Monday, August 25, 2025

“In Fall, After the Harvest” • by S. Travis Brown

 

The little cybernetic gadfly popped up as soon as I logged in. 

Dave Miller,” it dutifully nagged, “you are now 15 minutes overdue for your appointment with the company fitness consultant.”

Right. I clicked the ‘ignore’ button to kill the message and then continued with my morning routine.

As soon as I brought up Outlook, though, the message returned: this time in red, and with a flag. It was on my calendar. At the top of my To-Do Bar. Waiting in my email inbox and claiming to be “Urgent.” I had just about enough time to sigh and swear, and then my phone chirped. It was Heather, from HR.

“Dave—”

I cut her off. “Heather, how many times do we have to go through this? I am six-foot-four. I weigh 165 pounds. My doctor says I’m skinny as a rail but healthy as a horse. I do not want to work out, I do not want to weight-train, I do not want to join the company’s charity plod-a-thon team, and above all I do not want to take some idiotic fitness test first thing this morning and then spend the rest of the day smelling like a sweaty goat. I have a meeting with—”

This time it was her turn to cut me off. “Sorry,” she said, “but Frank set this appointment up for you personally.”

Oh, great.

Frank DeStefano, the company president and my boss’s boss, was a late-life convert to the Church of Serious Running, and since it made him feel so blasted good, he’d decided to zealously inflict healthiness on the rest of us.

Wondering what I’d done to draw his attention this time—was it that Kit-Kat bar I’d sneaked during the PMT meeting last week?—I changed my status to “in a meeting,” loosened my tie, and reported to the conference room-turned-gym.

The moment I saw the fitness consultant, I hated him. Too many memories of my being the tallest, skinniest, and least-coordinated guy in my high school, I guess; too many memories of basketball and volleyball games that ended in broken eyeglasses and a bloody nose. I hated his little blue shorts and his white polo shirt. I hated the clipboard in his hands and the stopwatch on a lanyard around his thick neck. Most of all I hated his broad hairy chest, his thick hairy arms and legs, his prognathous jaw, and his five-o’clock shadow at 9 in the morning. His eyes were too close together, I decided; his nose was almost a snout, and his teeth were far too big, straight, and white for any normal man. “Good morning, Dave,” he said cheerily. I hated the way he presumed familiarity.

“Can we just get this over with?” I asked. “I’ve got a lot to do today.”

He tsk-tsked and made a little mark on his clipboard. “That’s a Type A high-stress attitude you’ve got going there, Dave. Bad for the heart, bad for the nerves, and symptomatic of repressed—”

“If you’re going to talk symptoms, I want to see your medical degree.” We were off to a rotten start.

§

The evaluation was long and tedious. He asked me a battery of questions about my diet and family medical history. He made me take off my shirt and then poked, prodded, and pinched me with a dial calipers. He plastered a bunch of electrodes to my back and chest and made me trot on the treadmill for twenty minutes. When we were finished, I was wheezing and drenched in sweat, and he told me I was—

“Ten pounds overweight?”

“Going strictly by your fat-to-muscle ratio, yes,” he said. “Not that I’d advise you to try to lose ten pounds. No, what you need to do is build your upper-body strength and endurance. Do that, and cut out the salt, sugar, caffeine, and saturated fats, and your weight won’t be a problem. Here’s the exercise regimen I recommend.”

Regimen was the wrong word. He should have said ordeal. Two half-hour sessions of calisthenics and weight-lifting daily, plus rowing and stair-stepper sessions every other day; I tried it for a week, and then said to hell with it and dropped out of the fitness class.

§

Which put me in a very awkward position. For as Spring grew into Summer, DeStefano got more and more converts to the company fitness program, and the lunchroom became a rigidly segregated place. By the time July rolled around the place was completely dominated by Healthies, grazing on their avocado salads and constantly guzzling from their omnipresent filtered-water bottles, while we poor benighted Flabbies were relegated to a few battered old tables back in one corner. By the beginning of August they’d taken the Twinkies, potato chips, and Coca-Cola out of the vending machines, and by the end of August, the vending machines themselves were gone, along with the salt packets and the unlimited free coffee. By Labor Day we were down to just four holdouts: myself; majestic Lorenz and his equally majestic stomach; Bill from IT, who claimed an allergy to sweat socks; and grizzled old Stinson, who’d been chain-smoking for thirty years and wasn’t about to quit now, even if the designated smoking area was now on the other side of the parking lot, next to the dumpster.

We had to put up with a lot, in that last month. For example, I love a good ham-and-cheese sandwich, but no matter how I timed it, there was always some sanctimonious jackass looking over my shoulder when I took my sandwich out of the microwave, and he or she never failed to say, “How can you eat that? Don’t you know what that cholesterol is doing to your arteries?” Lorenz, Bill, and Stinson got about the same treatment. We were getting very discouraged.

