Misogyny, Racism and the Moscow Rules

By Gamal Hennessy

“If my intent is to write something useful that people can understand then it's better to write about the way things are instead of what we imagine them to be. Many have imagined the world in ways which don't really exist because how one lives is so far removed from how one ought to live that the person who abandons what one does for what one ought to do, learns frustration rather than clarity.”

Niccolo Machiavelli: The Prince

During the Cold War, Russia was the most dangerous place to be an American spy. The men and women who survived this dangerous and brutal environment followed a set of concepts called the Moscow Rules. These weren’t official guidelines. For years they were never written down. The rules were simple, easy to remember and essential if you didn’t want to end up dead in the street with a bullet in your back.

In the 21^st Century, America has proven itself to be a dangerous and brutal environment for women and minorities. Look at the police brutality caught on tape (See Thoughts on Police Brutality). Consider the institutionalized misogyny of the NFL (See My Sixteen Game Ban on the NFL), Uber and the legal system when it comes to rape. Spend a moment thinking about all the hate groups, militias and interpersonal conflict in the United States and you might see parallels between Cold War Moscow and present day Ferguson (See Writing While the World Burns). 

Perhaps it is time for us to adopt the Moscow Rules for our own use. Maybe evolution is based on survival and survival is based on adaptation to circumstances. If you don’t know who to trust and you can’t rely on institutions or violence to protect you, then maybe you need a different approach.

Since there is no official set of Moscow Rules, I’m going to suggest my own. These are based on different versions of the Cold War ideas. I’ve simply modified them for the world we live in now.

• Assume nothing. (Help may never come)
• Pay attention. (You can’t avoid what you don’t know about)
• You are never completely alone. (Threats can come from anywhere)
• Everyone is potentially under opposition control. (I’ll let you define “opposition” for yourself)
• Go with the flow, blend in. (If they don’t see you, they probably won’t get you)
• Always give yourself a way out (of a conversation, altercation or attack)
• Vary your pattern. (if they know where you are, you’re an easier target)
• If it feels wrong, it is wrong. (Don’t ignore your instincts)
• Maintain a natural pace. (Too fast or too slow draws too much attention)
• Lull them into a sense of inactivity. (If they define you as a threat or an opportunity, they will attack)
• Build in opportunity, but use it sparingly. (Pick your shots and your battles)
• Don't harass the opposition. (Attack from a position of strength, not weakness)
• There is no limit to a human being's ability to rationalize their actions. (Being “right” won’t protect you)
• Keep your options open. (especially when it comes to getting away)
• Technology will always let you down. (Rely on your wits and your skills, not your stuff)
• Once is an accident. Twice is coincidence. Three times is an enemy action.  (Understand the patterns of human behavior)
• Don't attract attention (Even by being too careful or prepared)

I’m not suggesting we need to be spies in our own country or personal lives. I’m not saying this is the right way for people to live. On a certain level, adopting these concepts as part of your daily routine involves a change in perspective. You might begin to see yourself as isolated and oppressed by your own society. Seeing life this way can create emotional and mental damage over time. But I’m not writing this in response to the way life should be. I’m looking at the world around me and writing about the way our society is now.

If you feel the institutions and systems you live in will protect you, then you have no need for the Moscow Rules. If you are willing to risk a bit of alienation to avoid being shot dead in the street, consider the Moscow Rules. They might help you adapt to the dangers and brutality of your environment.

If you hope the institutions and systems you live in will protect you, give you justice or make you whole again after you’ve been violated, good luck. Just remember; hope is not a plan and the news is full of people who didn’t have a plan.

Have fun.

G

The Luxury of Voting

by Gamal Hennessy

I almost didn’t vote yesterday. I didn’t want the hassle of the forty minute train ride. I didn’t know anything about the candidates or the issues allegedly defining the election. I didn’t think it would make a difference. But I got off my butt, went into the city and voted anyway. The after affect wasn’t empowering or inspiring. I just had the same feeling I get when I finish running an errand.

