Kevin J. Anderson’s Blog

i write. i make up stuff. i adventure hard, so you don’t have to.
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    Great Review for FIVE BY FIVE 3: TARGET ZONE

    Posted By on January 30, 2015

    Liberty Island magazine just ran a very thorough review on the newly released FIVE BY FIVE 3: TARGET ZONE, published in trade paperback and all eBook formats from WordFire Press.  Each volume of the FIVE BY FIVE series contains five military SF novellas by five military SF writers.  Volume 3 has all-new pieces by Michael A. Stackpole, Sarah A. Hoyt, Doug Dandridge, Dani Kollin and Eytan Kollin, and Kevin J. Anderson

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    The Liberty Island reviewer had this to say:

    This anthology of five military sci-fi novellas gives a reader an excellent sense of the variety of authors and styles currently available to both fans of the genre and those still waiting to discover it for themselves. The authors are so different, however, that it is nearly impossible to review this publication as a whole; therefore, I will provide a short review of each entry and assign star ratings accordingly.

    Remains of the Dead (A Star Tigers Story) by Michael A. Stackpole
    The story grabbed me from the start with it unusual and richly imagined world populated by fully developed characters. The idea of humans, living as second class citizens in a world not of their own, but still retaining the best of the human qualities and wishing to prove their worth, both as individuals and as a race, is incredibly appealing and gets fair and thoughtful treatment. The action, once it gets going, is exciting and full of surprises, and in the end we are left wanting to spend more time in the world and read more about what follows the events of the story. 4 Stars

    And Not to Yield by Sarah A. Hoyt
    This novella takes place in Hoyt’s Darkship/Earth Revolution universe and is a ten-years-later sequel to A Few Good Men. As a fan of the original, I approached the sequel with a mix of excitement and trepidation, both eager to catch up with the characters I love and fearful that the short-form story would not live up to the original. I did find myself not only completely satisfied, but with a newfound respect for the author for her ability to both stay true to the characters and acknowledge the passage of time. Other than that, the story is very typical Hoyt: emotionally charged, with tightly written action scenes, occasional philosophical side trips and a dry sense of humor. 5 Stars

    Goliath by Doug Dandridge
    The most traditional military sci-fi story in the anthology, Goliath starts boldly with several pages of infodump before moving on to action, an equivalent of having Star Wars-like opening credits roll on and on for minutes on end. In the final analysis, though, it might have paid off because the story proper jumps right into an alien encounter and the tension does not let up until the final scene. This particular story has the highest action-to-character-development ratio in the anthology and so would probably appeal to a different kind of reader than the rest. 4 Stars

    Teach Your Children Well (An Unincorporated War story) by Eytan and Dani Kollin
    This was, in all honesty, the story I enjoyed the least, not because it was necessarily badly written but because in my opinion it did not lend itself well to short form storytelling. There is at once too much and not enough information for the reader about the world, and switches between backstory and present time make it harder to get attached to the characters and follow the many plot twists. The idea of the society with no/minimal self-ownership is intriguing, but it gets pushed aside to explore more traditional themes with only limited success. The action scenes are well done and the story did hold my attention throughout, but it could have been much better. 3 Stars

    Escape Hatch by Kevin J. Anderson
    This one is a piece of pure, unadulterated delight, from the first attention-grabbing scene to the exceptionally satisfying resolution. The reader can see the “what” of big twist miles (or rather sea leagues) away, but it’s the “how” that matters. This is a perfect demonstration of my point that many writers should stop focusing so much on being original/clever and just write solid stories with memorable characters. And that, kids, is how it’s done. Even though the story is self-contained, it will likely send you scurrying to the bookstore/website of your choice for more of this author’s works. Just make sure you have enough money on your card because, oh man, is he prolific. 5 Stars

    And so we got two 5 Stars, two 4 Stars and one 3 Stars, which my trusty calculator is averaging to 4.1. Thus, 4 Stars for the anthology as a whole. Strongly recommended.

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    And don’t miss the first two FIVE BY FIVE anthologies

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    Teaser Tuesday: THE SYNOPSIS TREASURY

    Posted By on January 28, 2015

    As we move toward the 2015 Superstars Writing Seminar, it’s time to show off another excellent writing book we’ve just released at WordFire Press.  THE SYNOPSIS TREASURY contains the actual proposals and synopses submitted by well-known authors for books that many of you have known and read.  An excellent snapshot behind the scenes of the business. Look at original proposals by H.G. Wells, Kevin J. Anderson and Brian Herbert, Frank Herbert, Joe Haldeman, Connie Willis, Andre Norton, Robert Heinlein, Jack Williamson, James Gunn, Ben Bova, Piers Anthony, Michael Bishop, Terry Brooks, Robert E. Vardeman, Orson Scott Card, David Brin, Janny Wurts, James P Blaylock, Bruce Coville, Margaret Weiss, Nancy Varian Berberick, Robert J. Sawyer, Sara Douglass, Louise Marley, Roberta Gellis, Ian R. McLeod, Julie E. Czerneda, Jacqueline Carey, Chris Roberson, Eldon Thompson. An invaluable treasury!

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    Here’s the Foreword, by our hard-working editor, Christopher Sirmons Haviland

    FOREWORD

    The Synopsis Treasury began in 2003, at what was then called the Maui Writer’s Conference, in a conversation with science fiction author Ben Bova. It went some-thing like this:

    “There are lots of books telling aspiring writers how to write synopses,” I said to him. “What they really need is an anthology that shows them what authors did in fact submit to their agent or publisher.”

    “You should put that together,” Ben said right away. “That’ll sell.”

