On Building Collections

Cross-posted from Facebook

So one of the most time-consuming tasks on my editorial calender is deciding the story order for collections. I’m hip-deep in one this week, laying out the order for 30+ entries, and while it takes forever, it’s one of the most deeply satisfying things I get to do as an editor.

Short story collections are tricky because, structurally, they aren’t cohesive. You’re curating a bundle of works, rather than a single narrative.

And while there are a series of truisms floating around about the way collection/anthology editors operate — best story goes first, second best in the middle, look for a strong ending — I spend a huge chunk of my time considering other elements.

The first phase is always looking for themes and resonances, considering how each story will play off one another and how its meanings might change when placed in a particular part of the story.

The second phase is looking for clashes: too many stories with the same voice, or recurring motifs and stylistic elements. Every writer has them, and we’re often blind to them until you put a bunch of stories together and hit the same type of ending or opening three times in a row (for me, early exposure to Raymond Carver’s So Much Water So Close To Home means I’m really fond of stopping stories short, and letting reader momentum carry them on to the possible conclusion).

The third phase is looking for “turning pont” stories that can mimic the narrative “gear-change” you’d get 1/4 and 3/4 of the way through a novel. Stories that break a mood, or switch styles/genres in a big way. You may not be telling a cohesive story, but that subtle clunk of things changing gear gives the book a familiar beat, in the same way that a shift in and out of the second act does.

The fourth phase is looking for hand-offs and echoes. Does the ending of one story do something weird to the beginning of the story that follows, or add a little element of connection? Is the mood at the beginning of the collection a mirror of the ending, or a contrast?

(My absolute favourite trick I’ve pulled in a collection was the order of Joanne Anderton‘s Inanimates, where the first story begins with a despairing character on the beach at sunset, while the last story ends with a character waiting for sunset with a renewed determination to fight. It’s such a nice mirror that gives the collection a flow and journey, but not so overt that you’ll notice it without doing a deep read)

This fourth phase takes probably as much time as anything else, and every story gets moved at least once. I thank god for tools like Scrivener and — these days — Vellum, which make it relatively easy to do without endless cut and paste.

Is it worth it? Who knows! The results are largely invisible to readers, because nobody thinks about collection structure in this level of depth. I certainly didn’t until I came across David Jauss’ essay Stacking Stones in the phenomenal essay collection On Writing Fiction, and *he* only seems to have written about it because he judged a major short story award and read hundreds of collections back to back.

But I like to think it’s where Brain Jar Press adds value with collection projects, and that most of the collections go out stronger for the consideration of the book as a whole rather than just treating them like a bundle of disconnected stories.

And it is my favourite part of the gig, despite the time investment.

Knock Knock: an interactive sci fi serial (Part 1)

A few months back, I wrote a little vignette while experimenting with tools from Mary Robinette Kowal’s flash fiction workshop on Patreon. The end result wasn’t quite a stand-alone flash piece, and wasn’t quite a short story, but something in between—the opening scene of a longer story.

Unfortunately, it wasn’t a story I was going to pursue with any real determination. In a lot of ways, I’m playing with a familiar trope, and I wrote it as a fun exercise rather than any ambition to sell it.

But posting to my Patreon gave me the idea of doing a story developed in serial, writing scenes that bring things to a major decision point and giving readers the chance to vote on what happens next. Alas, voting proved hard to set up on many of my usual platforms than expected — turns out mailing out a poll to subscribers is a premium service for my newsletter provider, and cost more than I’m willing to pay on a project that’s just for fun.

And so we take it low tech: a blog, a google form, and a 1500 word stretch of fiction that posits one very important question. I’ll leave voting open until May 20th, 2022, then take the results and work on part two.

KNOCK KNOCK (A Serial With Reader Interaction)
Part 1: Suddenly, A Knock On The Airlock Door

The knock on the interior airlock door startled everyone. Finn’s heart raced as they turned from their console and exchanged a bewildered glance with Lucy and Tse—but judging by their crew’s facial expressions, everybody was in the dark. Finn checked the readings in case the team missed something, but no warning or trajectory marker sprang out to explain their visitor. There were no life signs within five thousand clicks of Denki Outpost, and sure as shit, there were no inhabitants on the irradiated planet they orbited.

Whatever occupied the airlock knocked a second time. Curt, sharp knocks that echoed through the cramped confines of Denki C&C. Tse mouthed the words ‘what the actual fuck,’ and Lucy’s professionalism fought the wild-eyed expression of a woman ready to a scream. Someone needed to step up and take charge of the situation, and the insignia on the uniform Finn hadn’t worn since they launched two years back meant they were the obvious choice.