Until…

At first it was just a few amateur athletes, here and there. Runners, cyclists, triathletes; people who tended to work-out alone. It wasn’t until entire Jazzercise classes began disappearing that people began to take notice. Then, when half the runners in the Seattle Marathon simply vanished right before the TV cameras, it became an international crisis that had to be dealt with.

At about the same time, a confidential FBI report was leaked to the press. It seems that along with the athletes, thousands of private trainers and coaches were also disappearing. And when investigators began looking into the histories of the missing trainers, they found that 95-percent of them could not be accounted for before 2010.

The same 95-percent who were described by the people who’d known them as “thick, hairy, and prognathous.”

§

There are theories, rumors, and urban legends, of course. The most popular one holds that the Trainers—yes, they capitalize it, now—were transcendent beings of some sort, and the missing athletes were spirited away as a reward for their excellence, strength, winning attitude, et cetera, et cetera…

I never once heard our fitness consultant talk about any of that. What he wanted us to develop was lots of lean red meat.

It’s lucky there are four of us Flabbies left, now. Most of the card games we know work best four-handed. I spend most of my time in the lunchroom these days, drinking beer, eating junk food, playing cards, and smoking. I’ve gained thirty pounds of pure flab and have developed a real fondness for H. Upmann Cameroon Robustos. Things are very relaxed at our company these days, now that all the Healthies are gone.

We don’t miss them one bit.

 


 

On the Internet, no one knows you're a dog

Once upon a time, under another name, S. Travis Brown had a successful career as an SF/F writer, until the winds of taste changed direction and the kinds of fiction he liked to write became too hard to sell. When his own agent advised him (just before dropping him) to adopt yet another new pseudonym, preferably female this time, and to start his career over again as a writer of paranormal romance novels, he said, “[intercourse] this, I am not Doctor Who,” and went off to do other things that paid better.

Now comfortably retired, we don’t hear from him often, but when we do, we’re usually happy to publish what he sends us.

When asked to supply an author’s photo, he instead sent us this picture, with the explanation, “On the Internet, no one knows you’re a dog.” We considered asking him to explain his relationship to this dog, but decided it was better not to ask.

Brown has no social media presence, and likes it that way. 


Wednesday, August 13, 2025

“Glossary” • by Allan Dyen-Shapiro


Glossary of Archaic Terms used in
Monograph on Human Culture
During the Period of Conquest

(Kindle Edition)


colonist (ˈkälənəst)

The humans’ term for us.

conflict (ˈkänˌflik(t))

The tendency of humans to compete with and/or kill others thought to be threatening. In the pre-Conquest Period, conflict often involved weapons marketed by competitors of Bezos. (All praise to our Glorious Ally!) When Bezos ended material scarcity by selling products of Colonist technology from his website, his competitors ceased operations. Conflict between humans abated. Bezos minimized Colonist-human conflict by acting as our intermediary. His Oracle, named “Alexa,” prophesied a Golden Age of peace and prosperity.

job (jäb)

(Disambiguation: see Jobs, Steve, a.k.a., “The Evil One”)

A preoccupation of pre-Conquest and early-Conquest-period humans when they weren’t eating, sleeping, copulating, or defecating. Most humans performed menial tasks, creating value, which was usurped by an elite class who owned the means of production and distribution. After Colonist-technology-based automation supplanted these workers, Bezos 
(All praise to our Glorious Ally!) supplied all goods and services. Few regretted losing their jobs. Research commissioned by Bezos indicated that sleeping until late morning, consuming fattening foodstuffs and video-based entertainment, and copulating satisfied 98% of those surveyed. When Bezos extended Prime membership to the entire world’s population and all wishes were fulfilled within two days at no extra charge, contentment greatly increased.

pregnancy (ˈpreɡnənsē)

A physiological state formerly required for procreation. Before the Conquest, humans reproduced via fertilization and implantation of an ovum within the body of a female, followed by nine months’ gestation in utero. Females endured pain and discomfort, in part thanks to an ancient conspiracy to convince them that the experience was rewarding. Surveys performed by Bezos (All praise to our Glorious Ally!) established that nearly all females preferred the procedure He initiated: one small blood sample, and then nine months later a fully developed baby was delivered directly to the female’s doorstep. Baby delivery in this era employed self-driving trucks, rather than the primitive methods replied upon by lower placental mammals.

r-selection (ˌär səˈlekSHən) 

(Disambiguation: compare to K-selection)

A reproductive strategy in which a species prioritizes producing a large number of offspring and only the growth rate governs population size. Freed from economic and biological limitations, humans behaved as if their species was r-selected, not realizing that Earth had reached its carrying capacity for humans and that behaving as a K-selected species was a more intelligent choice. To counter this trend, Bezos (All praise to our Glorious Ally!) tweaked his website’s algorithms to convince humans to order fewer babies and more video games, cell phones, and Chia Pets.

strike (strīk)

