Hear Me on the Six Degrees of Poe

Edgar Allan Poe Statue, Boston, MA

Recently I had a delightful conversation with Carmen Bouldin and Jeanie Smith, hosts of The Six Degrees of Edgar Allan Poe podcast. We discussed my books and projects, de-compartmentalizing history, my fiction writing process, and of course Poe. Head over to Spotify to listen how I memorized “Annabel Lee” in middle school, which of Poe’s stories is my all-time favorite, and why “The Man Who Was Used Up” resonates with me now more than ever.

You can listen to the podcast on Spotify or watch it on YouTube.

And in case you missed it, you can also listen to the 2023 interview I did with Sandy Carlson of the Woodbury Writes podcast, available on Spotify and Anchor.fm.

Complaining Pays 0¢ per Word

A pair of friends are putting together an anthology of short horror stories written by Connecticut writers. To that end, one of them posted a submissions call for the anthology in the r/Connecticut subreddit. She provided the guidelines as well as the compensation: $20, a contributor’s copy, and a free PDF of any future books the editors produced under their imprint. Sounds harmless, right?

But this is Reddit we’re talking about. Immediately my friend was swarmed by keyboard Bolsheviks indignant at such exploitation. Only $20 for a short story? Outrageous! Nevermind the fact that token-paying markets (defined as paying $0.01 or less per word) are common in the genre world and nothing about my friend’s offer was unusual. One little Lenin claimed she had friends — close friends — who were HWA members and they would laugh at such an amount. “Your ancestors were probably slave owners as well,” snarled another self-styled Che Guevara. And thus a blow was struck against my friend, the capitalist pig-dog. Writers of the world unite!

You can certainly make money as a writer but writing fiction is probably the worst way to do it. A 2022 survey of nearly 5,700 members of the Author’s Guild revealed that the median pre-tax income for authors — both full-time and part-time — from their books was $2,000 a year. Yet their earnings jumped to $5,000 when all writing-related income was considered; according to the survey, “56% of respondents reported that such activities as journalism, conducting events, editing, ghostwriting, and teaching more than doubled their income.”

Not all of these authors are fiction writers, of course, but the survey does jibe with my own experience: the most lucrative writing is the unglamorous stuff. Copywriting. Technical writing. Journalism. Over the years, the best-paying gigs I’ve had involved ghostwriting, editorial work, or writing short nonfiction articles.

So if there are better ways to make a buck by writing, why write fiction? There are a few reasons. One, I enjoy it and take great satisfaction when a story or book comes together. Two, some readers seem to like what I write. And three, I own it.

It’s almost unheard of for a writer to sell their copyright to a piece of fiction, whereas journalism, ghostwriting, and the rest is often work-for-hire. That means you sell the copyright in exchange for a one-time payment. Meanwhile I can theoretically publish and republish a short story an infinite amount of times because I always retain the copyright. Same with novels and novellas. Should A Season of Whispers go out of print, I can republish it with another publisher or self-publish it myself — hardly worst-case scenarios. It will be mine until long after I’m dead and it joins Jay Gatsby and Mickey Mouse in the public domain. I should add that this goes for book-length nonfiction too, like Smedley.

A writer may not make a lot of money from an individual sale of a piece of fiction but those sales can accumulate over a lifetime; and obviously the more works one has to offer, the more sales he or she can potentially make.

While I would never write in exchange for that dubious social credit known as “exposure,” I’ve mentioned before that I believe there are circumstances in which it’s OK for a writer to sell their work for less than what they might otherwise expect. For example, I have no problem contributing a free blog post or article that advertises a bigger project of mine, like a newly released book. Or, for reasons of ownership mentioned above, selling first-time rights at a bargain rate may be in your interest if your goal is to create a body of work that you can hustle forever.

Likewise, should you feel called to write lesbian steampunk poems, then you probably shouldn’t expect whopping sums in return. But if your goal is to become the preeminent name in lesbian steampunk poetry with all the fame that it brings, then token markets may be solid stepping stones toward achieving your vision.