So why did I bother? There are probably a lot of reasons. The fact that no one is going to lynch me or bomb the polling place has a lot to do with it. The persistent encouragement (or shaming depending on how you look at it), of social media plays a role. Expressing my disapproval of politicians who side with FOX News also helped me get to the polls. But the biggest reason can be boiled down to the luxury of expression.

As a writer, I have the luxury of being able to express myself in words. When my friends perform at a show or have an event, I enjoy the luxury of expressing my support by showing up to cheer them on. When things I find online resonate with me, I have the luxury to express my perspective by sharing them. When I vote, I take advantage of the luxury to express my preference for the particular personality or perspective presented to me at the time.

As a student of the realpolitik school of political science, I do not see individual votes or even individual elections as the ultimate measure of political success. Politics isn’t about candidates or issues. Politics is about power. Power is measured by what you can and cannot do to affect change. The power to change or not change the lives of individuals comes from actions not votes. Whether you’re talking about ending slavery or LGBT rights or ending Prohibition, the pattern is the same. The decisions and actions come first. When the votes come later, it is an expression of acceptance for a fait accompli.

Is voting a decision or an action on its own? Maybe, but if it is, it represents a minimal act of power. It will not create change by itself. The party in power may or may not change, but the sight of a police officer will continue to make me just as apprehensive as the sight of a potential criminal. Temporary political shifts in Washington or Albany will not change my struggle to manage my relationship with money, time or the people who are important to me. If I’m going to change anything substantial in my life, it will be determined by what I do during the 364 days when I’m not voting.

I don’t vote to exercise power. I vote to express my opinion. My opinion in this case is symbolic because it is limited to a handful of pre-selected, carefully screened artificial personas. But most luxuries are symbolic. The real power in my life comes from my choices and my actions.

Maybe it’s the same for you too.

Have fun.

Gamal

Are You in Love With Your Writing, or Are You In Lust With It?

By Gamal Hennessy

I’m coming out of my summer break from posting and I wanted to jump back into the craft with a few thoughts on a writer’s relationship to their writing.

Before I start, please understand that I'm not an expert on self-publishing. I don't even refer to my business as self-publishing. I call it independent publishing because it implies that I publish outside the traditional publishing system. ”Self-publishing” implies that I do everything myself and that's not true. I have a lot of formal and informal help with my books that make them better than anything I could do alone. I want to acknowledge that every time I talk about this business.(See What is the Difference Between Self-Publishing and Independent Publishing?)

Anyway, I've only been in the game for about two years. As of July 2014, I’ll only have one novel, eight short stories and one anthology to my name. Because I don't have a book publishing background, I spend a lot of time reading and learning about the business. Some of my education comes from research. Most of what I've learned comes from making my own mistakes. I make a lot of mistakes, so I guess I've learned a lot.

I share what little I know through my newsletter, The Independent Publishing Network. Every week I explore the minutiae of an industry that is changing every day. People have told me that information is really helpful, but if I had to boil down all the details of what I know into one piece of advice for a new writer, I would say treat your writing with love instead of lust.

Now what the hell does that mean?

When a person falls in love, they offer their time, energy and creativity to the loved one with enthusiasm. They bring the best aspects of themselves to the process. They make an effort to keep the relationship going, because they want it to last as long as possible. They are always looking for new ways to express their love. They are proud to display that affection in public. Part of what defines the lover is the person they are in love with.

A person in lust wants to get something from the object of their desire as quickly as possible. They are often single minded and ruthless in their pursuits. They jump from target to target, never taking the time to establish a bond or relationship with anyone. They often repeat a scripted pattern of behavior with each new target. They often act in secret or with a certain amount of shame. They are more defined by their hungers than their connections to others.

All this might seem very abstract, but the concept of love vs. lust has concrete applications for an independent publisher.

