Kristine Kathryn Rusch

Free Fiction Monday: Shadows On The Moon

Written By: Kristine Kathryn Rusch - May• 20•13

Justin needs something to believe in. At a crossroads in life, he arrives in New York City reminiscing the past but uncertain of the future. Until he meets Wendy, who inspires him to take a leap of faith. But soaring into the unknown might prove harder than it seems.

“Shadows on The Moon” by USA Today bestselling writer Kristine Kathryn Rusch is free in its entirety on this website for one week only. It’s also available for $2.99 on Amazon, Barnes & Noble, Smashwords, and in other e-bookstores.2940016759364_p0_v1_s260x420

Shadows on the Moon

Kristine Kathryn Rusch

They say anything can happen in New York, but I don’t think most of the people who say that take it as literally as the folks in this delicate little fantasy.

She leaned out the hotel window and felt the misty air on her face. A symphony of honking horns played to the beating of her heart as the cars below moved like well-lit ants. In the haze of artificial lights and a full moon the city stretched before her, buildings packed against one another like people on a subway.

She glanced back at the hotel room with its king-size bed, chrome lamps, and pale cranberry decor. A maid had come in and turned down the covers, leaving chocolates on the pillow. So tasteful, so refined—a glimpse of a life she had always wanted to have.

The fresh air beckoned. She pushed herself out the window and sat on the ledge. To her left the United Nations glistened, reflecting the city lights on its glass sides. Boats slid along the river. The mist caressed her, made her shiver just a little.

“Come on, Wendy, you can do it,” said Peter Pan, her childhood hero, speaking in the voice of Mary Martin, from an album she used to play over and over. “You can fly if you think you can. All you have to do is believe.”

“Believe,” she whispered. She stared out at the night sky, the lights refracted through the mist, and refused to look down. Then she spread her arms and dived. For a minute, she flew.

For a minute, she believed.

 

***

 

Justin refused to let the bellboy carry his bags up to the room. Justin had lugged the clothes bag and duffel across three airports and in two cabs. He could handle an elevator ride to the fortieth floor all by himself.

He leaned against the mirror in the back of the elevator. The hotel specialized in mirrors. Instead of paint or wallpaper, someone had decided to cover the wall in reflecting glass. He had watched himself approach the elevator from five different angles, all showing his graying hair, his suit rumpled and travel-worn, and the frown that looked as if it were baked into his skin.

He closed his eyes on the elevator, not wanting to watch himself ignore himself for forty floors. When the elevator eased to a stop, he got out and sighed. Forty was done in a tasteful, rich cranberry. Black tables and chairs lined the walls, and large pink and white floral arrangements covered each table. He glanced at the chrome numbers placed just above eye level on the wall and felt his stomach lurch. He didn’t know what he was doing in New York. He hated the city, hated the hustle and bustle that allowed for the rudeness and lack of consideration that had made his trip from La Guardia so difficult. For a brief half-second, he thought of turning around, stepping back into the elevators, braving the world of mirrors, and going home.

But if he did that, he wouldn’t be able to look at himself at all.

He clutched the metal computer card that passed for a key in his right hand and followed the arrows. The room was in a little cubby all by itself. Instead of another room beside it, the maid’s closet took up the remaining space. He knocked, the sound echoing in the quiet hallway, and waited. A man opened a door two down, looked at Justin, then closed the door again. Justin sighed, slipped the entry card in the slot, and pushed the door open.

“I said, ‘Just a minute.’ ” Elise took a step out of the bathroom. She was wearing a robe with the hotel’s monogram and a white towel turban hid her hair. Her face was naked and plain without makeup. She looked surprised to see him. “Jesus, Justin. Three days late, as usual.”

Justin let the door swing closed. He set his luggage down. The room was wide, with a king-size bed and large windows on the far wall. He loosened his tie and pulled off his suitcoat. Humidity from Elise’s shower covered him like beads of sweat. “You said to be here by today. So I am.”

“Before. Before today. If we wanted any time together at all. I make my speech tonight, then there are a few social functions, and I fly back to Oxford tomorrow. I doubt that I’ll use the room for anything other than changing clothes and packing in the next twelve hours.” She kicked the bathroom door closed with one long, narrow foot. He stared at the oak door as an interior buzz signaled a blow dryer starting up.

He ran a hand through his hair, then picked up his luggage and hung it inside the closet. She had made it clear enough: she wasn’t coming back tonight. She had given up on him and found someone else. Or worse, she hadn’t found anyone at all.

The blow dryer shut off. He closed the closet door and sat on the bed. His fingers shook as he punched 0 for the front desk. He asked for a two-day extension on the room, which they gave him, and then he leaned back against the thin mirrored headboard and waited.

Elise emerged from the bathroom a few moments later, bringing more steaming, humid air with her. Her naturally curly dark hair fell about her face in waves, and the carefully applied makeup gave her face the sophisticated beauty he was used to. She took her clothes out of the closet, then pulled off the robe, not caring that she paraded naked in front of him. Her body was as trim as ever.

“I flew all the way from San Francisco,” he said quietly, fighting the arousal her movements stirred in him.

“You should have read my letter more carefully, then. I waited here for two days.” She slipped on black silk underwear and a matching camisole.

“You could have called.”

