive behavior tells us about our deepest motivations: are we talking to communicate or do battle? At no point do I imply that battle is always avoidable, or even wrong; just that it’s important to know when you’ve crossed the line, and what that really means.

 

On the same day, I learned that John Scalzi (who has always been friendly and polite to me) had mentioned my novel Trial By Fire (favorably) on his blog. He wrote that, “Also, I think it’s possible that some Puppy nominees could have gotten onto the ballot on their own steam — in the novel category Chuck Gannon has been nominated for a Nebula two times running, so I think he could have had a decent chance at the Hugo.”

I contacted John to say thanks, but to also offer a differing opinion.  My own take was that despite being a Nebula finalist, I wasn’t well enough known, and the novel hadn’t had enough fan buzz, to get a Hugo nomination without the Puppy exposure.

In the course of talking about the Hugos, I mentioned the post I referred to above and the wide and multipartisan affinities it had elicited. Our exchanges inspired me to explicate the reasoning behind that post, and before I knew it, an essay had been created. I let John read it, giving him the yea or nay to post it on his blog. He elected to do so, warning me that he could foresee it not getting a particularly warm reception, and did I really want to go ahead with it?

 

Principle means we do things not in the anticipation of any particular perception, but because they are right. I thought that this essay—which does not engage the rights or wrongs of the current genre divide but merely assesses the long-term costs of how the debate is being conducted—might do some good.

 

Its reception is a matter of record which you can consult if you wish: just read the comments and my responses that follow the essay itself. Some of the comments can only be characterized as irate dares that I post this on a “Puppy” site and see what sort of reaction it would get there. So, since Larry graciously offered to host the essay also, that is precisely what I am doing here.

 

I have included the link to the essay and the reader responses so that everything may be seen in its complete and original context: no alterations of any kind can be asserted, since you are viewing the original itself.

I do not anticipate responding to any comments here, not because I am uninterested in them, but because I am currently working on another novel in the same series as Trial By Fire (and the recently released Raising Caine), as well as a novel in the naval space opera series that launched David Weber’s and Steve White’s careers, the Starfire universe. I need every minute I’ve got for those projects–and we all know how addictive exchanges on the interwebz can become.

 

I wish you all well, and I thank my friend Larry Correia for agreeing to host this introductory statement along with the link to the closed-comment essay (entitled “Ends, Means, and Arsonists—Or—The Importance of Saying ‘Yes’ to Civility While Saying ‘No’ to Passivity”) on John Scalzi’s Whatever blog.

Top of Form

 

http://whatever.scalzi.com/2015/09/02/wrapping-up-2015-a-hugo-awards-open-thread/

Ends, Means, and Arsonists
Or
The Importance of Saying “Yes” to Civility While Saying “No” to Passivity

Dr. Charles E. Gannon

I contacted my host, John Scalzi, a few days ago, just after he mentioned one of my books here in the following manner: “Also, I think it’s possible that some Puppy nominees could have gotten onto the ballot on their own steam — in the novel category Chuck Gannon has been nominated for a Nebula two times running, so I think he could have had a decent chance at the Hugo.”

This was indeed a kind mention because (and here’s the part where I slit my own throat) I can’t fully agree with John’s generous assessment. Don’t get me wrong: I wish I could agree—but I suspect that it was the Sad Puppy listing which put me on enough folks’ radars so that my novel Trial By Fire wound up just 11 votes behind Liu Cixin’s The Three Body Problem in the total number of Hugo nominations. This is not a comment on the relative merits of my (or any other) Hugo-eligible novel. I simply observe that the odds are good that Trial By Fire did not have enough widespread buzz to climb that high all by itself. On the other hand, Trial by Fire was the only SP-recommended novel that did not make the Hugo ballot. It was also the only SP-recommended novel not included on Vox Day’s authoritarian slate. I will let you decide if there might be some relationship between those two data points…