    It took me longer than it should have to intuit what this meant. “You mean I should just approach authors out of the blue and say, ‘I am compiling a book of actual synopses that authors sent to their publishers. Do you have one I can publish in my collection?’”

    “Yes,” he said simply.

    I paused, considering this advice. “Okay, do you have one I can publish in my collection?”

    “Sure, how about Mars?”

    Next thing I knew, he pitched the idea to his wife, literary agent Barbara Bova*, who asked me to put together a book proposal so she could shop it.

    I spoke to a few authors at the conference, including Terry Brooks and Bruce Coville, and they made verbal commitments to help me as well. When I got home I reached out to a few more authors I had been in contact with over the years, starting with Andre Norton. Andre responded so quickly that hers was the

    very first I actually received. In a fairly short amount of time I had a handful of synopses from major authors.

    So life had assigned a project for me to do, and I rolled up my sleeves and got to work. But I had no idea what I was in for.

    Very early into the project I had to make decisions as to the goal of my book, although some would be tweaked over time. My first decision, which never changed, was that it would be about content, not about format. There are plenty of books that teach format, and every publisher has formatting guidelines. This relieved me from having to reproduce each author’s contribution in its original format. Instead, I chose a single, basic format for each synopsis to give the book continuity, and only diverted from that when necessary. I also decided I would not line-edit the synopses, except to make sure that my transcription was ac-curate. For the most part, I wanted my audience to read what the publishers read. (Except that, with the older typewritten transcripts, a few typos might have been inadvertently corrected.)

    From 2004 to 2005, when I lived in White Plains, New York, Barbara shopped the book proposal with every big publisher she could think of. But none of them would pick it up. Stymied, she told me I’d better try shopping it myself with the smaller presses. So in 2005–2006, when I moved to Hadley, Massachusetts, I tried to gain interest from independent markets. None of them would pick it up either. I visited the Book Expo one year and pitched it to whomever would listen, and many thought it was a good idea, but would not pick it up.

    In the meantime, I kept collecting synopses. I attempted to go after mainstream authors, but a vast majority of them were either impossible to contact, or did not have anything to submit. Science Fiction and Fantasy authors, however, were not only more accessible but often had synopses they were willing to contribute. I still don’t know what to conclude from that. Do publishers of science fiction and fantasy need synopses more often, even from established authors? Or do many genre authors find a greater use for them? Or is it just easier to make contact with more genre authors than mainstream, and so I don’t have a proper basis of comparison?

    Whatever the reason, the collection ended up with mostly science fiction or fantasy submissions, or mainstream submis-sions by authors who write in the genre.

    Most of the authors I established contact with were very excited and supportive of the project. But publishers were holding back. A large factor in the industry’s hesitation was economic. Book sales were declining, small presses were shutting down, and “niche” books were squeezed out of inventory.

    So I decided I’d try publishing the book with my own company at the time, LegendMaker Scriptoria. In the years between 2006 and 2009 I had built a new house for my growing family in East Longmeadow, Massachusetts and at the same time established publishing agreements with most of the contributors, paid them, and continued to find new synopses and outlines to include. It became a strain on me financially when I got carried away with what I could find.

    At various university archives I discovered synopses and outlines written by authors long deceased. Some of the most famous and prolific genre authors of all time. And I found story ideas pitched by authors to their editors in letters, who would respond with tweaks to those ideas, and so on, until a book emerged. The book was turning into a “Who’s Who” in science fiction and fantasy spanning over a hundred years, with a behind-the-scenes glimpse on how the stories were born. I amassed over seventy actual synopses, most of them written by genre heavyweights!

    So I struggled to find the copyright holders of the material, then a way of contacting them. That was a daunting process. In some cases I couldn’t figure out who owned the rights, or how to reach out to them, and some agents representing literary estates were unresponsive to my inquiries.

    Then in 2009 I was laid off from my day job. By that time I had two young boys and a third on the way, was just recovering from being hospitalized with pneumonia, and was barely making ends meet with the newly constructed house. Not to mention, the housing market had flipped upside-down, making it impossible for me to sell the house without killing my credit rating. After six years of work and lots of money spent, I had no choice but to fold LegendMaker Scriptoria and put The Synopsis Treasury on hiatus indefinitely until I could sort my life out.

    From 2009 to 2012 I was forced to take a lot of different jobs, some of them so stressful that they affected my health. One long gig took place in New York City, forcing me to live away from my family for weeks at a time. Imagine how hard it was on my wife, too!

    Finally I was offered a management job in greater Phila-delphia in 2012 that appeared solid. So I moved into a temporary apartment there, leaving the family behind in Massachusetts until I could find a suitable new home. In the summer of 2012, I finally found and bought one in Royersford, Pennsylvania, and I moved my family down. Reunited after about five months!

    I couldn’t afford to sell the Massachusetts house, so I rented it out.

    All I had to do was lick my wounds for a year or so and resurrect The Synopsis Treasury. But alas, the rug was yanked out from under me once again. I was laid off from my Pennsylvania job only a few months after our big relocation. And I lost my tenant in Massachusetts. By early 2013, I had no income except unemployment insurance with two mortgages on my back. It seemed like The Synopsis Treasury would have to stay in its coma for a long, long time.

    In the summer of 2013 things looked more promising again. I found a new tenant for my Massachusetts house, and I was offered two jobs in the same week. However, both jobs were out of state. I picked the stronger of the two, and once again left my family behind as I moved into a tiny, cheap apartment in Dallas, Texas to start work as soon as possible.

    It was history repeating itself, living away from my family. Much further away.

