As of 8/4-2017, these are the companies advertising on Fox during Sean Hannity’s show. You know, the Sean Hannity of ‘Sandy Hook never happened’ (it did), ‘Hillary killed Seth Rich’ (she didn’t), and ‘Why sure, I’ll allow myself to be waterboarded to prove it isn’t torture!’ (he never did, not even for charity).
So if you’re tired of the fake-news spin Fox News and the whole Murdoch empire has dumped on the viewing public for the last two decades, you might want to let these companies know you have doubts about their dollars ultimately funding an anti-American terrorist organization.
23andMe (was considering it, but now not through your company.)
Australian Dream (I can buy local pain remedies, mate.)
Bayer (Just not this one.)
Beaches (yeah, no, not for me, anyway, since I hate the ocean and avoid the sun.)
Booking.com (who’re your competitors? Guess I’ll find out.)
CA Technologies (a company whose blurb is ‘Architecting the Modern Software Factory’. Seriously. Is this where Ivanka picked that up?)
ClearChoice (again, if I could afford 1st world cosmetic dentistry, I’d look at other options.)
DirecTV (who sucks, anyway.)
Dollar Shave Club (Aww, no DSC, pull your ads, please.)
E-Trade (daytraders have turned the stock market into a joke.)
Entyvio (way to dish on a captive audience already suffering enough)
Gillette (same as DSC, folks.)
GlaxoSmithKline (Well, we kinda already knew you were at least partially evil, right?)
HomeAdvisor (this is genuinely too bad, because they can be a good service)
Hometogo.com (save your money and staycation.)
Lending Tree (already a crock, not surprised they advertise to Fox viewers)
Liberty Mutual (cute commercials won’t protect you)
Match.com (is the STD insurance an extra fee?)
Mitsubishi (nice cars, should know better. Fox core audience is aging out of driving, and xennials will remember you badly.)
My Pillow (this hurts, because I genuinely like this guy’s commercials.)
NutriSystem (it’s called diet and exercise, fools, not pay hundreds of dollars extra for tiny meals. Make your tiny meals, or learn to portion control.)
P&G (Oh, Proctor & Gamble, at some point you might have to quit trying to win over everybody.)
Pfizer (same to you. And you wonder why we take our chances with sneaking medicine from Mexico, Canada, and India?)
Progressive (sorry, Flo, ya gotta go)
Publishers Clearing House (well, they do target the same victims as Fox)
Sandals (same answer as Beaches and Match.com)
Southern New Hampshire University (I see your ads everywhere, and they make you look like Apollo Group and EDMC. This already doesn’t look good for you.)
USAA (If you serve our Service Members, being *anywhere* on Fox is a travesty and an affront to your mission. Shame on you.)
Viking Cruises (again, marketing to Fox’s core aging population, or at least the part of it still wealthy enough to take European River Cruises. The rest of ’em just go to Branson or Laughlin.)
Visiting Angels (same complaint as USAA: you have wonderful goals, and I get that you’re advertising to lonely old people, who’ve been brainwashed to gravitate toward Fox’s pablum and fearmongering. But you’re betraying them with every $ you give to Murdoch.)
And here are the other companies who have recently advertised on Hannity’s show. I’m sure alert readers can see patterns forming.
Or in other words, the Twitter phenomenon that is #ThinkBIGSundayWithMarsha, begun and hosted by media entrepreneur Marsha Wright.
Okay, many of us roll our eyes at those inspirational quotes slapped on lovely or heartwarming posters, and presented in slim metal frames. You know, the ones your boss and mine put up on our office walls?
I can be deeply cynical, but I have a soft spot for those posters. Sometimes they’re a guilty pleasure, like listening to ABBA or having Nutella toast.
Sometimes they truly help me deal with an awful week of everything going wrong.
Some of the best places I’ve ever worked had such things on the walls. And a lot of their owners and upper management actually tried to operate by the noble, kind, or funny tenets the posters proclaimed.
So imagine my joy when a chance Twitter follow opened my eyes to Think Big Sunday With Marsha, a weekly extravaganza of optimistic, positive, inspirational tweets, quotes, and images.
This is such a quintessential American phenomenon: the kind of stubborn, willfully optimistic outlook that gets stuff done. Or bankrupt and on fire, in a ditch.
As entrepreneurs and inventors, creative people must look beyond that latter fear. Life is full of mistakes and obstacles. So are business careers. When problems happen…and they will…the most adaptable people can learn from them, not remain shackled by them.
It took me years to understand the highest goal of the optimism industry isn’t to sell vague dreams and bridges. It helps open people up to possibilities they hadn’t considered, and goals they never knew they had. Sometimes all we need is the right opportunity at the right time, and we can work miracles.
And along the way we can drink coffee and look at gorgeous posters and GIFs.
Now that I have your attention, here’s a little rant about authors asking for reviews.
In short, we shouldn’t get grief for this.
We shouldn’t be made to feel guilty for asking, or told we’re ‘pandering’ or ‘imposing’ on our readers. Likewise, we shouldn’t hold ourselves loftily above promoting our work in careful, tactful, honest, and sometimes even funny ways.
Reviews and word-of-mouth are some of the most effective ways to sell books, no matter whether those books are self-published, small-press, mid-sized independent, or Big-Five imprint.
Without reviews, we don’t get sales. Without sales, our agents and our publishers cut us loose as poor investments. Or if we’ve self-published, we un-publish or otherwise stop promoting our writing altogether. So then you never get to see more of it. Without reviews, this kind of work (and believe me, it’s hard work) is a solitary hobby.