The key is to examine a given situation and ask, Who’s making money here, if anyone? If the publishers are earning substantial profits from the project, then you should absolutely receive a piece of that, either upfront or as a royalty. But many projects operate on much leaner budgets, like, say, anthologies of horror fiction meant to showcase the talents of Connecticut writers. I assure you my friends did not embark upon their collection as a money-making scheme.

In that case, it’s up to you to determine if receiving $20 in exchange for a short story is worth your time and energy. Ask yourself if it aligns with your goals and the ultimate vision you have for yourself. Maybe it does, maybe it doesn’t. There are nine and sixty ways of constructing a writing career — and all of them are right.

Kickstart My Heart

Editor extraordinaire Sara Crocoll Smith is preparing a third volume of her anthology series, Love Letter to Poe, this one themed around Poe’s story, “The Tell-Tale Heart.” For this entry she’s using Kickstarter to fund its production. It hasn’t launched yet but you can follow the Kickstarter to be notified when it does.

In related news, the previous volume, Love Letters to Poe, Volume II: Houses of Usher, which includes my story “The Last Stand of Sassacus House,” has been nominated for a 2023 Saturday Visiter Award. Winners will be announced in October.

The initial book in the series (which also included a story of mine) won the 2022 Saturday Visiter Award in the category of “Original Works Inspired by E.A. Poe’s Life and Writing.”

You can purchase copies of Volume I here and Volume II here.

How to Win Frens

A few weeks ago I was approached by a potential client to write a project. The client was very specific about what she wanted — always a good thing — but her biggest demand had nothing to do with deadlines or my previous credits or, in fact, anything to do with writing.

Said client was a big fan of Dale Carnegie’s How to Win Friends and Influence People. She only wanted to work with a writer who’d read and internalized the book.

I bluffed, of course, but clearly I failed to win or influence her: she went with someone else. Yet by the time the rejection came down the intertubes I’d already grabbed Carnegie’s book from the library. So I went ahead and read it anyway.

First published in 1936, the book should be more properly titled How to Win Clients and Close the Deal because so much of it is aimed at how to sell yourself and whatever product you’re peddling. The original foreword was buried in the back of the edition I read, and the revelation that Carnegie based it on a public-speaking course for businessmen that he taught at a YMCA is not at all surprising.

This isn’t a book about being the best bestie you can be. It’s a book about hustling.

Still, How to Win Friends launched the modern self-help genre, notoriously known for its bestselling fluff. Carnegie hit a nerve writing when he did. As the Chautauqua movement gasped its last in the 1920s, Carnegie stepped in with his seminars, which eventually morphed into a line of books. Nowadays Chautauqua lectures have been reincarnated as TED Talks and Nantucket Projects, but in-between there’s been Rich Dad Poor Dad and The Secret and entire dead forests of flimflammery, all of it inspired by Carnegie.

Cracking open its covers, I wanted to be cynical about How to Win Friends. But I confess I don’t disagree with everything Carnegie wrote.

Carnegie starts with a pair of truisms I already knew. Don’t criticize or complain to others because it never changes their behavior, he says, and be sincerely grateful for others.

I say I already knew these things but they took me the better part of four decades to learn. I wonder how much trouble I would’ve saved myself if I’d read this book and started practicing them earlier. Put another way, it took me a long time to recognize that simply being nice and appreciative of others costs me nothing, and while that attitude is usually paid back immediately, even when it isn’t it makes the vexations of life much more tolerable.

Damn it, Carnegie. I couldn’t help warming to him.

He goes on with further advice. People are flattered when you remember their name. Be friendly. Soften bad news with good news first. In business relationships, convince others that what you want is beneficial to them. And so on. Basic tenets everybody knows but worth repeating in black and white.

Some other suggestions are tougher to stomach. Smile a lot, writes Carnegie. Don’t argue. Respect other people’s opinions.

