‘Red Sparrow’: quick review

I’ll just come out and admit it: I can’t get enough of the Cold War. Part of this is nostalgia, of course. I make no secret of the fact that I consider the culture of the latter half of the 20th century to be far superior to what the 21st century has produced so far. And if you lived in the United States, the Cold War was the dominant geopolitical reality of the late 20th century.

Or maybe I’m fascinated with that old enemy, the Ruskies. Islamic terrorists I simply want to see annihilated. Kill ’em all, and let Allah sort ’em out. But the Russians are intelligent and innovative enough to be interesting, even if they aren’t always likable and almost never trustworthy.

My Cold War fascination undoubtedly played a role in my enthusiasm for The Americans, the Cold War spy drama that ran on FX from 2013 to 2018. I suppose, too, that I was a naturally receptive audience for Red Sparrow (2018) , a movie about a Russian ex-ballarina who is recruited into “sparrow school”, where the comely are trained to be ruthless, to use their sexuality in the service of the Russian state.

 

Note that I said “Russian” and not “Soviet”. Red Sparrow is set in the Putin era. Russia’s new leader-for-life isn’t directly portrayed in the film, but he is constantly referred to as “the president” (the same disingenuous title used for Saddam Hussein during his long, dictatorial reign in Iraq).

The Russia depicted in Red Sparrow is appropriately cold, snowy, grim, and brutal. Within the first ten minutes of the movie, you will be tempted to turn up your house’s thermostat. You’ll also be thankful that you live in the United States (or in some other Western democracy)–and not there.

(Another personal aside here: My grandfather spent a year in the USSR during WWII. His U.S. Navy duties also took him to Syria, Egypt, and a host of other places that most Americans wouldn’t eagerly visit in 2018. The only place he described in negative terms was Russia. As he put it, “the asshole of the world”. Not only did he hate the weather, but the Soviet soldiers were uniformly unfriendly, and ordinary citizens were afraid to even look at Americans, lest they be accused of treason. But to be fair, this was during the Stalin era.)

 

Jennifer Lawrence stars in Red Sparrow as Dominika Egorova, a Russian ballerina who supports her mother on her dancing income, until her career is ended by an injury. Dominika is then approached by her uncle, Ivan, who heads the Russian SVR. Ivan has a job for her.

I don’t want to summarize the whole plot for you. But suffice it to say that Ivan is creepy and evil. He also has incestuous designs on his niece. Through a series of carefully orchestrated circumstances, Ivan closes off Dominika’s options until her only real choice is to dedicate her life (and her body) to the service of the Russian state.

There’s much more to the movie, of course; and the real fun begins when Dominika starts interacting with her American CIA adversary, Nate Nash (played by Joel Edgerton). Nash and Dominika have an affair. (Of course: If a Cold War-era spy movie has a pretty female Russian operative and a CIA male agent, they must have a sexual liaison.)

Speaking of sex: There is a lot of it in Red Sparrow. In this case, however, it really is integral to the plot, as Dominika has been trained to use sex as a weapon of espionage.

 

A word about Jennifer Lawrence. Jennifer Lawrence is one of those Hollywood types with whom I have a love-hate relationship. On one hand, she is a complete idiot when she opens her mouth about political matters–something she’s been doing increasingly in recent years.

On the other hand, she is a brilliant actress. I became aware of her years ago, when I saw one of her first movies, Winter’s Bone.  In that movie, Lawrence convincingly became an impoverished Missouri teenager. She is just as convincing as a Russian ex-ballerina-turned-secret-agent. You don’t have to like Jennifer Lawrence’s off-screen behavior (and I for one, don’t), but you have to admire her mastery of her craft. (Now–if she would only just stick to that craft, and spare us the moonbat political activism.)

 

Dominika is understandably bitter about her mistreatment at the hands of her uncle and her native country. She is therefore ripe to be turned by Nash, who recruits her as a double agent. But has Dominika truly turned? The viewer can’t be sure. As the plot of Red Sparrow evolves, you aren’t sure if you’re watching a movie about doomed Russian patriotism, an espionage double-cross tale, or a classic revenge story. It’s worth the two hours and twenty minutes it takes to watch Red Sparrow in order to find out.