Our review requests usually happen on social media, where they might get boosted by sympathetic allies…or lost in the static. Sometimes we’re lucky enough that our publisher will place a small note in the back of our books, saying something like this:
If you like our books, please review them!
Some savvy publishers add incentives for on-site reviewers, offering them points toward purchases with each review.
I’ll add: don’t like our books? Review anyway. Get that unhealthy anger and disappointment off your chest.
Our ulterior motive: your one-star or two-star negative review still has the potential to sell our books. Reviews can be highly subjective. Something you think is a bug could be a feature to someone else. Your intelligent, honest negative review can spark lots of curiosity! Likewise, your banal, ill-considered, or downright petty review can be so unintentionally hilarious it becomes the best marketing stunt you could give us.
As an author, it’s not my business to wade into your specific reviews of my books, good or bad. I’ll sure as hell learn from them, but I’m not going to start the social media equivalent of a teenage clique-fight over a Goodreads review.
Where I do get angry is when publishers themselves advise their authors against asking for reviews within the end matter of the book. I’ve seen this several times recently from different publishers. One’s an e-pub only press, the other two favor print editions first and e-pub a laggard second.
Um, hello, publishers? The end matter of your book is some of the most priceless real estate you have. It’s where interested readers, still in the afterglow of a story, go to find out what’s next. Most of them are predisposed to being friendly. Asking for a review at that moment is just solid business 101.
Especially if you’re already hampering sales by offering only one platform outlet at launch, whether e-pub or print.
Authors, this is something to seriously consider when researching publishers or signing an offer contract. How does the publisher approach reviews? Do they send out timely and professional Advance Review Copies (ARCs)? Do they court the larger buying outlets and distributors? Do they aggressively promote to the online book-blogging influencers of their genre? Do they have easy-to-use review platforms on their own websites? Do they ask for reviews within the front or end matter of their books?
Think about these factors before you sign that contract!
As for readers, we understand if you feel infringed-upon about our review requests. Sometimes we hate doing that, too. But please consider the relatively-tiny fraction of readers who bother to leave a review in the first place. We bug you for the same reason NPR does: we succeed or fail based in large part on our audience’s goodwill and participation.
A teaser for a piece called ‘Enlightenment’, which I describe in more detail here.
I love book art. It’s one of my default settings after 20 years. ‘Can I make it into a book?’ is a question I now apply to everything from spam emails to a set of cocktail swords found in a thrift store. (The short answer is ‘Yes, that can probably become part of a book’.) I have more project ideas in notebooks than I’ll probably have life to make…and I’m fine with that.
In the mid to late 1990s, on the late-lamented site SFF.net, I hung out with a group of amazing writers who gave me courage to push forward with my own writing.
One of those was Helen Davis. I was lucky enough to read the first few drafts of what would become ‘By Blade and Cloth’. When I found it on Amazon over a decade later, I snagged a copy. The raw promise of the draft versions had coalesced into a tight, strong, emotional novel that didn’t wallow on for hundreds more pages (or books!) than it needed to, but still told a hell of a story.
Alfred D. Byrd’s Amazon review is so much clearer than my Goodreads review, that I’ll quote his here:
“Sword magic, death magic, a bitter rivalry between Humans and a magical people that they call Elves, a blood oath to avenge serial killings, a confused youth with a two-fold destiny that he must understand — these are a few of the treasures in Helen Davis’s rich fantasy, By Blade and Cloth. When David Lodger comes to the university in Bhrama, he finds the royal city divided between its Human inhabitants and the Frenis, miscalled by the Humans Elves, who have come there to force the Human king to grant them justice for the slaying of a Frenin named Huranumanu in a remote region called New Cumberland. To David’s unease he must live at the university among Frenis who might kill him if they learn his background, for David is from New Cumberland, and his birth was intimately tied up, in a way that he is struggling to learn, with Huranumanu’s killings and his violent death.
Around David Lodger’s struggle to come to terms with his origin and his destiny, Helen Davis has woven a rich tapestry of political intrigue and social struggle among both Humans and Frenis. Central to all is the long-missing Dragon Sword, symbol and source of royal authority among the Frenis, and shadowy half-Elven personages called Taerachulas, who strive to hold the Dragon Sword in check. The Frenis’ quest for justice for Huranumanu and David’s quest to understand his nature converge with the Dragon Sword and the Taerachulas in a moment of decision in which death for all may come with the slightest miscalculation.
By Blade and Cloth is a tour of a world like, yet unlike our own, yet never gets caught up in world-building, as the author keeps the focus tightly on characters in conflict. She weaves together the viewpoints of many intriguing characters as they move towards a moment of world-changing revelation. Many writers would have taken many times as long to tell the tight, compelling story of David Lodger and the world that he must understand to save it from a tragic, perhaps final war. By Blade and Cloth is no conventional work of fantasy, but a vision unique to itself.”
David’s story might ring close to Harry Potter’s, but I find the City and its university more deeply-drawn within the shorter length of the book. His stumbling attempts at fitting in, his accumulation of ‘found family’, and his anguish over the two conflicting threads of his heritage…all ring true.
I won’t go into the central mystery (no spoilers!), but I’m especially fond of Helen’s Freni. I love stories and authors who take the old Tolkien/D&D tropes of ‘elves’ and expand on (or twist) the idea of the arrogant, long-lived race of magic users. Tad Williams did it beautifully in his ‘Memory, Sorrow, and Thorn’ series. Lynn Flewelling’s Aurenfaie are another recasting of elves, in her excellent ‘Nightrunners’ series. Steven Brust has my favorite take with his splendidly surly Dragaerans and the smaller, weaker, shorter-lived humans who endure as second-class citizens among them. (One of the inspirations for the major species in my Lonhra Sequence, I’ll admit.)
