The Business Rusch: Binge Reading

Business Rusch free nonfiction On Writing

On a day when most of the publishing blogosphere is dealing with Random House’s horrible Hydra publishing line, I figured I’d talk about something else. First of all, if you haven’t heard about Hydra and what it wants to do to writers who know nothing about business, check out John Scalzi’s blog. In fact, check out John Scalzi’s blog to see why so many writers choose to remain in traditional publishing without become hybrid writers at all. Also note (apropos of last week’s blog) that John now has an escape route in the back of his mind, should traditional book publishing turn on him the way it has turned on so many of us.

And let me add that many of you expressed surprise at my interchangeable widgets comment last week. Here’s what I said: Traditional publishers know that when one writer goes away, another will step into her place. You’re a rotating group of widgets that might make the publisher some money. If you don’t make the publisher money, then they’ll find someone who will.

Now, thanks to Hydra, you can see that attitude in action.

But, let’s move on to my own pleasant surprise of last week. It came in the comment section of my blog. Marie Force mentioned that her self-published book, Waiting For Love, hit the New York Times bestseller list at number 6 for e-books and number 11 overall, the USA Today bestseller list at number 15 and the Wall Street Journal bestseller list at number 6 for e-books.

I’ve been turning that news over and over in my mind since last week. Marie Force isn’t the first self-published writer (even though I prefer the term indie, which I will now use) to hit the New York Times list, and she certainly won’t be the last. But it’s refreshing to see it in action. (Congrats again, Marie!)

Journalist that I used to be, though, I wasn’t going to blog about this until I made certain I saw the actual lists. And Marie linked to all three in her post. As I scanned through the Times  list for Marie’s name, I noticed something else. Let me explain how.

The list is formatted this way:

6. Waiting For Love, by Marie Force (Marie Force)

If you look at the number one book on the list, you see this:

1. Alex Cross, Run, by James Patterson (Little, Brown & Company)

In other words, the publisher comes after the author’s name, something we’re all used to. But I’m not used—even now—to seeing the author’s name as the publisher. As I was scanning this list—the e-book bestseller’s list for the week of March 10, 2013—I noticed that same phenomenon six times in the top twenty-five. In other words, self-published authors comprise 24% of the New York Times e-book list for the week of March 10.

Wowza. Nifty. Cool.

So much for that added value traditional publishers bring. Guess what, y’all? Even hitting a bestseller list is no longer reserved for traditionally published writers only. Back when just one or two writers were making the lists, I wasn’t so sure it would happen, but now—I’m thrilled and amazed, and the traditional writer in me is surprised.

The business woman isn’t.

Now that the distribution model for books has expanded so that it’s easy for writers to get their books in front of readers, of course readers drive sales. Readers don’t care if Marie Force was published by Marie Force or by Little, Brown & Company, so long as the readers can get the books.

Getting on the bestseller list, then, has to do with word of mouth and demand, not on availability on bookstore shelves.

Remember, bestseller lists are based on velocity as well as number of copies sold. In other words, if you sell 5,000 books in the first week of publication and only 1,000 more books in the next 51 weeks, you might hit a bestseller list. But if you sell 1,000 books for 52 weeks out of the year, you won’t hit a bestseller list—even though you’ve sold 46,000 more copies of your book than the so-called bestseller did. If you don’t believe me, look at this article in The Wall Street Journal, exposing a marketing firm that buys its clients onto the WSJ bestseller list.

If you understand business and you understand velocity versus total sales, you can manipulate some lists. But you can’t manipulate three  of them in the same week. That’s because the lists that Marie hit (and several other of those authors as well) use different algorithms to compute their bestseller lists. The USA Today list is the most impressive to me because it computes actual sales of total books, comparing the sales of business books to the sales of romance novels to the sales of e-books to the sales of trade paper. To hit that list is hard (and, quite frankly, more of an achievement, imho, than hitting the Times list).

How did these indie authors hit the lists? I don’t know. I’m sure some of them would tell you they promoted to death or they blogged a lot. And I know those things had no real impact at all. Writers never believe that they got on a bestseller list because they wrote a good book.

Here’s what I do know: each of the six indie authors on the New York Times list has published more than one book. The author with the fewest titles, Shanora Williams, published three titles since the end of November.

The other authors (and the two on the extended New York Times list) published at least four books last year. Some are indie-only authors, and others, like Marie, are hybrid writers, with books from traditional publishers as well as indie publishing their own titles. Some are newer writers who have just signed a traditional book deal (and I hope to hell their contracts are good).