Thoughts on the ad-blocking wars

Someone recently asked me for my opinion regarding ad blocking software (like Adblock Plus) and Internet users who install it.

Opinions on this one range at both extremes. On one hand, some publishers regard ad-blocking software as “theft”.  I’ve also read op-eds and blog posts suggesting that online publishers should simply quit “whining” about the loss of ad revenues.

The issue gets more complicated from there. A few years ago, ad-blocking software firms began taking money from large corporations in exchange for “white-listing” their ads.

So is this really about an ad-free online utopia, or is this a cynical money grab on the part of a handful of software development firms?

Finally, there are reports that ad blocking software doesn’t actually work that well. 

Let’s separate out the extreme viewpoints on both sides, and look for a middle ground.

Fifteen years ago, online ads weren’t obtrusive.

Yes, there was a small, vocal minority who objected to those rotating banner ads at the tops and sides of webpages. Most Internet users understood, however, that online advertising paid for the production and hosting of free online content.

I don’t recall online ads being a major distraction for me in 2001.

Pearson Education (InformIT)

 

But in 2001, many people were still accessing the Internet via dial-up modems.  Later, as high-speed Internet connections became common, online publishers and advertisers made ads increasingly more intrusive.

You all know what I’m talking about. Those large drop-down screens that descend atop the page you’re looking at. Auto-play videos that start within five seconds of you landing on a page.

I’ve written at length about how the Internet is not as much fun to explore as it used to be in a general sense, due to factors such as social media and Wikipedia. More germane to this topic, though, is the simple fact that the technology has become far more intrusive.

This intrusiveness is not limited to online advertising. Apple has been bugging me to upgrade the iOS on my iPhone 6 for two years now. My motto is: One operating system per device. (I have this policy because I’ve never upgraded an operating system without experiencing a subsequent diminishment of hardware performance.)

My dad, who is 72, recently started using the Internet more often when he went back to work to relieve the boredom of retirement. He noticed the intrusiveness of the new, drop-screen video ads and wanted to find a way to block them.

And my dad, I should note–is not a hippie tree-hugger. For many years, he ran his own successful company. My dad is as capitalist as they get.

As I’ve hopefully made clear, then, I fully understand the demand for ad blockers.

MAGIX Software & VEGAS Creative Software
But then…there is another side to this.

If ad blocking software becomes ubiquitous, then publishers will need to find new revenue models.

This will invariably mean less free online content.

There’s an old adage in publishing: “If no one gets paid, then nothing gets made.”

Well, some things will still get made: The Internet will still contain free political screeds and online confessional blog posts. (Because some people, I’ve found, simply have to share their intimate personal details with the world.)

But as for quality news, technical information, and educational content?

No. That will all go behind paywalls–or back into books, offered for sale on Amazon. An Internet without advertising revenues will largely resemble one big pay-as-you-go shopping mall.

I don’t want to see that. On the other hand, I don’t want to be assaulted by a dropdown video ad for Viagra or car insurance when I visit the website of one of my local news channels.

Publishers can–and should–lead the way in dialing back the ad block wars. Old-style ads are fine. Old-style ads are necessary. But publishers must say “no” to the more intrusive ads that have become common in recent years.

If that happens, then the demand for ad blocking software will decline over time.

Again: there will always be ideologues who object to any commercialization of anything. Those are the same people who would rather infect their computers with malware from a bit torrent site than pay $3.99 for an ebook on Amazon, or $0.99 for a song on i-Tunes. Those people are not going to be convinced, no matter how much publishers scale back advertising–unless advertising is scaled back to zero.

Those are the ideologues.

Most people, though, understand that advertising supports free content on the Internet. But they expect that advertising to adhere to unintrusive standards and parameters.

This expectation, I would submit, is not unreasonable, and should be easy enough for publishers to accommodate.

 


Reading notes for November 2018: ‘Year One’, by Nora Roberts

A quick book recommendation for you, based on my current and recent  reading….

I decided to take a chance on Nora Roberts’ recent novel, The One.

I say, “take a chance,” because while I’ve been aware of Nora Roberts for years (she’s been publishing since the 1970s), I’ve always considered her to be something of a romance author.

Straight men and romance fiction. You know how that goes. Oil and water.