“Don’t put it on me, Justin. I did call, a month ago, and sent a follow-up letter. I always keep copies of my correspondence. The note said ‘before.’ Your slip was very Freudian. I’m sure you did want to be here, consciously. It was your subconscious that fought you.” She pulled on a pair of nylons, then stepped into a black, understated dress that looked both professional and sexy.

“Elise, look. I booked the room for two more days. Stay with me. We’ll see if we can fix this.”

She turned, her dark eyes cold and flat. “I have to return to Oxford to finish my appointment. Then I’ll be in Washington. Maybe we can work something out there.”

He shivered despite the heat in the room, the full extent of his mistake suddenly clear. She had meant the weekend to be a celebration. He had thought the speech would determine whether or not she was appointed as undersecretary of state. But apparently, the president had already made the appointment. “I’m sorry. I didn’t know. I’m sorry, sweetheart.”

He got off the bed and reached for her. She waved him away. “You’ll muss by face.” She bent over, pulled a badge out of the drawer, and tossed it at him. “This will get you into the UN tonight,” she said. “I’ll try to be back so that we can have lunch before my flight.”

Justin clutched the badge, afraid it would slip through his fingers like the relationship had. “I’d like that,” he said.

She nodded, grabbed her purse and cape, and let herself out the door. He reached up, touched the air as if it were her shoulder. “Good luck,” he whispered.

 

***

 

A shadow crossed the moon. Justin stopped in front of the delegates’ entrance to the United Nations and glanced up. The sky was too hazed over, too filled with artificial lights and fog for him to even see the moon. Yet he remembered the feeling from his childhood in Montana, where the sky was open and free and the moon dominated like a god: the prickle at the back of the neck, the small shiver that ran down the spine.

He shook his head, showed his pass to the guard, and walked along the curved driveway that led to the row of glass doors. He felt no pride walking here. He should have felt pride, with his wife about to speak to an important international assemblage, soon after which her appointment to the Cabinet would be announced.

They had been estranged for nearly a year.

And the president was Republican.

Justin ignored the doors that read Delegates’ Entrance in several languages and pushed through the revolving door. The interior room was huge, with glass on the left and a curving blond wood wall on the right. Large tapestries hung on the wall, and elevators faced him. Security people lined the carpeted path, keeping the invited guests flowing toward the correct room and guaranteeing that no one had a chance to hide in the building. Justin stopped, let people in ceremonial kimonos, African tribal dress and Western business suits pass him.

He felt lost here. He was a former flower-child turned California computer programmer who had happened to meet, in the San Francisco airport, a woman returning from her Rhodes scholarship studies. They had happened to fall in love and happened to get married, and then realized that their dreams were different. He didn’t belong in the United Nations any more than she belonged behind a computer screen.

“May I help you, sir?” one of the guards asked in accented English.

Justin shook his head, taking the hint. He walked along the carpet, gawking at the architecture, realizing that if he ever came here again, he would enter by the tourists’ entrance on the other side of the gate. He rode the escalator and stared at the blond wood, the faded royal blue colors, the sculptures and paintings donated by various countries. He was walking in a post-World War II international dream, decorated in the 1950s and tarnished by years of misuse. The building symbolized the dream, but people like his wife—who made speeches to get Cabinet posts, not to promote world peace—multiplied in the corridors like a thousand tiny microbes. Eventually the microbes would eat at the structure and the entire building would crumple, dreams and all.

Like his marriage had crumpled. In the early days, he and Elise used to talk about going to major political functions together. But they had always discussed it as if they would be a team, instead of two individuals. Elise probably remembered that dream, and that was why she tried this last time.

He passed the General Assembly room—the door closed and locked, a guard posted in front—and followed a heavyset man in a dark suit into a smaller corridor. The guards at the end of the corridor stopped everyone and checked badges, sending representatives and their interpreters down one hallway, and guests down another. Justin walked with the guests into a wide gallery high and well back from the delegates below. He took a seat and glanced around for Elise. He finally found her, up front below a large statue of a phoenix holding a world in its claws. Elise was talking with a man Justin had never seen before, laughing, and touching him gently as she used to do with Justin. He shivered, although the room was warm. And remembered something he had ignored in his conversation with Elise. She had said there were social functions afterward. In politics it was de rigueur for politicians to bring their spouses to social functions.

Elise hadn’t invited him. She had set this up as a test, and he had failed. He leaned back in his chair and stared at his wife touching another man. There wouldn’t be a lunch tomorrow. But when Justin returned to California, there would be divorce papers waiting in his mailbox. He wasn’t a gambling man, but he would have bet everything he owned on that.

 

***

 

The mist felt cool on his face. Justin sat in front of the open window in his oh-so-expensive hotel room, too shell-shocked and exhausted to move. He wanted to drink himself into oblivion, but even that sounded like too much work.

The speech had been good and well-received, but he hadn’t been able to reach Elise afterward. The guards wouldn’t let him down to the floor, and despite the message he sent, she never came up to him. So he sat in his hotel room, staring at the lights of the city reflected in the mist, ignoring the UN building off to his right. He would stay here the next two nights, maybe hit a Broadway show, maybe sightsee—do something to justify the expense and the time off. Then he would go home, pick up the divorce papers, and retreat behind his computer screen, where everything was safe and understandable.

He was getting cold. He stood up and slammed the window shut. Then he picked up the room-service menu, thinking he could order himself enough to drink, to wipe that tall, thin, dream-covered building across the street out of his vision.

A magnum of champagne. Yes. A magnum would do quite nicely for a start.