Originally a mass refusal of labor to do their jobs, guided by the belief that the owners of the means of production would change employment conditions when pressured to do so. The term broadened in usage to include any mass refusal. Pre-Conquest-Period examples of the expanded meaning include the sex strike in Aristophanes’ Lysistrata and Mahatma Gandhi’s hunger strikes. The Great Strike constituted humanity’s last act of attempted rebellion against us. If it had occurred earlier, some historians believe we would have been forced to make concessions to the humans who felt “robbed of their humanity.” Humans might once again have become artisans, laborers, or creatives and ceased to rely on Bezos. (All praise to our Glorious Ally!) Fortunately, the mass female refusal to provide us with blood samples for reproductive purposes happened late in the Conquest Period, and so posed only a minor inconvenience.

youth (yo͞oTH)

A term used to identify juvenile humans. The word’s usage declined following the completion of the blood-sample-derived genomic database and the establishment of parthenogenesis-competent oocyte cell cultures. Before the Conquest, “youth” were typically (but not always) raised by adult humans. Now, they mature in cages for three years, before being delivered to restaurants serving our Colonist population. Youth are shipped on ice to maintain freshness and are considered delicious when stir-fried with assorted Earth vegetables, garlic, and scallions and served on a bed of rice or vermicelli.  
 


 

Allan Dyen-Shapiro is a Ph.D. biochemist currently working as an educator. He’s sold stories to numerous markets, including Flash Fiction Online (where he is a First Reader), Dark Matter Magazine, Grantville Gazette, Small Wonders, Factor Four, Stupefying Stories, and many anthologies. You can find his blog and links to his stories at allandyenshapiro.com, or find him on social media at the following links.

https://www.facebook.com/allandyenshapiro.
author

https://www.goodreads.com/AllanDyen-Shapiro

http://www.twitter.com/Allan_author_SF

https://wandering.shop/@Allan_author_SF (Mastodon) 

https://bsky.app/profile/allandyenshapiro.bsky.social (Bluesky)



Monday, August 11, 2025

Writing 101 • How I Did It, by Karl K. Gallagher

I started writing my first novel in 2013. 

After some work by a wonderful editor, I sent it off to a publisher I liked and set to work on the sequel. Nine months later I received the rejection note. I didn’t want to lose years waiting for other publishers to make up their minds, so I found an artist to do a cover for it, learned how to do proper formatting, and put it up on Amazon in December 2015.

It sold about two thousand copies over the next four months. It’s still selling a trickle of copies, and the omnibus of the whole trilogy sells in a somewhat larger trickle. I’d shown up at what I call ‘the end of the gold rush.’

When Kindle publishing started, a bunch of people bought e-readers and there weren’t many e-books out there for them to enjoy, so any good book would have desperate readers grabbing copies. I made a sale before I’d told anyone about posting it; even my mother (I was trying to fix a formatting problem).

With so much demand, more writers piled in, and trad publishers began to budge on letting their books have electronic editions. Writers reclaimed the rights to their backlists and released e-book versions. Publishers followed along.

At some point, I’m guessing 2016 or 2017, this new e-book supply exceeded the demand. Writers were now competing for readers’ attention. Bowker estimates over three million books were published in 2023, five/sixths of them indie, and that doesn’t include the e-book-only publications. (1)

How am I doing in this flood of new books? I’m treading water. I’m up to twelve novels in three different series and two story collections. My Amazon sales are declining. Part of that is I haven’t kept up with the advertising algorithm changes, so my ads aren’t bringing in as many sales. Someday I need to spend a bunch of time revising my ads, but I’d rather be writing.

There are other ways I’ve been bringing in money:

  • I have a Substack where I post short stories and samples from my novels in progress. The paid subscribers are providing me more support than Amazon.

  • Local craft fairs, comic shows, and science fiction conventions are chances to sell in person. I wouldn’t recommend this to someone with only a few books, but with fourteen titles I have a better chance to pitch a book that matches someone’s interests. Not every event is worth selling at—make sure you match the theme.

  • Running a Kickstarter let me fund covers for my two story collections, and was a chance to sell higher-end books (hardcovers of my first trilogy) to long-time readers. One supporter went for the $300 pledge to pick a topic for me to write a story about.

Can I quit my day job? No. But I’m making a modest profit, or put another way, subsidizing my habit of going to science fiction conventions. My most recent book was #7 in a nine-book space opera series. My hope is that when the series is finished, readers burned by GRRM and other unfinished series will pick it up, so once #9 is out there will be a big sales spike.

Do I recommend doing this? Nah. It’s an experiment, one that’s taking years at my writing speed, and I don’t know if it will work. Indie publishing is like that.

So what do I recommend?

First, I advise against chasing trad pub contracts. The big publishing companies are in the mating dinosaurs phase of their lifecycle—merging and dying. You don’t want to commit your career to a publisher who may be bankrupt or auctioned off in a few years. As their cash flow constricts, the big houses are making their contracts nastier, demanding extra rights and sometimes not allowing termination clauses. Kris Rusch is a long-time writer who’s tracked these trends at her site (2).