As many know, my presence on the SP recommendation list came as a surprise; I did not learn about it until a few days (a week?) later, when someone commented on it on my FB account. Perceiving it as a list akin to dozens I’d seen floated during Hugo and Nebula seasons since I first became an SFWA member in 1990 (I think), the one concern I voiced to Brad (Torgerson) was that I was only comfortable being included if Vox Day (whose proclivities were known to me only via general third-hand report) was not on the list. Which he wasn’t. So then I went back to work (I’m fortunate to have a number of novels under contract) and pretty much stopped following the Hugo process. (I’m the parent-on-call for four kids, so I don’t browse FB feed much and sometimes wonder why I even have a Twitter account…)

When I learned about the Rabid Puppies and Vox Day’s activities (which prompted my research into the details of his prior commentaries upon race, women, and more), I contacted Brad and we agreed that everyone must follow their own conscience if push came to shove. I should add, for the record, that I not only respect fellow-novelist Marko Kloos immensely for the choice he made, but I also understand what may have been his instinct not to add to the unfortunate spectacle until and unless circumstances made it incumbent upon him to do so.

However, although my inclusion on the original Sad Puppy list probably brought votes my way, a countervailing trend among another discernible (if non-collectivized) group of readers probably took as many (or more) away. Specifically, during both the Hugo and Nebula process, many blog posts, or comments thereupon, explicitly proclaimed their decision to ignore my novel for a reason expressed with admirable economy by one of their number: “Because: Baen.”

In response to all of this, I can only repeat what I have said about awards from the very start, thus echoing what my host John Scalzi penned here not so long ago: “Vote for what you like.” And, I might add: “Don’t judge books by their covers or publishers.” Most of the major spokespersons in this debate have said just this or something quite similar.

Happily, most people consider these admirable sentiments, but almost as many will wonder, “Yeah, sure, but how the hell do we get to that reality from where we are now?” Or, to use Chernechevsky’s SFnal title (which Lenin appropriated for his famous essay), “What is to be done?” The context of that query invokes, of course, a challenge to discover, articulate, and strategize the attainment of the ends one seeks. I, on the other hand, have come to suspect that in our present quandary, our first agenda item must be to explore the means whereby we may communicate effectively about those challenges. In short, my concern is best titled “How is it to be done?”

Methods and Means

If you can’t communicate effectively, you can’t solve problems—not unless your “problem” is waging a war to utterly exterminate your opponent. So, if you do want to communicate, then as long as words are being wielded as weapons, the downward spiral—of this conflict and of our genre—will continue.

So my focus has been, and remains, on behavior not politics. That may sound like arranging deck chairs on the Titanic, but I see it as making sure the rudder works. By which I mean: at some point, people have to talk if they wish to end, limit, or deal with the aftermath of a conflict. Right now, the capacity for genuine communication is crashing in a dizzying tailspin, while attitude polarization is on an inversely proportional rise.

Let me be perfectly clear, I’m neither “puppy” nor “anti-puppy.” My own beliefs are so darn eclectic that I doubt any group would have me. But beyond that, there is this purely functional consideration: any resolution to a conflict (short of unilateral annihilation) cannot be achieved through strident advocacy for or by any one side.

Why? The answer is one of the most consistent and simple phenomena of social dynamics, one as old as history itself. You cannot be primarily committed to facilitating equable and balanced communication and be a partisan leader.

I am a communication specialist, have worked in that role in various capacities for over 30 years, and have seen (and been asked to help manage) this phenomena in many different scenarios. And here’s the relevant challenge that arises: partisans have the luxury to remain absorbed by (and locked into) their conflicts of the moment. So, they cannot become change-agents for better bilateral discourse; their prior role precludes opponents from believing that they are doing anything but surreptitiously supporting their own agenda. So it is necessary to preserve and/or create a communications channel for moving beyond the conflicts in which those partisans are still engaged. A truly multilateral discursive arena—for which civility is both the bedrock and cornerstone—is the foundation and lynchpin of that eventual need.