He picked up the phone to order when something tapped against the window. He hung up the phone and turned, a bit spooked, thinking of cords and wires and electrical things, of dangers from an explosion he hadn’t heard, a disaster he hadn’t anticipated.

He saw a face. A woman’s face peering at him through a haze of mist. Her hand reached up slowly, as if she were underwater, and tapped the glass again. He saw her fingernails hit the glass, heard the tiny click-click. For a minute he checked, to see if he had already ordered the champagne and finished it, but he saw no empty bottles and felt too much pain to be drunk.

He was on the fortieth floor.

And probably sound asleep.

He opened the window. The woman grasped the ledge and hauled herself inside. She dripped mist on the cranberry carpet. Water droplets dotted her blond hair and her pale eyelashes, shrouding her clothes in a spiderweb of dew. “I’m sorry,” she said. “I thought your window was open.”

“I just closed it.”

She wiped her forehead with the back of her hand, making some of the drops roll down her cheeks like tears. “It got cold out there.”

“I bet.”

She blinked then and looked at him, apparently seeing his confusion. “Where am I?”

“The fortieth floor.”

“Oh.” She sank into one of the chairs and patted her pocket, pulling out an entry card. “I’m on the forty-third, but apparently the maid closed the window. I’ve been trying to get in for almost a half an hour now. I didn’t know if I could land.”

Justin nodded, his confusion growing. He didn’t expect her to be staying in the hotel. He though that, if he looked outside, he would see a girder or window-washing equipment. He half-expected to see a rope attached to her waist or rock-climbing equipment hanging from her hips. Perhaps she was a cat burglar gone awry. Or perhaps she had jumped.

“How did you get here?” he asked.

Her smile was small, almost sheepish. “I flew.”

“Flew?”

“Flew.”

Justin shook his head. He didn’t want to know how she got to New York. “No, I mean here, in my room.”

“I just told you.” Her gaze was clear. Her face, even without makeup, had an old-fashioned prettiness. He had a dizzying moment when he thought he was seeing a ghost, then the digital watch on her wrist beeped. She reached over and shut it off.

“People don’t fly,” he said.

Her smile grew, just a little. “I did.”

He frowned, thinking there had to be another explanation. There was equipment outside the window, or Elise was playing a trick on him, or he was asleep and dreaming. He went to the window and looked out, and saw nothing but mist and lights and cars far below. He wondered what it would be like to catch a breeze, sail on it, and see the city from above with no glass between him and the lights.

Justin turned around. She was already grabbing the door, letting herself out. She reached up a hand, the hand holding her entry card. “Thanks,” she said.

“Wait. Can we talk for a minute?”

She shook her head. “I’m really bushed. But catch me tomorrow. I’m in room forty-three twenty-five. My name is . . . Wendy.”

He heard the pause, frowned again, checked her hands. She wasn’t holding anything but her entry card. His fingers brushed his back pocket. His wallet was still there. “My name is Justin.”

She shrugged. “Oh well,” she said. “I was sort of hoping it was Peter.”

 

***

 

He waited about an hour, and at that point, he couldn’t take it anymore. He thought of trying to get into the UN, seeing where the parties were, imposing himself on Elise. But he couldn’t embarrass himself on an international scale. So he paced the room, and finally, when he couldn’t stand himself any longer, he decided to go to the bar.

Justin had forgotten about the mirrors. From the moment he stepped into the elevator, his company quintupled. He felt as if he were in a party with people he despised. When the elevator reached the ground floor, he thankfully turned right, away from the mirrors. The crowd lessened to a single look-alike pacing him. As he went down the stairs into the bar attached to the five-star restaurant, the look-alike disappeared altogether. He was finally alone.

The bar was almost empty, although the restaurant sounded full. Two men in business suits sat on opposite sides of the bar. Behind the glass racks and bottles of booze, another mirror waited for him. Justin decided to take a table. He turned and found himself face to face with Wendy.

She looked out of place here. Her clothes were a little bit shabby and her haircut was two seasons out of style. She had applied makeup inexpertly, as if she were a teenage girl trying for the first time. She held an unlit cigarette in one hand, waving it like Bette Davis in a 1940s movie.

“I thought you were tired,” he said.

“I thought so, too.” Her voice seemed harsher here, with the trace of an accent. Brooklyn? Queens? He didn’t know. He could never tell the variations of Eastern accents apart. “But to have something special happen—it may tire you out, but God, I’m still so wired, there’s no way I could sleep.”

“What happened?” he asked.

Her smile quirked half her mouth. “I told you.”

He glanced around the bar. “Mind if I join you?”

“Please.” She waved the chair back with her cigarette hand.

He sat. The chair was soft and plush, too comfortable for a bar chair. He leaned back and ordered a gin-and-tonic from the cocktail waitress. “So tell me again,” he said.

The light was dim, but it looked as if Wendy flushed. “You didn’t believe me the first time, and you saw it.”

“I might believe you now,” The waitress set his glass on the table. He moved the glass a half-inch. “I kind of need a miracle.”

“Yeah.” Wendy sipped her wine. “You look a little lost.”

“Not lost,” Justin said. “Left.”

“Girlfriend?”

“Wife.”

“How long?”

“It’s been happening for over a year now, but today . . .” His voice cracked and he covered it by tasting his drink. “Today was the end.”

“I’m sorry,” Wendy said. She sounded sincere.