• A writer in love with writing wants to publish as many books as they can in their lifetime. A writer in lust with writing wants that one book that will give them money, recognition, sex or whatever it is they are really after.
•  A writer in love with writing writes about things that they are passionate about. A writer in lust with writing writes stories that they think are "hot" or take advantage of a pop culture trend.
• A writer in love with writing takes time to learn their craft and find their voice. A writer in lust doesn't want to invest time and effort because they think writing is fundamentally easy. (It’s not.)
• A writer in love with writing uses social media to make connections with readers and other writers. A writer in lust with writing uses every social media post to scream "please buy my book"
•  A writer in love with writing reads a lot. A writer in lust with writing is only interested in other writers when he's trying to sell them his book.
• A writer in love with writing will start on a new project soon after the current one is done. A writer in lust with writing checks the sales figures on their book every thirty minutes instead of writing, hoping they'll see a magical flood of royalties.
•  A writer in love with writing will experiment and try new things to improve both their writing craft and their publishing business. A writer in lust with writing is looking for that one gimmick or magic bullet that will make his book sell.
• A writer in love with writing takes pride in their catalog and tries to expose it to you as many people as possible in as many ways as they can. A writer in lust with writing will reject independent publishing as dead after the first book fails because their book isn't a bestseller.

I could go on, but you get the idea.

I'm not trying to imply that I haven't committed lustful thoughts and actions (both inside and outside of writing). As far as the writing is concerned, the things I’ve done based on lust have been some of my biggest mistakes.

I'm not saying that writers in lust always fail and writers in love always succeed.  I am saying that when I started loving the process of writing I had less stress and more fun with the experience. You may or may not become the next Stephen King. If you love what you're doing, it won't really matter.

Have fun.
G

PS. If you want more news about the business, craft, and lifestyle of independent publishing, you can sign up for my free weekly Independent Publishing Newsletter.

Do You Really Need to Quit Your Day Job?

When I look at writer’s forums online, I often get the impression that every writer is striving for the day when they can quit their day job and spend the whole day with their craft. I know the feeling. I’d love to wake up around noon, write for a few hours and then meet friends for happy hours that would turn into late night drinking sessions and dancing. It seems like a natural goal to pursue.

But how realistic is it?

I came across this graphic today while I was wasting time on Facebook. I don’t know if it is true or not, but for some reason it made me happy. Maybe it validates all of us who write and work a day job. Maybe it elegantly separates the quality of writing from financial success. Maybe it’s a warning to any of us who think we’re going to get rich just by being good writers.  (See the Other Benefits of Independent Publishing)

I’m sharing this with you because I’m pretty sure you have a day job as you pursue your dreams as a writer. Congratulations. You are in very good company.

Have fun

G

Is This How We Treat Our Soldiers?

There is a story that came out this week about the Navy SEAL who shot Osama bin Laden.  According to a story from the Center for Investigative Reporting and Esquire Magazine, this highly decorated combat veteran currently has no pension, no health care and no job.

I’ve spent most of the week trying to wrap my head around this concept. It was hard for me to imagine one of our most elite operators killed the most wanted man on the planet and we give him nothing. We offer him no reward, no safety net, no transition into civilian life. We toss him aside like a used condom.

Is this how we treat our soldiers?

As I listen and talk to more people about this story, I’m coming to the conclusion that it is not unique. Another former SEAL, being interviewed for The Takeaway said that it has always been this way ‘In the US military, the moment you stop being an asset, you become a liability’ and we get rid of you like soiled toilet paper.

Is this the fate that we want for our protectors?

Consider the sacrifice that elite special forces have to endure to even do their job. Most of them give up their bodies, sanity, relationships and families. Some of them give up their lives. Now consider the rewards that they get; elite training that they can’t use in the civilian world, stories they can’t tell, medals they can’t show, poverty, pride and the enduring connection to the people they served with. The satisfaction and camaraderie that these shooters enjoy comes at an extremely high price. Based on the way we repay them, our country hardly deserves their sacrifice.

Is this how we treat our heroes?

What does this state of affairs say about America, a country that leans so heavily on our military strength? What does this say about you and I who are citizens of this country? Jaded shame is the only honest response I can feel. Shame because I benefit from something fundamentally unfair and jaded both because I’m not really surprised and I know that I won’t care enough about this issue long term to do anything to change it.

As a writer, I try to use the news to enhance my work. The rejection mentality that these men feel will definitely play a role in the mentality of my characters. For some, it will be fear of civilian life. For others it will reveal itself as pessimistic mercenary greed. If this Esquire story is true, then in many ways our soldiers are too good for us. The least I can do is recognize their experience with my craft.