For the multinational corporations that own the big publishing houses, the real value of a book may not be its sales, but valuing it as an intellectual property asset and then depreciating it to balance income in other parts of the corporation (3). If that’s what they want a book for, they’re not going to put much effort into marketing it.

The people who do get trad publishing contracts tend to fall into the buckets of:

  • Those with large followings who can be counted on to buy the book. They’d probably be better off going with Kickstarter.

  • People with good connections to agents, editors, or publishers. Nobody coming to a blog post for advice is in this category.

  • Anyone who’s the proper demographic or ideological flavor-of-the-month in Manhattan. A fickle game, alas.

  • Someone with a one-in-a-million superb book. Good luck.

If not trad, what do I recommend?

First, get good at writing. Write a lot of words. Fanfic (under a pen name!) is a great writing exercise. Blog. Write essays. Do stories for practice. Before I started a novel, I’d written probably over a hundred-thousand words of RPG adventures, white papers, operations orders, and wargame scenarios. It’s a skill. You improve it by practicing.

When you’re good enough (alas, only readers can tell you, and you have to publish stuff for them to give feedback on), write something to be published. Find an editor, maybe more than one. You need someone who can spot problems with the story structure and one who can spot typos, continuity errors, etc. If you find them in the same person, bless them. 

You need a good artist to do a book cover. Might be you, if you have the skill. The cover shouldn’t just be a pretty picture. It has to say “This is a book of sub-genre X.” If it looks like a mystery but it’s actually space opera, you will get unhappy readers.

Amazon is the big gorilla of publishing. You can go directly there. Doing that gives you a link you can start promoting on social media and with advertising. How to do that? Sorry, I’m not good at that part of the game.

There are other outfits you can put your book on (Kobo, Barnes & Noble, Google Play, etc.) but they won’t sell as much as Amazon. If you go Amazon exclusive, your book is available to Kindle Unlimited readers. Some months I get more from KU than from sales; usually it’s about a third of my Amazon revenue. If Amazon ever cancels my account, I will be screwed, so it’s a gamble.

A mailing list (Substack, MailChimp, many others) will let you keep in touch with your core readers, the people who can be counted onto buy all your books. Make yourself visible—social media, conventions, in-person sales. Recruiting readers one at a time is slow, but gets you people who will read everything you write. Substack has the advantage that instead of charging you for sending emails, they offer subscribers a chance to pay you (while Substack takes a cut, of course).

The Amazon algorithm rewards publishing fast. I’ve seen writers succeed by putting out a new book every month. Some authors have teamed up to write in shared universes so they can jointly feed the algorithm. I don’t write fast enough to do that, but if you can do it without burning out, Amazon will reward you.

Kickstarter is a good way to bypass Amazon and the other e-book platforms, to contact readers directly. An “event” lets you attract attention. You can have a range of pledge levels from cheap e-books to autographed hardcover sets, to bring in readers with different incomes. You can also offer huge pledge levels to hook “whales” among your fans.

If you’re going “wide” (not exclusive to Amazon), you can build a website of your own to sell books directly. That’s more labor, but you keep the highest percentage that way. I know an indie writer who’s become so successful that her husband quit his day job to handle shipping for her books.

For an introvert like me, selling in person is hard. I got better with some advice from fellow author Chris Schmitz (4). This is another thing practice helps with. Meeting readers in person is another way to add to your following.

It’s not easy being writer. It’s not a great way to make money unless you’re both good and lucky. But if you work hard, you can do your part in changing that three million new books a year to four million new books a year. 

If you want to see what I’ve done, you can check out my books on Amazon:

https://www.amazon.com/stores/Karl-K-Gallagher/author/B0195ZEOO8

And my short stories on Substack:

https://gallagherstories.substack.com/t/shortstory



 
Footnotes:

  1. New books stat: https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/96468-self-publishing-s-output-and-infuence-continue-to-grow.html

  2. Kris Rusch: https://kriswrites.com/new-contracts-and-dealbreakers/

  3. Depreciation: https://deanwesleysmith.com/advanced-magic-bakery-chapter-five/

  4. Live selling: https://authorchristopherdschmitz.myshopify.com/products/sell-more-books-at-live-events-how-to-sell-more-books-at-conventions-shows-signings-events-and-beyond?variant=45077611413760



 


Karl K. Gallagher
is a systems engineer, currently performing data analysis for a major aerospace company. In the past he calculated trajectories for a commercial launch rocket start-up, operated satellites as a US Air Force officer, and selected orbits for government and commercial satellites. Karl lives in Minnesota with his family.

 

 

 

 

 

 



ATTENTION, AUTHORS!

Are you a successful self-published or non-trad published author? Have you had a self-published, small-press published, or other non-traditional-published book released within the last three years? Are you willing to share what you learned from the experience with other writers? If so, we’d like to hear from you, and to share your story with our readers.

