Night Shade/SkyHorse Link Roundup

The SF world has been buzzing with news of a possible deal between Night Shade Books and Skyhorse Publishing/Start Publishing. Rather than writing yet another summary of the issue, we’ve collected some of the posts from agents, NSB authors and other publishing professionals.

i09.com’s basic run-down of the situation.

The Locus write-up.

An open letter from Nightshade owner Jeremy Lassen.

Some information on Start Publishing.

Agent Andrew Zack unpacks more of the issues.

The Night Shade Writers of America: An agent’s perspective

Nightshade Books: What Went Wrong

Michael Stackpole’s take on why he won’t be signing the new deal.

Kameron Hurley’s take.

Tobias Buckell has an excellent write-up.

Nathan Hall has some excerpts from NSB letters.

Cat Rambo examines some of the problems faced by the parties in this deal.

Phil Foglio’s perspective.

SkyHorse defends itself.

Jason Sanford weighs in.

Theresa Frohock’s post.

Our best wishes are with the people tied up in this deal. It’s never fun, and never a good thing for the industry when a company goes under.

If you know of any good links we missed, please feel free to post them in the comments.

You Will Fall Off the Horse: Professionalism vs. Artistic Expression and More

**Some warning for strong language**

It is hard to know what to say on the internet, how to balance honesty, personality and humor with respect, tact and professionalism. It’s challenging enough for most people, but creatives have an additional skill-level to maintain.

Most professionals have a business face and a personal face. They take one off at the end of the work day and put the other one on. Creatives seldom wear just one face. Our personalities are part of our brands, our business is an integral part of our life.

This can be wonderful, as it allows us a freedom and dimension of expression not often found in business or personal lives.

It is also sometimes deadly, when the two are not kept distinct enough.

Because, while we always wear both faces, they cannot be the same thing. We’re artists—from the project manager at the multi-national corporation to the editor/developer/author/artist who just produced a game all by themselves. We’re also business people, and that must come first if we are to succeed personally, and as an industry.

Balancing Art and Business and Life

The toughest part of the entire equation is the initial balance. Where do you draw the line between funny and offensive, between expressing yourself and being an ass? When does it stop being free speech and become bullying? How do you separate friendship and professional obligation? At what point do you stop shrugging off someone’s faults because they are your friend and admit that they are genuinely problematic?

That is something every creative individual will have to figure out for themselves. It isn’t an easy battle plan, it’s definitely going to hurt some feelings, and you’ll make some mistakes doing it, but you’ve got to establish those boundaries and expectations fairly early on.

Perhaps more importantly, you’ll have to let them grow and change along with you and your career. That requires constantly revisiting those standards.

If you’re part of a small company, that balance gets trickier. When it’s just you, there’s some leeway. When other people become involved, the mixture can become explosive. You’re not just looking out for your own welfare anymore, and you’re not just dealing with your own issues.

Suddenly you’re not just balancing a ball on your nose, you’re juggling half a dozen of them. What happens when you start dropping them?

Everyone Can Fail, Everyone Will Fail

There’s an old horseman’s saying: “If you ain’t been throwed, you ain’t rode”. Grammatical color aside, it’s true. Every time I get on a horse, I risk being thrown off, whether from a lack of attention, a mistake in communication, or something outside my control. It’s a calculated risk I take, but I do everything possible to make it a lower probability.

More importantly, I know how to react when I fall. I know to protect my head, to roll, to go boneless, to suspend time and make sure that I’ve got various body parts untangled and am falling away from powerful hooves, to use hands and feet to steer my roll, and so on. I’ve acknowledged the possibility, double-checked all my gear, and planned for the worst.

Failure in other endeavors isn’t much different. You’ll fall. Get used to that idea. Accept it. Plan for it. Admit that you’re human, come up laughing and apologizing for scaring people. Be graceful and dignified so that even a nasty mistake can become a benefit.

But don’t set yourself up for it. Don’t become someone who falls off for the attention, because sooner or later, you’ll break your neck, and no one will be around to see it.

Censoring Is Not What You Might Think It Is and Assholes Are Not Awesome

Some people make a very viable persona out of outrageous behavior and a nasty attitude. I don’t need to name names here, they’re some of the most visible figures in the industry. Some of them are genuinely nice people, others appear nice while they quietly plan how to spin the situation to cast themselves as the victim.

Don’t do that. You’re throwing yourself off the horse now. See the last sentence above for why that’s a bad idea. Some people can get away with it. Those people are usually well-known, quite talented, and already established. But even they miss out sometimes. A newer author who makes the choice to present themselves this way will, most likely, wind up regretting it.

There’s another angle, too: don’t be the victim. Don’t post something offensive, call it a joke when someone gets offended, and then cry ‘censorship!’ when they don’t laugh it off with you.

“It’s a joke” does not absolve all your sins, and trying to hide behind that excuse just makes you a spineless dick.

If you have an opinion you want to state, make sure it’s backed up by knowledge and understanding. If you want to make a joke, make sure it doesn’t exist solely at the expense of or for the belittling of others. And if someone says ‘hey, that’s hurtful’, it’s not censorship. You might have fallen off the horse, and you’d damn well better acknowledge that and get up gracefully.

The internet has a long memory, and the long hours of BarCon are full of stories. Make sure the ones about you are good.