I do care about hurt feelings, but that’s simply not my reason for emphasizing the issue of civility and respect in discourse. Indeed, feelings are not merely important but operationally relevant because, when people’s feelings are hurt, they are primed to strike back–and so, the possibility of increasing civility remains near or at zero. But this is not a hand-wringing, mewling appeal for “oh, can’t we all just be nice to each other?” This is more of a “Look: when everyone is done thumping their chests and mixing up their genuine beliefs, their admitted and unadmitted ego involvement, and all the rest of the emotional and rhetorical baggage, we’re all still going to be here. If this was a literal war, you might decide to exterminate each other. But since it’s not, you’re going to have to coexist, because you can’t steer around each other far enough to create total mutual avoidance. So some people have to keep saying: ‘when all of you are ready to clean up the mess, remember how to talk to each other. Because that is the only way the mess is going to be cleaned up. No matter who declares victory and goes home.’”

To reprise a theme that I’ve seen on posts from commentators as diverse as David Gerrold, Brad Torgerson, and Eric Flint, the descent into personal invective always portends a downward spiral that carries us away from ideas and understanding and straight into a cesspool of inane and profitless rock throwing. And “but they started it first” is no excuse for any side to maintain their vituperation level at Defcon 2. Indeed, there is every reason not to.

Firstly, it’s rarely a good idea to let the actions of another dictate the manner in which we respond. To do otherwise is to essentially say, “I accept that I do not define the means by which I engage in conflicts; I cede that initiative and authority to my opponent.” As we all know, it’s not a good idea to let anyone else drive your life-bus or set the pace—least of all someone you perceive as an opponent.

Secondly, when it comes to the notion of matching your opponent’s dirty tactics or railery with your own, … Well, departing from your own game plan or ethical rules of engagement is only worth considering when the stakes are so high that the benefits strongly outweigh the deficits. I can think of real wars (Cold and otherwise) where matching escalation was essential to maintain whatever balance remained in the conflict. But are the desperate, end-of-the-world cost-to-benefit ratios which informed those scenarios really present here?

Lastly, since mutual name-calling only achieves mutual mud-wallowing, there is no argumentative advantage to be gained by it. At most, invective and mockery might incense your adversary (i.e.; if they’re stupid and easily distracted). But unless you firmly believe that their rage will cause them to a ) act rashly, and that b) you will be able to decisively exploit that intemperance, it’s not a worthwhile tactic.

But let’s be honest. None of these “reasons” explain the verbal vitriol that has been fuming like Old Faithful (Old Fateful?), lo these many months. Name calling is usually just a way of venting one’s overloaded spleen. It’s a verbal smack in a childish slapping war, like the ones waged between testy siblings in the back seat during a roadtrip to some hated destination (an analogy employed to great effect by Eric Flint during one if his epic excurses on this very topic).

So that’s why my concern is with how the discourse is conducted. Yes, there are always going to be arguments and debates, some more ferocious than others. And some burn themselves out. But some go on for longer, and do far more damage, than they must. And that typically happens when a debate starts falling under the real (or perceived) rhetorical influence of radical extremists like Vox Day or Requires Hate. Because although they might sound like they are deeply invested in the debate, their involvement is motivated by other objectives.

Specifically, lots of people have been shouting loudly on either side of this issue, most of them very impassioned about protecting the enjoyment they derive from our genre. But the radical extremist has a different objective, which often betrays itself in their subtly different modus operandi. Whereas the impassioned partisans want their side to win, the extremist wants to effect change by burning the extant structures to the ground.

I worry that the state of discourse in our genre could easily play into that long term result. Not because of the differing opinions among our genre’s various partisans but because of the lack of civility, which undermines fair and clear communication. Invective and insult has greased the slide down into today’s growing midden heap of rhetorical excesses, sloppy evidence gathering, and hasty presumptions of guilt-by-association. And these cascading failures in reasonable discourse are the tinder with which radical extremists may easily fuel the conflagrations whereby our genre’s structures might consume themselves.

Arsonists Among Us

I offer you this conceptual equation as the formulae whereby cultural pyromaniacs have historically created group- (or nation-) consuming infernos:

+ incivility ->
+ dehumanization ->
+permission for violent response ->
+radicalization and extremism

This is a proven recipe for quickening passionate partisans into aggressive zealots. When advocates forsake their initial behavioral limits, they have started down a path in which their ends have begun to justify means they would not have countenanced earlier. And so they are on their way to becoming radicalized extremists.

