“There’s Always Next Year”


this guy doesn’t know me from a hole in the ground—but you do.

he’s an amazing writer who needs a hand.

let’s make something awesome happen for him. and get a free book in the bargain.

Originally posted on Vaughn R. Demont:

Apologies up front, this isn’t really a happy post.

Once you get out of college, you usually have a lot of dreams, some of them wild, like moving to Hawaii and living there or buying season tickets to the Seahawks or something, and some of them not as much, like getting a nicer car or a bigger TV, but you stay realistic, work on what you need, and for the dreams, well, there’s always next year. For some of us, it’s a literal promise, a year passes and things get better, and you walk into an electronics store and wander around, looking at the TVs knowing that if you really wanted, you could walk up to the wall of displays, point at a 48″, tell the guy behind the register “I’ll take that one” and mean it. You don’t, of course, but the fact that you could does wonders for…

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Of Critics and Cavemen : Ginn Hale


ginn hale on dung-flinging book reviewers.

Originally posted on Live Your Life, Buy The Book:

We are delighted to welcome Ginn Hale to LYLBTB. She has been am amazing friend to the site, and we are thrilled that she has agreed to share some thoughts with us every now and then. I love how her mind works – so I am sure these posts will be fun to read, but also very insightful. Welcome, Ginn!! ❤


cavegirlI imagine that when the very first human—let’s call her Og— slapped up a little charcoal, ochre and mud on a cave wall, maybe intent upon depicting some great hunt, other early humans voiced opinions about the work.

Maybe Oop the hunter loved it. “You genius, Og. You too beautiful for this world!”

But Gup, flint-chipper, disagreed. “Image derivative of real hunt, lacking in depth and make cave smell like dung!”

Perhaps Og felt tempted to heft a rock at Gup in response, or maybe incite super-fan, Oop, to do…

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apparently other people write things too, linked awesomesauce


theo fenraven brilliantly explains what i’ve been trying to say to three different people in six different conversations since yesterday.

Originally posted on Theo Fenraven:

The answer to that depends very much on what kind of writer you are and the editor you’re working with.

If you think spewing out a ton of words and calling it done makes you a writer, chances are editors will despise your manuscript. If you don’t know basic punctuation or sentence structure, some of them will make a voodoo doll in your image and stick pins in it.

No writer produces a perfect story. Every single one of us needs to be edited. There are NO exceptions.

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apparently other people write things too, linked awesomesauce

k.j. charles on holmes vs harry potter.

Remember the fuss when Rowling announced that a ‘major character’ in HP4 was going to die? It turned out to be – I had to look this up – Cedric Diggory, and a lot of people felt very cheated, because he was not a major character by any definition. But in Rowling’s head, he was a major character, because in this massively realised world in her head, everyone was major. There was no Basil Exposition or Jimmy Plotfunction, just there to do a job in the service of the story. Everyone had a fully developed existence. Which, when that information is in the author’s head, informs the text on the page, creating a huge richness and reality.

I tend to think some of it ought to stay in the author’s head.


via Teasers and backstory: Holmes vs Harry Potter.

linked awesomesauce

there’s more than one way to tell a story:

Maybe more tellingly, after Disney bought Pixar and installed John Lasseter as, essentially, the head of Disney creative, one of his first orders of business was to promptly fire Chris Sanders, whose “Lilo & Stitch” Lasseter found too weird and aimless. Sanders went on to have a wonderful career at DreamWorks Animation, where he made “How to Train Your Dragon” and this year’s delightful “TheCroods.” “Lilo & Stitch” is the perfect example of a movie that Pixar would never make because it is all about the tiny details that fill up and expand a life, but have little to do with the story. Why does Lilo love Elvis Presley songs? What does one of the aliens cross-dressing have to do with anything else? You easily imagine Lasseter looking at the gorgeous, watercolor backdrops for “Lilo & Stitch” and saying, “So what?” In Pixar movies, character traits and narrative beats are exclusively produced to drive the momentum of the story forward (or double-underline some thematic concern) – there is, ostensibly, no fat on these movies.

The 5 Worst Things About Pixar | The Playlist.

my writez

holy fuckpoop in a trencher.

seven days after release, my LHNB short When You Were Pixels has exceeded my every expectation, and then exceeded the ones i formed after the old ones were blown the hell out of the water. here’s where things stand after a week:

  • 100 ratings
  • 80 written reviews
  • 4.57 out of 5 stars, overall average
  • 4.72 out of 5 stars among my goodreads friends
  • 59 percent of people who rated it gave it 5 stars
  • 39 percent of people who rated it gave it 4 stars
  • 2 percent of people who rated it gave it 3 stars
  • 100 percent of people who rated it liked the story overall
  • 280 people have added it to their shelves


  • 3 people made direct threats to do me harm if i didn’t write more

i know i did well. i know how hard i worked on it.

it took me six hours to write, and six weeks to edit—i know what i put into it.

but this is still one of the biggest surprises of my life.

#teampixels: thank you.

#teamantho: i’m sorry, and thank you.

#teamjoolz: thank you. thank you. thank you.

part one of my favorite reviews—so far:

stay tuned for more of my favorite reviews—this time from people who aren’t relatives living in DR.

and—seriously? seriously.

ehrmerhgherd, like—srrssly.

thanks. thank you. all of you.


statistics: pixels after seven days.

linked awesomesauce

So how does something different ever succeed?  ”By dressing something new in old clothes, and making the unfamiliar seem familiar,” writes Duhigg.Publishers have kind of tried to do this with anthologies. The danger is overpromising and underdelivering as well as a reader feeling the subject of a bait and switch.  To really make a sea change in publishing, I think you have to inundate readers with the foreign until it becomes familiar.  This means publishing not just one book but a slew of them until that thing that is unfamiliar becomes ordinary, or in other terms, oversaturated.  Packaging Author A with bestselling Author B isn’t enough. It has to be done over and over and over until people complain of being sick of it.

via How reading habits shape the publishing landscape and what authors and publishers can do to change it.