Helen can easily match Williams and Brust with her Freni, who are only ‘elves’ in that the idiot humans who conquered the continent believe they are. The Freni are an old, complicated, many-layered people whose (likely temporary) subjugation by humans is met with reactions varying from philosophical to violent.
As I mentioned on Twitter recently, this book should have gone to Tor, DAW, Del Rey or one of the other big SFF imprints. It (and her other works) should have garnered Davis some agent attention. For whatever reason, that never happened. Helen E. Davis was early to the realm of self-publishing SFF, so many people have never heard of her work.
Give this one a try, if you love steampunk-ish fantasy, school stories like Harry Potter, political intrigue, dangerous enchanted swords, sparkling snarky dialog, and wild action.
Here’s a mood board more or less capturing the ‘feel’ of this book. (Train from Rossi Publishing.)
Happy Independence Day, for my fellow US friends (and for everyone else!)
While we’re on the subject of independence, do you know about Patreon?
The company bills itself as the best way for creators to build a sustained income. From what I’ve seen from many Patreon accounts, it’s succeeding. 35 creators each earned over $150,000 in 2016, according to a recent Patreon blog analysis. Many more earn a respectable $500 to $1000 each month from their subscription services.
Who’s on Patreon already? Artists of every kind. Writers of fiction, non-fiction, graphic novels, and webcomics. Science and pop culture bloggers. Musicians, gamers, teachers…it’s a dizzying array of skills and interests.
All operating under one simple idea: fans helping content creators afford to be creative, in return for regularly delivered content (often first-run or available nowhere else.) This can range from digitally delivered stories, interviews, podcasts, videos, songs, lesson plans, and even physical items. The Patreon service can run indefinitely, for a limited duration, or a set financial goal.
The webcomics on my right sidebar? Most have Patreon accounts. If you love them, subscribe!
Are you a content creator? What could you do with an extra few hundred dollars a month? What would you do if you didn’t have to rely solely on a day job, publishing royalties, a gallery or art agent, or a music label?
All you need to do is set up an account with Patreon, be somewhat social, and have the time, energy, and willpower to provide that regular content.
I’m not at the level of name recognition to jump on Patreon, and I don’t have enough professionally-edited content to do it well. If the Lonhra Sequence books don’t end up with an agent or a large publisher, I might bolster my self-publishing with a Lonhra/Blue Night Patreon. But that’s probably a year away, at least.
I have several friends who are researching their Patreon options right now. I plan on hosting their links when their accounts are operational. It will be an interesting experiment to watch!
I get approached by advertisers more than than I expected, for a blog that has too many words, not enough pictures, and a very low (but loyal!) readership.
So far, none of those advertisers have made a compelling case for value-added vs annoyance factor…so, no ads on Blue Night. I’ll happily review products and works of my own choice, making clear that they are either an ARC or other kind of review copy, or my whim.
But the world is changing all around us, and content creators have to juggle lots of different earning and support streams. When I have more art and writing content that can be targeted to supporters, I’ll probably open a Patreon account.
For now, I’ve joined Ko-fi.com.
Their slogan is ‘Buy me a coffee!’ (meaning relatively small donations that might buy a cup of coffee, some writing paper, art supplies, etc). It’s a charming and simple idea. For me, a $3 donation can buy a pretty good cuppa. Or a fat-quarter of quilting fabric. Or some really nifty beads, which can turn things like this:
Into things like this:
If you like my weird mishmash of art, jewelry, fiction, social comments, and downright rants, you can still egg me on with comments to this blog. If you can afford it, please consider a Ko-fi donation. I’ll answer when I can, chat your ears off, and be deeply grateful (creating isn’t free or easy, as I’m sure most of you know!)
I shot it a couple of weeks ago, looking west in Central Phoenix, outside a modest strip mall with a bakery, a pizza joint, a taco shop, a Buy Your Gold store, a cell-phone store, a nail-art salon, and some other little businesses.
That’s as representative a slice of modern, ‘real’ America as you can possibly get. I can’t review the nail salon, the gold place, or the cell-phone store (haven’t been inside), but the restaurants are all excellent. I was there with friends, after we’d seen ‘Guardians of the Galaxy’ nearby.
The flag was enormous, blowing in just enough wind to make it ripple like a Reagan-Era political ad.
My friends and I ate too much food, and discussed the movie, lies told by tyrants, what a Stepford job they did on poor Mantis, and how to recognize when one is within an impending political disaster.
The general consensus is that by the time enough people realize it, it’s probably too late, but you need to resist, subvert, and fight on general principles.
On this Memorial Day weekend, in between beer and picnics, church and parties, please consider this flag. Its genesis, everything it has withstood, the triumphs and tragedies it has flown over, the honor and duty of the people who have defended what it stands for.
WHAT IT REPRESENTS. Good and bad. Not just to Americans, but to people all over the world. To some folks, it’s still a beacon of a better life. To others, the mark of a hated empire or a rival power to be humiliated and sullied.
By itself, it’s merely pieces of sewn or printed fabric, likely to be made overseas. Don’t worship this thing. It’s a cipher, an illusion, a moving goalpost, and an easy target for those who hate it or misuse it.
I’m old enough to remember the rather sweet and optimistic American flags painted everywhere in 1976. This truck reminds me of that:
These days, when you see an American literally wrapping themselves in this flag, it’s often as cover and misdirection for un-American, even inhumane and evil reasons. Here are some more flags and trucks, but this time, they come across as creepy and dangerous, from the Tea Party references and truck flags (and even from the trucks themselves).