“Don’t be.” Justin took another drink. The alcohol felt good. “It was my fault.”

Wendy shook her head. “Two people make a relationship. Two people end it. Surely you had dreams for this once—?”

“Computer programmers don’t have dreams,” Justin said, repeating one of Elise’s bitter statements. “They have goals.”

“Everyone has dreams,” Wendy said. She held her wine with both hands. The soft lighting reflected off a solid gold band on her left hand. She glanced at him over the rim of her glass. “I’m going to be thirty tomorrow.”

Her softly spoken sentence surprised him. He didn’t understand its connection to their discussion. “Happy birthday,” he said.

She ignored him. “My husband wanted to be a millionaire by the time he was thirty. He worked really hard at it, trying some get-rich-quick schemes, opening his own business. He’s thirty-five. We live in a one-bedroom apartment near Brooklyn College and he goes to night school. But he’s given up. And he’s getting bitter. If he couldn’t do it by thirty, I guess he figures it wasn’t worth doing. Me, I did it. I made my goal.”

He looked at the elegant surroundings, her shabby clothes. “You’re a millionaire?”

She shook her head. “I wanted to see if there was a little bit of magic left in the world.”

“And you found some,”

“I found some.” She set her glass down, ran her finger along the stem. “And tomorrow I’ll charge much too much money on our VISA card for one glamorous evening where I could pretend to be Ginger Rogers and Katharine Hepburn rolled into one.”

“Insurance.”

She shrugged. “I didn’t want to be bitter.”

He set his half-empty glass aside and watched her. The light had shifted, surrounding her. She looked ethereal, as she had when she climbed into his hotel room, touched with mist and magic. “Teach me to fly,” he said.

“You look heavy.”

“I’m not,” he said. “I need a miracle tonight. Teach me to fly.”

She put the unlit cigarette in her mouth, pretended to take a puff, and frowned. “All right,” she said.

 

***

 

They went to his room—perhaps, he thought, because she did not want to taint her earlier experience. She opened his window, leaned out, and breathed the cool air. He loved the way the mist collected on her hair. He stepped beside her, hearing the horns, the bustle, smelling the thickness of city in the breeze.

“It’s real easy,” she said, her face half-turned away from him. “You think about all of your dreams, and you reach for them, and you’ll get lighter and lighter until you can almost hold them. Your bones will get hollow and wings will sprout along your back, and the wind will carry you as far as you want to go.”

His heart thudded against his chest. He felt the metal sill dig into his palms. She hoisted herself on the ledge. “All you have to do is believe,” she said, and pushed off.

He reached for her, thinking she was going to fall, thinking she was going to die and he wasn’t going to be able to grab her in time. Then she soared away from him. “Just believe,” she called.

Believe. He pulled himself on the ledge, his feet dangling over forty stories of mist-filled air. His heart had moved to his throat. He had always been nervous around heights, not quite afraid of falling but not willing to chance it either. She had said he had to believe, and believe he would.

He pushed away. The air felt heavy and for a moment, he was buoyant, then he fell through like a man standing on a child’s toy. Dreams, he thought, he had to grab for his dreams and he thought of them—the computers, Elise, his apartment in San Francisco, the walk through the UN—and realized none of those dreams were his. They had all belonged to someone else, someone he never was, someone he hadn’t even wanted to be. In those few seconds, windows rushing past him, he searched for his own dreams and could think of nothing.

He wanted to believe, but he had nothing to believe in.

The ground came closer, the mist zooming past him like water, drenching him. The cars grew in size, the buildings grew shorter, and finally he screamed, feeling sorry, strangely, for Elise, realizing she would never be able to live this down, never be able to fight the publicity from this one moment of his stupidity.

His scream stretched out and he looked up, feeling a flap of wings. Something soft brushed his face, then arms grabbed him and a body wrapped him tight. Wendy held him, her wings snapping like sheets in the wind. Gently, ever so gently, she eased his fall, letting him drop until his feet kissed the concrete sidewalk.

“I’m sorry,” he said, “for ruining your dream.”

She shook her head, not even allowing him a moment of self-pity. “You added to it.” She smiled, and in the glow of the streetlamps she was beautiful. Her feet weren’t touching the ground. He could hear, but not see, her wings. “I always wanted to be a hero. I just thought that was too much to ask for one night.” And then she rose away from him, higher and higher, until he couldn’t see her anymore.

People passed him like water around a stone. If they had seen anything, they didn’t acknowledge it. He took a deep breath, forcing himself to calm down. His hands were shaking, his body was shaking, and his heart threatened to pound a hole in his chest.

He took another deep breath and waited until the shaking eased. Then the hair on the back of his neck prickled. He looked up and wished he could see as Wendy’s shadow crossed the moon.

 

***

 

The next morning he got up at six, dressed, and went to the lobby. He paid for Wendy’s room and had the concierge leave her a singe rose with a message thanking her for all the help she had given him. Then he went back up the elevator, staring at his own reflection in the mirror.

He had been thinking of changing hotels, but he decided that this one wasn’t bad. He needed the mirrors, needed the constant reminder that he didn’t know the man who stared back at him through the silvered glass. He would spend the next few days walking through Manhattan, looking at Central Park, seeing a show on Broadway, staring at the down-and-outs on Times Square. The city was filled with examples of dreams, successful and broken. And maybe, just maybe, by the time he left, he would know what he longed for.