    Fortunately, my good luck continued. In early 2014 I managed to sell my Pennsylvania house in less than six days—for my asking price! With closing in mid-May, I elected to let my family stay at friends’ and hotels to finish out the school year. That kept them busy while I focused on a double-relocation. I moved all the Pennsylvania furniture down to a bigger apartment in Frisco, Texas, within commute of my new job, and I also moved out of my little apartment in Dallas and into Frisco. (These moves included my library of 3,500 books and various collections that can be the plague of science fiction and fantasy writers and enthusiasts.)

    With towers of unpacked boxes in my new apartment, and utterly exhausted, I fell under the delusion I could get some R&R at the Dallas ComicCon in May 2014.

    I was on my feet all day at the con, standing in lines for autographs like a geek, without food in my stomach. It was brutal, especially given that I have bad feet to begin with. Late in the day, my feet screaming in pain, and feeling dizzy, I wove my way through the retailer floor toward the overpriced hot dog stand. And I happened right up on Kevin J. Anderson’s pavilion. He was a contributor to The Synopsis Treasury back in 2006, and in fact it was via his newsletter that I learned of the timing of the Dallas ComicCon in the first place. So I stopped by to see him.

    I reminded him of The Synopsis Treasury, and told him of its fate.

    He said, “Did you know I am now also a publisher?” (A hint of epic proportions.)

    “Uhhh …” was all I said. To be honest I hadn’t had enough mental bandwidth to connect those dots over the last few years, and on the spur of the moment I couldn’t think of a clever response. I really needed to get that hot dog in me.

    “We’re looking for good writing books and I’d like this one,” he continued. He asked me to submit The Synopsis Treasury to him for publication in the Fall of 2014.

    I only remember staring blankly at him, like a deer mes-merized by the headlights of a fast moving truck. I had so much unpacking to do before my family moved in, and very little PTO left at work.

    I then bought a truckload of books from Kevin’s table and staggered off to eat junk food.

    Kevin’s first concern was that The Synopsis Treasury tried to accomplish too much. I had collected too many chapters, and the page count was exceptional. It had suffered from scope creep. The solution was obvious, I just needed to be forced to cut chapters. While stuffing myself with empty calories at a dirty indoor picnic table and trying to rest my burning feet, I yanked out my iPad, found my chapter list (God Bless Dropbox) and emailed it to Kevin, explaining my situation in more detail. Kevin advised, “Give me what’s finished. Shelve the rest for later.”

    He made it sound so easy. Maybe I was overcomplicating it.

    But first I had to find the project. It was still packed from my relocation. Somewhere.

    Then I had to re-read all the material, scan in all the agreements, reconnect with the authors I wanted to keep, and chart my progress.

    I had until July to unpack and set up the apartment for my family to move in, and until September to prepare and submit The Synopsis Treasury. Just the volume of cardboard after un-packing was an absolute nightmare! My wife, Sara, had accepted a four week job teaching Chinese at a Massachusetts summer school to make back a little of our expenses. Two of my kids attended the classes and the other one stayed with my mother in Connecticut. That bought me some time, but I didn’t want Sara to have to drive all the way down to Texas with three little boys by herself, after everything she’d already been through. I needed to take a week off work, fly up, and drive them down. If the apartment wasn’t ready before I left, there would be nowhere for them to park, to cook, to eat, to sleep, to sit …

    So when I wasn’t passed out in my recliner from sheer exhaustion, I juggled my “free time” priorities on an hourly basis. My day job also took turns compressing me, as day jobs usually do, and once in a while needed off-hours attention as well.

    I found my book project, which was very well filed and organized in hanging folders for each author, and read through everything as fast as I could. How was I to decide what chapters were finished? The criteria wasn’t as clear as I’d hoped. Most of my chapters had all their assets but the bios and photos were outdated by six to eight years, and so was all the contact infor-mation. Some of my agreements needed to be renewed. Some chapters were missing a minor piece—a photo here, a bio there. If the synopsis and introduction were great, and the author was paid and I had a signed agreement, why cut the chapter just because it’s missing a bio? I had to get it all together.

    From May through September 2014 I cut lots of chapters that I had no hope of finishing on time. Some of these cuts broke my heart, because they would have been a wonderful addition, but I could not establish rights to publish them on my new timetable. With what was left, I began reaching out to all my contributors again, reminding them of the project, getting them up to speed, and asking them to please send in a photo, or a bio, or even finish their introduction.

    I thought perhaps they’d say they were too busy, and couldn’t help me on such short notice. But instead they were very understanding, agreeable, and quick to respond. Professional writers are used to deadlines.

    I also decided I would really like to have an editor’s point of view. I wanted an editor with experience at reading synopses and outlines for a publisher to write the introduction to The Synopsis Treasury. But there was so little time! Could I find one? Who?

    On a whim, I reached out to one of the most well-known and respected candidates in the genre: Betsy Mitchell, former vice pre-sident and editor-in-chief of Del Rey, whom I had met all those years ago on Maui, before the book even began. Terry Brooks himself had introduced me to her, as she was his fiction editor.

    I thought it was a shot in the dark, but Betsy responded with a “yes,” and wrote a great introduction for the book on a very tight deadline.

    By some miracle I accomplished all my goals. I got the apartment unpacked and organized (mostly), moved my wife and boys in, and finished The Synopsis Treasury.

    Finally I reached the end of a ten year journey.

    What you will read here is only a fraction of what I originally compiled. But maybe there is life in it yet. Maybe all those chapters I had to cut will make it into a Volume 2 someday? Tell all your friends to buy this book, and we’ll see!

    In the meantime, here are my suggestions on how to use The Synopsis Treasury:

    Read the summaries herein.