Have fun.

G

Fact vs. Fiction: Which Is More Real?

As a writer of crime and spy novels, I often think about the impact of deception in our lives. Recent events offer a lot of material to consider:

• Major media is consistently manipulated by government, corporations and powerful individuals
• False identities like catfish and sock puppets proliferate online
• Statistics and “scientific” studies are biased to serve narrow political or economic interests
• “Independent” bloggers are bought and controlled by sponsors
• The Met even had an exhibit on the doctoring of photographs that took place long before Photoshop was invented, destroying the historical myth that “the camera doesn’t lie.”

All this leads to the central philosophical question; what is real? How do I know that the French really invaded Mali, or why? How do I know how many troops we have in Afghanistan or how many guns are actually in America? Does anyone really know? Can they prove it?

The lack of knowable facts isn’t limited to what we learn from traditional and social media. There are plenty of instances in your own everyday life that are more appearance than fact. For example, let’s say I go to a bar and start a conversation with an attractive woman. At some point, she mentions that she has a boyfriend. A gentleman even comes up and is introduced as said boyfriend.

Now, under normal circumstances this seems perfectly reasonable, but in espionage language, what I just found out is referred to as single source information. That means that during this brief exchange, I have very little independent confirmation on the reality of this woman’s relationship status. It might sound farfetched to think this is anything other than what it seems, but a deception like this isn’t just the province of spies and criminals. My female friends have pretended that I was their boyfriend, boss, cousin or other short term role with very little preparation on my part or scrutiny on the part of our audience. Appearances often carry much more weight than reality, online and off.

Fiction, as opposed to news, is also by definition not real. But it has two qualities that often make it more honest. First, while fiction attempts to be realistic to one degree or another, it does not pretend to depict objective reality in a way that manipulates us with a false sense of singular importance. Second, if it is done well, fiction captures real emotion. It helps bring meaning to our lives and connects us to our shared humanity. It is often the power of fiction that exposes the human condition in ways that are stronger than whatever we are told is real.

I have come to the obvious conclusion that while facts are more real than fiction, verifying facts isn’t possible in most cases. The willing suspension of disbelief that we need to enjoy fiction needs to be balanced with the unwilling suspension of belief when we encounter news or alleged fact.  In this life, what we ultimately believe about our world and ourselves is just as likely to come from fiction as from fact. As a writer and storyteller, I plan to keep this power in mind as I pursue my craft.

Have fun.

G

How Do You Define a “Successful” Writer?

The explosion of independent publishing has created a niche market of books all claiming to help you become a better writer. Some of them focus on the craft of writing. Others focus on the business aspects. All of them purport to transform you into being a successful.

But what exactly does that mean?

Is it defined by sales? I doubt that. A poorly written book could have great sales and a well written book could have poor sales for any number of factors that have nothing to do with the writing. There have been many great writers who died penniless. Does that make them failures?

Does it come from critical acclaim? Perhaps, but good reviews could come from friends, connections, reciprocal good reviews or sock puppets. At the same time, a great book might not have any reviews at all. There is very little direct correlation between good reviews and success.

Must a successful writer possess enduring value? Are you successful only if your work is used by English professors decades after your dead? Does your name have to rise to the pantheon of authors like Poe, Hemingway and Shakespeare? This feat surely marks you as a successful writer. The only problem with this benchmark is that you probably have to be dead before it kicks in. Who wants to wait for all that?

What if your book brings you a large amount of notoriety? That doesn’t make you a successful writer. You may simply be writing about a timely, controversial topic. You might have a magnetic, extroverted charm that the media is drawn to. Fame doesn’t make you a successful writer any more than it makes Honey Boo Boo a good actress.

So it’s not sales, reviews or notoriety. It’s not awards, volume of output or likes on Facebook. It’s not the ability to make a living as a writer, especially if you’re miserable. It’s not even the technical polish of a professional manuscript. So what makes a successful writer? Ultimately, every writer has to define this for themselves based on their goals and expectations, but I’ve come up with a definition that I plan to use going forward;

A successful writer has the ability to consistently increase one or more of their resources through the creation and distribution of their craft.

