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modernwitnesses · an hour ago
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Hi friends, I am excited today to share with you a fun author interview with my personal friend-turned-author Emily Dana Botrous. I’ve recommended her books to friends who love fiction, and all of them have loved her. She is so talented! If you are a lover of the Christian fiction genre, you are looking for your next good read and/or you want to be a writer, tune in. We are talking about her favorite author, her upcoming books (sneak a peek) and insight into a writer’s journey. Find the full interview in the link in bio!! xx GY #writers #fiction #books #goodreads #publishing #series #hallmark (at New York, New York) https://www.instagram.com/p/CO77_b2l7eQ/?igshid=1x3isb0vi2eg8
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certifiedfreakcas · 3 hours ago
your header looks like cas’s drool is sparkling
obsessed with the implication that cas is drooling in this scene, which i had not previously considered but can’t unsee
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milosvasic · 4 hours ago
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Coming soon!
Writing of the "Fundamental Kotlin: revised" book has been finally finished! Long-awaited publishing is approaching soon! 😃
#Kotlin #Ebook #Publishing #FundamentalKotlin #Programming
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bluesyemre · 5 hours ago
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Useful tool (Think Check Submit) for identifying #TrustedJournals and #publishers
Useful tool (Think Check Submit) for identifying #TrustedJournals and #publishers
In this short article, I am going to share with you a useful tool for identifying trusted journals and publishers for academic research. In my previous article on Useful Tool for Identifying Predatory Journals, I elaborately discussed and demonstrated how to identify predatory and fake journals. Searching for advice where to publish your research then you have come right place. Here, I will…
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polysorscha · 5 hours ago
Hey! sorry about this random question, you don't have to answer if you don't want to, but do you think western publishing prioritises those with prestigious college degrees? I'm talking not only writers but editors/agents?
anyway, thanks, hope you have a nice day!
Yeah. In general, most hiring staff want to see a 4-year degree minimum, regardless of where it came from. An Ivy/private school degree is definitely not the main factor in a book deal or new hire, but I imagine it helps a lot. There are alums in the industry who will be biased, and also people who believe a degree from an Ivy or Ivy-adjacent school is better than one from a state school. That said, it probably affects publishing staff more than authors. And I think connections help the hiring/book deal process more than anything unfortunately (which can also be tied in where you got your degree). Either way, it’s very fucked up.
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urdu-novels · 10 hours ago
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From Simi Valley to Silicon Valley: A Story of Hard Work, Serendipity, and Questing
From Simi Valley to Silicon Valley: A Story of Hard Work, Serendipity, and Questing
From Simi Valley to Silicon Valley: A Story of Hard Work, Serendipity, and Questing – Kindle edition by Gillett, Stephen. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading From Simi Valley to Silicon Valley: A Story of Hard Work, Serendipity, and Questing. To succeed in business and in life, you must…
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rebeccamayeholiday · 10 hours ago
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I actually hate being an author, and if I could take back every book that I ever published, I would. Being an author in the digital age places you on an unkind frontier, with a million other authors wanting you to review their books.
And, fellow authors - heed my advice, and don’t EVER assign an ISBN to a serial or a rough draft. Goodreads collects them for some reason, and adds them to your author page. Goodreads is like a robot that fails to understand context, or the nuances of publishing in the digital age. Not everything with an ISBN is a book, and the ISBN was never intended for public social cataloguing.
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doycetopia · 12 years ago
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The New Frontier of Indie Publishing has already been Mapped Out (on a Battlemat)
Before I get into this, I need to lay out a couple concepts that I’m referencing here.
Concept One: The Long Tail
“The Long Tail” describes the “niche” strategy of businesses like Amazon.com or Netflix which can be expressed – in my own words – as “sell many different products, in relatively small quantity, per product”. This is different from traditional business models, where the basic idea is “sell a large quantity of only a few things.” Traditional publishing is built on – no surprise – a traditional model; so much so that only 5% of all published authors account for 95% of the profit in publishing today.
Conversely, the way companies like Amazon and Netflix work allows them to profit by selling small volumes of ‘niche’ items across a broad customer base, instead of only selling large volumes of a few popular items. The group within that broad customer base that purchases a large number of “non-hit” items is the demographic that is also sometimes called the Long Tail.
This model acknowledges that the upper 20% of items listed for sale will account for most of the sales, but without negligible stocking and distribution costs, the other 80% of available products will still be profitable per unit sold and will, as a group, outsell that top 20%.