    Buy and read the novels that were finally published, and compare. What changed? Did the changes improve the idea?

    As a bonus, compare these synopses to the cover copy if available—the summary of the story usually found on the back of the novel or in the cover sleeve. Cover copy is designed to entice a reader, whereas the selections in The Synopsis Treasury are designed to entice a publisher.

    I hope you are as fascinated reading all this as I have been!

    —Christopher Sirmons Haviland
    Editor, The Synopsis Treasury
    September, 2014

    You can pick up your copy in print and in all eBook formats.

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    Teaser Tuesday: PULSE POUNDERS

    Posted By on January 20, 2015

    Take a seat in your favorite reading chair and buckle up.  The new volume of Fiction River just came out today, guest edited by me, an anthology is fast-paced non-stop adventure stories, PULSE POUNDERS. Available in trade paperback format and all eBook formats.  For those of you who can read an ePub version, the Kobo Special Edition of the anthology has three extra stories…to keep your pulse pounding even longer after the regular-edition readers have finished their last story.

    PULSE POUNDERS is a mix of straight suspense, science fiction, espionage, pulp adventure, fantasy, mystery—the only criterion was that they all be exciting. Contains all new fiction by JC Andrijeski, Patrick O’Sullivan, Thomas K. Carpenter, David Farland, Jamie McNabb, Ron Collins, Brigid Collins, Dayle A. Dermatis, Phaedra Weldon, Kristine Kathryn Rusch, Chuck Heinzelman, and (exclusive to the Kobo bonus edition from http://www.kobo.com) Diana Deverell, Leah Cutter, and Kim May.  AND, there’s a new, never-before-published thriller by Frank Herbert, “The Yellow Coat,” as well as a science fiction suspense novelette “Change of Mind” by me and Pete J Wacks.

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    Here’s my Introduction to the volume:

    Strap Yourself In and Hold On

    We’re not wasting any time here.

    Typically, a reader will sit back in a comfortable chair with a good book to enjoy the writing, experience the adventure, get to know the characters. This book delivers all that—but you’d better fasten your seatbelt, too.

    A “pulse pounder” is a story that plunges you eyeballs-first into the action; a bungee jump to the heart of the plot, rather than a slow relaxing stroll.

    Brace yourself. This isn’t chic lit with long leisurely chapters of subtle character development, everyday life, social interaction, mundane telephone conversations, with eventually maybe, maybe, something happening (or is it just a dream?).

    These aren’t creative writing class stories, where characters express their angst at great length, usually about a flawed or strained relationship breaking up, with a climactic conversation over the breakfast dishes. The end.

    No, pulse pounders are stories that (often literally) start with a bang. If you’re not engulfed in the tale by the bottom of page one, then the pulse pounder has failed. This poses an added challenge to the writer, like a mixed martial arts match: He or she has to get you completely involved in the characters and make you care for them, while building the world and explaining the situation—usually a crisis—in a paragraph or two. No time to waste. You have to understand the people, the set-up and the problem, all while you’re in the midst of the action. That takes a very special skill.

    And these guys have that special skill.

    Pulse Pounders contains a variety of genres, from straightforward mainstream thrillers, such as J.C. Andrijeski’s “The Chair,” Dayle A. Dermatis’s “The Scent of Amber and Vanilla,” and David Farland’s “Big and Shady,” a tale of an American screenwriter caught up in a Chinese Mafia effort at filmmaking—a story that is, sadly, far too true to Dave’s personal experiences.

    We have time-travel thrillers, such as Chuck Heintzelman’s “Three Strikes” and Thomas K. Carpenter’s “Tower One,” and near-future high-tech SF in Ron Collins’s “Fraternization,” as well as far-future hard science fiction in Jamie McNabb’s “Daisy Wong: The Hell of the Unprepared Sinners,” Kristine Kathryn Rusch’s “Sole Survivor,” and my own, “Change of Mind,” written with Peter J. Wacks. We have Phaedra Weldon’s urban fantasy “The Mer,” and the delightful fantasy, “Frostburnt,” by Brigid Collins, a story I enjoyed so much that even though it wasn’t written for my anthology, I stole it from a different one. And there’s flat-out pulp adventure, in Patrick O’Sullivan’s “A Man of His Times.”

    And a special treat, a previously unpublished thriller written by grandmaster Frank Herbert, author of Dune. While I was editing a collection of Herbert’s unpublished short stories, which I’ll publish through WordFire Press, I came upon “The Yellow Coat,” a tense story about a bank robbery gone wrong and the robbers’ desperate flight through the wilderness—it seemed like a perfect pulse pounder. When I mentioned the story to Fiction River series editors Dean Wesley Smith and Kristine Kathryn Rusch, they insisted that I include it here.

    Even with this great selection, I couldn’t fit in all the stories I wanted to include, due to silly reasons like budgets and page counts and word limitations. Then, as an unexpected opportunity, Kobo sponsored a special edition of Pulse Pounders. This extra boost allowed me to include three more stories that were dear to me, as exclusive additional content to the Kobo electronic edition.

    “Thanks to Kobo, I am very pleased to include a Jason Bourne-style spy thriller, “Blown,” by Diana Deverell, Leah Cutter’s vivid historical story about Chinese tongs and the opium wars in Vancouver, “The Messenger,” and a great action-packed battle aboard a space station in Kim May’s, “The Void Around the Sword’s Edge.”

    Take a breath, turn the page, and let your pulse start pounding.