The One certainly has more romance content than this reviewer would like. But this isn’t a Danielle Steele novel. From the perspective of a male reader who generally prefers writers like Michael Connelly and the late Michael Crichton, The One isn’t half bad.

 

This is the set-up: A plague (a particularly virulent version of the avian flu that so terrified everyone a decade ago) sweeps the earth and kills most of the population.

Some people are immune, of course. (Otherwise, there is no story.)  Those who are immune have dormant magical powers, that are awakened in the aftermath of the catastrophe.

The One, then, is part post-apocalyptic, part urban fantasy, and (yes) part romance fiction.

On the whole: not bad.

Did this novel convert me into a raving Nora Roberts fan?

No. But then again, I’m not in Nora Roberts’s target audience, am I?

After The One, might I read another Nora Roberts title in the future?

Perhaps. It would probably depend on how intrigued I am with the description and opening chapters.

 

Ice storm in Cincinnati

No one moves to Ohio for the weather. It is only mid-November, and we’re already having honest-to-goodness-oh-man-this-sucks genuine winter weather, as pictured below.

 

If you look closely at the photo above, you can see the icy coating on the tree branches, and on the floorboards of my deck.

Or perhaps not. In any case, take my word for it. This morning we had .30″ of ice in the form of freezing rain. Just enough to make driving a pain in the neck.

Also enough to cause power outages. My power was out from 3:30 am until a little after 4. (Duke Energy, as public utilities go, is reasonably efficient at restoring services when they’re interrupted for any reason.

Bad weather days are good days for writing, however (provided the power stays on). I’ll be spending much of today working on the manuscript for REVOLUTIONARY GHOSTS. I hope to have it done by the end of this month.

The rebooted Magnum PI: mini-review

If you’ve been watching CBS in recent years, you’ll have noticed that many of the network’s top programs are reboots of shows from the 1970s and 1980s: MacGyver, S.W.A.T., Hawaii Five-O.

Now you can add a new one to the list: Magnum PI.

I’ll admit: I was a skeptic. The 1980s coincided with my high school and college years. I didn’t watch much television during that decade. But I did make time for Magnum PI. The original Magnum, starring Tom Selleck, is one of my favorite television programs from my youth.

I was sure that CBS would make a mess of the remake.

I was wrong. The new Magnum PI is just as fun and entertaining as the original.

I’m a conservative, and all conservatives are naturally nostalgic. We tend to believe that things were better in the old days, that previous versions of things were better than the new and updated ones. In this vein, there was a part of me that would have loved to have seen Tom Selleck star in the 21st-century reboot of Magnum. (Selleck presently stars in Blue Bloods, another  CBS staple, as the patriarch of an NYPD family.)




 

But another part of me knows that would have been ridiculous. Tom Selleck is very fit for his age, but he’s now in his seventies. The starring role in Magnum PI is one for an actor in early middle age: 35 to 45.

CBS has cast Jay Hernandez as Thomas Sullivan Magnum. And while Hernandez brings his own style and interpretation to the role, he pulls it off with as much flair as Selleck did before him.

The new show more or less ports the characters and the basic premise over from the original: with some necessary changes. In the original show, Magnum and his sidekicks (TC and Rick), were Vietnam War vets. In the 2018 reboot,  they’re veterans of the wars in the Middle East.

There is one fairly major character change: In the 1980s version, Higgins, the majordomo of the Hawaiian estate where Magnum lives (off the largess of the never seen Robin Masters) was played by British actor John Hillerman. In the reboot, Higgins is still British, but Higgins is a woman (Perdita Weeks).

Conservatives like me are supposed to hate it when rebooted shows arbitrarily change the genders of characters. I don’t necessarily hate this practice in a knee-jerk sort of way, but I’m always skeptical of it, often with good reason. (The reimagining of Boomer and Starbuck as female characters in the rebooted Battlestar Galactica produced uneven results.)  But in the case of Magnum PI, the distaff version of Higgins works perfectly. I think–sorry, Mr. Hillerman–that I even like the Perdita Weeks interpretation of Higgins better.

The show includes lots of fun details that were crucial to the 1980s Magnum, like the dogs Zeus and Apollo, and Magnum’s habit of thinking aloud to the audience. TC and Rick (Stephen Hill and Zachary Knighton) don’t get much character development. But then, they were little more than affable sidekicks in the original version.