Hoo boy. I’ve lived more in the past five years than I have in the preceding 45 and let me tell you, these days my bar for horseshit is real low. Sitting here watching the Select Committee hearings about January 6, wondering if in 2025 I’m going to be a private in the First Connecticut Volunteers of the Union Army, does not make one open-minded and tolerant of every opinion. I have zero patience for your crackpot conspiracy theories about elections and masks. You don’t want to get vaccinated? Fine, as long as when I roll into the emergency room I go to the front of the line and you and your case of covid goes to the back.

I’m not in the mood to smile and not argue and respect whatever fever dream the five neurons in your rhesus-monkey brain have conjured. I don’t want to be everybody’s friend.

This, I think, is the big flaw in Carnegie’s system: he dances around conflicts, and when they invariably occur, he approaches them indirectly. His strategy is one of avoidance rather than straightforward resolution. There’s an unspoken implication that when a disagreement reaches loggerheads, the participants are not friends, they remain uninfluenced, and they part ways as indifferent to each other as Bengal tigers. I much prefer a system that allows one to navigate conflict deftly but directly.

Some of Carnegie’s method is outright manipulative, like his technique of seeding others so they believe your idea is their idea, which is then pursued with all enthusiasm. Both Charles Manson and the Nazi Party were fans of How to Win Friends. But such is the nature of salesmanship: you can use it to push an order for 5,000 oil gaskets or a cult ideology. It’s not Carnegie’s fault some people are suckers.

There’s definitely something quaint about How to Win Friends and Influence People, something historically funny in the countless anecdotes of Bill Smith of Poughkeepsie selling typewriter ribbons or Janey Jones of Rancho Cucamonga convincing the bank president to promote her. But there’s some useful insight too, not the least of which was buried in that foreword-turned-afterword.

“The way to develop self-confidence, [Carnegie] said,” wrote Lowell Thomas in the original 1936 preface, “is to do the thing you fear to do and get a record of successful experiences behind you.” Carnegie doesn’t talk much about self-confidence in his book but it’s certainly the subtext: what holds most people back is not a lack of technical skill at their profession but rather social awkwardness. By equipping them to navigate the social sphere, Carnegie helped his readers and lecture-goers better realize their goals and dreams.

In a lot of ways, How to Win Friends and Influence People is about conquering social anxiety, something just as prevalent in our current era. Maybe it’s due for a post-pandemic edition.

David Riley

Earlier this month I realized I hadn’t heard from David B. Riley in a while, and after seeing that his most recent blog post was from December 26 of last year, I searched around to see if he was OK. That’s when I discovered he passed away in January.

I reached out to Julie Campbell, who worked with David on several projects including the magazine Steampunk Trails. She told me that David succumbed to long-running health issues on January 3. His body was cremated and his ashes scattered in the desert. She didn’t know much more. Julie spoke to David shortly before his death and he didn’t mention any illness, so whatever happened occurred suddenly and, let’s hope, without pain.

David was a prolific writer but I knew him best as an editor and anthologist. He was, above all, a champion of weird westerns. He worked almost exclusively in the genre, with some dips into sci-fi.

I’m not sure how he felt about straightforward historical westerns but David could certainly tell you the difference between a sheriff and a marshal. At the same time, he really wanted the weird in weird west. Speculative-fiction markets these days either publish bespoke literature or, more often, have pretensions to do so. David wasn’t so snobby. He loved westerns mashed up with aliens and dinosaurs and lizard people. The more incongruous the ideas, the better.

David published three of my works. The first was a pretty mediocre early effort called “Glorieta Pass;” and the last was an experimental epistolary piece called “Red River,” set in the aftermath of The War of the Worlds. Both appeared in his magazine, Science Fiction Trails.

He also published the horror western “Realgar” in the anthology Low Noon. It’s a favorite of mine and I know it was a favorite of David’s. When he posted a review of my collection The Dead Ride Fast on Amazon, he called out “Realgar” specifically by name. I’ll be forever grateful for his publication and endorsement of that story.

David could be a little ornery — do you expect anything less of a western writer? — but I’ll miss his gonzo energy. The weird west has never had a more enthusiastic contributor and advocate.