What this shows is what those of us who have been in the business a long time already know: write a lot of books and readers will find you. In fact, if you’re a good storyteller, then readers will anxiously wait for your next book.

In the Amazon reviews for one of these Times bestsellers lurk a lot of complaints about copy editing or the lack thereof. Those reviews are mixed in with demands from readers for the next book in the series. As I said with the early Amanda Hocking books, copy editing matters, but if you’re a good storyteller, then many readers will forgive the misuse of commas to get to your story. (Many won’t, however, which is why I insist that you indie writers pay for a copy editor of some kind. Increase your sales even more with proper punctuation!)

Traditional publishers have long limited their authors to one or two books per year. Stephen King even made that a plot point in Bag of Bones. Even he, who made a profit for the publisher on every book he wrote, was restricted to two books per year for his publisher in those dark days.

The romance genre broke that mold—and got dismissed for it. Harlequin liked authors who could write six or more books per year for its category romances (generally, those books run 50-60,000 words, about half to a third the length of a standard novel). Nora Roberts continued that practice after she left the categories, and early on, she took on a pen name for her J.D. Robb series, since her publisher and agent were afraid that slight departure from her romance novels would tank her sales. It didn’t. It just brought in new readers.

It was news when historical romance writer Mary Balogh published four books in the same season. Three were paperback originals, and the fourth was a hardcover. The experiment, according to the traditional publisher, was to see if the readers would spend even more for the last book in a four-book series or if they would wait until the mass market paperback got released.

Some readers waited, of course. But most bought all four books in the same season, without a lot of qualms.

Traditional publishers sometimes released three books in three months, usually to promote a new writer (or a new-to-the-publisher writer) with a series of books. Often that publisher had invested a lot of money in the writer or was going to build that writer into a bestseller.

Sometimes the experiment flopped; most often it worked, and is being used more and more now.

The problem that traditional publishers have is this: it costs a lot of money to publish a book. The publisher must put all the money out up front for everything from content to editorial to production to distribution. Books go from being a proposal from a writer to being a paper edition in stores, at thousands of copies, all before the publisher sees a dime (this, of course, doesn’t count Random’s grabby e-publishing lines). The average cost for a mass market original is about $250,000 (with a $5,000 advance to the author factored in), so if the publisher is going to publish three books by that author in one year, that author had better justify the publisher’s $750,000 investment.

See why traditional publishers slow writers down?

But indie writers, handling their own publishing schedule, don’t need to slow down. They can publish something when it’s done, with minimal financial outlay. If you figure that when the indie writer spends money on a cover and copy edits—and doesn’t count her time—she can publish her book for the cost of a expensive four-person dinner in Manhattan, the kind that editors put on their expense accounts.

With that kind of outlay, publishing 12 books per year, provided the writer can write that many, is doable. Publishing 4-6 is definitely possible. If the writer has existing backlist, then publishing even more can happen.

Velocity happens to indie and traditionally published writers alike when they’re publishing the next book in a well-loved series. About half of those indie books on the Times list are in a series, so clearly the readers were waiting for the next book.

Most online bookstores have some kind of algorithm that notifies a customer when a favorite author has published a new book. Even if the indie authors can’t do preorders yet, the algorithm more than makes up for it. The fans will buy the book day one if they want it.

How many books will a reader read by the same author? That question used to bother me, since I have such a huge inventory. At what point am I overwhelming my readers?

That, it turned out, was a traditional publishing question. If you think of limited shelf space and the importance of velocity in traditional publishing—there’s only so much room for new books and those books better sell—then it matters how many books you push by a certain writer. At minimum, that writer had better sell $800,000 worth of books per season to justify the capital outlay.

All of those factors make “overwhelming the reader” an issue because—unbeknownst to the reader—those books have to sell within a short time frame to make the publisher’s money back.

Now, books stay on the virtual shelves as long as the contracts and/or the writer wants them to. Writers are happy with selling (by traditional publishing standards) small numbers of books per week, because those sales add up over time. Traditional publishers still need to make their investment back, so they still need a lot of sales very fast to make supporting an author worthwhile.

In other words, if you ask a traditional publisher when a writer will overwhelm readers with content, you will get a different answer than you will if you ask readers.

Because if you ask readers the question, they’ll pause, frown, and think. Then they’ll ask you which writers you’re referring to. The reason they ask that is simple: every reader has favorite writers whose work they would buy every week if they could. And every reader has writers they like whose work they won’t buy weekly because the reader has other things to do with his time. So the reader will discriminate between favorite authors and authors he merely likes.