The Magnum PI reboot is as good as any purist could have asked for, 38 years after the start of the original series (and 30 years after it went off the air).

Sometimes the networks botch things, but sometimes they hit home runs, too. The new Magnum PI is a home run

David Gaughran’s post about the Amazon “also-bought apocalypse”

David Gaughran is a constant source of valuable information for anyone publishing in this brave new world of indie publishing. One of his recent blog posts concerns the Amazon “also-bought” apocalypse.

If you’re a writer/indie publisher, the post is well worth reading in its entirety.

But here’s my quick take on the  matter:

For years now, thousands of indie authors have made themselves wholly dependent on the Amazon ecosystem. This trend has accelerated nonstop since Amazon established the KDP Select/Kindle Unlimited program in 2011.

At least one of the indie author “gurus” now states that indie authors no longer need individual author websites.

Why? Because the only thing that matters now is gaming the Amazon algorithms!

Many indie authors no longer think in terms of any kind of “platform” beyond Amazon.

Rapid release into KDP Select….

Rapid release into KDP Select…

Rinse and repeat…

I’m not anti-Amazon. (I rather like them, in fact.) But as David Gaughran’s post illustrates, it is dangerous to build a consumer-focused business that is solely reliant on a single channel of distribution.

What is the solution? Forget about silly “boycotts” and online petitions. Those things don’t mean squat, at the end of the day.

The solution is to spread the risks: Go wide, and work with other retailers–in addition to Amazon: Apple Books, Kobo, Smashwords, etc.

Let me make clear: Amazon is not evil. But Amazon is a large company that will, like all big companies, act in its best interests.

How do you think Amazon got to be the world’s largest retailer?

If you’re an independent author, you need to act in your best interests, too.

And acting in your best interests doesn’t mean relying solely and entirely on Amazon.

A Column of Fire, by Ken Follett (mini-review)

Get it on Amazon!

 

I just finished reading Ken Follett’s mammoth historical novel, A Column of Fire.

The novel opens in 1558, just as the reign of the Catholic Queen Mary is coming to an end. Mary has reversed England’s Protestant shift, which began when her father, Henry VIII, decided that he couldn’t make due with one wife and a mistress.

Mary, who is also known to history as “Bloody Mary”, occasionally burned Protestant dissenters, and this is depicted in one of the opening chapters of A Column of Fire. Hence the name of the book.

This is the opening historical backdrop. The hero of the novel is Ned Willard, who is a young man in love as the story opens. The object of Ned’s affections is Margery Fitzgerald. Ned’s affections are returned, but—of course—there is a problem.

Margery hails from a devoutly Catholic family that has prospered under the reign of Mary. Through the connivances of Margery’s fanatically papist brother, Ned loses Margery to Bart, a member of the local Catholic nobility.

And so Margery enters into a loveless marriage with Bart (who is an uncouth, insensitive, and blundering brute), while Ned goes off, forlorn, to seek his fortune in London.

Ned is a lukewarm Protestant who abhors the intolerance of Mary’s reign. Ned longs for a monarch who will allow the British people to worship freely (or as freely as possible, according to 16th-century standards of “freedom”.)

Just as Ned is reeling from the loss of Margery, Mary dies. Elizabeth takes the throne. A chance connection to Sir Francis Walsingham (principal secretary to Elizabeth) enables Ned to enter the service of the Crown. Ned is greatly impressed with the young queen. With the option of a married life with Margery closed off, Ned devotes himself to the service of Queen Elizabeth I, and the implementation of her (initially) tolerant ideals.

There is a lot more to A Column of Fire, of course. This is a 900-page book, after all. There is also a storyline set in France, where Protestants are a minority in an officially Catholic country. Still another set of characters has adventures in Spain and the New World. (All of the storylines converge before the end of the book.)

The overarching theme of A Column of Fire is the religious strife that gripped Europe in the aftermath of the Protestant Reformation. As noted above, the story opens with anti-Protestant burnings in England. Follett later weaves into his plot the St. Bartholomew’s Day Massacre in Paris, and the Gunpowder Plot of 1605. The book covers around half a century. (Ned Willard is in his eighties in the final chapter.)

I loved this book. I have read almost everything that Ken Follett has written to this point, and A Column of Fire is hands-down my favorite.