Or this guy, Jeremy Joseph Christian, filmed in April while at a free speech event. This flag-draped, Nazi-saluting loser just cut the throats of two good Samaritans on a Portland, OR train, after they tried to keep him from attacking two young (possibly Muslim) women.
This is on the Republican Party for its years of normalizing, enabling, and inciting the darkest, most psychotic dregs of American culture…you know, the Deplorables. The people Obama warned us about back in 2008, and took endless flack for it:
“And it’s not surprising then they get bitter, they cling to guns or religion or antipathy toward people who aren’t like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations.”
These days, the Republican Party and its allies would hail Oklahoma City bomber Timothy McVeigh as their hero. It’s been hours since the Portland attack, and no condemnation from the White House. Hmm. That sounds like tacit approval of domestic terrorism. What will Trump say or do, the next time a white supremacist bomber strikes on American soil and kills American citizens? ‘You’re hired’?
Instead, we have Donald J. Trump setting up a War Room in the White House, with pricey lawyers to help him fight against the growing allegations of his and the GOP’s collusion with Russia. This war room is going to be funded and directed to go after journalists, researchers, and ordinary citizens of the #Resistance movement. Trump has already shown by his love affair with dictators that he wants to be one.
Trump’s recent actions on his Mideast trip and the NATO summit would be embarrassing taken singly; as a group they reveal a sick, tired, old man unprepared for the most powerful leadership position on the planet. His gaffes at the NATO summit, in particular, have shown other world leaders that America has lost that position of power. As pundits and world politicians have noted, America is in serious danger of being isolated and inconsequential…if not feared and targeted by former allies.
And the once-proud GOP is standing by or actively helping Trump and his supporters subvert what our flag means.
All flags wear out. There are entire sections of law books listing the solemn and respectful decommissioning of American flags.
There are no such rules regarding the dissolution of America. Or arguably worse: its steady ebb into ignominy as a racist, isolated parody of itself, as the rest of the world meets challenges too many American policy makers won’t.
That’s right folks, the madness that is Phoenix Comicon starts in just a few hours!
I probably won’t attend this year because of schedule conflicts with other work and art stuff. If you’re brave enough to deal with the heat and crowds, I can promise there will be lots of insane, wonderful, awe-inspiring moments for you.
This show is nowhere near as vast as San Diego, which still makes it approachable and fun. Phoenix is in the midst of reinventing its city center (yet again), which gives intrepid visitors and locals plenty of great food, drink, and entertainment…if you even leave the convention itself.
The rewritten, expanded version of my smutty M/M space opera romance, Moro’s Price, is now up for pre-orders at NineStar Press. It should hit other vendors in a few days to a week after publication on June 26, 2017.
A shout out to my brilliant editors, and to cover artist Natasha Snow. She managed to craft a cover that is gorgeous, sexy, kinky, relevant to the actual book, and still somehow mostly Amazon-safe.
Here’s the blurb:
Crown Prince, techno-geek, and secret sadomasochist Valier has lusted for years after the gorgeous gladiator called “The Diamond.” Meeting the escaped slave on a rooftop, Valier discovers Moro Dalgleish wants suicide before his former masters can reclaim him.
Infected with a deadly symbiont, Valier proposes empty sex to satisfy his urges and grant Moro’s release from a horrible life. Neither man plans for Moro to survive, or how the morning after will shake three empires to their foundations.
If you read this book in its first version from Loose Id in 2012, this is not quite the same book. I hope it’s better. If you didn’t read it, and you’re a fan of space opera and smutty bisexual romance, the TV shows ‘The Expanse’, ‘Killjoys’, and ‘Firefly’…you might like this one.
Here’s another selling point: not only is this a bigger and tighter book, but its digital version will also be cheaper. NineStar is premiering Moro’s Price at only $4.99. That’s right: a 100K+ book with mainstream space opera elements, M/M sex, and it’s cheaper than the first version by at least $2.
There’s a pretty good chance this one will have a print version, too!
Americans are so myopic, sometimes. In the rush to ‘teach to the test’ or advance our science and math education (well, until Betsy DeVos became Education Secretary), we’ve forgotten that art can involve some high levels of math and science, too.
Follow this Racked.com and Twitter thread for an in-depth look at the MetGala dresses and outfits, from scientist Mika McKinnon’s POV.
The engineering casually on display at #MetGala never fails to impress me. I do nearly every textile craft . That's mindblowingly hard: https://t.co/pGzmp6u2h9
It’s May 2017, and America (and the world, really) is still reeling from perhaps the greatest case of affinity fraud ever perpetrated: the election of Donald J. Trump to the American Presidency.
Let’s look back at Tate Publishing, as a company deeply interlocked with some of the mindsets enabling Trump’s election: nominally ‘Christian’ worldviews that enshrine greed, corruption, hatred-of-others, and the belief that poverty is a moral failing.
Donald J. Trump and his immediate family (and many donors, sycophants, etc) are fans of the Prosperity Gospel. This philosophy bluntly preaches that wealth and success are outward signs of God’s favor, and that poverty and illness are signs of his disfavor and/or a flawed person. ‘Anyone can become successful’ is an innate American ideal, but these days the game is rigged. It’s not only stacked against most people, but the proponents of the Prosperity Gospel tend to cleverly repackage their corruption to shunt public attention away from them.
Many multi-level marketing companies, mega-churches, and vanity publishers have similar goals: to enrich a small percentage of their members/founders at the expense of all others, and to instill a cult-like level of support from those same defrauded members.
Perhaps no other American vanity publishing company took the religious overtones to such extremes as Oklahoma’s Tate Publishing.
It was started by Dr. Richard Tate and his wife Rita about 18 years ago, and has been run recently by son Ryan Tate and his wife Christy.
