Friday, February 21, 2014
December... where the kids are off of school for a month, and no work gets done till early February so your mind can recover.
So, to keep my sanity during the month of December, I always try to find a Netflix obsession that will last me a few weeks. It has to be engaging enough to keep me entertained, long enough that it will take me a few weeks, and just boring enough that I can comfortably pause it when the kids start chasing the dog around the house with a laundry basket and a nerf gun.
Sherlock fails on at least two of these accounts, but I have so many friends that enjoyed it that I felt like I should take a nice, long look at it. What I didn't know going in is that the first two seasons consist of only six episodes, so I burned through them in two days.
Damn you, BBC and your efficient storytelling! now I had to spend time with my family!
I will say right off that many things about the series surprised and delighted me. I had no idea that the story is set in modern day London, for instance... I fully expected Victorian London. I was also very impressed with Benedict Cumberbatch. As my only experience with his acting was in that god-awful Star Trek movie, It was a pleasant surprise to me that the man is actually a very talented actor.
This re-imagining of Sherlock and Watson as sometime police consultants and internet sensations was really intriguing. I found myself drawn in quickly and captivated by the buddy cop/ procedural tone of the series. I highly recommend it if you haven't watched it already. If I have one gripe about the series, it's that the episode titles give away the plot and often the ending if you are already familiar with the original works by Sir Arthur Conan Doyle... but hang in there, bibliophiles... the series adds enough to the legend without taking away from the larger myth that you won't be disappointed.
Tuesday, February 18, 2014
I am generally comfortable with my role as a small fish in a big pond, but it really annoys me that people undervalue the hard work of people like myself that bust their fingers on their keyboard every day, trying to entertain the masses. Most people assume that I get paid well for my convention appearences, but I don't. I generally attend on my own dime in exchange for a place to sell my books and "exposure". I often just barely break even, but I justify it in newfound friends and networking opportunities. Sadly, this "exposure" is the case with authors way up the food chain from me as well, and it sometimes gives me pause about my chosen profession.
"Exposure". God, I hate that word with a passion that would give the devil blisters. Would you seriously look your mechanic in the face and tell him that you can't afford to pay him to replace your fuel pump, but he'll "generate great buzz" for doing it? Yet when I look for open calls to submit short stories and novels to, They generally only pay in "exposure" and copies. Not a lot of copies either... I generally get two books each time I publish.
My wife and I often talk about the financial viability of my career. It comes up at least once every six months or so, and it's always a very difficult conversation to have. We sit there and do the numbers, and more often than not, it works out that my writing and speaking career is sustaining itself, but not actually turning a profit. For a few months after these conversations, when I get approached about submitting to a new anthology, or writing a screenplay for a local filmmaker, I'll ask how much I can expect to be paid.
I swear, you would think I just asked them to sacrifice their first born on an altar to Zenu by their reactions. It just makes me want to grab them by the throat and explain to them that THEY approached ME because they see talent there, (or a skill they themselves do not possess) or they would just write it themselves. I really don't see why I should be considered greedy or a sellout for expecting to be paid for what I bring to a project.
okay... this is getting a little intense, and I'm not done. here's a picture of a baby hippo to help us all relax a little:
To become an Active member of SFWA, applicants must demonstrate either:Even though I have two novels and four sold and published short stories, I do not qualify for for membership because I haven't earned enough. The thing is, many of the smaller presses that will take submissions from a small fish like myself can't pay that much or aren't considered a 'qualifying market'. The larger ones won't even look my way until I have more serious publishing cred. It a classic catch-22 of you need to be a well known author to make a sale, but you're not a well known author until you've made a sale. Either way, until you're in the inner sanctum, SFWA doesn't want to know you.
- Three Paid Sales of prose fiction (such as short stories) to Qualifying Professional Markets, with each paid at the rate of 5¢/word or higher (3¢/word before 1/1/2004), for a cumulative total of $250, minimum $50 apiece; or
- One Paid Sale of a prose fiction book to a Qualifying Professional Market, for which the author has been paid $2000 or more; or
- One professionally produced full length dramatic script, with credits acceptable to the Membership Committee.
I suppose I'm not much of a joiner anyway... but it would be nice to be able to say my writing pays a bill once a month.