I like stories with complex twists and turns, and physical threats; and A Column of Fire has all that in spades. There are sea battles, and opposing rings of Catholic and Protestant spies.

The majority of readers seem to agree with me. A Column of Fire is highly rated both on Amazon and Goodreads.

But even a really good book has its flaws. Most of the criticisms of A Column of Fire come from one of two angles, which I’ll address briefly.

Ken Follett seems to harbor a secret desire to be an author of Harlequin romance novels. Almost every movie, novel, and television series has a love interest (or multiple love interests), and I’m not suggesting that this, in itself, is in any way a drawback.

Follett, however, tends to go overboard on his sex scenes.

Now, before you ask, I’m no prude. I’m a fifty-year-old, very heterosexual man with right-leaning libertarian tendencies. I have an equal loathing for leftwing political correctness, and anything that smacks of goody-two-shoes censorship.

That said, there is only so much detail that I need when an author describes a romantic coupling. To be blunt about it: Once the author has described the male protagonist’s erect penis, or the heroine’s moist nether regions, the author has given me more detail than I actually need.

Follett does this on multiple occasions (and in more than a few of his novels). There are some lacunae that an author should trust readers to fill in for themselves.

Secondly, A Column of Fire has something of an anti-Catholic bias. Almost every Catholic character is portrayed as a bloodthirsty fanatic, an amoral schemer, or a deluded simpleton.

(This may be a thing with baby boomer British authors who write historical fiction, as I’ve noticed a similar tendency in the historical novels of Bernard Cornwell.)

These flaws, however, are minor ones. On balance, A Column of Fire is a great read.

A final word before I end: You’ll appreciate A Column of Fire far more if you already have a basic knowledge of European history in general, and the Protestant Reformation in particular. But then, if you don’t already have some interest in history, then it’s unlikely that you’ll be strongly attracted to this book.

Flash fiction, you ask?

A reader recently asked me about flash fiction: Do I write it? Do I plan to write it?

Flash fiction is defined as very short fiction–usually only a few hundred words. Sometimes even less.

I write a lot of short stories (some of which you can read right here, on this site). But my average short story runs about 3K ~ 5K words. This is not excessive where short fiction is concerned (it’s about average, in fact), but that’s way beyond the length desired for flash fiction.

I have read a survey of the flash fiction available, both in print and on the Web. The vast majority of it, it seems to me, consists of either a.) truncated scenes and vignettes, or b.) mere contrivances of “irony”.

There is obviously little room for character development in flash fiction, let alone setting.

I mostly regard flash fiction as a literary parlor trick–mildly interesting (on occasion) but nothing to get excited about.

The main selling point I always see touted for flash fiction is that it appeals to the ultra-short attention spans that supposedly hamper all of us in this age of Internet/24-hour news cycle/social media/latest i-Gadget.

I’m all for making fiction more gripping–more like good television. (This is a real task for some writers of literary fiction.) But is it really true that people’s attention spans are so short that they won’t sit still for an engaging story?

I recently sat through 85 episodes of The Sopranos; and I’m far from the only one who can make that claim.

Yes, the Internet and the i-Gadgets have their temporary pleasures: the cat pictures, the viral meme about Donald Trump or Maxine Waters. But if there wasn’t an appetite for good long-form storytelling, then cable TV channels wouldn’t be able to viably produce long series like The Sopranos, Game of Thrones, and The Americans. (None of the aforementioned series would work for a viewer with a stereotypically short attention span.)

This doesn’t mean that audiences aren’t more fickle than they were in the days of Charles Dickens. To be sure, anyone who aspires to be a storyteller faces more competition than they did in the past.

But the goal should be better storytelling, not simply shorter storytelling. The Sopranos would never have worked as the television equivalent of flash fiction.

Remembering those Burger Chef ‘Star Wars’ posters of 1977

I was part of the original Star Wars generation.

I remember being nine years old in the summer of 1977, sitting with my dad in the cinema, watching that first epic Star Wars opening crawl.

I became a total fanatic for Star Wars. And yes, that meant Star Wars action figures, Star Wars trading cards, and much else. During that first two years of Jimmy Carter’s presidency, I wasn’t thinking about stagflation or the energy crisis, or Jimmy Carter’s “malaise”. I was thinking about Star Wars.