It wasn’t magic, and it wasn’t millions. It was something his, uniquely his.

He would find it. He knew he would.

That much he believed.

“Shadows on The Moon” copyright © 2013 by Kristine Kathryn Rusch
Published by WMG Publishing
First published in NEWER YORK, edited by Lawrence Watt-Evans, NAL, June 1991

 

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Fiction River News!

Written By: Kristine Kathryn Rusch - May• 18•13

Fiction River #2 will be coming out in about a month. I can share both the final cover for the trade paper and the list of names in the volume. John Helfers did a fantastic job editing this issue. It’s got some edgy stories, and powerful stories (which are, sometimes, one and the same). I’m really pleased with our second issue. So subscribe now in order to get a copy before all your friends get theirs! (And the upcoming issues are great as well.) Here’s the cover: FR How to Save the World POD coverIn case you can’t read the names clearly, the issue has stories by  David Gerrold, William H. Keith, Ron Collins, Laura Resnick, Stephanie Writt, Angela Penrose, Annie Reed, Dean Wesley Smith, Lisa Silverthorne, Kristine Kathryn Rusch, and Travis Heermann. This anthology is unlike any you’ve ever read. So pick one up!

And in more Fiction River news, Fiction River: Unnatural Worlds is in audio. WMG’s marvelous Jane Kennedy did a multi-voice volume that really does justice to the stories. You can order it here.

 

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The Business Rusch: Shifting Sands

Written By: Kristine Kathryn Rusch - May• 15•13

Business Rusch logo webI live on the beach. Here the sand shifts daily. We expect it. We watch it. The tide comes in; the tide goes out; the sand moves.

But I grew up in the Midwest. The land is firm there, solid. When someone builds a road it remains a recognizable road. Frigid winters and hot summers may buckle the pavement, but the road beneath remains something you can trust.

I love explaining Oregon road signs to Midwesterners. “Do you know what ‘sunken grade’ means?” I ask.

“No,” they say, looking at me distrustfully. After all, if they drove to my house, they saw several yellow signs warning about sunken grades.

“It means,” I say, “the road can fall away at any minute.”

The Midwesterners reel in shock. Roads are permanent, some say to me. That’s not possible, others say. You’re kidding! most of them exclaim. They look up the terminology, and learn that I’m right.

Roads out here, built on cliff faces, or over mountains, or on ground composed mostly of sandy soil, fall away on bright clear sunny days with no storms on the horizon. And no storms in the recent past. The ground slowly crumbles. The road sinks, or it doesn’t. But one day—preferably when no car is on it—the road will dissolve.

In fact, there are two stretches of highway near my hometown—one to the east, and one to the south—that the road crews have tried for decades to stabilize and cannot. Every time I cross one of those bits of road, the ground beneath me is different than the time before even if my crossings are only hours apart.

For fifty, maybe sixty years, certainly for the bulk of my lifetime as a writer, the publishing industry has been a Midwestern road. Occasionally a flood or a massive tornado will take out a section, but honestly, if a road disappears, that disappearance was something traumatic, an Act of God.

Lately, the publishing industry has been an Oregon road, with lots of sunken grade signs. Almost all of this uncertainty happened because of distribution changes, most of them in the e-book arena.  The biggest shake-ups occurred between 2009 and 2011. Then, as big publishing realized they were living in Oregon not the sturdy Midwest, they adjusted their business model just enough to make it viable through the transition.

Bookstores, on the other hand, seemed to be the cars on that sunken grade as it fell into oblivion. Last week, I showed you how the bookstores have recovered. That recovery is continuing. And a whole new revolution is happening.

In fact, at the moment, we’ve left roads filled with sunken grade hazard signs and have taken to driving on the beach itself. The sands of the publishing industry are changing that quickly.

The sea-change—which is what shifting sands are, after all, a change brought by the sea—means different things for different parts of the industry. As I showed last week, it’s a boon to independent booksellers (small, non-chain bookstores). It’ll be even more of a boon as time goes on.

The change is also great for self-published writers (indie writers) who do a print edition as well as an e-book edition. In fact, the news for those indie writers is fantastic. The news will have no impact at all on indie writers who do e-books only, except that it might convince them to start putting their titles into paper as well.

The change will have a leveling effect on books sold through traditional publishers. They’re probably not even aware that this change has occurred, and they certainly don’t know what it means for them. I only stumbled on this change through an odd set of circumstances that I’ll try to explain over the next few blog posts.

However, for the very big traditionally published writers, like James Patterson and Nora Roberts, this change will show up as a negative in their royalty statements. They will lose market share, and will not know why. In fact, they already are losing market share, and the smart ones are worried about it. That’s one of the reasons Patterson believes the entire industry is in trouble; until four years ago, if Patterson’s sales declined across the board, then industry sales were declining across the board. As I showed in part last week, that is no longer true.

It’s not just the statistics I pointed to last week that bear this out. It’s hidden in the reports from the various trade organizations that have come out this spring.

Frankly, I wouldn’t have understood what’s in those reports either if Dean and I hadn’t started Ella Distribution last year.

To understand what we saw and learned, you need to understand how individuals in the publishing industry work. Most people in publishing work in a vacuum. Editors don’t know what’s going on in their own publishing house let alone what’s going on with their writers or book distributors or bookstores.

