28 October 2011

Indie Overload

Being an independent author and publisher has its perks, like creative control and higher royalties, but it also has its headaches. For instance, I have to do the job of about 12 people most of the time. I have to be a writer, editor, graphic artist, publisher, indexer, typographer, secretary, publicist, agent, personal assistant, accountant, shipping manager... and anything else that might arise.

Managing all of the inherent details of such an endeavor is a monster-job, but I have found it difficult to explain to others why a computer crash is such a stressful tragedy for me.  My writing directory alone has 31,752 files in 1,993 folders. And this isn't counting cloud storage and other archives of older files. 


In order to manage all these writing files, I have to use a spreadsheet to keep track of all the details, and this can be overwhelming to say the least. 

For instance, one sheet in my books document is for keeping track of everything concerning each of my 24 books. The left column looks like this:






TITLE
COVER
SUBTITLE
CREATESPACE
Csp ISBN10
Csp ISBN13
TITLE ID
PAGES
BISAC
PUB DATE
INT FILE
EXT FILE
COST
PLAN
Cover font
Print Price
Print Royalty
My cost
My shipping cost

JB.COM
Discount price
PP BTN URL
Discount Profit
eBook file
eBook PDF Price
eBook PDF Royalty

AMAZON/KINDLE
DTP int file
DTP cvr file
DTP PRICE
DTP Royalty


SMASHWORDS
SW int file
SW cvr file
SW ISBN
SW book price
SW Royalty

GOOGLE BOOKS
GB int file
GB cvr file
GB ISBN
GB book price
GB Royalty

PAYPAL
PP eBook price
PP ebk pg link
Ebook code/bk pg
PP BTN code



To the right of this column is that data on each book, spreading out over 24 columns (one for each book).

Then another sheet for royalty data for each month in the year. This sheet has to include the list price, royalty rate (i.e., 35% or 70%), units sold, with different amounts for different countries, since I sell in the U.S., Australia, New Zealand, the UK, France, Germany, Canada...plus differentiation for sales at Amazon, website sales (both digital and print), sales at Smashwords, Google Books, Barnes & Noble, Books-A-Million, etc., and a calculation for that month's data concerning sales of each, plus subtotals, totals, and keeping in mind that a month's royalties reflects sales from two months prior to the actual pay out. I also have to separate the grid to post electronic sales and print sales.

I also have to keep a tax spreadsheet detailing income and expenses, and most people understand how much fun itemizing is for all these details over the course of a year.

Additionally, I have to create the shopping card codes for each books' webpage, so that any purchase made on my site takes the buyer to the proper purchase page and then links them out to either a download or a thank you and info page telling them the order was received and will be drop-shipped. 

And on each book's webpage, I have to allow for both digital and print sales, and each format of eBook (mobi/prc, PDF, ePUB, Lit, html), and handle drop shipping and followup. 

I also have to be a webmaster, designing and continually tweaking pages and codes, while also maintaining my other websites and blogs and forums and Facebook pages and Twitter...and of course I have to manage all my website files on my host provider. Never mind all the pages I have to update whenever there are changes to any book's cover, interior, information, price or any other detail. That alone can take days.

No wonder I'm having trouble actually WRITING, now. I don't have time.

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25 October 2011

Book Review: Valencia


One of the reasons I began writing lesbian fiction 25 years ago, was because I could not, at that time, find a kindred spirit in them. I could not relate to those characters, and their lives. The women in the pages of the lesbian fiction I read back then did not represent me, nor anyone I knew, or wanted to know. This offended me greatly.
As for the book, Valencia, itself, the author does have some writing talent and I did notice a periodic turn of a phrase or insightful comment, but overall, these positives were overshadowed by everything else. Her talent was wasted on this work. The diction was misogynistic, offensive and derogatory, the portrayal of lesbians pejorative, the examples of love twisted, damaged and pathetic. The characters, while apparently of legal age, had the emotional maturity of 13 year olds. They were dirty drug-users and alcoholics, whose behavior was demoralizing, demeaning, insensitive and offensive, from any ethical point of view.

The main character had choices, as we all do, but chose to be lazy, irresponsible, and immature; since she could not keep a job, she ended up in illegal activities in order to make money--the worst of which was selling her body. Her prostitution was doubly offensive, since she was having sex with men, even going against her own orientation; and furthering the misogynistic elements of this society. The sex in this story is portrayed as dirty, dangerous, and meaningless--like, sex that included the use of a knife, sex with those the character didn't care about, sex as a punishment, sex as violation. None of the intimate activity in this book celebrated the bond of love. It trivialized the value of sharing love and nurturance and expression of affection. For example,

"shame was like a dirty tampon pulled from my body and flung in the bucket when i was with Iris." (p. 246)
and, 


"The fucking happened so fast that by the time i realized i didn't want it, it was over. Fate fucked me quick and rough with her grubby hands, impatiently pushing fingers into me, and I understood that she didn't want it either... She pulled her hand out of me and curled herself around my back tightly, as if there were something between us. IT seemed like a brave and vulnerable thing to do, like when she cried above my tarot cards. I lay there with her foreign arm clutching me, knowing that she thought she'd earned this rest and closeness with the brief, perfunctory fuck. I had a tangled icky feeling like a confusing, hungover morning. When i woke up, I found blood sticky on my thighs, seeping out from where her hand had torn me." (p. 195)

In order for a book to qualify as "good literature" it has to have some kind of redeeming value. It should inspire us, make us understand things like pain and loss and joy and strength and goodness. Good literature does this by allowing characters to experience challenges, and work through them so that they come out better people on the other side. It should result in the growth of a character. As human beings, we all should aspire to be the best versions of ourselves, even if we have to walk through hell barefoot to get there. When a story is tragic, I want it to touch me, make me feel compassion. I didn't feel that with Valencia. I didn't care about her or anyone else in the book at all.