The main benefit to consumers is vastly increased product variety.
The main benefit to the distributor is that they can keep a much bigger ‘inventory’ of products in a particular niche, since warehousing isn’t such an issue, letting them outperform traditional competitors (example: Netflix can supply many titles that Blockbuster simply doesn’t offer in-store, because said title is not already popular).
The main (two) benefits to the independent author are:
Those whose products could not — for economic reasons — find a place in pre-Internet information distribution channels can realize a burst of financially successful creativity that finds its audience. One example of this is YouTube, where quality artists within any number of disciplines have found success that they would never have gotten via traditional channels.
The new ability to maintain a large ‘niche’ inventory without warehousing overhead means that the creator has time to find their audience via a new method of marketing that has only recently become viable, let alone profitable.
That new method of marketing is Concept Two.
Concept Two: First, Ten
Seth Godin came up with this name and this concept, but in his own words “Three years from now, this advice will be so common as to be boring.”
The basic idea is this:
Find ten people who trust you/respect you/need you/listen to you…
Those ten people need what you have to sell, or want it. And if they love it, you win. If they love it, they’ll each find you ten more people (or a hundred or a thousand or, perhaps, just three). Repeat.
If they don’t love it, you need a new product. Start over.
As he points out, this approach changes everything, as compared to typical publishing. You don’t market to the anonymous masses. They’re not anonymous and they’re not masses. You market to people who are willing participants. The idea of a ‘launch’ and press releases and the big unveiling is a bad one. Instead, a gradual build turns into a swell turns into a wave.
(Seth is very smart – damn sight smarter than me. You should be reading his blog.)
So the basic idea is that (a) you have this Long Tail demographic you can market to, and you have the time to do so, because you don’t have to worry about running out of time and getting your book backlisted/discontinued — that’s just not an real concern anymore. You just need to Find Ten, over and over again. This includes things like:
New Media Marketing: building and managing a presence on social networks and online or virtual communities. This is very low-frequency, low-intensity, and cost effective.
Buzz: Basically word of mouth, the transmission of commercial information from person to person in an online or real-world environment. There was a statistic bounced around this year’s Technology of Change conference that 85% of book sales were thanks to word-of-mouth, 10% were thanks to the book cover, and everything else anyone did for marketing accounted for the final 5% of sales. Word of mouth is clearly pretty huge.
Viral Marketing: Using preexisting social networks, with an emphasis of the casual, non-intentional and low cost.
Look at those three things: anything there strike you as something a publisher can do better than the author, plus perhaps their first “Ten” people?
((To be fair, there’s no reason at all this doesn’t apply to an author working in Traditional publishing as well. In that case, you want/need your Agent and Publishing Editor to be two of your First Ten, so that they can evangelize within the existing Trad Publishing networks that you-the-author could never reach. That’s obviously valuable, if the option is available to you.))
Now, ponder this: all this marketing theory stuff is not hypothetical. This is something already happening today in one of the publishing niches that has raced ahead of the mainstream publishing genres (fiction, non-fiction) by virtue of never having been part of mainstream publishing in the first place.
I’m speaking of roleplaying game publishing (which you might have guessed from the title of the post). Lemme ‘splain.
Back in the late 70s and early 80s, roleplaying games were on their first upswing and, since the primary product of the roleplaying gaming industry at the time was books, game developers looked, naturally, to the publishing industry for ideas on how to MAKE books – how to publish.
And let me tell you, those were some meticulous, geeky bastards back in the day; they figured out how publishing worked and in most cases they followed the traditional publishing model to the letter. Also, they usually aimed for the highest quality products they could (or, often, couldn’t) afford to produce. You should SEE some of the books they turned out – big, beautiful, heavily illustrated, hardbound, double-stitched – you could kill a caribou with the first (or second) edition of Advanced Dungeons and Dragons – don’t even get me started on the original Champions rulebook.
There was, of course, a problem. Roleplaying games are a niche market. Super-niche. The nicheiest. You could have one, probably two, MAYBE three or four product lines successfully pushed into this niche market using traditional publishing methods (each additional line taking a bite out of the success of the other lines) before the niche was full and anything that came after failed. Perhaps not right away, but they’d fail.