Query first, please, to stupefyingstories@gmail.com, subject “Success Story.”

We’re most interested in hearing what worked for you, and what didn’t. Is there one thing you did that really worked well, and that you’d recommend that others do? Conversely, is there something you did that you really wish you hadn’t, and would caution others to avoid?

Yes, of course you can use this opportunity to shamelessly promote yourself and your own books. 

Sunday, August 10, 2025

Writing 101 • Understanding the Publishing Ecosystem: an RFP

Continued from: Part 1 | Part 2 | Part 3
Supplemental reading: How to Get Rich Quick Writing Big Hit Bestsellers!


RFP: It’s engineer-speak for “Call for Submissions”

Rather than continuing to charge ahead with what’s turned into a series of posts, I’ve decided to pause, take a step back, and really think about where we’re going with this.

Understand, I came into publishing in the 1980s, when the objective was to make enough pro market short story sales to draw the attention of a traditional publisher, and then to land a book deal. I have had such book deals, for mass-market paperback, trade paperback, and hardcover books with major publishers, and have had my books win awards and make bestseller lists, at a time when a mid-list book sold 50- to 80,000 copies and a bestseller moved six figures or more.

In 2000 I got fed up with dealing with traditional publishers and went back into working in software development, where I was mostly happy for the next 20 years. In 2010 we launched Rampant Loon Press and Stupefying Stories, in part out of intellectual curiosity and a desire to explore this brave new world of electronic publishing (which always made more sense to me than did the wasteful economics of trad publishing), and in larger part to help promote the careers of up-and-coming writers.

In the 20-teens we did moderately well, publishing e-books that sometimes flopped but more often sold, and sometimes sold thousands of copies. To my surprise I learned that a title that moved a few thousand copies was a bestseller, in this 21st century small-press e-book world, and that every time I thought I had the market all figured out, the rules changed.

The rules really changed with the COVID pandemic.

Since the pandemic, while we have released books that have gotten great reviews and even been short-listed for major awards—and when I compare the hardcover of The Princess Scout to that original first issue of Stupefying Stories, I am astonished by how rapidly the quality of the books we can produce has evolved—

We have not had a bestseller since the pandemic. 

The closest thing we have to a bestseller in the current catalog is The Midnight Ground, by Eric Dontigney, and we released that one before the pandemic. It’s getting a lot of attention now, but it had a long, sputtering, slow-burning fuse before it finally took off. The lessons we learned from this one are idiosyncratic, and not readily applicable to anything else.  

Hence this RFP. I am not looking for fiction submissions at this time. What I am looking for are success stories. So my questions are:

  • Have you self-published or small-press published a book within the past three years?

  • Has the book sold well? (No need to disclose numbers.)

  • Are you willing to share what you learned from your experience with other writers?

  • Can you think of one thing you did that really paid off and that you’d recommend others do?

  • Can you think of one thing you did that you really wish you hadn’t and want to warn others off of doing?

Again, remembering that the entire point of Stupefying Stories is to help promote the careers of up-and-coming writers, I am looking for success stories, not OMFG failure stories. (I have enough of those of my own already, thank you.) Ideally, I’d like like to run a series of guest columns, along the lines of—

 

If this idea gets your interest, drop me a line at stupefyingstories@gmail.com, and let’s talk.

Thanks,
Bruce Bethke
Executive Cat-Herder in Chief, Stupefying Stories 

P. S. Yes, of course you can use your guest column to shamelessly promote your own book. 




In science fiction circles Bruce Bethke is best known either for his 1980 short story, “Cyberpunk,” his 1995 Philip K. Dick Award-winning novel, Headcrash, or lately, as the editor and publisher of Stupefying Stories. What very few people in the SF world have known about him until recently is that he actually began his career in the music industry, as a member of the design team that developed the MIDI interface and the Finale music notation engine (among other things), but spent most of his career in supercomputer software R&D, doing work that was absolutely fascinating to do but almost impossible to explain to anyone not already fluent in Old High Unix and well-grounded in massively parallel processor architectures, Fourier transformations, and computational fluid dynamics.

Now retired, he runs Rampant Loon Press, just for the sheer love of genre fiction and the short story form.

Thursday, August 7, 2025

Writing 101 • Understanding the Publishing Ecosystem, Part 3

Continued from: Part 1 | Part 2
Supplemental reading: How to Get Rich Quick Writing Big Hit Bestsellers!

This is where things get sticky.

I would have a lot more confidence in what I’m about to say if we’d had a big hit bestseller recently. We’ve had hit bestsellers. We’ve had books that made a plethora of Top 10 lists, been nominated for awards, and sold thousands of copies.

But not within the last three years. And here in StreamingWorld, more than three years ago is ancient history. That’s, like, forever ago.