The Tate family leveraged new technology and new social norms to begin marketing their pay-for-publishing business to primarily Christian authors, artists, and musicians. They promised a wholesome Christian outlook, a supportive ‘family’ experience, well-produced physical books and music recordings, state-of-the-industry marketing…all for a hefty front end ‘subsidy’ from the author, as well as a commission charge on all sales.
How hefty? Authors could pay anywhere from almost $4000 to well over $50,000 depending on what ‘marketing packages’ and other frills sales people could convince them to buy.
Tate’s book editing was often done by low-skilled, underpaid, and in some cases even outsourced foreign editors. Covers were often low-quality, as were interior illustrations. Tate’s marketing of finished products was nearly non-existent, and for the large part ineffective for most authors. Many of them were told various forms of ‘buy the books from us, and hand-sell at local events’. This naturally limits an author’s effective sell-rate, as most people can only reach a few hundred of their family and friends. Effective trade publishers market to much broader groups, and generally command much higher sales.
Victoria Strauss of Writer Beware wrote a few years ago:
Tate takes pains to depict itself as a selective traditional publisher that accepts “only a single-digit percentage of authors who submitted manuscripts for publication” (a claim that’s a little hard to credit from a publisher that, if Amazon is to be believed, pumped out 3,000 titles in 2015). In fact, authors must pay nearly $4,000 to publish with Tate, with even more due if they choose to buy any of Tate’s array of extras, such as “personalized author websites” and video book trailers. Tate also incentivizes author book-buying, by promising to refund the original fee once 2,500 books are sold and allowing author purchases to count toward the total–though only if made in bulk quantities of 300 or more.
Of course, Tate never mentioned these fees in its front-end website material or videos. Only when authors asked for more information or submitted a manuscript, did Tate begin to disclose its fees. If authors balked at the cost, the the sales rep often backtracked to ‘offer’ a lesser amount. Authors were stalked with hard-sell tactics including multiple letters, emails, and phone calls, all to close the sale.
Tate representatives also didn’t disclose the very small probability of any author making enough sales to earn a refund of their original fee.
Tate’s main source of income appeared not to be consumer sales of their books and music, but book and music sales to their author/creators and expensive marketing and other packages.
Authors couldn’t even be certain of what they were actually earning, because Tate’s royalty accounting was so opaque as to be nearly meaningless. Authors complained that they diligently marketed their books, knew of documented sales, and collected testimonials from readers…and yet did not see those sales reflected in royalty reports.
This could be seen as early as 2004, beginning in this AbsoluteWrite thread. While the warnings abounded, Tate never lacked for customers to buy its ‘services’, thanks to the enduring power of religious affinity fraud.
Because Tate marketed heavily to fundamentalist Christians who were already put off by ‘coastal elites’ and ‘Jewish mainstream publishers’, they could conceal their less-savory operations from unsuspecting authors who never bothered to learn how trade publishing worked. Tate Publishing also marketed heavily to senior citizens wanting a retirement income or a family history project in print, to misery memoir authors wanting to memorialize a lost loved one or bring attention to a medical issue, and to ‘fringe group’ believers who might not have the writing skills to reach an audience through a big trade publishing imprint.
When Tate first called me, it was like I had won the lottery! I felt so proud of becoming one of the 4%. My children’s book was special, as it was written after my daughter had her 2nd heart surgery. I was filling a niche. I knew it would be hard to publish a children’s book about Down Syndrome, but I had tried and succeeded.
This author had a noble cause and good faith in Tate’s public persona. She didn’t research enough to understand Tate’s failings before signing a contract with them. She did all the right things by industriously marketing herself at Down’s Syndrome support events across the US. But she received no marketing help from Tate after the first couple of months, and her royalty checks ranged from sixty-some dollars to forty-two cents.
Tate authors were often warned away from naysayers as ‘negative influences’ and ‘liars’.
The Tate family were quick to take offense and threatened critics, bad reviewers, and recalcitrant authors with libel lawsuits. They threatened their employees often, and had a high turnover as disillusioned editors and artists fled the company.
Of about 1000 current authors in the 2016 Tate catalog, Ryan Tate claimed most were ‘very happy’. I’d believe it, if only for the power of Sunk Cost Fallacy and even perhaps Stockholm Syndrome. Many people never want to admit they’ve been conned, and go through mental gymnastics to avoid it. Likewise, authors who never know anything different might be happy with poor marketing, vague royalty statements, and tiny sales. For some people, it’s not about the money, but having something in print.
Here too, Tate failed a lot of writers. Many of the Consumer Affairs complaints involve claims of shoddy books, bad covers and illustrations, or simply no physical books produced.
Even when authors finally wised up and tried to leave the company, Tate Publishing had one last con to play: they charged authors a $50.00 ‘processing fee’ to turn over final print/sound files so the authors and musicians could republish their work. (Rights buy-backs are a huge problem in the publishing industry, see my posts on Ellora’s Cave for how bad they can get). Because Tate’s final fee wasn’t large, many unhappy authors simply paid it and moved on…often to similar vanity publishers!
A few years ago, driven mostly by the attrition of their prime senior citizen clients and the advent of easier digital self-publishing, Tate Publishing fell on hard times. They started outsourcing much of their editing and other production work overseas. There’s a famous rant online from when Ryan Tate fired 25 employees after none of them told who leaked their dissent about the outsourcing. It’s here, and epic.
Soon, Tate couldn’t even pay its foreign workers in the Philippines, and ‘scaled back production’ returned to their Oklahoma facilities. Bear in mind, they still released thousands of books and hundreds of records a year, showing how little money and time actually went into production. Authors who visited the Tate offices at this time described the formerly busy company as ‘a ghost town’. High employee turnover caused communication breakdowns between authors, staff, and company officials.
