The problem of genre: “Grit Romance”?

Labels are terribly useful to the majority of human beings. I find them useful insofar as I understand the definition of the label used, although this is usually a 50/50 proposition for me. As a method of efficient inventory control and meeting customer expectations, genre labels simply can’t be beat. The publisher knows which buyer to go to and the bookseller knows where to shelve it.

question-mark-715902But lately, there’s been a lot of cross- and mis-labeling going on inside genre fiction, leading readers to scratch their heads and wonder, “This isn’t X. Why did they put it on X shelf?”

Science fiction with romantic elements or a science fiction romance or a romance with a science fiction backdrop?

Fantasy, ditto above permutations.

Paranormal, ditto above permutations.

Speculative fiction/steampunk/cyberpunk, ditto above permutations.

Suspense, ditto above permutations.

Erotic! and ditto above permutations.

Mystery, ditto above permutations.

Spy, ditto above permutations.

Whatever other genres I missed, ditto above permutations.

A reader may or may not be willing to go along with the story regardless what it is and where it takes them (that’s the kind of reader I am), but some buy books specifically on spine label, cover cues, and back blurb so that they can get exactly (or pretty close to it) what they want.

Today, some independent publishing friends and I have been discussing our books, about how disparate our stories are, how we view ourselves in completely different genres, and how our books all have one thing in common: They are not classifiable, except by “drama.” (Well, why can’t “drama” be its own genre? Or is it? I don’t see it used anywhere.) They’re all a mix, all dark and gritty, with romance and a happily-ever-after (the one and only real requirement to be considered romance).

I don’t know how to classify The Proviso. I never did. Drama? Yeah, plenty of that. Family saga? Check. Epic? Uh, most definitely, as it takes place over the course of 5 years. But epic what? I can’t think of a book I could compare it to. Healthy doses of religion and spirituality mixed in with money and explicit sex? What? What’s anybody supposed to do with that? It’s not LDS romance/literature/fiction (defined as anything that could be sold at Deseret Book/Seagull), although I could call it Mormon fiction if a criteria of “Mormon” is that a Mormon wrote it. I call it a romance because I see myself as a romance writer.

The editors at one publishing house liked The Proviso, passed it around to get a roundtable opinion, but ultimately rejected it. “We don’t know where to put it. The religion isn’t going to go over with our erotic romance readers and the explicit sex isn’t going to go over with our inspirational readers.” That was good to know.

I know that RJ Keller, whose Waiting for Spring, got the attention of several agents, was told that she would have to extensively revise her book to be commercially viable. Most egregiously, she’d have to cut out the drug references, except…the drugs is the keystone of her plot. Hello? She finds her book marketed on all the free sites as a romance, but she does not consider herself a romance author.

Kel pointed me in the direction of Lauri Shaw, whose book, Servicing the Pole (that title’s as ballsy as using The Bewbies for my cover), had a lot of interest, but would have required extensive changes in order for it to be considered commercial. This is from Ms. Shaw’s website:

However, when professionals who were interested in selling my work insisted I’d need to make drastic changes to Servicing the Pole to make it a commercial prospect, I had to ask myself if the end justified the means. After all, these people were able to guarantee me little to nothing on the front end.

I was told that the book was too dark. That I’d have better luck catching the reader’s fancy if I made the story into something upbeat. The suggestion I took the most issue with, though, was that I ought to transform Emily into a more ‘likeable’ character. To do so would have been to change virtually every theme in this story.

I’m proud of the story I’ve written. It’s a story I can stand behind.

Servicing the Pole also has a happily-ever-after (or at least a happily-for-now), but I don’t know how Ms. Shaw labels herself as a writer, as I have not spoken with her.

Note: Our books are all dark, gritty, nasty, twisted, with a happily-ever-after. That is what’s genre-busting about them.

You can call ’em drama or epics or family sagas, or whatever you want.

Kel calls ’em “gritty romance.”

Gritty romance.

I like it.

How valuable is knowledge?

NOTE: This is the third in a series of several posts David Nygren of The Urban Elitist and I will be cross-blogging concerning the issue of authors (whether traditionally published, e-published, or self-published) actually getting paid for their work.