By “resources”, I mean your intellectual, financial, social or physical capital. So if writing broadens your mental horizons, increases your financial status, widens your social circles or improves the quality of your life over time, then you are a successful writer. I will admit that it is not the most measurable criteria in the world, but it’s better than waiting until English professors start forcing kids to read my books.

So how do you define a successful writer?

Have fun.

Gamal

Facing Violence: A Book Review

“War is a matter of vital importance to the state; a matter of life or death, the road either to survival or to ruin. Hence, it is imperative that it be studied thoroughly.” Sun Tzu: The Art of War 

Rory Miller takes the very first sentence in the Chinese military classic and expands upon it in lucid detail. Facing Violence draws readers into a world and a state of mind that most people in a civilized society imagine but do not really understand.

The title of the book suggests a guide about fighting, but that is misleading. Mr. Miller explores the entire continuum of close combat including:

• your personal beliefs and ethics
• the social and resourced based motivations of violent people
• to the legal criteria for self-defense
• the psychology of criminal violence
• your biological and physiological responses
• the mechanics of realistic combat
• the legal, social, and psychological aftermath of a violent encounter

Miller writes in a style that is simultaneously sobering, enlightening, depressing and insistent. It isn’t really a guide about how to react to potential violence. It is a well written treatise on avoiding and coping with violence that every martial artist, gun owner and self-defense enthusiast should read to calibrate their training to reality. 

As a writer, I read this book was to give a more realistic flavor to the characters and situations in my stories that dealt with concepts of violence. As a former, martial artist I highly recommend this book because it help people who have that kind of training adapt the lessons from the dojo into the real world.

Have fun.

Gamal

Is the Self-Published Book Always Inferior to Traditionally Published Book?

The Publishing Snob

I have come across a fairly persistent bias in my brief cybernetic wandering through the self-publishing world. There seems to be an idea that a self-published book can’t be as good as a similar book coming from an established publishing house. As a self-publisher, my first instinct is to reject this idea as propaganda from a desperate publishing industry and feigned elitism from those writers who can’t let go of the old 20^th century model. But the more I think about it, the more I think that they might be right, for now.

What Does “Inferior” Mean?

Keep in mind, when I talk about the difference between an inferior and a superior book, I am not talking about the quality of the story. I have read quite a few books from prominent authors and released by prestigious publishing houses that were simply horrible when it came to the actual story. We have all read plenty of mainstream books with two dimensional characters, plots riddled with clichés and created as pure money grabs. There are also brilliant writers who are crafting beautiful stories and releasing the books independently. The quality of the story is not determined by who does or doesn’t publish it.

I’m also not sure that sales can be a definite indicator of a book’s superiority. It is a highly touted concept that most self-published books don’t recoup their costs. I think that is true, but I think it is also true that most books that come out of traditional publishing don’t make back the money spent on them. So if the majority of books on both sides fail financially, the potential profit of a book might not have any connection to how it got published.

The Publisher’s Advantage

I have dipped my toes in e-book publishing for six months now. At this point, I can see that there are clear advantages that a publisher brings to the table. The secret is expertise and division of labor. Here are some likely facts about a book that has been released by a publishing house:

• It has been vetted by a series of professionals for its market potential
• It has been professionally edited, proofread, re-written and positioned in the market
• It has been professionally packaged in terms of cover design, copy writing and formatting
• Someone was willing to take a financial risk in releasing that book

Self-published books can be released without any of these factors coming into play. With today’s technology and distribution channels, a passionate and inspired writer (or anyone for that matter) can release a book without doing anything to create a polished product. We can to everything ourselves, even if we shouldn’t. The result is hundreds of thousands of books that don’t look or read as well as a traditionally published book. That is where the bias comes from. The ability that we have to circumvent the old system has robbed us of the benefits of that system.

Change My Title to Change the Game

I have no interest in going the traditional publishing route because I believe artistic freedom and innovation are greater in self-publishing. But I do think there is something to learn and even steal from the old guard. I haven’t given up on being independent. I have given up on being just a writer. I have expanded my focus from the story to the book.