We are familiar enough with the early warning signs of this dynamic at work, and which, cast in the taxonomies of our genre, equate to:

1) increasing numbers of SF & F readers becoming infected with the same virus of polarization now endemic in so many other parts of our culturescape;

2) name-calling, mockery, and personal invective that becomes so ubiquitous that it no longer stands out as arresting or unusual;

3) increasingly strident and absolutist rhetoric, often accompanied by a reflex to screen for “correct think vs. wrong think” semantics.

I don’t propose to have any sweeping answer for how to reverse this trend. (That would make me yet another strident advocate, wouldn’t it?). Rather, I perceive the answer to be ultimately personal: a conscience-informed attempt to balance what one intended to convey with how it was received. In short, to temper oneself without muzzling oneself.

My own answer is to keep talking amiably with people from all over the spectrum, regardless of however different (or not) our opinions may be. Consequently, lots of the folks I’ve spoken with over the last six months will not find the content of this post surprising and have expressed sympathy for larger or smaller parts of it. The list includes people such as Larry Correia, David Gerrold, Brad Torgerson, John Scalzi, Rachel Swirsky, and Eric Flint, just to name a few. And if anything strikes me as even more prevalent than the differences of opinion and perception among the dozens of people with whom I’ve chatted, it is the degree to which the “sides” do not understand each other. Which, given America’s contemporary culturescape, is not really surprising.

Specifically, there is an increasing paucity of shared experience in America. The present cultural volatility and churn, which goes well beyond the demographic reshuffling of relative measures of social power, produces a situation in which persons from different outlooks and experiences are likely to attach subtly or even significantly different meanings to many of the same words and labels.

What place does this thumbnail comparative cultural analysis have in this post about civility in rhetoric? It may not be as tangential as it seems, because these underlying cultural divides aid and abet the reflex toward Othering. When it comes to forming opinions about persons from an opposing set of experiences and values, it requires much less of a push to tip us over into negativity and dehumanization. So when “the American experience” is as howlingly different for two groups as it is for what media pundits now often refer to as the urbanite vs. fly-over dyad, frictions are primed.

So, if there are indeed significant cultural differences that are informing the underlying topography of the friction in our genre, that also explains why neither side needs to employ conspiracies or complicated plotting to achieve what might seem like a monolithic consensus. After all, each group already speaks its own language, has its own behavioral codes and cues, and its own sense what constitutes praiseworthy cultural products. It’s hardly surprising that their aesthetic preferences and values are. in so many ways. almost wholly misunderstood by each other.

Yet here’s the challenge this puts before us: when you meet a person from a different culture, you have to be more civil and you have to listen harder and more carefully, if (a big if) you want to understand and be understood. And you must also be prepared to step back enough from your own cultural values to see that many of them are not objectively correct, but conditional to the experience that gave rise to them. Then, when you turn that same dispassionate lens upon the Other, you may begin to see the world as they do through their eyes. (I think I’m starting to channel Margaret Mead.)

Unfortunately, no single act is so likely to result in one’s being ejected from one’s own group as the process I outlined above, because few things threaten group cohesion as much as questioning its self-defining narratives. Which of course include the narrative of the Evil Other. Yet somewhere between excessive and insufficient empathy, somewhere between unacceptable gradualism and insupportably rapid transformation, there is a happy medium…which will paradoxically not make anyone truly happy.

But that is in the nature of compromise and coexistence. And as long as we’re arguing over transformation, we’re still engaging worthwhile issues. Every genuine conflict that ends in something other than absolute expulsion or extermination of one side means that we have affirmed our ability to move back from the pendulum swings of vituperation, anger and rage into a modus vivendiwhere two parties can speak to each other and resolve (or at least reduce) the aggression and animus dominating the situation. If this were not possible, discussion and negotiation would be delusionally pointless activities. And if you already hold that grim belief, then I am sorry for having wasted your time with these words.