    —Kevin J. Anderson
    Monument, Colorado
    May 15, 2014

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    Writing Books (and Books on Writing)

    Posted By on January 20, 2015

    With the numerous writing workshops and panels I give at conventions, as well as the big Superstars Writing Seminar coming up the first week in February, many people have asked me if I’ve written down any of my lectures. Yes, in fact, I released two books on my most popular talks this year, Million Dollar Productivity and Million Dollar Professionalism (based on the “Things I Wish Some Pro Had Told Me When I Was Just Starting out” talk we’ve given countless times).  Both are available in print and all eBook formats.

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    Life is crazy and hectic for most of us. With all those distractions, how does an aspiring author find time to write? 

Award-winning and #1 international bestselling author Kevin J. Anderson is one of the most prolific authors in the business. He shares his tips on how to find the time to write, and how to make the most of that time.

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    Since the 1990s, bestsellers Kevin J. Anderson and Rebecca Moesta have helped thousands and thousands of writers to develop the mindset of career professionals. Million Dollar Professionalism for the Writer presents lessons learned from the authors’ decades of experience in publishing. They offer advice on working with publishers, editors, booksellers, and fellow authors, and using persistence and reliability to find continued work in the industry.

    Their tips cover professional courtesy, building a network of colleagues, reading contracts, meeting deadlines (and the domino-effect consequences of missing them), dealing with critics, and how to earn and maintain a reputation as a true professional.

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    In addition, at WordFire Press, we’ve published several other useful nuts & bolts books on other aspects of writing. TV producer and screenwriter Steven L. Sears wrote The Non-User Friendly Guide for Aspiring TV Writers:

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    Steven L. Sears has had a successful career in film and television encompassing over three decades. From his beginnings as a staff writer on NBC’s The A-Team, to Co-Executive Producer on the hit TV series Xena:Warrior Princess for MCA/Universal, creator and Executive Producer of Sheena: Queen of the Jungle for Sony/TriStar Television, and many pilot and development deals with major studios and production companies, he has amassed a huge amount of experience and knowledge about the inner workings of the entertainment industry.

    In The Non-User-Friendly Guide for Aspiring TV Writers, Sears shares that experience and gives advice for those considering a career in television writing. Instead of the traditional academic and sterile approach, Sears answers questions from a personal, first-person perspective. These questions have been culled from the real world, people seeking out his advice and looking for the experience that most books don’t have. Some of what he writes about are hard and difficult facts to accept about the business, while other times he gives his opinion based on extensive experience. All of it is unsweetened and direct. Even if you don’t like his answers, Sears will certainly make you think hard about your approach and choices when pursuing a career in an extremely difficult Industry.

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    We also publish three how-to books by New York Times bestselling author David Farland:

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    Bestselling author David Farland has taught dozens of writers who have gone on to staggering literary success, including such #1 New York Times Bestsellers as Brandon Mull (Fablehaven), Brandon Sanderson (Wheel of Time), James Dashner (The Maze Runner) and Stephenie Meyer (Twilight).

    In this book, Dave teaches how to analyze an audience and outline a novel so that it can appeal to a wide readership, giving it the potential to become a bestseller. The secrets found in his unconventional approach will help you understand why so many of his authors go on to prominence.

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    All successful writers use resonance to enhance their stories by drawing power from stories that came before, by resonating with their readers’ experiences, and by resonating within their own works. In this book, you’ll learn exactly what resonance is and how to use it to make your stories more powerful. You’ll see how it is used in literature and other art forms, and how one writer, J. R. R. Tolkien, mastered it in his work.

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    Million Dollar Book Signings will tell you everything you need to know to make your signings a success. This insightful book includes:

    - Ideas for Alternative Venues
    - Effective Publicity Strategies
    - Optimal Dates and Seasons for Signings
    - A Check List of Items to Bring and Tasks to Complete
    . . .and more.

    Whether you’re a new author or a seasoned one, throw a book signing that makes readers leave wanting more–more books, more of you, and, more signings.

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    All in a week’s work: Clockwork Lives, 2113, short stories, Navigators of Dune

    Posted By on January 18, 2015

    I’m always thinking one project ahead (or more), the next book, next story, next universe.  Last week, while I was finishing my second edit of CLOCKWORK LIVES (a new steampunk fantasy adventure written with Neil Peart, in the universe of CLOCKWORK ANGELS), I decided to keep my head in the Rush universe and plotted my novella “2113,” which will be the cornerstone of an anthology of Rush-inspired stories to be published by ECW Press (see my January 12 blog).  After I delivered the CLOCKWORK LIVES manuscript to Neil for his next edit, I wrote the first draft of “2113″ in three ten-hour days…while looking forward to my next major project, NAVIGATORS OF DUNE with Brian Herbert.  Brian had a head start and had nearly finished his chapters already, so I had a lot of catching up to do.

    But before diving into a giant DUNE novel manuscript, I had a couple of loose ends to take care of first, two original short stories for anthologies I had committed to.  The first, a very fun giant robot story for the forthcoming MECH: Age of Steel anthology, written with David Boop. David and I met at the local Starbucks to spend a couple hours brainstorming the story. Dave went home and wrote 3000 words of the first draft that night. I spent two days revising and fleshing it out to 4300 words, then we delivered the final.

    Next up, I had agreed to do a story for BEARDLESS WARRIORS, a tribute anthology for the great Richard Matheson, to be published by Gauntlet Press, a collection of how war affects people.  I’d had a one-sentence story idea tacked to my office board for two years, and it was perfect for this. I turned up the heat on the back burner, mulled over the idea, fleshed it out into an actual plot.  Then I reread the full outline for NAVIGATORS OF DUNE to get *that* percolating on my mental burner while I turned my efforts to writing “Combat Experience” for the Matheson anthology.  I wrote 7000 words in a day, wrapping up the story.

