Posted by Victoria Strauss for Writer Beware

Two fascinating surveys appeared this week. They look at opposite ends of the writing business, but dovetail in interesting ways. (This is going to be a long post, so please bear with me.)

The Writers' Workshop Survey of Professional Authors

In March, the Writers' Workshop, a UK-based writers' consultancy, launched a survey of traditionally published authors. The aim: to discover how authors feel about their publishers in a time of rapid change, where "it has become possible – arguably for the first time in history – for authors to detach themselves from publishers."

The survey results were posted this week, and they make for interesting reading. Authors are generally happy with a number of aspects of the traditional publishing process--notably, the editing they receive.

Around 75% of authors rated their editorial input as having been good or (more commonly) excellent. Just 14% disagreed...

Similarly – and again contrary to many stories about declining standards – authors rate their publishers extremely highly on copy-editing, proof-reading, page design and so forth. More than 80% of authors regarded their publishers as being good-to-excellent in these areas...

On the matters of cover design and jacket copy, authors remained broadly positive. About three-fifths of authors were highly satisfied with the way these things turned out. The remainder were, on the whole, ‘somewhat’ satisfied.

Marketing, however, was a different story. A majority of authors felt they weren't adequately consulted on their publishers' marketing plans, that their skills and strengths weren't adequately utilized, and that they had little input or control (ah yes--I know the feeling). About half the respondents felt that communication by the publisher was poor, and nearly half said that their publishers never sought feedback from them.

And while there is much grumbling in the writing community about the lack of publisher loyalty, with publishers no longer willing to stick with writers over several books while they build an audience, authors are just as fickle. 40% of survey respondents said they'd move to another house if given the chance. 22% weren't sure.

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Mirrored from SFWA | Comment at SFWA

Patrick Swenson at Fairwood Press has posted the cover for my new collection, Flying in the Heart of the Lafayette Escadrille.   He found this spot-on image for it, but the artist was Russian, and it took a bit to contact her to negotiate the rights.  Thank goodness we were able to, because the art is perfect for the cover story.  The collection should be out in October.

Somewhere in town nearby, somebody is grilling hamburgers. The scent of them comes in the open doorway on the breeze. Up the road a bit, the Mud Run -- where contestants race junker vehicles through a field of finest New England mud -- is currently ongoing. The scents of exhaust and gasoline and motor oil also come in on the breeze, when the wind shifts. Also, the air is full of birdsong, and engine noise, and the whup-whup-whup of the helicopter that is selling rides.

(Himself: "I've ridden in enough damned helicopters. I don't need to pay someone money to do it again." Fortunately for the chopper's owner/pilot, there appear to be plenty of people in town who feel otherwise.)

Dinner tonight is beef stew; tomorrow I will probably make a roast chicken with a Really Big Bowl of Potato Salad to go alongside.

Such are the simple joys of a north country springtime.

First, you people who recommended The Exotic Marigold Hotel film, two thumbs up! I went last night with some of my Jane Austen discussion group. We all loved it.

Tonight: Avengers with the family.

A juicy discussion of fanfiction and literature by alecaustin here.

For many of us who grew up in the 1970s, Paul Williams was a constant presence, whether he was on TV or on the radio. He wrote the themes for "Love Boat" and "The Muppet Show," among others. At the time, I think everyone identified with one or another of his songs. For my mom, it was "You and Me Against the World." For me, it was "Rainbow Connection," which I learned to play on my guitar and which I suspect I still can if I fiddle about with it first. He was one of the people in the media who defined the era for me. When I saw the trailer for the documentary about him, Paul Williams Still Alive, I went back and forth about seeing it, and then I decided that my awareness of his presence in that era had been too important for me to miss this film. I felt compelled by that experience, so I went. shelly_rae joined me for the movie.

Stephen Kessler, the director, approaches the story as a fan would: I thought Williams was dead; turns out he's very much alive and well; what's he up to? Williams is not an especially willing or cooperative subject for a documentary. He comes across as baffled by Kessler's interest and a little cantankerous about the project. But once he proposes that Kessler step in front of the camera with him, that they just talk about stuff, things begin to change as does the nature of the project. The film goes from being a documentary about Williams' rise, fall, and recovery to a sort of road movie/buddy flick about the filmmaker and the musician getting to know each other, with Kessler's almost Woody Allen-esque voice-over telling the story. The film, of course, is rich with archival footage of Williams in movies and on television, live performances, and contemporary footage of him, his wife, his longtime music director, and Kessler on the road traveling from gig to gig and talking about Williams' life and career. The movie doesn't dwell overmuch on Williams' addiction and recovery, though pretty revealing moments in the interviews show just how much that experience has colored and changed Williams as a person (he's now a certified recovery counselor and speaks on the subject). But he's also still very much active as a composer and performer, and is the current president of ASCAP about which he is quite passionate. Overall, the documentary isn't anything usual--it's funny and poignant and, in embracing the serendipity of Williams' proposal to step into the frame, Kessler has created a very personal story about two guys--who just happen to be idol and fan--getting to know each other in a unique way. I definitely recommend it.