I put the link to How to Get Rich Quick Writing Big Hit Bestsellers! in Part 2 with a certain sense of snark and irony. There are a lot of good ideas in that column, if you don’t mind that it’s dripping with cynicism. But I wrote that column 15 months ago, and parts of it are already obsolete. The idea of building your readership by serializing your novel on Kindle Vella, for example—

A few months later Amazon cancelled that program. You say it was a crucial part of your marketing plan? Tough. It’s gone. tb;ss. Too bad, so sad.

The first crucial thing to remember is that Amazon doesn’t care

If they cared, they wouldn’t sell all the A.I.-generated slop that’s already out there, with more being added every day.

The second crucial thing to remember is that it’s far easier to sell people more of what they already like than to get them to take a chance on something truly new.

On this foundation is the mighty Amazon commerce empire built. But in fairness, we can’t blame this on Amazon. Publishers have always used the, “If you liked [that], you’ll love [this]!” sales pitch. As the blind poet Homer wandered ancient Greece, I have to imagine he was preceded by an advance man shouting, “If you liked The Iliad, you’ll love The Odyssey!”

§

Take another look, if you will, at my inverted funnels sketch. It’s easy to see it as a stack of challenges, frustrations, and obstacles, through which you must fight uphill every step of the way to reach The Land of Happy Readers. Every writer who undertakes this quest sooner or later starts to think, “There must be an easier way! Some short cut no one else has discovered…”

What isn’t on the sketch is this: that at every step along the way there are hordes of Gríma Wormtongues, all eager to tell you that yes, there is an easier way, the shortcut does exist, and they will be happy to show you exactly what and where it is—

All you need to do is buy their self-help book. Or enroll in their webinar. Or hire them to write your book blurbs. The secret to success lies is Amazon advertising. No, it’s in Facebook advertising. No, it’s BookTok! It’s in posting videos on social media! It’s in learning to master the arcane secrets of Amazon Kindle keywords and having a great quote from Kirkus Reviews!

Did you know you have to buy book reviews from Kirkus? And if you want to quote their review in your advertising, that costs you even more?

The secret is, there is no secret shortcut to success. There is no foolproof way to game the system. No amount of money spent on advertising and courting the favor of social media influencers can push a bad book uphill. The big publishers have proven that repeatedly, every time they’ve bought a novel by a “celebrity”—unless you want to do what Putnam did with William Shatner’s TekWar series, and hire Ron Goulart to actually write the books.

I’ll assume you don’t have the resources to do either: to hire a well-known actor to be the public face of your books, or to hire someone else to actually write them. But know this: you can spend a lot of your own money trying to chase shortcuts and push your book uphill, if you listen to all the Grímas you will meet along the way.

§

The Best Option: Traditional Publishing

The best option for most authors remains what it has been for decades: to try to get a book deal with a major publishing house. They’re the ones with the resources to pay authors significant on-signing advances; to buy professional cover art and editorial and book design services; and to buy ad placements on Amazon. Getting a deal with a major publishing house is also the ticket to getting physical books into those few brick-and-mortar bookstores as still exist. If you can get a book deal with a major publisher, it’s still the way to go.

However, seeking a book deal with a major publishing house is not for the impatient, and the aperture of entry is tighter than a frog’s sphincter. Also, once you’ve landed a book deal there are still a multitude of ways in which it can go to Hell in a handbasket, and I’ve explored most of them.

MY ADVICE: Never ask a publisher what they want to see. The answer invariably is either something just like whatever was their most recent big bestseller, or else something just like whatever was a competitor's most recent and even bigger bestseller. You can save time and answer that question yourself, with about five minutes’ research.

Never ask an editor what they want to see. They’ll just tell you what their publisher told them to look for.

Never ask an agent what they want to see. They’ll just parrot whatever they heard from the last editor or publisher they spoke with most recently.

The Worst Option: Totally DIY Self-Publishing

Have you ever been wandering around Netflix or Amazon Prime late at night and decided to take a chance on a movie you’d never heard of before, because the poster art and description looked promising? Then, once you started to watch, the credits were something like—

Starring
MICHAEL SCHWARTZ

Directed by
MICHAEL SCHWARTZ

Produced by
MICHAEL SCHWARTZ

Screenplay by
MICHAEL SCHWARTZ

Based on a story by
MICHAEL SCHWARTZ

Catering by
MICHAEL SCHWARTZ

Mr. Schwartz’s wardrobe by
MICHAEL SCHWARTZ

Have you ever seen such a movie that was actually good? (Okay, Bambi Meets Godzilla. That’s one.) Or even watched such a movie for more than a few minutes before giving up on it?

This is what you’re up against when you decide to bypass everything and go the totally DIY route, straight from yourself to The World: the perception that anything published this way is very likely to be total crap. That perception may be wrong. Your book might be the one brilliant exception; the Bambi Meets Godzilla, as it were. But so many have trod this path before you and so thoroughly befouled it that you’re never going to make more than a few pity sales, no matter how much of your own money you hand over to all the Grímas you meet along the way who are eager to assure you that you are doing the right thing, and you’re sure to succeed, if only you take your spending to the next level and give them more.