TSR (publishers of DnD) was even bought out, and all the others? There is one handful of gaming companies (full-time employing a double handful of people) that have survived from then to now. Meanwhile, the list of those that went under, trying to publish using traditional means, would fill a phone book.
Most people gave it up.
Then came the internet.
With the internet came mailing lists, usenet, and (eventually) forums that in some cases became places of collaboration and creation for that niche market. Some of the early products of that time (FUDGE, to name one) are still popular today, but the basic idea here is that this experience informed some game designers that their ideas had merit, and even an audience.
They just didn’t have any idea how to turn that idea into a PRODUCT without bankrupting themselves. First, the book publishing cost was prohibitive and Second: even if they found an affordable way to publish, how do you get your niche-within-a-niche idea out to the right people?
Then came Dungeons and Dragons 3rd edition, which did a remarkable thing by releasing their rules set as Open Source, basically allowing anyone legal permission to write adventures and source material for the game, and publish it however they like, with one simple caveat: “write it in such a way that the customer still needs our main rulebooks to play.”
Suddenly, the problem with “How do you get your work to the right audience” was gone (provided you wrote stuff for DnD – the biggest product line within Gaming, so not much of a hardship), which left hundreds of creators with only one problem to solve: how to get our work out to people without bankrupting ourselves.
More importantly, this was a group of people who never really associated themselves (mentally) with traditional publishing – they’re gamers, man – so there’s no stigma to the idea of self-publishing. Quite the contrary: in that niche market, self-publishing was the DREAM – a mix of “rock and roll” and “my god, I might actually make some money off this hobby I love!”
Now these were geeky, meticulous bastards (notice a theme?), and when faced with a problem like that, they worked the HELL out of it. By a glorious bit of serendipity, available technology on the internet was finally catching up to their needs at almost the same time: relatively affordable and good-quality print-on-demand, secure and user-friendly online ‘storefront’ software that let you sell electronic files easily. FREE services for acquiring legitimate ISBN numbers and getting listed on sites like Amazon, so that your new DnD module would show up in Amazon searches alongside products from the “big boys.”
Heady times.
When the wave of 3rd edition DnD publishing waned, what was left behind was all that knowledge, experience, creative forums, and the services to make publishing your own stuff possible.
Which is exactly what people did. Today, there are HUNDREDS of products available to this roleplaying gaming niche, and no one ‘going out of business’. Sure, some stuff never sells (because it’s crap), but the good stuff rises – slowly, most of the time – to the top, and finds its target audience, who evangelize and market for those games without much help from the original creator at all, aside from their participation in the social networks surrounding that niche market.
Most of their sales come from:
Building a presence on social networks and online or virtual communities (The Forge, Story-Games.com, RPG.net, Indie Press Revolution and dozens more, including (of course) Facebook and Twitter).
Word of mouth, from one successful Actual Play report to the next.
Sound familiar?
Sounds like a real-world example of what people are theorizing indie publishing will look like.
Here’s the thing: indie publishing ALREADY works like the ‘theory’ posits: it’s just that only a small group has realized it so far.
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doycetopia · 12 years ago
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Wizards of the Coast takes a… novel approach to dealing with PDF piracy
And by “novel”, I mean to say “utterly stupid and short-sighted.”
Earlier this evening RPGNow, Paizo, and DriveThruRPG pulled all of their Wizards of the Coast PDF products (where both new and much much much older products were available) at WotC’s request.  The ability to purchase them ended at noon – the ability to download products that you’ve already bought ended at midnight.
According to Wizards of the Coast, this was done to prevent piracy.  (In a followup statement, they clarified that they believe this… because they are luddite morons.)
“We have [taken these actions] to stop the illegal activities […], and to deter future unauthorized and unlawful file-sharing.”
I love the vast understatement from one gaming site today:
“I predict an increase in piracy of Wizards products.”
REALLY?
Let me take this one step further.  I guarantee – not ‘predict’, but guaran-goddamn-tee that every single PDF of WotC products made available after midnight tonight will be a pirated copy.
Just… think about it for a second; you’ll see exactly what I mean.
See… before today? Sure, some people were sharing PDFs like that on file-sharing sites, and there was pirating going on. Sure, yes.
Was it because the PDFs were made available by WotC and sold online?
No.  You’ve been able to get PDFs of ANY game book — hell, any book at all — even ones that have never had electronic versions available, ever since scanner technology became remotely mainstream (early 90s), because people have time, and geeks have desire for the electronic versions.