    Then it was time to hit the sands. I was ready for NAVIGATORS OF DUNE. While I’m waiting for the typist to return “2113″ and “Combat Experience” to me for my edits, and waiting for Neil to finish his edit and send me comments on CLOCKWORK LIVES, I’ve started writing NAVIGATORS, finishing five chapters (of my 42) in the past three days. Tomorrow, I’ll go on a nice snowshoe hike to do even more chapters while being invigorated with gorgeous Colorado mountain scenery.

    Still looking forward and backward to other universes. I will keep writing NAVIGATORS, but also spend part of the day editing the new stories whenever they come back to me…while pondering the next big book on the horizon, which will be ETERNITY’S MIND, the third book in my Saga of Shadows trilogy, following THE DARK BETWEEN THE STARS and BLOOD OF THE COSMOS. When you live with countless fictional lives, there’s never a dull moment.

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    New Clinics at Superstars Writing Seminar

    Posted By on January 16, 2015

    This is our sixth year of the Superstars Writing Seminar, and it’ll be our biggest and most ambitious one yet. Over 100 attendees, 19 speakers, and two tracks of programming in the afternoons. A special Eggs Benedict breakfast with James Artimus Owen, which sold out for the first two days, then we added a third day and that one sold out.  We now have only four spots left (out of 72) for the VIP dinner at Phantom Canyon restaurant and brewery.  VIP seating has already sold out.

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    Superstars is the premiere workshop for learning the business of a writing career—professionalism, productivity, networking, and a balanced perspective on traditional publishing, indie publishing, and hybrid authors.

    Among the most exciting  additions for attendees are a set of new one-on-one clinics—face-to-face advice from experts on specific aspects of a publishing and writing career. Toni Weisskopf, publisher of Baen Books, will read and consult about cover letters. Lisa Mangum from Shadow Mountain Books will listen to and critique one-on-one pitches; Kevin J. Anderson and Rebecca Moesta of WordFire Press and Allyson Longuiera from WMG Publishing will do one-on-one critiques of indie-published books, cover design and interior design.

    It’s just one aspect of the broad-based career advice Superstar offers. We hope you’ll consider attending this year, or in the future.

     

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    Teaser Tuesday: CLOCKWORK ANGELS: The Comic Scripts

    Posted By on January 14, 2015

    Clockwork Angels is a steampunk fantasy adventure—and an innovative multimedia feast!

    Based on a story and lyrics by legendary drummer Neil Peart, Clockwork Angels became the worldwide bestselling concept album by Rush and was developed into a New York Times bestselling and award-winning novel by Kevin J. Anderson.

    Anderson and Peart, working with comics artist Nick Robles, brought the epic tale to a visual canvas, a six-issue graphic novel published by BOOM! Studios. Clockwork Angels: The Comic Scripts pulls aside the creative curtain, showing the original scripts, panel by panel, interactions between author and artist, as well as all the secret “Easter eggs” intentionally planted throughout the images as a special treat for Rush fans.

    Clockwork Angels: The Comic Scripts is a fascinating book in its own right, to be studied by comic writers, Rush fans, Kevin J. Anderson fans—and anyone interested in a truly astonishing story of a young man’s journey across a remarkable steampunk landscape with airships, pirates, alchemy, lost cities, a fabulous carnival, and a hero who insists on making his dreams come true.

    Clockwork Angels: The Comic Scripts is available in all eBook formats and in trade paperback.  The comics themselves are available from BOOM! Studios.

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    Here is the introduction written by Ian Brill, the BOOM! Studios editor on the project.

    Wouldn’t It Be Cool If…?

    I’m in Susina Bakery on Beverly Boulevard, enjoying one Los Angeles’s best cups of coffee. Well, not exactly. I’m physically there, sure. Mentally, I’m standing before the Temples of Syrinx. Rush’s classic “2112” is blaring in my earbuds for the umpteenth—no, sorry, the umpteenth and fifth—time. A thought stretches itself out over the galloping rhythms, “Why isn’t there a comic book inspired by Rush?”

    This was in 2011. By then I had edited some of the comics based on Coheed & Cambria’s Amory Wars saga. I had been nominated for a Harvey Award for editing the CBGB comic book anthology, a collection of stories inspired by the legendary Bowery Club. I loved the experiences. But to bring a band like Rush to comics would be the next level. This is band with multiple platinum albums, they sell out arenas on every tour, and somewhere in the world a classic rock station is playing “Limelight” RIGHT NOW. It would be great to bring them to comics. But they’re way too big…right?

    In late 2013 Jasmine Amiri, one of my assistant editors, and I were told by Managing Editor Bryce Carlson that there’s going to be a Rush comic book. Sometimes silly little daydreams come true. They certainly do when you work at a company with CEO Ross Richie, President of Publishing & Marketing Filip Sablik, and Vice President of Licesing & Marchandising Lance Kreiter. Three bigger Rush fans you could not find. I was told that we were going to be the next step in the evolution of Clockwork Angels. First it was the concept album, then Kevin J. Anderson turned it into a novel, and now we, working with Kevin and Neil Peart, were going to do the first full-length visual interpretation of this amazing steampunk fantasy.

    No pressure, right? It was time to start thinking big.

    The first step was to find an artist who could tackle the amazing world that Neil and Kevin had built. An almost impossible job, and our job was to find someone who could pull off this impossible job. So did that mean our job was doubly impossible? If so, that didn’t stop us from trying. We considered many artists, from newcomers to veterans, and eventually Jasmine found an artist who had displayed some sequential comics on his DeviantArt page, but had nothing published. Still, there was a rich quality to his painted work. It was different than anything we’d seen happen in comics in a long, long while. We tested him on a few pages, shared his work with Kevin, who shared it with Neil—and that’s how Nick Robles became the artist on the Clockwork Angels comic.