You do this. I know you do. Every reader does.

In fact, every consumer does this with various forms of entertainment. The thing that calmed my fears about too much content was looking at the Rolling Stones song title availability in MP3.  Two thousand songs. Two thousand. And while you might not like the Stones, a lot of people do. Not everyone is going to buy all two thousand songs, but a great number of people will be disappointed if their favorite isn’t listed.

Yeah, yeah, I’m not the Rolling Stones (I’m not that old or that male, for that matter) nor am I Nora Roberts. But I have to trust my fan base to pick and choose among the things I publish to find what they want.

I know that some folks prefer my Fey fantasy series to my Retrieval Artist series, and others won’t ever read anything but the Smokey Dalton mysteries. That’s okay by me. I like having all of those books out there, and I like having as much of my work available as possible.

Slowly, the content providers are learning that consumers don’t all act in the same way. Right now, television producers are discussing this in public in two ways.

First, they’re reacting to the Netflix series, House of Cards. Netflix released the entire season at once, and a lot of viewers binge-watched. They spent the entire weekend watching all thirteen episodes back to back. (I assume these consumers took naps and ate meals, but that might be a big assumption.) Others spent the month of February watching, and others, like me, are waiting until we have time.

I binge watch series. I prefer Downton Abbey all at once. I tried to watch Season 3 “live” and gave up. I ordered the DVD the moment it became available. I watch some shows every week. I really don’t care if I see NCIS in bulk, but it’s a comforting hour on a tired night.

Netflix, which has a lot of data on the way that consumers watch, knows that consumers watch slowly and binge-watch, which is why Netflix put the entire season out at once. Other content providers will follow suit. But not everyone. A panel with cable executives at the Hollywood Radio and Television Society’s February luncheon had most of the panelists giving a cranky response to the question of whether or not they’d release their premiere programming in single-season dumps.

HBO’s programming president called Netflix’s move “showy,” and dismissed it out of hand. Other cable executives still wanted “water-cooler” TV. They don’t care about controlling the conversation as much as they care about controlling the purse strings. It costs a lot of money to produce an entire season of something, and to spend all of that money all at once.

Sounds familiar, doesn’t it?

At the same time, the industry is slowly coming to grips with the fact that consumers have choices now. (As opposed to those three networks with rigid programming back in the day.) The Los Angeles Times has published article after article about the way that Nielsen measures television viewing in this country. For the five of you who don’t know, Nielsen is the company that measures television ratings. Ratings show everything from whether a program should be canceled to how much advertising should cost on that program depending on how many eyeballs actually view the ad.

And that’s the question. First, Nielsen only rated eyeballs that watched live. Then live+24 hours after air. Now it is—I think—live +7 days later, unless I missed something (which is entirely possible).

Last week, Nielsen also sought to change the definition of a “television home” since it noted that many people, particularly younger people, no longer watch TV programming on an actual television. Here’s what the LA Times said, “Besides people cutting the cord to their pay-TV provider, many younger consumers simply never sign up in the first place, choosing instead to get content through newer platforms such as Hulu or Netflix. The traditional networks are putting more of their content online as well. If that material has advertisements in it, having a proper measurement becomes crucial.”

The change has already occurred, but Nielsen won’t have a way to properly measure all of it (if it can even be properly measured) until 2014.

Now, apply all of this to books.

Readers have long binge-read their favorite authors. My first memory of binge reading stems from my 12th summer. I read all of Agatha Christie’s books in the local library and figured out how she determined whodunit. I felt very smart. I also read all of Edgar Rice Burroughs’s Tarzan books, but discovered that I couldn’t quite suspend my disbelief for Princess of Mars. (I think I wanted more princess, less Mars.) The following summer, all of Victoria Holt and all of Andre Norton. And somewhere—my sixteenth summer, maybe?—all of Alexander Dumas and all of Ian Fleming.

Binge reading is such a common phenomenon that the execs who are talking about the changing TV scene comparing the consumer’s behavior with episode availability to the consumer’s behavior with books in a series. In other words, we all do it.

The problem that traditional publishers have is the same one that television executives have—upfront financial outlay. It’s expensive to produce a lot of stuff at once. Which is why Random House is developing nasty things like the well-named Hydra imprint, why they’re holding onto as many rights as they can, and why they’re contracting for the length of the copyright.

It’s also why good writers who produce and self-publish a lot of content are hitting the bestseller lists with later titles. Readers want the next book in their favorite series. They’ll try a stand-alone book by the same author. They’ll go for the first book in a new series.

Readers want their writers to be able to write as fast as the readers read. Since very few writers can write an entire novel overnight and most readers can read one overnight, that wish will never come true. Writers will always write slower than readers can read.

But it’s good news for those of us who are prolific. We will have an audience that will grow with us, because our books remain available over time. And readers rarely discover a favorite author with the first book that author ever published. Readers hear about that author through word-of-mouth and pick up the latest title or the title with the best cover or the title that seems closer to something the reader already knows she likes.

For the mystery workshop I’m teaching in June, I’m introducing the students to authors they’ve never heard of. In the case of at least two writers, I start with a mid-series book. So if my students end up liking that book, they’ll have to go back to the author’s previous work.

It’s how we read. And finally, publishing reflects the way that readers read thanks to the digital era.

Just like television is starting to reflect how people actually watch, as opposed to the mandate from corporate on high. Water-cooler television? There will always be that. Just like there will be the Book of the Year (depending on genre). But there will also be consumers who come really late to that Book of the Year or that water-cooler TV show. I’m thinking Supernatural might be my summer binge show. Yeah, I know. I haven’t seen it yet. But the scenes at the front of the show look interesting. I’ve been watching them after I watch the episode of Arrow that I’ve stored on my DVR. Arrow is as close to appointment television as I get. I watch it a day or two later.

And I buy the Book of the Year when I hear about it, but I might read it three years later. If I do and like it, I’ll have three years of new books by that author to catch up on. If it’s an indie author, I’ll have a lot of reading.

And I like that. Very much.

I know a lot of you download this blog on your Kindle or  your RSS feed and read it when you get a chance. I also get e-mails from many of you who have just discovered the blog and you’re slowly working your way back through the mountain of material I’ve managed to finish over the 134 weeks I’ve been doing the Business Rusch (not counting the year-plus I spent on The Freelancer’s Survival Guide)

While I’m amazed at how much I’ve written, I am also aware of how much time this takes from my fiction. For every writer who discovers the Business Blog, there are half a dozen fans who write to me wondering where the next book in their favorite series is. Fill in the blank as to which series. I could write 24 hours a day and still not get to the next book quick enough for someone.

All of this is a long-winded way of saying this blog must remain self-sustaining. If it stops contributing to the household’s bottom line, then I’ll take the 3K words per week that I write on this and turn it into a new novel. Economic factors exist in the Rusch household as well as in television boardrooms. (VBG) So please leave a tip on the way out.

Thanks to all of you who do support the blog with comments, forwards, links and donations. I greatly appreciate each and every one of you.

Click Here to Go To PayPal.

“The Business Rusch: “Binge Reading” copyright © 2013 by Kristine Kathryn Rusch.


31 thoughts on “The Business Rusch: Binge Reading

  1. No comment except I’m a big fan of your blog. I tried to ask a question about foreign rights at “Contact Kris” but it’s not working. Tried twice. Gremlins are at work today. Everything is horribly slow, two friends were hacked, and even Amazon is having problems.

  2. This concept of velocity and sales is interesting. Hugh Howey, an indie success story with his SF phenom, Wool, has negotiated unusual terms (evidently) to retain electronic rights while allowing Simon & Schuster print rights. The book (both paperback and hardback) is being released today and Howey wants it to be a success – this week especially due to the velocity concept – for the publisher so that this publishing experiment will result in indie writers getting back more rights. My take on his post anyway. Thoughts?

    1. I hope it works. I suspect there will be some changes in the future for certain writers, but not for all. I do believe that when traditional publishers want writers with clout, the publishers will negotiate. But there will end up being quite a tier system, even more than we have now.

      Once upon a time in the distant past, Stephen King took a dollar advance so that the publisher would give the money they normally would have spent on advances to struggling new writers. The publisher didn’t, of course. Their business model is something different than writers think it is.

  3. Thank you for a wonderfully researched and informative article! I genuinely feel like I am smarter now. LOL! As a newbie writer I am trying to accumulate as much data as I can before taking that publishing leap one direction or another, and this is exactly the kind of thing I need to be reading.

    By the way, I watch both Arrow and Supernatural. Except for a kinda sketchy second season, Supernatural is by far and away the better show. (And this is coming from someone who likes Arrow.)

  4. Is it an either/or? Can you self-pub and submit the same book to agents/publishers at the same time? Sure, a big success at self-pub brings good offers — but would a lazy or beginning self-pub keep many agents/publishers from even considering the book?

  5. Just found this blog via a link from a Facebook connection. Thank you for the fascinating insight. I have trouble relating since I’ve never been a binge reader, although I have read all of the works of many authors. I just don’t do it all at once. Sounds like I’m the odd one for that practice.

    Also interesting how changing technology is bringing back old marketing practices. Back in the 18th and 19th centuries, books were often sold a chapter at a time. Entire monthly magazines compiled the next chapters of participating authors to distribute them. And if your old enough to remember the 1950s, bands sold singles and fans would go to record stores to buy the next new song. “Albums” were collections of the group’s best selling singles.

    With instant digital delivery, I’d be willing to bet an established author with a loyal following could succeed at monetizing the chapter-at-a-time model.

  6. Your blog today reminds me of when I first discovered Tess Gerritsen about two years ago. I loved the book (an Isles and Rizzoli book) and then was deliously happy to discover she had a bunch other books already published. Oh happy day! So, yeah, you’re spot on.

  7. You mentioned Supernatural as one of your ‘next binges’, and it’s one of the shows really benefiting from having back episodes available. It has actually grown its viewer base during the current season (much to network astonishment), and it’s in its 8th.

    The tv shows I’ve watched in the last year were all recommended as good, and some of those came with the caveats ‘oh, don’t start at the beginning, skip the first season.’ or ‘this was my favorite episode! Start with that one!’

    Episodic or series media, I’ve found, is cumulative by nature. It’s like watching a soap with someone who has been a dedicated fan for years because they can tell you who is who and why that reveal was so jaw-dropping. Binge-watching lets the cumulative parts actually do their job in giving series their depth. Especially with the current trend toward arc-based tv series.

    I guess I always thought that the idea that if a new book in a series was coming out you should have all the backlist available was… obvious? Like, stupidly obvious? I think that concept translates for both visual and written series.

  8. Wow – had not heard that about Hydra. Shame on Random House. (And there’s one person who posted who is desperate beyond belief to sign a deal with a trad publisher, any deal. He/she should get themselves to Dean’s and/or your site fast!)

    And good on Ms. Force and the other indies for hitting the various bestseller lists!

    My first memory of binge reading stems from my 12th summer. I read all of Agatha Christie’s books in the local library and figured out how she determined whodunit.

    Hah, binge reading; love it! Mine was when I was around 15 or so, and it was Phyllis Whitney. I read all of her books that were in the library – what fun that was! Then there was the year when I was getting classics out of the library of old film adaptations – Rhubarb, Kings Row, and the like. (Yeah, I love old films. :-))

    In the case of at least two writers, I start with a mid-series book. So if my students end up liking that book, they’ll have to go back to the author’s previous work.

    Had to comment on this one, too. That’s what I did with Janet Evanovich’s Stephanie Plum series. For some reason, I picked up the 9th in the series 1st (To the Nines), maybe because of its flashy orange cover. Of course I went back and read from the very first book and then beyond (to about the 14th or 15th).

    1. I often start a series at book five or later, and then go back to the beginning.

      The first few books in a series — especially a long running mystery series — is often different from the rest of the series. It’s good to see where there series is going so that you have more patience with that first book.

      At the same time I’ve been burned by series which changed radically after the first few. I fell in love with the first book, and then liked the second, and by the third, the tone changed. Sometimes (ironically) I think if I had seen where the series was going first, I might have been able to forgive where it went, while still appreciating those first few.

  9. I loved reading this. Following your other excellent post which moved me to tears and contribution on Paypal (!!) I am selling so well and doing so well I have to keep pinching myself and refocusing on the next book… and your news about Marie Force gave me a new goal to aspire to!
    Much aloha
    Toby Neal

  10. Man, I *wish* I could read a book in one night. My slow reading speed is probably the main reason I don’t usually binge read myself. (Though I have fond memories of reading a box-load, one right after another, of Lawrence Block shortly after discovering him.) But there are too many great writers out there, and I’m not a very patient person. So I skip around a lot. 🙂

    In any case, you set out another great example of why writing quickly and steadily is the best promotion for a writer. It’s so plain, yet so easy to forget. Especially with the cottage industry that has grown up alongside indie publishing, featuring sure-fire marketing and promotional services and/or advice. These “marketing gurus” are loud and persistent. I hear them scolding me, even now, for not blogging, tweeting and Facebooking around the clock–with a few minutes off to write, of course. (grin)

  11. LOL. Hydrae are NOT nice animals. In the micro world, they are voracious predators. Apt that RH has chosen to name their imprint this. (I wonder if they know their zoology.)

    From WikiPedia:

    Hydra (pron.: /?ha?dr?/) is a genus of small, simple, fresh-water animals that possess radial symmetry. Hydra are predatory animals belonging to the phylum Cnidaria and the class Hydrozoa.[

  12. I don’t comment here, much, but I read every column. Even though it’s via RSS, I make time for it before I go to bed on Wednesday nights. If I hadn’t been reading them every week, almost since you started, I’d binge on them.

    Heck, if you combined all the inspiring posts (posts like this one, for instance), into an eBook, I’d probably buy that and read them all over again.

    Loved the post. Don’t have much intelligent to say about it this early in the morning. Thanks for writing it (and all the rest).

    Now, off to continue my quest to achieve the “prolific” label.

  13. The other thing to remember is that even “appointment TV” has an episode every week. (And in the old days, it had like 40 episodes a year.)

    Television is popular because it keeps feeding the binge, no matter how it’s scheduled.

  14. Great, great news about Marie Force and indie authors making the bestsellers list. 24% in a week is a tremendous number.

    Also, kudos to you, Kris, for mentioning bestsellers campaigns. 🙂

    I’m curious, Kris : when you write 2 millions words in a year, does it translate into 20 or more books being published that same year ?

    Just buying 20 covers and 20 copyedit seems a heavy investment, even for an indie publishing business. Yet, I realize your are a hybrid author. By the way, I may be indiscreet, but what would be the ratio of Wmg published book versus other publishers for 2012, for example ?

    Even if you don’t buy the covers, making them have to take a lot of time. Either way, the amount of work you (and Dean) put in a year is just mesmerizing (we have also to take into account workshops).

  15. This is seriously, best time for some small Publishing Houses to make some noise and grab best available Indie writers, offer them best contracts (50-50% (and better on ebooks) split with advance.. Genre specific or not, this is so possible.. Win-win for all involved.

  16. I’m not a -young- viewer (though custom cannot stale my infinite variety), but I nonetheless gave up cable/broadcast TV 7 years ago and have never missed it. Thanks to Netflix and Hulu, I get all the viewing I want–and do indeed go on viewing binges. Even if I don’t want to watch an entire series or season in one sitting (though sometimes I do!), I prefer to see 2-3-4 episodes of a show at once, at my own convenience, and without commercials.

    With regard to the various changing structures and distribution systems discussed above, I wanted to share this info:, a new business model that’s offering university classes online for free, has a course coming up in about 2 weeks called “Surviving Disruptive Technologies,” which will examine real-world examples of businesses that do and don’t survive, and why. Publishing is one of the industries the course lists (in the prospectus) to be studied, and Borders and Blockbuster are both businesses which didn’t survive that the course will examine. I can’t provide any links because I’m on an old laptop this week which is misbehaving, but anyone interested in taking (or, like me, just following the lectures and the readings, but too busy to do the coursework) can sign up for free for “Surviving Disruptive Technologies” at Coursera. org. I can’t remember which university is teaching the course, but they’re all schools you’ve actually heard of. (This one might be U of Maryland, but I can’t remember, and my laptop is refusing to link this morning.)

  17. About the misplaced commas, even the biggest snob can get over poor editing. I’ve just finished “Doomsday Book”, by Connie Willis. Yes, there were parts that made me shudder and want to go over it with a red biro – not quirks of writing, actual mistakes. But I could forgive it because I got so involved in the story that parts made me cry.

  18. Back when I was young and poor (with lots of time), whenever a new WEB Griffin book came out, I would eagerly buy it and then re-read the entire series from the beginning, that way I made the ‘new book’ last a week or two (for his series that stretched into ~10 books) rather than just one evening.

    With TV shows, I like to save them up on my tivo and watch several weeks in a row rather than the several different genres of showes that happened to air that day (not that I always have the patience to do so)

    In both cases, it’s nice to really immerse yourself in the world, and that’s so much nicer to do when you can do it for lengthy stretches at once.

    By the way, if you can find a nice, independant theater near you, try to convince them to do a Lord of the Rings trilogy showing. It’s 11.5 hours of screen time, so you do have to schedule meal breaks, but I’ve seen it being in a _packed_ house with a standby line. In the Los Angles area, has done LoTR, Indiana Jones, and Jurrasic Park trilogies in one day (as well as doing the first 22 Bond films over one month)

Leave a Reply to Kristine Kathryn Rusch Cancel reply

Your email address will not be published. Required fields are marked *