Among my favorite Star Wars memorabilia of that era were the four Star Wars posters issued by Burger Chef. (Burger Chef was a once popular fast food chain that went out of business in 1996.)

I had all four posters, and they were hung all around my bedroom. (I can still recall the exact placement of each one, in fact.)

These are now collectors’ items, of course. But they were just delightful children’s bric-a-brac in 1977.

Is John Grisham slipping?

Late last week I received my hardcover copy of John Grisham’s The Reckoning from the folks at Amazon. (I had preordered the book.)

Before I jumped in, I was curious to see how the reader reviews had been running.

The early reviews are less than stellar. The average, based on Amazon’s 5-point scale, is running at 3.1 at the time of this writing. There are quite a few 1- and 2-star reviews.

What might account for this?

Well, first of all, what doesn’t: No one dislikes John Grisham for being John Grisham. He isn’t political. So the negative reviews weren’t made in retaliation for something Grisham said or did outside the printed page.

(Grisham, unlike Stephen King and Joyce Carol Oates, mostly stays out of the culture wars. He did test the waters with speaking out on a (very) inflammatory issue a few years ago, got burned, and promptly re-devoted himself to fiction.)

Nor does anyone, in 2018, purchase a John Grisham legal thriller with the expectation that they’ll be getting a fantasy novel or a romance. Everyone knows who he is and what he does. They either like Grisham’s schtick, or they don’t.

And for the most part, John Grisham does what he does brilliantly. But even he can have lackluster books.

For example, I was bored to tears by John Grisham’s 2010 novel, The Confession. To my reading, The Confession was a blatant piece of agitprop that Grisham wrote to oppose capitol punishment, and to attempt to SAY SOMETHING SIGNIFICANT ABOUT RACE IN AMERICA.

The Whistler, too, I found to be a little slow, though it was free of socio-political virtue-signaling.

But when Grisham hits one out of the park, he really hits one out of the park. His last two efforts, Camino Island and The Rooster Bar, have been among his best books ever.

So to answer the question posed above, no–I don’t believe that John Grisham is “slipping”. But the guy has been cranking out novels, at a rate of about one per year, since before Bill Clinton was president.

Not all of them are going to suit your tastes–even if you’re a diehard Grisham fan. And where taste is concerned, your mileage may vary. I absolutely loved Camino Island, but plenty of reader-reviewers panned it. Likewise, not everyone disliked The Confession.

Which brings us to another issue: Grisham has legions of longtime fans, people who have been reading his books for decades. Many of them have very high expectations for every Grisham novel. And they have their own proprietary ideas concerning exactly what a John Grisham novel should be.

There is only so much money within the indie authorspace

There is a predictable evolution that can be seen in all online communities.

I’ve witnessed it over the last fifteen years, in at least four online communities that I’ve been a part of.

At first, the online community is comprised of a small group of individuals who have gathered to share their enthusiasm for a specific topic. They freely exchange advice.

And then the community reaches maturity.

The numbers grow, and people inevitably start marketing books, courses, etc. to other members of the same online community.

We’ve definitely reached this point in the indie authorspace. (We reached it several years ago, in fact.)




 

Let me say, first of all, that I see nothing intrinsically wrong with this practice. I’m a proud capitalist, after all.

Moreover, I’ve benefited from a handful of these courses and books myself.  I’ve especially benefited from the work and advice of Dean Wesley Smith, and Kristine Kathryn Rusch. I am also a weekly listener of several indie author podcasts, including: the Science Fiction & Fantasy Marketing Podcast, The Creative Penn, The Sell More Books Show, Mark Dawson’s Self-Publishing Formula, and—most recently—The Career Author Podcast.

These are all great sources of information, and I recommend them highly.

 

 

But the indie authorspace is—to put it bluntly—overcrowded, and the market is oversaturated. (Even Joanna Penn, once endlessly optimistic that “there could never be too many books”, has belatedly recognized this.)

There are now over 3.4 million books in the Kindle ebook store. 

Ten years ago, the challenge for indie authors was to prove (to themselves and to others) that indie publishing is a legitimate alternative to a reliance on the New York-based legacy publishers.

Much has changed over the past decade. We’ve seen the big-time success of Andy Weir, Mark Dawson, Blake Crouch, JA Konrath, Amanda Hocking, and numerous other indie publishers.