A writer has a limited set of concerns and skills. We deal in plot, character, subtext and all the literary building blocks of our craft. But the story is only the first step in the book. It has to be refined, polished and packaged for consumption. It has to go through the same process as it would in a traditional publishing scenario. The only difference now is that I have to be more than the writer. I have to be the publisher.

That means I have to create the publishing process. I have to test the market to make sure the concept is viable. I have to hire the team of experts to create the polish. I have to manage the process. I have to position the book and build the audience. I have to take the financial risk. I can’t just write the story. I have to publish the books.

Remembering the Goal

I don’t read books based on whether they are self-published or not. I pick them up when they catch my attention and make me curious. I read them because they hold my interest. I remember them because they made me think and feel something. That is what I want to create for you in the end. I want to create the stories that will stick with you. If I do my job as a publisher properly, you’ll appreciate my effort as a writer much more. You won’t be able to tell the difference between my books and the ones coming out of Random House. Then you can focus on the story, which is all that really matters in the end.

Have fun.
G

Skyfall’s Downfall: A Film Review

To say that the James Bond franchise hasn't influenced me or my writing would be a lie of monumental proportions. Like most people born in the last 50 years, Bond has been a staple of my entertainment for as long as I can remember. It wasn't just the iconic image of the super spy that inspired me. It was the relationship between his frivolous, womanizing characterization in contrast with the single minded dedication of his true character. It was also the way that the concept of Bond evolved with each new actor to take the role. Unlike other movie franchises that get stuck in a particular time period, Bond relates to new audiences by re imagining the character to fit the times.

Daniel Craig’s run as Bond has met, if not exceeded, previous Bond’s in its ability to stay current. Terrorists and corporations replaced Russians and world destroying villains. Brutal violence replaced elegant gadgets. Most profound was the nature of the change in the main characters. Bond became less of a playboy lounge lizard and more of a pure assassin. M became less of a random old man in a leather office to a tough fiery woman who was just as ruthless, in her own way, as Bond was.  The new series was well suited for the 21^st century.

Having said all that, Skyfall drops the ball in terms of evolution. The first three acts are an impressive interpretation of the classic formula. It has intrigue, exotic locations, beautiful women and a good combination of both chase and combat choreography. It also manages to include the development (or decline) of the major characters and their relationship with each other. The rising complexity of the film fit in nicely with the underlying message about the continued need for espionage services. Judi Dench stole the show as M and is clearly the best head of MI6 in the history of the franchise (I can’t even remember who the other guys were who played M in the past).  If the film ended with the close of act three, Skyfall could stand confidently as a classic Bond film.

Unfortunately, the movie wasn't done. The last act was a self-indulgent, overly nostalgic attack on the franchise. It was like watching an episode the A-Team meets Dr. Phil on a field trip to Scotland. It had all the trappings of a multi-million dollar reboot or sequel set up that was tacked on at the last minute to coincide with the 50^th anniversary of Bond. And the last three minutes were the worst. It was painful to watch the director try to erase all the progress and evolution of the Bond character by dragging him back into the trappings of the 1970’s. I wouldn’t be surprised if the next film reintroduced the cliché of having sharks with laser beams on their heads trying to kill Bond as the master villain explains his entire evil plan.

Craig and Dench have done very well with Bond. The fact that the franchise is so intent on looking backward instead of forward is the downfall of an otherwise very good film.

Have fun.
G

We Are Not United States

Our states are not, nor have they ever been, united. 

We are constantly at odds with each other over race, class, education, income, gender, health, sexual preference, sexual identity, sexual expression, religion, ethics, morals and culture. We do not share the same dreams, the same goals or the same fundamental perspectives on reality. 

The political alliances or connections we do make are often temporary and motivated primarily by our own self-interest. We have used this reality as both a collective strength and contentious weakness. But we are not together. We never have been together. 

The United States of America is not an honest name for our country. The Divided States of Discord is a much more accurate description.

Have fun voting (or not)

Gamal

Should E-books Be Free (and have ads in them?)

I’ve got a lot of responses from last week’s article on using free books now to attract fans that will pay for books later. I started thinking more about the concept after the post and realized that in a lot of ways mediums like TV, radio and apps already have a model that makes money while giving the product away for free; ad supported content. Maybe this concept can work for e-books as well.