Some Closing Words About Words

Many people have uttered or asserted many questionable things throughout the entirety of the 2015 Hugo process. Some people have uttered or asserted some arresting ideas and personal attacks. Only a very few have routinely employed the radicalized extremist’s cant to frequently advance propositions or characterizations that are outrageous or horrific. But to the extent that our genre’s discourse tolerates the articulation of atrocity, or continues to wallow in the vitriol that greases the slide toward greater dehumanization and Othering, the social arsonists can hope for new recruits, new zealots. That’s what makes voices like those of Vox Day and Requires Hate so dangerous: their objective is to use our own worst impulses as the means to bring about the destruction of the SF&F community and many of its institutions.

I appreciate being given this space, and you having taken the time to navigate this conceptual slalom. By way of offering a quick, value-neutral take-away, the spirit of these comments were synopsized in a recent, much-shared post of mine on Facebook. It is simply a conceptual barometer whereby we may assess our discursive behaviors:

A thought for the day:

Choose your battles carefully.

If you find yourself constantly in combat, you’re not being choosy enough.

Or you’ve decided that you are actually at war. Which means that you are now committed to destruction, not discourse.

I believe that if we insist on civility (as distinct from passivity), we will hasten our climb out of this discursive tailspin and enhance our collective ability to celebrate SF & F, regardless of its source or style.

 

BOOK BOMB! Pack Dynamics by Julie Frost

Today we are Book Bombing Julie Frost’s debut novel Pack Dynamics!

 

For those of you unfamiliar with Book Bombs, I pick a novel from a good author who needs a publicity boost. Then we try to get as many people as possible to buy their book on Amazon on the same day. Because the sales ratings change hourly, this causes the book to go up in the rankings. The higher it gets and the more lists it shows up on, the more new people see it, and the more exposure the author gets. Success leads to more success, the author gets new readers, and most importantly GETS PAID. 

So please tell your friends!

Let me tell you a little bit about Julie Frost. I’ve known her since I first got started as a writer. Julie is awesome. She’s been doing short fiction forever, and  doing pretty well at it. She’s been a finalist in Writers of the Future a bunch of times. Julie is a really good short story author. She’s sold a pile of short stories, and that whole time I kept bugging her about how if you want to make a living novels are where it is at.

I didn’t really get to know Julie well however, until the day that I fisked Mrs. Magazine’s idiotic review of Iron Man 2. When the angry feminists turned out to burn Robert Downey Jr. at the stake, Julie started kicking their asses. It was excellent.

Last year I was doing a book signing at Kevin J. Anderson’s super booth at some con, and Julie came by to say hi. I introduced her to Kevin, being a publisher, and Julie, being a professional, immediately tried to pitch him a book. Now Kevin gets this a lot, but Julie had me there. I hadn’t read the novel, but I had read her other stories and knew that she had skills, so I vouched for her. So I told Kevin he should let her skip the slush pile, and move her to the top of the submissions.

Kevin, being a shrewd businessman, then asked me if first, he picked Julie up, would I be willing to read the book and blurb it. Yep. Second, would I Book Bomb it? 😀  Well today is your answer.

Anyways, the book is fun. I enjoyed it. It is a detective story with nanotech enhanced werewolves. I think you guys will like it. And Julie is awesome, so I want to see her get a good career boost right out the gate. So please, tell your friends.

Right now Julie in paper Julie is at:

Amazon Best Sellers Rank: #888,530 in Books (See Top 100 in Books)

And in Kindle:

Amazon Best Sellers Rank: #37,477 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

I will update this throughout the day. The thing is Amazon has put in a delay, so the book sales from this morning won’t really start showing up until late this afternoon. And we should hit the peak late tonight. I miss the old wild west days where an hour after the Book Bomb launched we were seeing wild swings. 🙂

 

EDIT: 2:00 MT and it is FINALLY starting to move with the sales from first thing this morning.

Amazon Best Sellers Rank: #23,424 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

I hate that delay. Book Bombs used to be so much crazier! 😀

EDIT 2: First thing in the morning, so it’ll be down from whatever the high was last night.
Amazon Best Sellers Rank: #574 Paid in Kindle Store (See Top 100 Paid in Kindle Store)