“Anybody expecting visitors?”

A feeble joke to break the tension, and Tse offered a courtesy chuckle. Lucy clenched her fists, seemingly open to the idea of lunging across C&C to strangle Finn, and probably would have if the third knock hadn’t sapped the last skerrick of humour out of the wisecrack.

Finn went into command mode. “Tse, double-check our sensor array. Ensure everything’s hunky dory, and this isn’t just a bug that left us flying blind since the automated diagnostic. Luce—run through the external footage. Let the AI do pattern recognition, see if spots anything approaching and—“

The fourth knock, slow and ominous. As if they’d switched to a heavier hand. Or a sledge hammer. This time, Lucy shrieked. Still, she was a pro. Her fingers burst into motion a half-second behind Tse, following orders as she forced her breathing to steady.

Finn crossed over to the airlock seal and employed a more analogue, non-scientific response. They raised a fist and knocked in return, three sharp raps against the worn metal. Tse’s head bolted up, as if astonished they’d engaged, and Finn offered a shrug of apology.

They all waited, breath held, quietly hoping that would be the end.

The next knock echoed like asteroids hammering against the hull, and the whole station shook with the impact. Finn stumbled and fell on their ass, while Tse and Lucy clutched at their consoles to avoid a similar fate. “Scanners are working clean,” Tse reported.

“Nothing on the visuals,” Lucy added. “And systems don’t show any sign of the outer doors opening in the last twenty-four standard.”

Their visitor knocked again. Boom…Boom… Finn counted the seconds between them, as if one were lightning and the next thunder, the interval offering some new information that technology hadn’t provided. They cursed whatever screwless designer insisted there was no need for cameras in the station’s airlock.

“My Da used to tell ghost stories about the phantom airlocks on his home ship,” Tse said. The tall woman was a born spacer, a third-gen drifter who’d lived more hours in the void than Finn had spent on a planetary system. “The dead returned on All Hallows’s Cycle to visit the places they ended up deceased.”

“Except it ain’t All Hallows,” Finn said. “And we caught Denki’s first rotation. The station was fresh off the line — I doubt it’s a fucking ghost.”

Tse squared her jaw. “You got a better explanation?”

Finn didn’t, but the next knock saved them from having to admit that out loud.

BOOM! Then the interminable wait, eight seconds at least, before the second BOOM! shook the outpost once more.

Finn steadied themselves against the wall this time, pushed down the panic clawing at his throat. “Any chance we can vent the airlock, give whatever’s in there a taste of the void?”

“We don’t know what it is,” Tse said. 

“You in a hurry to find out?”

Tse worried her lower lip, hands dancing across the consol. The hiss of oxygen leaking gave them all some comfort. Slowly, intractably, the sensors confirmed the lock was empty, even as the exterior seal cranked itself opened. 

Lucy brought the external camera up on the main screen, showed them the backdrop of distant stars and red-scorched planet visible from their side. She nudged the joystick, trying to get an angle on the door itself, but the best they could do was a broadside glimpse of Denki Outpost’s flank. Not perfect, but they’d spot any occupant of the airlock floating away once they void did its thing.

Nothing floated out there except a few stray barrels, unsecured debris from the airlock ready to load into the next supply run.

The knocking returned—BOOM… BOOM—as if the vent hadn’t even occurred.

They sat, mute, as the seconds passed. Finally, Finn spoke: “If this is one of you playing some sick joke, speak now and we’ll agree you’ve pulled an all-time classic.”

“It’s not mine,” Tse said, and Lucy confirmed she was innocent with a nod. Both squinted at Finn, puzzling out whether their captain might pull a trick like this to break the monotony and write it off as a team-building exercise. Judging by the speed of their fading suspicion, the theory didn’t gain any traction. 

Probably because I’m ready to piss myself, Finn thought. They drew a deep breath and forced a thin veneer of authority over their fear. “Seal the airlock and restore the atmosphere. If this hasn’t stopped them—“

BOOM! 

The noise caught Finn by surprise, and they jumped. Adrenaline surged, but they ignored it, counting seconds. BOOM! There were thirteen before the follow up now. Getting slower, growing louder, no discernable pattern to the escalation.

“If emptying the airlock didn’t stop them,” Finn said, picking up the thread, “then I doubt there’s anything we’ve got in here that’s going to discourage them. That leaves us with two obvious alternatives moving forward, and neither of them are good.”