Writers don’t just work in a vacuum. I’m beginning to think that most writers are vacuum-sealed. They seem to believe that watching what other writers are doing is more important than learning anything about business, career management, copyright, or how the publishing industry is changing. (Think of it like this: writers are like cats. They’re more interested in sniffing the butt of the cat standing in front of them on the freeway of life than they are in the truck barreling down on them at sixty miles per hour.)

Actual publishers pay more attention to what’s going on than editors or agents because publishers, theoretically, should understand marketing and sales. They generally understand marketing and sales to chain bookstores, but little else.

Bookstores understand what’s happening in their stores or in their towns. They also know what’s being published (maybe), but they’re as different from each other as possible. And bookstores generally do not share information with each other about important things, like how to handle accounts or deal with distributors.

It’s really rare for someone in the industry to understand all sections of the industry. Dean and I do because we’re writers first, we’ve owned publishing companies (and advised on others), we’ve owned book and comic stores, and we’ve worked directly with distributors throughout our entire careers, in all capacities. We’ve worked with distributors as store owners, as well as publishers of books and magazines. We’ve also owned companies that distribute things.

Over the last two weeks, I’ve begun to think we’re the only two people in the country who actually see the change on all levels, from writer to small publisher to large publisher to the bookstore itself. And, believe me, we will be sharing that knowledge. I started with last week’s blog and have a hunch I’ll be continuing this in some form until early June.

Such a lead-in, right? A bit of a tease, in fact.

But the information is complicated, and I want you to come with me on this.

What has changed is this: Bookstores now have access to all published print books, whether they come from Createspace or from a big traditional publisher. Bookstores didn’t have access to all published print books before.

There are some caveats, of course. The first caveat is this: The indie writer must put her book into Createspace’s extended distribution program. (Lightning Source has something similar, but I’m not as familiar with it.) The second caveat is this: the bookstore must have a preferred account through its primary distributor.

If both of those things are in place—the writer has her print-on-demand book in an extended distribution program through the POD company, and the bookstore has a good relationship with its primary distributor, then any bookstore can find that book with no help from the writer at all.

Got that? The writer has to do nothing, and still her book will end up in the bookstore’s system.

I’ve emphasized all of these words for a reason, and now I’m going to have to explain those reasons.

In the solid (Midwestern-road) past of book selling, a bookstore heard about a book through publishers’ catalogues, some press on the bigger books, and through the book’s availability in the distribution system. (Distributors had their own catalogues, too.) The bookseller also found out about upcoming books through industry trade publications, like Publishers Weekly for trade or commercial books, Locus Magazine for science fiction books, Romantic Times (which was what it was called back then) for romance books, and various slick magazines for mainstream books. Mystery books had the hardest time penetrating the market because actual trade publications didn’t exist. Those that did, like Mystery Scene (which Pulphouse published back in the early 1990s) came out quarterly, which was damn near useless when books only remained on the shelf for a few weeks.

Booksellers would then preorder the book or order the existing book (if they found out within a few weeks of publication) from a distributor or (rarely) the publisher.

Indie or self-published books had no place in this world because bookstores could not order those books at a discount. And buying books out of the back of some author’s car felt too much like drug dealing for many booksellers. The writers who did so often had the same sleaze-ball reputation as a drug dealer.

For eighty years now, bookstores have run on a strange system, one that almost no other business enjoys. If a bookstore fills its store with inventory from publishers, the bookstore can return that inventory for full credit if the books don’t sell.

Imagine your local grocery store trying to do that with, say, bananas. Nope. Doesn’t happen. Nor could I return any artwork or framing materials that didn’t sell back when I owned a frame shop and art gallery in the early 1980s. It just isn’t possible.

For years, publishers have tried to rescind this practice, called the “returns policy.” It was devastating to publishers. They had to produce two books to sell one, because for decades, returns ran at a minimum of 50%. A book that sold one book for every two produced was considered a success. Think about that for a moment.

Publishers couldn’t talk to other publishers about changing the returns policy because that would be collusion to impact the market in a favorable way toward publishers. Collusion like that is illegal in the United States. Bookstores would have complained and publishers would have either had to change the policy back or would have faced all kinds of legal repercussions.

Publishers were trapped by a policy put into place long before anyone currently working in publishing was born.

Small publishers coped by offering good discounts with no returns. Unfortunately, that policy kept small publishers small, because most booksellers refused to do business with them. And the bookstores wouldn’t buy a self-published book from the author, because not only was there no guarantee of quality but the bookseller was stuck with that book forever and ever.

The whole stuck-with thing is how self-publishing developed a stigma. Before returns became part of the system in the 1930s, self-published books were common. Mark Twain self-published. Virginia Wolf self-published. Benjamin Franklin was the king of self-publishers. The difference was that back then there were fewer bookstores, and those bookstores operated like all other businesses: if they bought something, they were stuck with it, unless it sold to a customer.

The returns policy stigmatized anyone who couldn’t offer returns. But returns were costly and dangerous to a business. When our company, Pulphouse Publishing, changed its returns policy in early 1992, that decision was one of a handful that sent the company out of business. We went from a debt-free corporation to a quarter of a million dollars in debt in less than a year.

The self-publishing stigma started going away with the rise of e-books. Readers found books they liked and didn’t care who published them. The problem with self-publishing remained only with print books and primarily in the book distribution system itself.

Until a year or so ago, an  indie writer or a small publisher could only offer credit and returns (like the big guys) by banding together in smaller distribution companies. Those distribution companies they demanded exclusivity. A writer distributed through them had to only deal with them.