Until today, at least most of the people who wanted electronic versions of their game book were getting the PDFs the easy way: google search, got to RPGNow, click, click, download.  No torrent software. No worrying if you picked up a virus with your latest PDF. Easy.
Now, the only way to get the electronic version of a WotC product is to get it from a pirate site.
I can either not get it at all (sucks for me, and WotC gets no money), or I get it from a torrent site (hassle for me, and WotC gets no money).
The pirating people? This has no fucking affect on them what. so. ever.
Well, no; that’s not entirely true.
This move by WotC, ostensibly meant to fight piracy, will actually ensure that more people will come to their site to download ALL the PDFs they want (for games, for novels… whatever — I mean, as long as they’re THERE for the DnD stuff, they might as well look around and see what else is out there, right?…).
It’s not just stupid and short-sighted.  It doesn’t just ensure the piracy of their work by 100% of those that want PDFs of DnD material; it actually hurts all the other companies in the industry as well.
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doycetopia · 11 years ago
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Big Problems, Little Solutions: E-book Publishing Ideas Stolen from Gamers
Yesterday’s post generated a lot of interest. And emotion, yes, but mostly interest. If I can be allowed to revisit that post for a second, I’d like to sum the whole thing up like so:
Ignore questions of infrastructure and the costs of ebook file development; those things are tangential to the current issue. What Simon & Schuster, Hachette, and HarperCollins are doing by delaying release of ebooks has nothing to do with those issues. It is about money. Period. It’s either about pushing readers toward the purchase of hardbacks, like the good old days, or it’s about the shoving match going on between Amazon and the Big Six over the price of ebooks. Either way, it’s about money.
However, the tunnel-vision focus from the Big Six on that single issue means that they are missing something critical: by delaying the release of official ebooks, they are creating an environment in which ebook piracy (thus far, a negligible issue) can and will thrive. This will hurt them, and I believe they will transfer that pain – which they caused themselves – to their authors.
This makes me angry.
This.
There. That’s all of yesterday TLDR post, in three paragraphs. You’re welcome.
Now then.
Generally, I try to avoid pointing out a problem without proposing some possible solutions. Doing otherwise is what the kids these days refer to as a “dick move”.
So:
What could the Big Six do, with regard to the release of ebooks, that would be better than the idea they’re currently going with?
As I said yesterday:
Some folks asked me yesterday what I thought of James McQuivey’s idea to delay the ebook-as-a-separate-thing by four months, but also give it away as a free thing with every purchase of a hardback edition. I think it’s a great idea. I thought it was a great idea when I suggested it to my agent about six months ago on Twitter. However, I won’t take credit for it – the indie gaming industry has been doing that for years; as a smaller, more nimble publishing organism, it has already felt and adapted to the changes of the digital age, and could teach the ‘real’ publishing world a thing or two about what works and what doesn’t.
I told Joanna Penn in an interview last year that the tabletop role-playing gaming industry started out by trying to model the methods of traditional publishing, found out the hard way that that really didn’t work for them (in the long run, it’s not working for big publishers either, but they’re BIG, so they didn’t notice as soon), and had to find new solutions.  They were the first to adopt electronic publishing, shame-free POD printing, electronic-only publishing, podcasting-modules, mixed media releases, and every other experimental method anyone could think of, good or bad. That’s fine: they’re small, and experimenting is something  small groups of people can DO that big groups can’t.
But what that means is that they’ve come up with some things that consistently seem to work, which, to a greater or lesser degree, might translate into solutions for Big Publishing that would please even the greedy bastards longing for the golden profits of yesteryear.  I don’t have much time, so let’s get right to it.
Package the ebook with the hardback as a value-add
This works. More to the point it IS WORKING. Not just in gaming, but on Amazon, with the Kindle. For gaming examples, go to indie press revolution and take a look at the options for games like Penny for My Thoughts, Spirit of the Century, or Mouse Guard.  I’m not going to discuss this further; this is the granddaddy of ‘new’ ideas, and dead-fucking-simple to implement.
Subscriptions
Whazza? Subscriptions?
Eleven million WoW players tells me that this is a sales method that can work.
Take a look at Paizo.com. They have a brilliant kind of deal set up for all their games and plain-old books: set up a subscription to one of their channels (like Planet Stories, which is your classic pulp “planetary romance” stuff). It costs you X dollars a year or whatever. Every month, you get an email about the new releases within that “channel”, on ebook. NEW releases. If you decide to buy, you get 30% off the unwashed-masses price. (Edit: Or hey, you get it on day-of-hardback-release. Even better: Both.)
