Publishing

Write the thing you wanna write. You can be strategic and whatever, you can and maybe even should try to figure out what people want to read and what publishers are willing to buy, but at the end of the day, a whole lot of people in and around this industry know almost nothing for certain.

Continuing my recurring feature where I publicly post a report card of fiction writing activity each month. This series is inspired by Aeryn Rudel’s blog Rejectomancy. Each month I’ll post a report card summarizing words written, submissions, rejections, and hopefully acceptances.

Last month, I announced a new recurring feature where I’ll publicly post a report card of fiction writing activity each month. This series is inspired by Aeryn Rudel’s blog Rejectomancy. Each month I’ll post my results, summarizing words written, submissions, rejections, and hopefully acceptances.

I’ve been writing a lot more lately, shifting my work from a secret passion to more of a serious pursuit. The last few months I’ve been making steady progress on project DARK CONDUIT, and producing short stories which I’ve been submitting to fiction markets.

I also suspect that we’ll see less fiction of all kinds. Everyone will have published their novel and discovered they aren’t going to get rich–or even noticed–by writing. The industry, especially in its middleclass form, ie traditional, paper-published litfic, saw peak remuneration in the 1990s and peak social status dividends in the first ten years of the new century.

Those of you who already read Ellis’ work will find no surprises in his first column for Wired UK, but this piece is worth reading regardless. There’s a lot of meat in this column, but it would be easy to discount it as simply strange.