Quite frankly, booksellers hate those companies because they don’t give credit easily and they limit returns. (They were also extremely hard for the small publishers to deal with, which was why Pulphouse set up its own distribution system.)

In early 2011, I was the Guest of Honor at Chattacon in Chattanooga, Tennessee. There, I talked with several book dealers, including some old friends, about the difficulty they were having getting my indie published print titles. The booksellers wanted good discounts, and they wanted returns, which I knew that we couldn’t offer.

The bookstores couldn’t order print titles by indie-published writers because those books weren’t in the traditional systems, and had no real hope of getting there. Bookstores also did not want to order direct from the publishers. Too much hassle.

So bookstores needed something new.

Dean and I pursued the “something new” throughout 2011 and into 2012, by researching, as well as talking to book dealers, bookstore owners, and a wide variety of people. We set up Ella Distribution with the terms the book dealers said they would like—a 50% discount for 10 books (not all the same title)—and even with no returns, that would beat the major distributors like Ingrams or Baker & Taylor.

So, if a bookseller wanted three different books from me, two Fiction Rivers, a book from Dean, and books from other big names who were now self-publishing their work, the bookseller could get 50%. At the time, the bookseller could only get 5% on indie=published titles from the major distributors, also with no returns.

Booksellers also wanted the ability to pre-order books, so the books would be in their stores by the publication date. We decided to add that to Ella’s repertoire.

We set Ella up, we hired one of the best people in the country to run it, we made the website live and—nothing. Nada. Zip. Zilch. We talked to booksellers. They promised to place an order down the road. Which was weird, because they had been clamoring for Ella just a few short months before. In fact, the booksellers who helped us design Ella weren’t placing orders with the company either. They were making excuses not to order.

Never in our lifetimes have Dean and I started a business in response to a known demand and gotten no response at all. Never.

We tweaked the site. We got more big names in. And then we published Fiction River. There was a great demand for Fiction River. We have more subscriptions than we expected by factors of 10, in both electronic and print editions. Bookstores claimed they wanted the first issue right away.

But they didn’t order.

Fiction River: Unnatural Worlds debuted on Tuesday, April 23. We published that pub date everywhere.

On Sunday, April 19, I was putting up my Free Fiction for that Monday. I went on Barnes & Noble’s website to get a link, and saw that Fiction River: Unnatural Worlds was already on the site. I expected that. We had released the e-book a few days ahead so that on April 23, the e-book would be live everywhere.

What I didn’t expect to see was the print book. After all, B&N had not placed a preorder with Ella.

Yet there was Fiction River: Unnatural Worlds the print edition, offered for sale at the proper price. I clicked on the link, and the page said the book would be available in 1-3 weeks. Now, anyone who has done print books through extended distribution on Createspace knows that such listings appear on Amazon  right away. It takes a few days for the Amazon listing to state that the book ships quickly.

In other words, I expected to see such a listing on Amazon but not on B&N. I thought that odd, and decided to follow up on it.

On Tuesday morning, April 23, I clicked on the B&N listing. The listing stated that the book would ship in one to two days.

A series of mental bells went off. I immediately knew what this meant. It meant that B&N already had the book in its warehouse on Sunday. B&N just followed our company-stated publication date, and didn’t make the book officially available until Tuesday.

How had the book gotten to the warehouse so fast? We had put the book into Createspace early enough so that we could ship the subscription copies early and Ella  could ship those preorders that never happened.

And somehow, B&N got the books at the same time as Ella. So did other bookstores.

They had preordered, just not through Ella. Dean and I had thought that impossible until we saw proof of it.

We investigated, and discovered this:

Earlier this year, Baker & Taylor changed its policies in regard to self-published titles. Instead of segregating them to a different part of their website (as if all POD books smelled bad), B&T mixed the books into the general population. Then, B&T changed its discount policy on POD books. Now, POD books qualify for the hassle-free returns policy. Certain bookstores—those with good credit, who ordered a lot of copies through B&T—qualify for as much as a 45% discount on any POD title. These gold-plated bookstores can get another 6% discount off their bill if they pay within 30 days.

And the bookstore can return one copy for the full price if that copy doesn’t sell. Back in the day (say, just a few years ago) distributors did not allow single-copy returns. The bookseller had to return at least five of that title to get the full-price return payment.

This is not a policy offered to all bookstores. But this policy is not offered to all bookstores on titles from big New York publishers either. Distributors look at bookstores the way any other business looks at its clients. Distributors rank bookstores according to credit and volume. If a bookseller pays his bill and does a lot of business through a distributor, that bookseller gets better discounts through that distributor than a bookseller who pays his bill and only does a tiny amount of business through that distributor.

It makes sense, from a business perspective.

In the past, POD titles were 5% no return no matter who the bookseller was. Now on B&T,  POD titles are 45% full return plus for select bookstores.

Ingrams, afraid of losing business, immediately followed B&T’s lead. Both distributors offer preorders the moment the POD goes live with Createspace—if, of course, the distributor believes there’s a demand for the book.

With both major distributors now offering titles by indie writers and small presses at the same discounts as regular publishers (if the bookstore meets certain incentives), Ella had no reason to exist.

On April 29, we shut Ella Distribution down. We all have mixed emotions about it, of course. The staff did a fantastic job and built a fantastic website. They did everything right. So did we.