Meanwhile, the collapse of brick-and-mortar bookstores has made New York’s stranglehold on traditional methods of distribution less significant.

We also see the rise of the so-called “hybrid author”. More traditionally published authors are either self-publishing, or going with small, entrepreneurial presses. (This is especially prevalent in genre fiction, as the New York publishers are systematically jettisoning any title that doesn’t have the mass-market appeal of the latest John Grisham or James Patterson thriller.)


 

Okay, so self-publishing is no longer a stigma. (And for what it’s worth, it’s been a long time since I’ve seen an impassioned argument on either side of that debate. The fundamental legitimacy of self-publishing appears to be a settled question.)

But if obtaining the permission and resources to publish is no longer a problem, discoverability is now a massive challenge, in a market that can only be described as over-saturated.

Discoverability still isn’t a major problem if you write ultra-niche fiction. I recently learned that there is actually a category called “billionaire reverse-harem romance”. The (exclusively female) readers for these novels congregate in online communities dedicated to this topic, and they’re easy enough to find.

But this doesn’t describe the situation of most indie authors.  Suppose you write generic legal thrillers, in the tradition of John Grisham. Your online reader community is far more difficult to locate.

 

All indie authors, however, are aware of one concentrated, relentlessly passionate online community: the indie authorspace. 

If you go onto Twitter and identify yourself as an indie author, you will immediately be followed by other indie authors whom you’ve never heard of. (And they’ve never heard of you, either.) There are Kboards, 20Booksto50K on Facebook, Authortube on YouTube.

Lots of author communities. Easy to find online. We all know where they are.




 

This is what makes it so tempting to say, Hey, I’ve learned a lot about self-publishing. Maybe I could monetize that knowledge! 

And so you write a nonfiction book for authors. (Whenever a fiction author talks about “branching out into nonfiction”, you can bet that the author is talking about writing a nonfiction book about some facet of self-publishing.)

Or maybe you start yet another podcast. Or you attempt to host your own convention for indie authors, as many of the established podcasters are now doing.

And if you’re really business-minded, you bill yourself as a consultant to other authors. This seems to be the latest trend. As newbie authors become increasingly desperate for any leg up in the crowded marketplace, more and more second- and first-tier indie authors are hanging out their shingles as fee-based marketing consultants.

 

I reiterate: I am a capitalist. I therefore have no moral or ethical objection to any of this. I would much rather see indie authors coming up with innovative business models, versus petitioning the government for subsidies.

At the same time, though, there is a fundamental economic constraint to keep in mind: There is only so much money in the indie authospace. This is not a community of stockbrokers and heart surgeons. This is a community of artists, most of whom are making less than what an ambitious Walmart employee could make.

 

I interpret this trend of authors scrambling to sell their books/advice/services to other authors as a sign that the indie author community is due for a major shakeout. A shakeout is the inevitable consequence in any market that is oversupplied, vis-a-vis the demand.

If you’re an indie author (and I suspect that you are, if you have read this far), I’m not going to attempt to play dictator here, and tell you that you can’t become the next Chris Fox, Joanna Penn, or Dean Wesley Smith by rebranding yourself as a writing advice guru.

I would, however, suggest that you do some soul-searching before you go this route. As a fiction writer, your focus should be on readers, not other writers. Let’s not forget that Stephen King had been a best-selling author for twenty-five years before he wrote On Writing.

Furthermore, you may already be too late. It is only a matter of time before the marketplace of authors selling expertise to other authors becomes oversaturated, too. I repeat: There is only so much money within the indie author space.

Amazon earnings and indie authors

Today Amazon missed it’s earning estimates, leading to a fall in share prices.

Many indie authors are entirely reliant on Amazon. They are Amazon-exclusive, placing all of their titles in KDP. (Amazon makes this tempting, by dangling various cookies.)

I’m not anti-Amazon. On the contrary: I love Amazon–both as a reader and as an author. And under the current structure of the market, it would be virtually impossible to avoid any reliance on The Zon.

Nevertheless, as today’s news demonstrates, Amazon–just like any other company–has its ups and downs.

Amazon has also been known to make abrupt policy changes.

This is yet one more argument for “going wide”–or for making one’s titles available across multiple retailers.