By mid 2016, Tate Publishing’s lease deals with major print machinery and computer suppliers were on the rocks, leading to at least one hefty lawsuit.
The Tate family announced in late 2016 that it would close its doors, but not without hinting they would simply rename the company and rise anew as Lux Creative Concepts LLC, which was registered in February 2016 by Ryan Tate’s wife, Christy Kelley-Tate.
By late 2016 there were at least 800 complaints being considered by the Oklahoma Attorney General’s office, and thousands of warnings by disgruntled authors and ex-Tate employees across the internet.
The case broke to the public in full drama this week. First, the Tates announced that they might open up again. The OK AG office was understandably reluctant to add more names to its case files against Tate, so they charged the Tate patriarch Richard and his son Ryan with felony embezzlement charges, misdemeanor embezzlement charges, and three felony attempted extortion by threat charges.
Those last charges, the extortions? All come back to those $50 processing fees, which were apparently paid to Tate Publishing but funneled to the Tate family’s private bank accounts. A day after the charges were made public Richard and Ryan Tate were arrested, held on $100,000 bond each, and forced to surrender their passports.
As a final insult to many ex-Tate authors: they either can’t buy back their rights in total, or they can’t prevent Tate from still profiting off older editions still listed on Goodreads and major print and ebook distributors.
There will be authors who still champion Tate Publishing. Many of them also voted for Trump. And there are still plenty of fully-operational vanity publishers, some even modeled after Tate, ready to take their money and dreams.
As the old Sun Tzu quote goes, ‘The wheels of justice grind slow, but exceeding fine’.We can hope at the very least the Tates lose most of their ill-gotten gains and serve serious jail time. At the best, we can hope this is a harbinger of greater justice to come.
(This post compiled with images and information courtesy of newsok.com, koko.com, Writer Beware, Publishers Weekly, and consumeraffairs.com.)
I have this featured over in links, but it’s worth a closer look and a shout-out: Shaderunners.
From the comic’s ‘About’ page:
One part Prohibition fantasy, one part Robin Hood, and a whole lot of epic heist, Shaderunners follows a group of ragtag bootleggers and bohemians who band together in an effort to steal colour from the wealthy echelons of Ironwell’s high society. Among them: a philosopher, a puppeteer, a gutter rat, an opera singer, a naval officer and a hopeless romantic. Together, they run The Glass Dial, former watch shop and future night club, where all the house drinks run red.
Speak easy, pal, ‘cause the road to ruin is paved with good intentions.
Take a secondary world with a ‘feel’ of Prohibition-Era America. Unknown forces have left the world drained of all color. But the tomb of an ancient queen reveals artifacts still imbued with precious, rare color…and they become prizes in a power struggle not only between empires, but between the aristocracy and a furtive band of renegades. The renegades reason ‘Why should only the Gilts and Inks get to see color? Why shouldn’t ordinary people get to see it, too? And why shouldn’t we make money off it?’ and set out to rectify that injustice. Along the way, they might just stumble into idealism and real revolution.
The worldbuilding is A+, telling you just enough to ground you but leaving you hungry for more. The characters are interesting, each with their own flaws, strengths, and secrets. The plot is fun. The art is yummy, and perfect for the vibe.
One of the greatest tricks Shaderunners plays? How easily it follows several genderfluid characters, in a world where ‘alternative’ sexuality and gender are nothing remarkable. The art works with story image cues more easily and efficiently than pure text, to show us a character being ‘Mr’ one moment and ‘Miss’ another. In suspenders and a newsboy cap in one setting, and a silken dress and vamp-queen Deco headress in another. Rather than being a trangressive or ‘teaching’ moment, this is simply portrayed as life-as-usual…a refreshing change from both extremes, and one I wish more authors, artists, agents, and publishers would understand.
Try this webcomic. I hope you’ll love it as much as I do!
I’ve had this piece of fiber book art in mind since 2011-2012. I’m glad I held off until now: even Mitt Romney’s version of the GOP has been eclipsed by the current crop of corrupt, venal, sanctimonious, and utterly incompetent politicians gracing the Republican Party. (And I say that as a former GOP member!)
‘Politics As Usual’ will combine beaded 18-count cross-stitch with applique patches and commercially-printed fabrics, to make an Abecedarium (ABC Book) using two political terms per alphabet letter on fabric pages. The binding will be a wood box-spine anchored by decorative red-white-and-blue glass beaded tassels. The covers will be woodburned poplar, tooled leather, fiber art, or some mix of those.
There may or may not be additional smaller-font words worked into the background, along with little topical motifs such as biohazard symbols, radiation symbols, the GOP Elephant, the DNC Donkey, mushroom clouds, dollar and pound signs, Resistance symbols, Trump’s hair, high-heeled shoes, palm trees, golf symbols, etc.
As befits a subversive embroidery sampler, it may or may not be housed in a repurposed cedarwood Bible box, depending on the final dimensions of the book.
It’s April, and I’ve been so busy with my own art and writing I forgot one of April’s cherished traditions.
It’s Hugo Awards nomination time! And that means another Pie Fight GIF, this time courtesy of the very topical film Dr. Strangelove. I love how stoic and dignified this poor guy looks…kinda the way most of us feel now about the Hugos, the Puppies, and the battle for the soul of genre fiction.
So much has changed since last we were here! The Puppies got trounced, but Trump won, only now it looks like Trump & Co may go up against a firing squad (maybe figurative, maybe literal) any day now. Or we’ll start a WWIII between the US, China, Russia, Syria, and North Korea, with IS bringing up the rear.
Is diversity and democracy dead? Or stronger than ever?