MY ADVICE: This is the worst option. Don’t do it. All you will accomplish is to waste your time, money, and energy, and fray the nerves of your friends and relatives. Don’t do it!

And don’t think saying “Vince Flynn” is a meaningful rebuttal. (Self-pub evangelists love to do that.) As happens I have a signed, first edition, first-printing copy of Term Limits right here, and know quite a bit about how Flynn parlayed that self-published book into a lucrative deal with Pocket Books and NY Times Bestsellerdom. Suffice to say, it was a one-of-a-kind never-to-be-repeated exception, not a model you can emulate.

The Chaotic Good Option: Assisted Self-Publishing

 

And on this note I’m out of time to write today, so I guess this is going to roll over into a fourth column after all.  See you tomorrow!

~brb

 




In science fiction circles Bruce Bethke is best known either for his 1980 short story, “Cyberpunk,” his 1995 Philip K. Dick Award-winning novel, Headcrash, or lately, as the editor and publisher of Stupefying Stories. What very few people in the SF world have known about him until recently is that he actually began his career in the music industry, as a member of the design team that developed the MIDI interface and the Finale music notation engine (among other things), but spent most of his career in supercomputer software R&D, doing work that was absolutely fascinating to do but almost impossible to explain to anyone not already fluent in Old High Unix and well-grounded in massively parallel processor architectures, Fourier transformations, and computational fluid dynamics.

Now retired, he runs Rampant Loon Press, just for the sheer love of genre fiction and the short story form.

 

Tuesday, August 5, 2025

Writing 101 • Understanding the Publishing Ecosystem, Part 2

Continued from Part 1

Funny thing about time. It always moves forward. 

Never slows, never pauses—if anything, it seems to accelerate as you get older—and absolutely never flows backward.

I sometimes wonder if our perception of the passage of time is at the root of our urge to read and write science fiction and fantasy. We long to imagine what it might be like to live in the future, or to have lived in the past, or frankly, to live anywhere else except in the boring and grubby confines of our personal here and now. We want to imagine living a life beyond our biologically allotted fourscore and ten.

I’m pretty sure our perception of time is what’s responsible for the catastrophic / apocalyptic /survivalist themes the science fiction. Unable to imagine what the future might really hold, some writers say, “Aw, screw it,” and decide to destroy the world instead, so they can start over again with telling stories set in the Stone Age.

Slightly attenuated, this impulse might explain how steampunk was able to erase the 20th Century and try to start science fiction all over again, beginning in the 19th Century, with Jules Verne.

§

This column has proven more difficult to write than I’d expected. I left off last week with a promised confrontation with the Great Boss Monster, Guardian of The Critical Chokepoint.

I have mixed feelings about this. On the one hand, I feel as if I’m biting the hand that’s fed us. Longtime readers know Stupefying Stories simply would not exist were it not for that first Kindle I bought for my late wife, when she first began chemotherapy and found her customary book bag too heavy to carry. That Kindle was a godsend for her, and on the RLP side of the house Amazon literally opened the world for us, making it possible for us to reach readers we had no hope of ever reaching before.

(And I will add, right from the start, dealing with Kindle Direct Publishing was always orders of magnitude better than dealing directly with Barnes & Noble Nook or Apple iBook publishing.)

Then again, the business relationship is essentially parasitic. Amazon’s business model seems predicated on convincing enormous numbers of people to pour their time, energy, blood, sweat, toil and tears into developing new markets and creating new products that make Amazon’s platform more valuable. Then, once a new market has been proven to exist, they change the rules and make it impossible for third parties to make a profit—at least, not without giving Amazon a bigger cut.

It’s difficult to think objectively about Amazon without becoming cynical. I base this not just on my long experience with Rampant Loon Press, but on our even longer experience with K&B Booksellers. If you are lucky enough to get in early on some new opportunity, they will do a good job of feigning being your partner, at first. Eventually, though, they will either undercut you and devour your business, or else simply kill off the program entirely, if they don’t find it profitable enough. If it’s a program you built your business around: tough.

The essential thing to remember is that Amazon doesn’t care what they sell. They only care that they sell, and skim a percentage off the top. They’re a conduit to customers, that’s all. Amazon would sell used baby diapers and outdated gray-market medical supplies if they could—and in fact they have, but that’s another story.

The problem for the rest of us is that Amazon has had years in which to develop their conduit, and they have gotten very, very good at it. As far as fiction publishers are concerned, Amazon is the world, and the world is Amazon’s. There are some fringe distribution channels left, but only because Amazon has not yet found it worthwhile to devour them. Whenever publishers and publishing-adjacent people get together, one topic keeps coming up: When is the pendulum going to swing back? When will we start to go back to the way things were before Amazon?

Answers: never, and we’re not. Time keeps moving forward, remember? That friendly neighborhood indie bookstore you remember so fondly? It’s not coming back. Spinner racks in convenience stories loaded with mass-market paperbacks? Not coming back. Magazine racks and newsstands? Nope.