As a reader and an author, what is your position on ads in e-books? Do you think the business model of free books supported by ads is a viable? I know Amazon and Microsoft have explored this option on a corporate level, but do any of you have experience doing it on the self-published level?

Also, does anyone have any companies or advertising networks they could recommend if someone did want to explore the e-book advertising option?

Thanks in advance.

Gamal

Learning to Love the Bad Review

Absorb what is useful, discard what is not, add what is uniquely your own.” Bruce Lee

One of the milestones in your artistic journey is rejection. You spend months or years focusing your energy and imagination to create something and express an aspect of yourself. Then a critic comes along and tells you it sucks. This is not a small thing to most artists. It is a blow to even the strongest of egos. It is also inevitable. So how do you deal with a scathing review that rejects every aspect of your art? The tactic I have developed is an attempt to answer this question.

What a bad review does for you:

First, let’s accept that no matter how a bad review makes you feel, it does serve useful purposes. Critical analysis helps your art (and art in general) evolve by:

• Counterbalancing possible review bias: There are several reasons why you might get a good review that have nothing to do with your book. It could be based on the reviewer’s relationship to you or for work you’ve done in the past. If you only get good reviews your ego will swell and your growth will stagnate.  It’s true that you could also get bad reviews for reasons that have nothing to do with your writing. It could be based on the readers need for ego gratification or traffic (as a Yelp reviewer, I can confirm that bad reviews get much more attention than good ones). But if you get bad reviews that have constructive criticism you can learn from your mistakes and you will improve your craft. 
• Evaluating your story from a new perspective: You know your vision and what you’re trying to say. You’re sure that what you put out conveys that message. But a negative review might point out that you’re not getting your message across. Or it could point out that people don’t embrace or agree with your vision. Either way, you find out just as much about yourself and what you’ve created by a negative review as you do from a positive one. You might learn more from a negative review.
• Tests your resolve to write: Some bad reviews are nothing more than personal attacks or desperate cries for attention masquerading as constructive criticism. But if the opinions of other people are enough to stifle your creativity, then it might be better for you to not write at all. There will always be people who try to project their failures and discontent onto you. Don’t let that stop you from expressing yourself.

Other advice for dealing with a bad review

There are many methods for dealing with the inevitability of bad reviews. The best one for you is the one that fits your personality and writing style. Here are to good examples that I have found:

Lindsay Buroker

• Realize that everybody gets bad reviews
• Don’t let the bad comments outweigh the good ones
• Don’t look at the reviews

Intergalactic Medicine Show

• Think about what the critic is saying.
• Don't read reviews:
• Stay cool.
• Remember, it's not personal.

Both these methods include a suggestion to avoid reading any reviews, but that sacrifices a chance to learn. My alternative attempts to get something useful out of a review.

My method for dealing with a bad review

The inspiration for this is the same type of intelligence analysis my characters go through in my stories.

Step 1: Review the review: When I get a bad review with specific criticisms, I break down the review into discreet parts and figure out if there is anything there that I can use to improve my writing. This gives me the sense of taking control of my work back from the critic. It also helps me separate useful criticism from useless posturing.

Step 2: Get independent confirmation: Single source information is never as reliable as corroborated information. Once I find potentially useful observations of my work from a critic, I take that information to other reliable sources to see if they can confirm or deny the critical findings.

Step 3: Act upon the conclusions: If you find constructive criticism and confirm that it is useful from third parties then incorporate it into your future work. It is natural to make mistakes when creating art, but you don’t have to keep repeating the same mistakes.

Step 4: Keep writing: Don’t obsess over a bad review (or a good review). Remember the reasons you are writing and maintain the resolve to keep writing in the face of criticism. Your art can grow and thrive in the midst of critics. It can’t grow if you give up.

Have fun.

G

Life, Death and Sock Puppets

A few days ago, a New York Times article revealed a little known practice in the self publishing business. It appears that several authors, some of them very high profile, are paying companies to write great reviews for their books on Amazon and on other sites. Some writers go one step further and pay for people to write very bad reviews of books written by their competitors. These paid writers are referred to as sock puppets and they could have a major effect on the publishing industry.