Tse perked up, as if the thought of choice somehow eluded her. “Roll out the options.”

“One: we ignore it and hope it goes away,” Finn said. “Praying that whatever is knocking at our door is ultimately harmless, and we make it until the next supply ship arrives in three months’ time,”

“Let’s call that Plan B,” Tse said. “What’s the other option?”

“We open up and let it in.” Lucy’s voice was soft, resigned to what had to happen. She flipped the controls, ready to comply with Finn’s order. “Airlock will be human-inhabitable in approximately two minutes.”

“We ain’t opening up,” Tse said. “I don’t care what Finn says. Something tracks you down in the middle of deep space, no explanation, no signs of violence? You keep your habitat sealed tight and take your chances that it can’t break its way inside.”

“Would claim it as my first choice,” Finn said, “but there are no good options.”

“It’s better than the other proposition,” Tse argued. “I not keen on meeting whatever’s out there.”

“Me either,” Finn said. “But it is what it is. Regulations don’t cover this, so we all vote on the play. All in favour, raise—“

BOOM! 

The floor shook under them, so hard Finn wondered if this time the station would shatter under the impact. The shaking knocked Tse out of her chair, and Lucy’s face took on the green cast of someone about to vomit. 

BOOM!

Finn figured it for thirty-seven seconds. Longer gaps between knocks, but each one hit harder. They sucked in a deep breath and closed their eyes, not sure they could meet Tse’s stare or Lucy’s panicked expression.

“Alright, time to vote,” Finn said. “All in favour of letting our visitor in, please raise your hand.”

Subscription Models and the Indie Author

There’s nothing like teaching a workshop on something to both clarify your thinking and beliefs, then inspire new insights on a topic. Here’s a little something I puzzled through while writing my workshop for RWA last year.

In indie publishing circles (and a lot of other marketing), you’ll often find people talking about sales funnels. The core idea here is moving COLD readers (who don’t know anything about you) through a funnel of information that WARMS them up (gets them excited about your work) and eventually gets them HOT enough to buy. It’s the kind of thing that you’ll find in 90% of indie seminars focused on making a living selling books, so it’s not particularly awe-inspiring or original.

But I was revising the slides for this portion of the workshop right before I sat down to write up my case study for a good reader funnel, then tackling the inevitable question of “do I put my books into Kindle Unlimited’s subscription service or go wide and sell from every retailer?” 

This is the perennial debate in indie circles, and communities have split because of it. Some folks swear by KU and build their entire business around it, while others recoil from the exclusivity requirements that mean if you’re in KU, then your ebooks are only in KU.

I’m very much in the latter camp, but I’m trying not to be prescriptive because there are folks whose lived experience and tactical approach will be better suited to KU than what I do. 

So I broke the debate down in terms of the larger pricing discussion and how price means different things when a reader is at a different point of the funnel.

  • For an author where I’m a COLD reader and no nothing about the work, I’m going to be price sensitive. The risk of getting a book I won’t enjoy is weighed up against the cost of the book. Risk is high, reward is unknown.
  • Once my interest has been WARMED up by samples, reviews, recommendations from friends, newsletter opening sequences, etc, then I’m willing to spend a little more money because the risk of getting a bad book is lower.
  • For an author where I’m a HOT reader, I’m willing to pay a premium because I know I’m probably getting a book I want to read. Getting it cheap is a steal when it happens, but I’m generally there to pick up a book on release. 
  • For an author where I’m a SUPER HOT reader, I’m willing to buy a hardcover or special edition. I’m definitely getting regularly priced paperbacks or ebooks on day one.

The appeal — and challenge — of subscription services is pretty clear when you break things down like this. They’re great at lowering the cost of entry for COLD readers, who can try a whole range of stuff at a low subscription cost. 

That’s great if you’re looking to bring people into a funnel, but once they’re warmed up and ready to be hot? Suddenly you’re making far less money per book across the length of your backlist, and need to find significantly more readers to make up for the shortfall. 

Which doesn’t make subscription models a bad thing, but does contextualise the trade-off you’re making. 

And, as I pointed out again and again int hat workshop, you’ve got a long time to court readers as an indie author. If you’re in a place where you can be patient, the lifetime value of those readers could well be higher than you’d get rushing to get them onboard now.

Of course, sometimes you can’t afford that tradeoff, and the dollars in the hand are worth more than the potential lifetime value if you take your time courting the reader. But given the choice, I err on the side of the slow burn, if only because I’ve seen just how long my books can earn me money.