    Then the magic really happened. Kevin, Neil, Jasmine, Nick, and I became what Neil described as the “quorum.” We were a small group, but one capable of great creative feats. I suppose Neil has a pretty good sense of the creative heights a small group of individuals can achieve. Many ideas on how to bring Owen Hardy’s world of Albion to life were batted around, and the best ideas came to fore. No ego, everyone realized we were working towards the same goal.

    I have overseen a lot of comic book projects, and it’s rare to find a team that works so well together. But that’s just another example of how special the Clockwork Angels comic has been.

    The great efforts extended to our initial designer on the book, Emi Yonemura Brown, who crafted a beautiful credits page and who brilliantly packaged Nick’s artwork for the subscription covers. Ed Dukeshire continued the grand tradition of quality. Ed has lettered a million books for us. When I saw him exclaim with excitement that we were doing a book with Rush, one of his favorite bands, there was no question of who I was going to pick to letter this project. The good work continued with designer Kara Leopard and our lead designer Scott Newman. Throughout this project, I saw so many examples of talented individuals inspiring others: That’s the one thing I will treasure most about this project.

    You will now discover some of the sources of inspiration here. Kevin’s scripts provided that vital bridge between the novel and the comic. Kevin already knew the story so well. When Jasmine and I had feedback for him, it was mostly of the structural type—things like how many panels work best on a page, given how much was going on in a certain sequence. Sometimes we’d chime in with a “wouldn’t it be cool if…”

    That was a constant for this series, someone asking someone else “wouldn’t it be cool if…” All the cool ideas grew and grew, talents building on talents.

    Wouldn’t it be cool if there was a comic book based on one of Rush’s most amazing concept albums? By now you know the answer.

    Ian Brill
    BOOM! Studios editor

    Order your:
    Trade Paperback copy
    Kindle
    Kobo
    Nook
    All other eBook formats

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    Announcing “2113: Stories Inspired by the Music of Rush”

    Posted By on January 12, 2015

    For my entire writing career, my stories have been inspired by the music of Rush. And I’m not the only one. After the publication of my “Drumbeats” and CLOCKWORK ANGELS with Neil Peart, many other writers have approached me to talk about Rush.

    It certainly made sense that we could find plenty of well-known writers interested in writing original stories inspired by Rush songs—enough to fill an entire anthology. Canadian author John McFetridge first approached ECW Press (publisher of CLOCKWORK ANGELS) with the idea, and they liked it; shortly afterward, they brought me on board to co-edit with John.  We approached Neil Peart to make certain he supported the idea, since the stories would be based on his lyrics.  While Neil isn’t directly involved in the project, he granted his approval, turning us loose to see what stories we could track down.

    And I’m doing an original novella, 2113.

    The many other authors who signed on include numerous award-winners, New York Times bestsellers, well-known writers of science fiction, fantasy, mystery, thrillers. We will have original pieces by me, David Farland, Mercedes Lackey, Greg van Eekhout, Dayton Ward, David Mack, Steven Savile, Brian Hodge, Michael Z. Williamson, Brad R. Torgersen, David Niall Wilson, Ron Collins, Mark Leslie, Larry Dixon, John McFetridge, and Tim Lasiuta.  AND we will include a reprint of Richard Foster’s story “A Nice Morning Drive”—the original inspiration for “Red Barchetta”—and Fritz Leiber’s “Roll the Bones.”

    Just today I finished the last scene in 2113, which I’ll be polishing while waiting for all those other cool stories to roll in.

    No firm release date yet from ECW, probably in about a year.  Meanwhile, I can’t wait to read it myself!

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    Full schedule for Superstars Writing Seminar

    Posted By on January 11, 2015

    This is our sixth year of the Superstars Writing Seminar, and it is absolutely the most incredible event we’ve ever put together.  19 total speakers, and a range of topics—two tracks in the afternoons!—that will really up your game as a professional author. There’s still time to sign up at http://www.superstarswriting.com.

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    THURSDAY

     8:00  Welcome, opening remarks

    8:30–9:30  The Popcorn Theory of Success—Kevin J. Anderson

    9:30–10:30  Publishing Economics—Eric Flint

    10:30–11:30  Editing panel—What Are Editors After?  Toni Weisskopf, Lisa Mangum, Kris Rusch, Kevin J. Anderson

    11:30–1:00  NETWORKING LUNCH

    1:00–2:00

    A (Main Hall) Copyright, Trademark, and IP—Scott Boone
    B (Breakout Room) The Young Adult Market—Lisa Mangum, Rebecca Moesta, James Artimus Owen

    2:00–3:00

    A (Main Hall) Cover Design Basics—Allyson Longuiera
    B (Breakout Room) Transmedia: How to Build an IP—David Farland, Todd McCaffrey, Jody Lynn Nye, James Artimus Owen
    Lobby One-on-One Clinic: Kevin J. Anderson (indie book review)

    3:00–4:00
    A (Main Hall) Agents—Toni Weisskopf, Dean Wesley Smith, Kris Rusch, David Farland
    B (Breakout Room) Collaboration: Two Heads Are Better Than One—Todd McCaffrey, Jody Lynn Nye, Rebecca Moesta, Eric Flint
    Lobby Clinic: Lisa Mangum (pitches); Rebecca Moesta (indie books)