What’s Wrong With Sock Puppets?

The problem sock puppets create is twofold; first because there are so many books available online, many people make their choice of what to read based on skimming the reviews a book gets. They work under the theory that if a lot of other people liked a book, they might like it too. That theory is fine if you tend to like mainstream work, but it completely falls apart if a book gets 75 great reviews all written by one person who was paid to write them.

The bigger issue might affect Amazon directly. I am under the impression that the algorithms that Amazon uses to recommend books to people take the average customer review into account. If there are three hundred books on salsa dancing available, the first books you’re going to see are going to be the ones with more good reviews. I don’t think most people don’t search every result for every book search they do. I’m sure many of them only skim one or two pages of results. If the sock puppet books fill up those pages, the writers who didn’t pay for good reviews will never be seen and never be purchased.

Loving to Hate Sock Puppets

The more I learned about sock puppets, the more ambivalent I became. I spend a lot of time reading and writing about corporate spies and espionage. I am very familiar with the concepts of deception, persuasion and subterfuge. I can accept the idea that paid messages can come in the form of ads, sponsored blogs, subliminal messaging and other forms of psychological warfare. I don’t think there is anything sacred about customer reviews whether they are for hotels, electronics or books. It feels like the inevitable struggle that occurs whenever someone learns how to manipulate a system for their own purposes.

But as a writer I still have questions and dilemmas created by sock puppets. Why should I spend months trying to get real reviews if someone can spend $500 to get 50 fake ones? How do I even know how many sales the sock puppets are going to get me? Are these authors devaluing their own efforts for 10 extra sales or 10,000? Even if I did decided to pay for sock puppets, what am I saying about my own work? The last question is the most important one for me. Does paying for reviews make me a pragmatic publisher who adapts to the market in ways that will maximize sales or does it make me an insecure writer who isn’t confident enough in his work to let it stand on its own?

The Best Stories You May Never Read

At this point, I think I'm just going to go back to writing and leave the sock puppets to their marketing masters. I am too vain about my craft and too unsure about the real benefits of manipulating the system. My refusal to use sock puppets might mean that I am creating the best stories that no one will ever see. But at the very least, I want to feel good about what I'm doing.

Have fun.

G

The Other Benefits of Independent Publishing (Beyond Becoming a Millionaire)

The summer is over and I’m looking back on my self publishing experiment. Three months and seven stories later, I have come to three conclusions:

1.       I started this process with the intent of becoming a writer. I now know that I am not a writer. I am actually a publisher because I have to take care of web design, cover design, marketing, sales, formatting, advertising AND writing.

2.       Although neither the process nor the product have been perfect, I am very proud of what I’ve put out there and I’m excited to write and release more work.

3.       Writing the stories is easy. Getting people to notice them is hard. Getting people to actually read them is almost impossible so far. That means achieving the same sales as Harry Potter, 50 Shades of Gray or the Girl with the Dragon Tattoo is still a distant dream.

Does that mean the stories suck and I’m a horrible writer? Maybe. Does that mean my marketing sucks and I’m a horrible advertiser?  Probably. Does that mean I haven’t been lucky enough to reach the right audience yet? Definitely.

A writer for the Huffington Post named Scott Steinberg recently wrote about the benefits of self publishing that go beyond sales numbers. According to him, sales are still important but releasing your own book gives you are chance to:

1.       Increase engagement with your audience

2.       Demonstrate your talents

3.       Provide a low-risk way to test potential markets

4.       Create a unique promotional tool

5.       Promote critical fan feedback

6.       Offer an immediate way to set you apart whether you are an individual, brand or company

I haven’t found a pot of gold after writing for 90 days. I have done everything else on this list and I’m proud of that. The Great Expectations that I wrote about before haven’t changed. If anything, I see my writing taking me to places I could never reach sitting at home and watching TV. Is all this pontification just a rationalization of a failed business venture? It could be. But I would rather find some benefit in the things I enjoy doing instead of giving up because I haven’t made as much money as EL James.

Have fun.
G