Kessler and Williams were at the theater for Q&A after the movie, and I stayed to listen. Williams talked with conviction about his work as the president of ASCAP defending the rights of artists. He talked about how "Rainbow Connection," "Evergreeen," and "With One More Look at You" (from A Star is Born) were all written. He talked about working with Brian de Palma on Phantom of the Paradise. He was funny and generous with the audience. Kessler pretty much ceded the stage to Williams though he'd had his moment before the film began, and was very sweet about the whole project.

After they finished their Q&A, Williams and Kessler came down to the side of the theater and talked to audience members. And that's when I realized why I was really there. Sure, I'd been a fan of Williams' work, but I was also there for my mom, to whom "You and Me Against the World" had meant so much. So I went up to him, and I told him I didn't want an autograph or a picture, just to thank him for that song and told him why. He asked me my name, and told me that that's the sort of feedback that meant the most to him, that the song touched someone or made a difference to them. He said that, having been mostly a weekend dad, the song meant a lot to him too. He asked if my mom was still with us; I told him no, but that I was there for her. He was gracious and kind, and held my hand the whole time we talked. I thanked him for his time and then took off, since others were waiting to speak with him. I was really very impressed with him, and I'm glad we got to talk.

Yesterday was even more entertaining that Thursday. I cracked my happy ass out of bed extremely late by my own standards, hit the health club for some time on the stationary bike, then caught breakfast in the Green Room. After some bloggery and email time and whatnot, I had my massage — And how cool is it that World Steam Expo has a masseur on retainer for the pros!? — and then went exploring. This eventually involved use of the hot tub, among other things.

I spent a decent chunk of the day hanging out with the inestimable Howard Tayler, who created a truly impressive steampunk caricature of me. (When I get home, I shall scan and post this, but at the moment it is my badge art.) Howard is his own self hanging out in the Aegis room, which is basically a camp for combat geeks. Inside the Con hotel, these cats have a rappelling tower, weapons training with actual pointy objects, a bunch of Nerf weapons, and a Victorian encampment. They are pretty much a real life incarnation of the Black Briar group in J.A. Pitt's Black Blade Blues [ Powells | BN ]. The Aegis group helped me make a notable entrance to opening ceremonies.

Also spent a lot more time partying with The League of S.T.E.A.M. and a whole bunch of other folks, including briefly running across the few people besides Howard that I actually knew before I turned up here. Specifically, Gail Carriger, G.D. Falksen (who has an important planet named after him in the Sunspin universe) and Evelyn Kriete (who is responsible for me being invited to this convention). I caught the last part of the The Men That Will Not be Blamed for Nothing concert.

I even got a bit more work done on Going to Extremes.

Today I have lunch with Howard, a High Tea to host, and a plan to hear some more excellent performances. A bit more programming tomorrow.

Interestingly, I am way off my normal schedule here, even my normal convention schedule. I'm not sure what clock I'm living on, but it's neither Jay time nor Con time. I'm just going with the flow. Which it turns out is remarkably difficult for me to do. I feel twitchy about not being up at 5 am exercising (hard to do when you're going to bed at 2 am) and why I'm not writing more.

But I'm here to have fun, which I am decidedly doing; and to see and be seen, which I am decidedly doing.

Is this what time off feels like?

Your Saturday moment of zen.



Playground equipment, 2006. © 2006, 2012, Joseph E. Lake, Jr.

The current photo series is from my 'favorites' file, hence the dates jumping about



This work by Joseph E. Lake, Jr. is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.

Book Review: Grants Pass, edited by Jennifer Brozek and Amanda Pillar — A review that includes an interesting comment on my story "Black Heart, White Mourning".

The Nebula Awards 2012: A Look Back And A Look Forward — James Patrick Kelly and John Kessel in HuffPo.

Calvin and Hobbes on unfettered creativity as a writer — Hahaha.

War of the Worlds: The True Story — A new indie flick coming out that looks pretty cool.

Star Wars Turns 35: How Time Covered the Film Phenomenon

Red Planet Becomes Blue In New Mars Image

Astronauts enter world’s first private supply ship

Impacts Spreading Life through the Cosmos?

Colonel Sanders resembles Confucius — Chicken, anyone?

?otd: Charles Darwin: Man or monkey?

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5/26/2012
Writing time yesterday: 0.5 hours (Going to Extremes proposal)
Body movement: 30 minute stationary bike ride
Hours slept: 7.0 (solid)
Weight: n/a
Currently reading: Shattering the Ley by Benjamin Tate; Of Blood and Honey by Stina Leicht

A Blessing of Monsters has been retitled. Big surprise, right? There’s no way I’d be able to keep that title. Anyway, the new title is: Epic Fantasy With No Dull Parts.

That’s unlikely to be the final title, either, I know. Titles are hard.

Mirrored from Twenty Palaces. You can comment here or there.

Let me drop this quick quote on you from a Writer Beware post:

The most financially successful self-publishers write more than their peers, and spend less time marketing. In fact, those self-publishers who marketed the most earned the least.

Authors’ online activity: Mostly good for having fun and maybe letting people know when something new comes out once in a while.

Mirrored from Twenty Palaces. You can comment here or there.