    4:00–4:45  The Publisher’s Perspective—Toni Weisskopf

    4:45–5:30  Open Q&A  Rebecca, Mark Lefebvre, Dean, Dave, Eric

    OPENING MIXER/RECEPTION

    FRIDAY

     7:30  Eggs Benedict Breakfast with James Owen

    8:30–9:30  EBooks and Indie Publishing—Mark Lefebvre

    9:30–10:30 The Windup and the Pitch—James Owen, Kevin J. Anderson, Lisa Mangum, Peter J. Wacks

    10:30–11:30  Using Wattpad to Find Your Audience—Ashleigh Gardner

    11:30–1:00  NETWORKING LUNCH

    1:00–2:00

    A (Main Hall) 11 Tips to Increase Your Writing Productivity—Kevin J. Anderson
    B (Breakout Room) In the Indie Trenches—Rhiannon Paille, Peter J. Wacks, Doug Dandridge, Quincy Allen
    Lobby Clinic: Toni Weisskopf (cover letters)

    2:00–3:00
    A (Main Hall) Indie Workshop: Putting Your Book on Kobo & Wattpad—Mark Lefebvre and Ashleigh Gardner
    B (Breakout Room) Basics of Negotiating—Kristine Kathryn Rusch and Dean Wesley Smith
    Lobby Clinic: Lisa (pitches); Allyson (indie books)

    3:00–4:00
    A (Main Hall) Audience Analysis—David Farland
    B (Breakout Room) Dirty Secrets—Kevin J. Anderson and Rebecca Moesta
    Clinic: Toni Weisskopf (cover letters)

    4:00–4:45
    Drawing out the Dragons—James Artimus Owen

    4:45—5:30
    Open Q&A  Todd, Kris, Jody, Lisa, Toni

     VIP DINNER at Phantom Canyon

    SATURDAY

    7:30  Eggs Benedict Breakfast with James Owen

    8:30–9:30 How to Work a Convention—Jody Lynn Nye

    9:30–10:30  Traditional, Indie, or Hybrid Author?—Todd McCaffrey, Kevin J. Anderson, Dean Wesley Smith, Toni Weisskopf, Eric Flint

    10:30–11:30 Self Promotion and Tribe Building—James Owen, Kevin J. Anderson, Jody Lynn Nye, Ashleigh Gardner

    11:30–1:00  NETWORKING LUNCH

    1:00–2:00
    A (Main Hall) Myths of Publishing—Rebecca Moesta
    B (Breakout Room) Making Money in Hollywood—David Farland
    Clinic: Kevin J. Anderson (indie books), Allyson Longuiera (indie books), Lisa Mangum (pitches)

    3:00–4:00
    A (Main Hall) Market Research: Insider Statistics—Jeff Brazell
    B (Breakout Room) Writing for Comics—Lee Allred, Kevin J. Anderson, James Owen
    Clinic: Allyson Longuiera (indie books)

    3:00–4:00
    A (Main Hall) Dissecting a Contract—Eric Flint
    B (Breakout Room) The Importance of Having an Editor—Toni Weisskopf, Lisa Mangum, Joshua Essoe, Rebecca Moesta, David Farland
    Clinic: Kevin J. Anderson (indie books)

    4:00–4:45
    Finding the Balance: Being a Writer in the Real World—ALL

    4:45—5:30
    Final Q&A—ALL

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    A Very Special Dan Shamble, Zombie PI

    Posted By on January 9, 2015

    Over the past two years I’ve released four Dan Shamble, Zombie PI novels, and also  seven standalone short cases that were published in various anthologies and magazines—and that’s enough for a book! WordFire Press will be releasing WORKING STIFF, The Cases of Dan Shamble, Zombie PI, in a few months.

    But wait, there’s more! (said in the voice of that guy on the TV commercials, telling you all about gadgets you never knew you HAD to have!)   Barry Hoffman at Gauntlet Press is also doing a special limited edition of WORKING STIFF.

    The Gauntlet Press hardcover edition of WORKING STIFF will be signed and numbered, with a special introduction by me, an afterword by bestselling novelist (and good buddy of mine) Jonathan Maberry, and a bonus never-before-published Dan Shamble story.  These books will be autographed by me and by Jonathan Maberry, numbered, with a slipcase option; there’s even a very special lettered edition that contains even more new material.

    The special edition starts at $60, and they’ve just gone on sale on the Gauntlet Press website.  Orders will be filled in the order received, so if you want a rare low number, you’d better move like a fast zombie!  The special edition is set for release this fall.

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    Back from the dead…and back on the case!

    Even being murdered doesn’t keep a good detective down, and in the Unnatural Quarter—inhabited by ghosts, vampires, werewolves, mummies, and all sorts of creatures that go bump (or thud!) in the night—a zombie P.I. fits right in. Dan Chambeaux, a.k.a. “Shamble,” solves a string of madcap cases with his ghost girlfriend Sheyenne, his Best Human Friend Officer Toby McGoohan, and his firebrand lawyer partner Robin Deyer.

    WORKING STIFF contains seven cases from the files of Chambeaux & Deyer Investigations. Dan Shamble has to solve the mystery of a stolen deck of fortune-telling cards and the undeath-defying feats of a vampire trapeze artist, finds himself sealed in a coffin in the back of a truck with no idea where he’s being taken, and is even hired by Santa Claus to find his lost “naughty and nice” list. Being trapped in an unbreakable monster-proof crypt, deciphering a string of mysterious zombie graffiti, investigating the murder of a costumed fan at a science fiction convention where the monsters are the normal attendees, or tracking down a kidnapped hellhound for legendary vigilante werewolf cop Hairy Harry—it’s all in a day’s work for Dan Shamble, Zombie P.I.

     

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