Or, how about the Big Dog of gaming, Wizards of the Coast? WotC has done some stupid stuff with regard to PDFs of their products in the past, but DnD Insider is smart. Pay for a monthly subscription to the service, and you a couple magazines every month with articles and useful stuff, written by the names you’re already fans of, some cool apps, and ‘free’ access to every one of their current books, as searchable PDFs.  I’m not a member, but I gather that members also get access to ‘preview’ copies of upcoming books, months before they’re released, which generates stir and interest and maybe a few advance reviews posted on —
Oh, you know what that sounds like in publishing? Advance Reader Copies (ARCs).
Yeah: “Sign up for our monthly subscription, and get digital ARCs of our upcoming titles, and a discount on the REAL digital copy when it’s released.” What book nerd wouldn’t jump at the chance?
The Ransom Model
There are a couple game designers who do stuff like this, notably Greg Stolze and Daniel Solis. There are a couple different ways it gets implemented. With Stolze’s Reign supplements, if Greg collects enough money from contributors (the “threshold pledge”) he releases the ebook as a free download for anyone and everyone.  An easy tweak for this in Big Publishing works like this: “If we get enough preorders for the ebook, we’ll release it the same day as the hardback comes out. If not, you have to wait.” I like this, because it lets consumers tell publishers what they want — a ransom model works pretty well as a market study — the consumer has power, and if they don’t exercise it, the publisher feels justified in delaying release.
I can’t help but note that this is a pretty workable thing for indie authors. (If you don’t want to take preorder money for something you might not end up doing, run it like a publish-athon and just take pledges — it’s still a good a way to gauge interest.)
You can also reward the ransom-preorder people in lots of fun ways. A thank-you list on the website or inside the book, mentioning people who helped make that version of the book happen when it did. A unique cover for the advance-order people. Hell, I dunno – what else would be cool?
That’s stuff off the top of my head, stolen from people who are making it work in gaming (and thanks to Chris Weeda for the suggestion).
The important take-away is this: ideas and implementations vary, but they all have one thing in common: they require embracing e-publishing, not holding it at arm’s length like a used condom you found in the spare sheets for your hotel room.
Embracing it. That’s the first thing publishers need to do. That’s the first step.
Right now? I’m not seeing it.
And that’s not a problem anyone but the publishers themselves can fix.
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oosteven-universe · 11 hours ago
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Canto & The City of Giants #2
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Canto & The City of Giants #2 IDW Publishing 2021 Written by David M. Booher Illustrated by Sebastián Piriz Lettered by Andworld Design    Striking a bargain to free his giant friends, Canto must now enter a labyrinth and face a foul beast known as Ferro. He has an untrustworthy weapon at his side—the Misturian Witch. With signs of the monster everywhere and the threat of his companion’s betrayal hanging over him, Canto must find the monster before the monster finds him.    This really is one of the all-time greatest series ever created and I dare you to tell me otherwise.  Canto is the greatest character find in my lifetime and this little guys courage and determination not to mention loyalty to his friends and belief in his cause makes him so easy to fall in love with.  What a fun issue this is because while Canto has to fulfil the mission in order to free his friends from their current fate he has to trust the Misturian Witch if he’s going to do so.  The dynamic we see being created here is stellar and I love the fact that we see David taking on such a natural and bold decision making process with these characters.    I like the way that this is being told.  The story & plot development that we see through how the sequence of events unfold as well as how the reader learns information is perfectly presented.  The character development is phenomenal to see.  With the dialogue and the character interaction and how they act and react to the situations and circumstances they encounter keep fleshing them out further as well as changing how they think which is utterly marvellous.  The pacing here is superb and as it takes us through the pages revealing the twists and turns it pulls us further into the story.    I am enjoying how we see this being structured and how the layers within the story continue to grow and strengthen.  I like that each of these little arcs are both new reader friendly as well as long-time fan reminders of what we’ve already seen and it’s done in the most delightful of ways.  How we see everything working together to create the story’s ebb & flow as well as how it movies he story forward is achieved exceeding well.  The overall flow is simply superb in how easy and natural it feels to the reader.    The interiors here are utterly delightful.  I love seeing Sebastián’s take on Canto and the world that he lives in.  the linework is really nice and how we see the varying weights and techniques being utilised to create the detail work is extraordinary to see.  These two-page spreads with the maze built out of rock are truly spectacular to see.  How we see the composition within the panels being utilised to create the depth perception, sense of scale and the overall sense of size and scope to the story is achieved beautifully.  The utilisation of the page layouts and how we see the angles and perspective in the panels show a remarkably talented eye for storytelling.  The creativity and imagination is beautifully showcased throughout the book and with Ferro especially.  The colour work is absolutely spectacular.  The various hues and tones within the colours being utilised to create the shading, highlights and shadow work shows a great eye for colour and how to utilise it.  The magic effects and the fire within Canto and his friends we see in the Burgonet are also some really stand out moments. ​    This is one of the best story franchises in comics right now.  It has all the charm you could possible ask for and so much more.  This is incredibly well written with intelligent decision making that engages the readers mind, creativity and imagination in some exceptional ways.