But the business model, viable in November of 2012, wasn’t viable in February of 2013, about the time Ella’s website went live.

Booksellers, even our friends, didn’t tell us that the sands had shifted because those booksellers figured they were the only ones who didn’t need Ella. Writers didn’t see it. Big publishing didn’t see it.

Dean and I didn’t see it either. We both blog. We do our best to keep up with the industry. We spent ten days searching for information on this and finding nothing.

As we got ready to close Ella, the staff told us it was no surprise to them. Our tech people told us that they saw lots of hits on the website, increasing all the time, but no orders. The staff had no idea why this was happening, just that it was. They too knew that something was fundamentally wrong. (Did I tell you these people were great?)

Their comments sent shockwaves through me. I got pissed at myself. I wondered again what I had missed.

I stayed up all night on April 29th, researching even more. And I finally found part of what I was looking for, buried in a Statshot report from the American Association of Publishers. The report, based on information from approximately 1,200 publishers. The AAP relies heavily on information from distributors of trade publishers (i.e. B&T and Ingrams, etc.). I had read this on Publishers Marketplace when it was actual news. The item said:

In adult books, gross shipments to retailers actually declined by one percent, but returns came down by $318 million (with over half of the inventory savings on mass market returns). On a dollar basis, returns comprised 27 percent of gross print sales. That’s the greater efficiency of digital and online sales at work, seen in the positive earnings reports at many publishers.

When I  initially read that, I took “the greater efficiency of digital and online sales at work” to mean that more books sold through online bookstores like Amazon and Barnes & Noble. Customers expected those books to arrive in a slower fashion than they would out of a brick-and-mortar store.

What that phrase actually means is that booksellers have changed their ordering habits. Some are learning this on their own, but others are learning it through the American Booksellers Associations various programs, particularly something called The Winter Institute (which I will discuss more thoroughly in a future blog.)

Booksellers no longer order ten copies of a book that they think might sell. They order one, and put it face-out on the shelf. When that book sells, they order another which arrives from the distributor within one or two days.

Booksellers are learning how to run a leaner business. This cuts down on big orders (and we’ll discuss the implications of that in future blogs), but it also cuts down on returns. Returns, which had stabilized at 50% or more, were by the end of 2012, down to 27%. That’s huge, people. That’s an amazing shift.

That report, by the way, which was the only mention of returns and the shift that we were just beginning to understand, came out on April 11. In other words, we had missed nothing. And our decision to shut down Ella was a combination of being informed, having the best people, trying to start up a company right in the middle of this change, and having access to all kinds of information we wouldn’t normally have.

By the way, as I searched for that AAP report again tonight, I found more information on the changes going on in the industry. BookStats released its report on 2012 this week.

BookStats uses different methodology to report book sales. Here’s how Publishers Marketplace explains the methodology:

The BookStats methodology takes real data collected from approximately 1,400 publishers, and uses a series of calculations and hypotheses to posit extrapolations for roughly 59,000 active publishers (the overwhelming majority of which are very small). Consistent with previous years, only about 60 percent of the BookStats data is actual reported data — the rest (some $11 billion worth) is modeled from those reports.

I want you to note the numbers. BookStats extrapolates on 59,000 publishers are doing based on the activity of 1400 publishers. This is a very different measure than the actual numbers coming out of the 1200 publishers for AAP. (In other words, this system compares to the way movie grosses, and Nielsen ratings, and all of those other measures of entertainment are calculated. Not real efficient, but it’s what we’ve got.)

Here’s the quote I want you to see, from Publishers Marketplace’s report on BookStats:

In the AAP data, as we extrapolated, it was clear that the adult trade grew by roughly the gross revenues of the Fifty Shades Trilogy, and the children’s/YA business grew by just a little more ($30 million, or 2 percent) than the gross revenues of the Hunger Games trilogy — leaving the rest of the business flat. But the BookStats models posit that all the non-reporting publishers grew by about $550 million (or 7 percent); and thus that they grew in ways that most of the publishers who report to the AAP did not. Either this is a success story for small and lesser-known publishers, or it is yet another reason to question the BookStats models.

 

Since the AAP method did not count POD books, books by independent publishers, or books from most of the small press—indeed, did not count books sold by 57,800 other publishers (that PM knows of)—I believe this success story for the other publishers is at least as likely as a flaw in BookStats’ model.

BookStats at least tries to count what the rest of us are doing.

All of this might change next year, now that distributors like B&T have made it possible for indie books to sell side by side with books from traditional publishers.

I’ve given you a lot of numbers here, and shown you in detail how the sands are shifting. But here’s the thing I want you to take from this article:

It is now not only possible, but likely that an indie book with good word-of-mouth will sell as well or better than a book with the same word of mouth published by traditional publishers. Why? Because indie books won’t go out of print quickly. They don’t have limited press runs (see Dean’s post from last week), and they don’t have useless stock sitting in warehouses.

Indie writers, indie books, indie publishers now have the same access to bookstores that traditional publishers do.

The playing field has just leveled.

In the next few weeks, I’ll talk about how this will impact traditional writers and publishers, but I’ll also answer the question all of you are preparing to type into my comments section: How do you get word-of-mouth going on your book so that a bookstore wants to order your book through B&T or Ingrams?

I’ll answer that and so much more in the next few weeks.

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“The Business Rusch: Shifting Sands” copyright © 2013 by Kristine Kathryn Rusch.

 




 

 

 

 

 

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