Tune in tomorrow for some tips on how to fall gracefully and manage a crisis.

The Search-Engine Race

We’ve been discussing the vagaries of marketing a lot lately, mostly behind the scenes. It’s something that becomes more necessary all the time. It doesn’t hurt that we’ve got a couple of publicity and marketing people on staff!

On Monday, Steve spent the day in marketing seminars connected to his day job. One of the main topics was FB, and their new search engine.

Yeah, you heard that right. Yet another ‘wonderful new service’ offered by Facebook, and one that raises even more privacy concerns. Because we didn’t have enough from Facebook…

Unfortunately, it also means that there’s another thing you need to start paying attention to, in the social arena. The discussion about whether a writer/publisher/editor/book/anthology/etc. should build a Facebook page dedicated to their work is OVER. Facebook is getting into the search game and going head-to-head with Google and Microsoft. Each of those big engines hates all the others and nobody is going to play nice. What this means for everybody within the sound of our collective voices is that they need to take their work to Facebook and get set up with their own page. Authors need a dedicated Facebook page. Publishing houses (big or small) need a dedicated Facebook page. Even individual books (or series of books) may need a dedicated Facebook page. Without going into lengthy detail, it can be easily said that Facebook is going to give rank to whatever comes first in their social scene. If you’re an author or a publisher or whatever, you want to “beat” the unofficial fan pages to Facebook in order to secure brand protection. The good news here, of course, is that Facebook costs nothing to set up and run. It’s just time and trouble.

By the way – the same goes for Google+ in all respects. Google is already making plans to follow what Facebook is setting in motion.

Some examples of who might best benefit from setting up their own Facebook pages (before the rise of the fan pages) would be as follows:

Any author of any type – from Stephen King and Neil Gaiman all the way down to any writer just getting started.
Any book series (Harry Potter series, Dresden series by Jim Butcher, Cthulhurotica 1, 2, etc.).
Any anthology series (Best Horror of the Year, Vol. 1, 2, 3, etc. by Ellen Datlow, anything that John Joseph Adams is doing).
Any publishing house big or small or any imprint (Macmillan should have one, so should their imprint TOR).
Anyone working in a supporting role in the industry (an artist like Galen Dara or John Picacio).
Any writing workshop (Clarion, whatever).
Any genre fiction magazine in print or online.
There’s also good reason for Editors, Agents, Critics, etc. to get their own Facebook pages set up.

Want an excellent example of an author kicking ass on Facebook, look at Joe Lansdale. That guy uses the SHIT out of Facebook – not only to communicate and educate, but to promote the hell out of his work and sell his books.
And if I didn’t say it strongly enough before, “Brand Protection” is one of the main focuses. Imagine if everyone who searched “Galen Dara” was shown results that naturally led to a top-ranking Facebook “fan page” with a bunch of goofy art commentary all over it. This could happen – simply because Galen didn’t take the time to get her “official” page up and running and was waaaaay behind in the “likes” and “friends” department.

Yes, working Facebook and Google+ (and whatever comes next) will take time and effort. But even the Big 6 Houses are dumping marketing and social networking on their writers, so this should come as no surprise. As always, if you want to succeed, you’ll have to work for it.

Portfolios

I’ve posted in the past about the need for anyone in a creative profession to have a toolkit. Today, we’ll look at one of the biggest pieces of that toolkit, the portfolio.

A creative portfolio is basically a glorified resume. As a creative professional, it gives prospective clients or employers an opportunity to get a sense of your style and professionalism. It also means that, if someone asks to see your work, you don’t have to scramble through old folders, trying to figure out which pieces are suitable, or finished, or ‘good’. All you need to do is zip up the folder and email it right to them, or take it to interviews on a flash drive.

It’s also a good idea to have several versions, depending on your career and experience. Since each person’s portfolios will differ, I’ll share how mine are set up.

I have a varied career, which is both good and bad, but for the purposes of the post, means several very different collections.

Editorial
My editorial portfolio is inclusive of anthologies, magazine and blog editing. I have covers from my projects, a selection of strong reviews, and some actual content, including an ebook edition of one of the magazines I edited.

Publicity
Sell sheets I’ve written, coverage I’ve obtained, tours I’ve organized, etc. The idea here is to give an image of the range of my experience and clients.

Writing
Pretty self-explanatory! I should probably break this into two sections for my own work, but I haven’t…yet. This is where customization really comes into play. Are you applying for a creative position? Pitching nonfiction? Editorial? You don’t want your prospect to have to read five or six things before getting to the one they need to read. A variety is good, but make sure the title shows which one it is.

Not everything in a writing portfolio needs to be completed short stories or novels. Looking for game design work? Have some pieces of world-building you contributed to another project, even if it wasn’t gaming. Need nonfiction work? Make a list of the pieces you have finished, with a short description and publication history of each…and a list of pieces you want to write or are currently working on. Again, label clearly.

And, finally…
The bones of the portfolio are the same for all of them: you need a bio, a headshot, an easily-edited cover letter and resume. You won’t need these every time you send out a portfolio, but it keeps everything in one handy place.

As usual, this varies by person, career and career path. Figure out what works for you, and run with that, but always be sure to keep it fresh, edited , consistent, clearly-labeled and professional.