It may be worth noting that Star Wars, Star Trek, Firefly, and plenty of other genre SFF memes have jumped from geeky obscurity to proud symbols of the anti-Trump #Resistance. When GOP and ‘mainsteam’ pundits mock anti-GOP candidates for loving SFF or, say, posing in Star Wars or Trek cosplay gear…we laugh at the naysayers. We know our people, and with some luck and skillful (nonviolent) revolution, we know our people can win.
We thinking peoples of the world have a chance to push back against kleptocracy and isolationist nationalism, against anti-science and anti-global cabals. It won’t be easy. This time we aren’t reading a book or watching a movie with a scripted ending. We’re inside a messy complex real-world multi-platform Go game where half the players won’t mind suicide if it takes out the others.
It’s also worth noting that many players on the Rabid Puppy/Sad Puppy/ Gamergate sides have migrated fully over to the neo Nazi alt-right camp (not that we were surprised by this.) They understand that a generation’s movies, games, and books become mythologies that shape its thinking, and they still want to warp SFF into their image.
Don’t let them. Read dangerous, challenging, and diverse books. Write them. Watch the movies. Make the art. Support the other people doing the same thing. Fight the Nazis, the rigid theocracies of every faith, the dynasties of terror and delusion, and the petty politicians who would rather support party (or their own Cayman account) than country.
Against this backdrop this year’s Hugo nominees are (mostly) a diverse and forward-thinking lot. We have only a couple of token Puppy plants, none as charmingly perverse as our beloved Chuck Tingle. I leave it to you, gentle eligible voters, to make your choices.
Typically, it’s April and I only just starting to upload 2017’s book arts pieces!
Here are the roughly 1.5x3x.25″ faux-inlay covers (outside and inside) for BREATHE. I showed a first look at the pages last year. They’re a gathering of Latin mottos I thought were particularly appropriate for the current state of the world:
Dum Spiro Spero. Dum Spero Amo. Dum Amo Vivo. Dum Vivo Prosum.
While I breathe, I hope. While I hope, I love. While I love, I live. While I live, I do good.
The covers give rough English translations, along with the title, colophon, my sigil and date made.
I chose poplar because it’s a fairly hard, very fine-grained wood that takes well to woodburning. When properly varnished, good poplar feels and ‘pings’ almost like porcelain or bone.
Text and designs are burned in with a pyrography pen. You can’t see it in these scans, but I did scrollwork on every edge. It came out yummy.
I sanded and scrubbed away the burn resins (otherwise the paint won’t stick!), then filled the channels with a thickened tinted acrylic (in this case, Indigo and Titanium White). When that dried, I sanded it again until most of the wood was clean, and most of the burned channels were still filled with a paint ‘inlay’ with a fine dark brown outline. It’s not an exact artform: you can see where I sanded out the paint on the word ‘breathe’ on the lower right image.
Alert readers will have seen me try this out here. I’ve been farting around with this technique for over ten years, but this and the blood orange wand are the first times I’ve been mostly happy with the look. Hint: fine-grained wood is the key. Wengewood, purpleheart, and oak have too much open grain that collects the paint and obscures the drawing (see where I messed up on CONTINENTAL DIVIDE and CITY AT NIGHT).
When sealed with a UV resistant lacquer varnish, the silky grain of the poplar shows up in a figured pattern, with a lot of surface translucence that offsets the opaque paint.
The beaded accents are from the 30-Year Stash: blue and white porcelain inside the cover holes, with matte green/red striped ‘onyx’ glass and pale gray-purple matte seed beads. I thought these picked up the dark blue, lavender, buttercreme, and ice-blue colorways and floral theme of the fabric pages.
Based off a great Twitter thread earlier today, I’ve cleaned up this version of a ‘Nazibasher’ stencil design. More anti-fascist art can be found here on Pinterest.
My compliments to the original stencil maker. I’d love to cite you but we both know that may not be safe.
Disclaimer: I’m making no money off this artwork. I do not advocate its use to deface public property, and I do not mean it to refer to or incite actual physical harm to Nazis, alt-right fascists, and their sympathizers.
There’s a lot of art uses for stencils, beyond vandalism. Something that Donald Trump may not grasp, but his conservative friends and Putin damn sure know.
Here’s the stencil, in vertical layout to fit more easily on a page. It’s saved as a JPG file, 150dpi at around 8″ high. Copy, share, enjoy.
Here’s my how-to thread, expanded slightly from Twitter:
1 If anyone wants to know how to cut this as a spray stencil, I can show you. *For art purposes, ahem*.
2 First, kudos to the original designer. I’d cite you but you might not want your name publicized.
3 Save image into Photoshop, Painter, or any illo program of your choice. Split image into 2 parts, enlarge each to fit 8.5×11 paper.
4 Print your design on regular 20lb bond paper. Use graphite paper or lightbox (or window) to transfer image w/ black Sharpie or other permanent marker.
5 Have cardboard or cutting mat (don’t cut on a surface you want to keep pristine!)
Use sharp X-acto craft knife to cut out black areas (cells) only. Don’t cut into white areas – those will be part of your stencil material.
If you haven’t cut stencils before, practice a bit first. When doing sharp corners, cut into the point from both sides – it helps control the cut and avoid over-cutting into the stencil material.
6 Or have a friendly laser cutter owner do this. Do not approach commercial sign printers unless they are #Resistance!
7 Make multiples if you need to. Different stencil materials have varied lifespans. Spray-varnished cardstock paper will do in a pinch, but I prefer thin stiff Tyvek (Try Yupo plastic watercolor paper!) or polystyrene craft stencil plastic. If you use raw paper, it can get clogged, distorted, or torn more easily. Also, it’s a lot harder to store between uses.