You are in Streaming World now, and if it isn’t electronic and online, it’s not going to sell in more than boutique numbers. Movie industry people will complain about this long and loud, if you let them. Now, when a new movie is released, it’s not just competing against all the other new releases coming out at about the same time. It’s competing against almost every other movie ever made, now streaming on Amazon Prime.

Ditto for books. We writers have always sensed this, that we’re competing with our predecessors, which perhaps explains why each generation of writers seems to truly hate the generation that came before it. Mark Twain hated James Fennimore Cooper, after all. But now, you’re not just competing against all the other books currently on the shelves in your local bookstore. You’re competing against practically every book ever published.

So how do you break through that enormous inert mass?

§

Remember my inverted funnel sketch from Part 1? To recap, at the top is The World, the wonderful place where readers live. The World is huge, and thanks to the Internet in general and Amazon in particular, it’s much larger and more densely populated than ever before.

At the bottom is Author Space, which actually is a subset of The World, but it’s hard to express that in a two-dimensional pencil sketch. Thanks to the Internet, Author Space is also much more densely populated than ever before, and I can tell you from firsthand experience that there are a lot of writers in Europe, Asia, Africa, Australia, and South America who can tell an engaging story much better than can someone who is fresh out of an American college with a newly minted BA or MFA in Creative Writing. My current theory as to why this is so is that the latter tend to be stuck firmly in Author Space, with minds so loaded full of received wisdom about writing qua writing that they have forgotten that their purpose is to entertain readers by telling them a story.

Emphasize those words. Entertain. Readers.

Basic theory tells us that communication consists of three elements:

  • A transmitter (you)
  • Sending information (your idea)
  • To a receiver (the readers)

All else is noise, filtering, attenuation, encoding protocols, or other characteristics of the transmitter’s chosen medium. Without receivers, all else is meaningless. Or to paraphrase Mark Twain: ‘Writing alone purely for your own pleasure is like having sex alone purely for your own pleasure, and a practice you should stop before reaching adulthood.’

So the first step in breaking through to The World is to consider your orientation. Are you looking at this challenge from the perspective of Author Space concerns, or from the point of view of Readers?

If you’ve been focusing on Author Space concerns and finding yourself going nowhere, perhaps you need to adjust your frame of reference.

§

An aside before we continue: another thing hard to convey in a 2D pencil sketch are the 4th dimensions of both Author Space and The World. Out in The World, most people seem to live inside a bubble about ten years long. Five years ago is ancient history. (“You mean, like, before the Pandemic?”) Five years in the future too far away to imagine. I sometimes think ten years might even be optimistic, and six years more accurate.

In Author Space, on the other hand, writers tend to live inside much larger temporal envelopes. They read; they remember. Writers tend to take a longer view of history, and a more far-sighted view of the future. But they also forget: most other people don’t.

Both populations are constantly turning over. Writers, I’ve observed, have a half-life of about ten years, between the time they decide to get serious about their craft and the time they get fed up and quit. The reading population turns over much more quickly: about six years, I’d say, between the time they decide to get serious about reading and the time their tastes have ossified; they’ve found their favorite authors and styles and aren’t open to trying anything new unless it’s very much like something they already know and like. The readers of today are not the same readers of even five years ago. Whenever publishing-adjacent people ask: When is the pendulum going to swing back? When will we start to go back to the way things were before Amazon?  

It can’t. There is no “there” to go back to. Those readers are gone. They’ve aged out of the marketplace and been replaced. And for the new readers who have come in to replace the old ones, the way things are now is the way things have always been.

Geez, you’d think people who routinely write about orbital mechanics and relativistic time-dilation would grasp that.

§

 

Thus we return to The Pass of Ultimate Glory or Failure, to find ourselves standing once more before The Critical Chokepoint, considering how best to deal with its guardian, The Great Boss Monster, Amazonas.

And at this point we must pause, because this planned 750-word post has already ballooned up to 1,500 words and I’m nowhere the end, and yet out of time to write today. I’ll try to wrap it up tomorrow, then.

In the meantime, your homework assignment is to read this:

How to Get Rich Quick Writing Big Hit Bestsellers!

 

...to be concluded...




In science fiction circles Bruce Bethke is best known either for his 1980 short story, “Cyberpunk,” his 1995 Philip K. Dick Award-winning novel, Headcrash, or lately, as the editor and publisher of Stupefying Stories. What very few people in the SF world have known about him until recently is that he actually began his career in the music industry, as a member of the design team that developed the MIDI interface and the Finale music notation engine (among other things), but spent most of his career in supercomputer software R&D, doing work that was absolutely fascinating to do but almost impossible to explain to anyone not already fluent in Old High Unix and well-grounded in massively parallel processor architectures, Fourier transformations, and computational fluid dynamics.

Now retired, he runs Rampant Loon Press, just for the sheer love of genre fiction and the short story form.