When a story is inspiring, it should lift us up, encourage us, make us feel like part of something worth having; make us feel good about the community of which we are a part. This book did nothing to accomplish that, either. What it did accomplish was to make me feel contaminated, disappointed in gay sensibility, and it also made me feel shame that the mainstream might see this work and judge us all by the characters in its pages. One of the reasons gay people are rejected by the mainstream, is because there is this idea that we are somehow lacking in character and teetering on the precipice of ethical squalor. That we are the underbelly of society. This book perpetuates that idea, and so does not serve us. It pretends to tell a meaningful story, while slapping us in the face with the worst parts of ourselves. Thus, I cannot fathom why Valencia won any awards. Is this really what we want to hold up to the world as a representation of who we are?



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09 October 2011

Mid-Life Crisis, Much?



Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light. ~Dylan Thomas


If aging is hard for the average person, imagine how hard it is for someone who has no current social circle, no family, no children, who works at home, is an HSP, an atheist, and a single lesbian. 

The greatest of these challenges is, for me, being without a partner. I am not suited to singlehood. I hate everything about it. I need someone to cook dinner for when she comes home each day; I need someone to nurture, talk to, explore with, bond with, hold hands with, cuddle with, to sexually please and be pleased by.  I need to go to sleep next to that woman each night and wake up with her every morning. I need the security and comfort a life partner provides. As I get older, that's even more important, and its absence even more stark.

One could say that being single at this age is just as difficult no matter what your orientation. But I would beg to differ. When you're dealing with finding a mate amid a small percentage of the population, on top of all the usual fears of getting older and facing your own mortality and all that entails, along with being a minority in so many ways, the challenge is a formidable one.

Those of us without a big circle of friends, or a family, are even more likely to be depressed and frightened all the time. Friends in the same age group or only a few years older start losing their grandparents, and parents, and they themselves begin developing health issues, having surgeries and other scares, and you begin to see that trajectory, that you are in that same boat and wonder what it is that might cripple you, devastate you, take you down. You realize you are closer to your death than to your birth and your life isn't exactly as you'd planned it to be. Is it enough? Did I succeed in building a life worth living?

About two years ago, I began to notice things about my body...skin changes, mostly. I would look in the mirror and see that my baby-face now had some wrinkles forming below my eyes, and my cheeks seemed to be sort of dripping slowly toward my jawline. I looked down at my hands and thought These are not my hands. These are my mother's hands. And what's that? An age-spot? I have a fucking age spot now? It did not compute. It made me feel ugly and old and despondent.

When I hear of someone entering their 50's and saying these are the best years to come, or 50 is the new 40, I feel they are speaking a foreign language. I am facing the big 5-0 and it has nothing to do with Hawaii. In only 5 months, I will be dragged kicking and screaming into that awful room, my fingers clawing at the door jamb to stop the suction. I can't wrap my head around turning 50. It makes no sense to me, it simply can't be accurate. I don't feel like I'm about to enter that decade of life. I have an overwhelming desire to lie to everyone about my age, because I feel the number is misleading. I'm not that old. I'm not. Each day now is to me a stark reminder of the hideous inevitability of all things dreadful. It's a train I'm riding in at high speed and I can't see the scenery anymore because it's moving by too fast; a train locked onto tracks arrow-straight and unforgiving, stopping only to board more dark passengers--fear, loneliness, pain, illness. sadness, and death.

Just recently I watched as a friend of a friend was suddenly stricken by an aneurism and did not wake from her coma in the three weeks before she died. She was only  6 years older than me. Now, I could say her health status and lifestyle predisposed her to it, but then again, how do you ever really know that there is some weak blood vessel wall somewhere in your body, and its cause? You can do everything in your power to eat right, exercise and take the right supplements, and meditate and avoid stress, as I do, but ultimately, you still don't know if it will matter. Maybe there's just a fate with your name on it. Never mind the accidental or simply unfortunate methods of your demise. You could get hit by a bus or a bullet. Or a building could fall on your head.

The scary part is, health or accidental events like those I mentioned will always happen suddenly and there is little we can do to provide ourselves an early warning system. It's like a vicious mugger waiting around some impending corner and no matter what route we take that mugger will know where we are and will be there, primed to take something precious from our pockets, our minds, our hearts or our bodies. Or I'm reminded of those scenes in movies and shows like The Tudors where innocent people are dragged toward the gallows to be hanged or beheaded and there is no escape, no last minute pardon from the King--and notably, no merciful God who saves his devout follower from an unjust death. There is nothing they can do about it other than choose the level of dignity with which they face their demise. And where does one find that dignity? That quiet acceptance? I am not one to ever go gentle into that good night. Someone has already tried to kill me and I didn't die. Because to me that darkness is repugnant. It represents the tragedy and cruelty of limited time. There will never be enough time in my single lifespan to do and see and feel and explore and create and savor all that I wish to. 

One of the greatest tragedies in life is the swiftness and certainty of death, and moreover, when you finally reach a level of wisdom and understanding that would allow you to do your best work, offer your best advise, experience your greatest love, your most harmonious and satisfying relationships--just when you finally evolve to that level of maturity--your clock ticks down to nothing and you don't get to enjoy the fruits of your labor. 
 
It really pisses me off. 

Bring me the magic elixir of life-extension, and I will drink it.
Twice.



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