8 Set up a binder or notebook with waxed paper or plastic sleeves (slit down outside edge) or 1/2 page ‘pocket’ type. These will store your stencils between use. You may also need a reclosable plastic bag big enough to hold your binder (and maybe a canvas shopping bag for portability).
9. Other obvious and handy things are nylon (not latex!) disposable gloves to keep your hands clean, and 1″ masking tape to help hold down your stencil while you’re painting with it.
10. Choose your paint! Liquid acrylic can be daubed on with a short, stiff stencil brush, for a fuzzy outline on a canvas or paper piece. Paint pens come in oil-based enamel or water-based acrylic, and can fill small stencils quickly. Spray paint comes in oil-based enamel or water-based acrylic, and is the fastest method to get full coverage.
11 Pick your surface! Smooth canvas, paper, or other flat surfaces will give the crispest image, while rough surfaces may be hard to tape the stencil to, and give a ragged-edged image with uneven coverage. That’s okay: the human tendency to pattern-match means that even a rough-looking stencil will be easily deciphered and have an iconic charm.
12 Spray, pull off stencil, fold tape over edge or pull it off (and dispose of cleanly and discreetly!) Stow stencil in binder & paint can in shopping bag. Repeat as desired.
Here’s a molding paste stencil background used on linen, with a dimensional paint drawing overlay. Because phoenixes are cool and appropriate for rebellions and justice.
13 Stiff acrylic gels, either clear or buffered with pigment or white filler, can create molding paste plaster effects on flat art surfaces. (See my Phoenix sample above). Apply them with clean flat plastic or metal scrapers, fill in the stencil, scrape off the excess, and immediately pull up the stencil. This gives a low-relief design.
14 Hope this helps you artists out there, with a neat new trick for your skillset! I’ve been cutting stencils for 21 years, often commercially, and they’re amazing time-saving tools.
For more #Resistance stencil fun, here’s the Star Wars Starbird design I used on the back of my Legionnaire Pussyhat.
It started from an old beige cotton Dorfman Pacific Legionnaire Cap, bought at Popular Surplus when that was still around in AZ.
Around 2003, for a Halloween event, I put the cap into a salmon-pink dye bath. Then doodled some red fabric paint on it, and stitched a raggedy bit of cotton fringe to the bottom. The same fabric, salvaged from a thrift store woven skirt, made part of the hatband decoration. It was intended to have a vaguely fantasy/tribal/ethnic feel.
And then it sat in the costume stash for a decade or so. I picked off some of the more extravagant decorations for another project. I almost donated the cap last summer to Goodwill.
And then Trump won. Pussyhats became a thing. Now, I can’t knit, and my crochet was barely up to hat-level for the two lumpy pink hats I sent to the Phoenix Women’s March on 1-21-2017.
But I’m a costumer. I can sew. I remembered I already had a pink hat.
A couple of ear patterns later, some Beacon Fabric Adhesive, a lot of thread, beads, handmade tassels, more salvaged fabric, and many needle stabs later, I have a ridiculously glorious flaming beacon of a Pussyhat.
Which I will be wearing in public, thank you. Maybe I can draw fire for some younger revolutionaries.
I’m also very happy with the Rebel Starbird applique on back, in seafoam green ultrasuede with coral-red glass bead accents.
We miss you, Carrie Fisher. #Resistance
If anyone wants a pattern, I don’t have a complete one – I had to change my patterns so much I’d have to re-engineer the ears.
I can tell you that sewing the ears separately with some stiff interfacing inside worked really well. Just sew inside-out while catching the very edge of the interfacing, flip right side out, turn in the bottom edge, and sew some reinforcement seams. Fold the ears to get the shape you want, then tack half an inch or so along the lower edge of the ears to lock that fold in place.
Then use Beacon or another ‘permanent’ high-tack fabric adhesive to baste the ears into place. Every cap will have a slightly different brim/crown geometry, so the curled-into-the brim look of mine was a happy accident.
After the glue has set, come in and secure all seams with same-color thread worked through the cap fabric. (I never rely on glue alone.) I frayed some bright pink linen strips to line the ear bases front and back, to give more hot-pink tones to my salmon pink cap.
There’s a long-term advantage to designing around and between trends. Certain themes/colors surge and fade in the fashion world. An ice-pink dress I made nearly 20 years ago? Now back in style as a wrap, with a few tweaks. This vivid salmon/red/turquoise theme, that I started at least 13 years ago? Had a flare-up about a year ago.
I’ve seen these Cici Espadrilles from Maurice’s before, but my local thrift outlet got a pair my size for much less than the $24 retail price. They’re a perfect match. I’m not entirely sure I didn’t design the Legionnaire Cap around this very colorway, based on murky memories of the Cici shoes from over the last year or so. And it doesn’t really matter. Added to the salmon pants and shirt I already have, I’ve got an absurdly bright outfit.
My friend A. G. Carpenter and the great people at Falstaff Books have released ‘Of Shade and Soul’, the second novella in her Southern gothic ‘Touch’ trilogy.
Delaney Green might be dead, but she don’t mean to stay that way. As she searches for a way back to the realm of the living, and the man she lay down flesh and bone for, Percival Cox and his team investigate a series of deaths and stolen souls. But Percy is not the man he used to be. If Del can’t find a way to stop him from waking his past, he could destroy everything, including himself.
This is a powerful continuation of the first book (I was honored to read both in their beta stages and final form). The final product is worthy of a Poe award. If you like moody Southern gothic, horror-fantasy, magical realism with a languid air of magnolia and burnt blood…this is your trilogy. Come read it here: