Somewhere around the middle of March, I got an email from one of the television producers I’ve worked with for three years now. He asked for an extension of our agreement, which expires in June. A little background. As of January 1, we had a script. We had interested parties. He was going to start filming the pilot sometime in the summer. Whether or not […]
No-nonsense private eye Belinda Sweet, the only person in Los Angeles who wants no part in fame, avoids cases that bring her attention. Until she stumbles on one in a bar, when a barfly asks her to act as his alibi for killing his wife. When the cops arrest him but then let him go, Sweet needs to know why. She’s lived in LA long […]
Fortunately, December started better than November in regards to the reading. Good nonfiction and fiction, some of which is listed below. (Some is just too…I don’t know. It doesn’t inspire me to share.) I also line edited a Fiction River and started line editing another, since I’m workshop heavy in my reading in January and February. Speaking of Fiction River, I failed to call attention […]
I just had the most illuminating conversation. I had been consulting with someone about one of the TV deals I’m currently negotiating. I had run into a situation I had never encountered before, and I needed help evaluating it. No one I knew personally could help me. Either my good friends had not done a TV deal in years or they had let their agent […]
I was trained in traditional publishing, where writers go begging for opportunity. Writers are taught to beg, from professors (let me into your class!) to critique groups (is my writing good enough?) to agents (will you take me on?) to publishers (will you buy my book?).
We’re not trained to value what we’ve built.
In dealing with movie and TV producers, and foreign rights publishers, and pretty much anyone who wants subsidiary rights to my book, I hold all of the power in the negotiation.
I know, I know. A bunch of you just did double-takes. How can I have more power than a Hollywood studio?
I am fully aware of the fact that the problems I’m having are problems I would have traded up for thirty years ago. I’m also fully aware that these problems aren’t really problems at all.
I’m hardwired to jump at opportunities. One of my biggest complaints about my agents, back in the days when I had agents, was how many opportunities those folks failed to jump at. Or screwed up. Or ignored completely.
I’m a writer first, and as a writer first, anything that puts me behind on getting to my fictional worlds irritates the hell out of me.
Caro, once considered the most beautiful woman in the world, had a daughter with a relatively ugly magician. Caro’s daughter, unfortunately, inherited her father’s looks—and his magic. She uses that magic to help protect her beautiful mother, and famous women like her, from the snarkmeisters on red carpets everywhere.
But when a darker evil comes to light, Caro’s daughter fears her limited power might prove insufficient.
Can she stop the danger lurking in the shadows? Or will she find herself falling victim to its pull?
“Fashion and the Snarkmeisters,” by New York Times bestselling author Kristine Kathryn Rusch is free on this website for one week only.
I realized that all these great things had happened in my career, and some other great things had happened in my life at the very same time, and I hadn’t taken the time to appreciate them. Yes, other outside things brought me down emotionally. While those things (as well as those emotions) are valid, they shouldn’t stop me from living day to day.
I decided I needed an attitude adjustment.
So, I decided to look back at some of the good things in my writing career, in the writing business, and in the craft, as preparation for the day of feasting that I’ll be enjoying while those of you outside of the States will go through your usual Thursday routines.
In no particular order, here’s what comes to mind:
As I thought of all that writing I wasn’t doing because of promoting my own projects, I had been feeling sorry for myself.
And then I flashed back on that conversation with friends who were trying to sell to a traditional publishing house and who weren’t getting anything back from that house. The house expected those writers to do what indie writers do, and get paid less for it.
My realization? Pretty simple, really…