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dpedeciswriter · 11 hours ago
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Finished Writing My Novel. Now What?
Finished Writing My Novel. Now What?
With a Bit of Info from an Agent How to get my story to readers now that it’s finished? What do you do with a book you’ve finished writing and are hoping to get published?  You can go the traditional route and submit your manuscript to literary agents or directly to the few publishers who accept unagented submissions. You can pay a vanity press to publish your book. Or you can go the…
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2187s · 13 hours ago
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we’ll cross that bridge when we burn it. — @wasworthy | the boys starters
      “ oh, wow, i don’t know if that’s right attitude, ” finn replies, throwing it over his shoulder at poe as he bends down to pick up beebee. the pomeranian is willing enough, if the intense amount of face licking he’s doing is any indication, and finn’s grateful that poe turns around to lock the door his apartment behind him despite having exited first. there’s a moment where poe just watches finn and beebee struggle together, obviously doing his best to suppress his laugh, but finn sees through it. 
     suffering though beebee’s very own sticky brand of loving, finn doesn’t get the chance to shoot what could be a very quelling glare at poe before the other takes off again, continuing his rant as they turn into the stairway. poe’s voice echoes, somehow still sounding melodious to finn, and he takes a moment, right there on the landing between the second and third floor, watching as poe continues on, hands flying around his face while bitching about whatever kyle’d complained about now, to realize how happy he is.
     poe, either feeling finn’s gaze on him or finally realizing that finn’d stopped, pauses himself, and turns to glance back up at finn, puzzlement clear on his features. all finn can do is return the gaze with a beam of his own, and the joy is echoed by one of beebee’s soft yips. a beat passes, poe beams back, and they continue as one, finn listening attentively as his boyfriend curses out han solo’s egotistical son, detailing exactly how he plans to tell them all to fuck off.
     they exit the complex together, poe’s tirade coming to a natural conclusion as he pulls beebee out of finn’s arms. there’s a few moments of silence as they work together, finn ensuring beebee’s collar is tight without being too tight, poe double checking to make sure the fanny pack has poop bags this time, but after everything is secured, finn turns to poe, takes his face between both of his hands, and leans forward, gently bussing his nose against poe’s.
      “ he sucks. he sucks so much and he definitely deserves to get his gas tank filled with sugar, but, babe, han freaking solo. the han solo is putting so much money into your shop, yeah? so we just gotta remember that and ignore kylo, right? ” finn stresses, squinting at poe until he gives the answer finn wants.  “ just a couple more months and then you and i can, like, cut his brake lines or something. ”
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thousandmovieproject · 14 hours ago
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my new ebook is out!
It’s belated but I’m gonna use today as the launch, here, for The Moon and Her Sister Turn Thirty and Leave, my new eBook!  It’s got two essays and two short stories and while the pagecount, when you look on Amazon, is gonna say it’s 154 pages, it’s really more like 70 pages, single-spaced. I just threw a lotta section breaks in there to make it read faster. And I’m pleased with it! I like…
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thousandmovieproject · 15 hours ago
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i gave an interview about my ebook and i'm nervous
i gave an interview about my ebook and i’m nervous
[I wrote this before the interview came out, then figured I should hold onto it and post, in quick succession, a screed about what I felt before it came out, and then a screed with what I felt after.] Today I made what felt like the difficult decision to pay $18.99 for a digital collection of interviews with the writer William T. Vollmann, whose latest novel The Lucky Star was one of the best…
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