Outside of David’s and my continuing exploration of how to monetize our work (and for me, this means fiction), I’ve come across some interesting things that really only cement my opinion that, in a misguided attempt to be generous, knowledge is flung around like rotting leaves on a late fall day: plentiful, soggy, and seemingly worthless.

In ages past, knowledge was specialized and carefully husbanded, passed down from father to son or from master to apprentice, under the craft guild’s auspices: tailoring, goldsmithing, masonry, jewel cutting. These trades were respected, well paid, and each had their—get it?—guild to watch out for the trade. (I won’t go into the differences between a guild and a union at this time.)

tohnewlogo6Not that long ago, esoteric specialized trades with their own secrets began to write how-to books. I still liken this to the groundbreaking This Old House (and if you don’t know how groundbreaking this was in the building and remodeling industry, you just weren’t paying attention or you weren’t born yet). In 1979, I was 11 and I ate it up, glued to PBS every Saturday morning. (There’s a genome for DIYers, you see.) Still, the how-to books got bought and people learned these things—and they paid for the privilege.

A couple of years ago, I thought I’d undertake the task of making drapes, so I bought (oooh, there’s that word again) an e-book on the subject. It was self-published, an A-to-Z how-to with simple instructions laid out for an idiot ADDer like me, and far superior to anything I’d seen in a bookstore or at the library. It was $24.95 and worth every penny. (Never did get around to doing the drapes, but now I understand the concepts and principles of drape-making.)

Today, I went looking for how to create dollhouse plans and build a dollhouse. Now, I have never been into dollhouses and this project has to do with my current WIP, Stay, for which I want to build Whittaker House (a gothic revival mansion inn) and its surrounds in miniature. And I found this: FREE dollhouse plans and instructions.

I would’ve paid money for instructions like that, perhaps as an e-book or as a serial or a do-along project. I mean, she seems to know what she’s talking about, right? I wondered, “What’s wrong with that woman?”

funny pictures of cats with captionsBut then I looked at the header of my own blog, where it says, CREATING E-BOOK SERIES. I’ve been spending hours and hours building the next post on this (in case anybody was wondering where the hell it was). What’s wrong with that woman in the mirror?

Three things:

1) I’m a dilettante. I’m not sure I’m doing this the “right” way. I can only share what I’ve done; thus, I’m not sure my knowledge is actually worth anything.

2) I like to teach, and any bit of knowledge will spur me on.

3) I’m a compulsive helper. Knowledge is power and I think there are a lot of people out there who could use some empowerment.

If I had a penis and had gone to a master to teach me, say, stone cutting, my father would have paid the master to take me on as an apprentice. I would have served in his household in whatever capacity in exchange for room and board and knowledge for a period of 7 years (or more), which would have made me little better than an indentured servant. And then I would have struck out on my next phase as a journeyman and continued training. Once I earned the title of master under stringent training and specification, I could then say, “These are my credentials because I gave 14 years of my life to my trade in money, blood, sweat, and tears, and I am now in a position to charge money for my expertise and get my own little slave.”

If I had gone to college and enrolled in their fashion program, I would have paid tuition and gained credentials that told people, “Yeah, I kind of know what I’m talking about, so you need to pay me for my knowledge.” Oh, wait. I did do that. And I have a couple of awards to show for that. In my particular field of textiles, I’m considered a bit of an expert. So I charge.

But I didn’t go anywhere to learn how to create e-books. I learned my CSS and (X)HTML on my own from the free sites online (which sites exist in order to promote a standard markup). I learned the software programs by hit-or-miss. Nobody taught me; I didn’t ask anybody to teach me. I don’t feel I know enough to charge.

So why am I doing it?

To get traffic here into my blog to get you to buy my book. I am an expert on the subject of The Proviso, so I want to get paid for it. I am fortunate in that a couple of people have mostly agreed with me on my level of expertise.

Rightly or wrongly, some knowledge has to be given away to entice you to buy my product. Sometimes, those enticements don’t seem related. Obviously, there are some problems with the method I’ve chosen, which is to say, the people most likely to show up here to take the knowledge I’m offering free are probably writing books of their own and I should view them as my competition. They probably view me as their competition, too.

But say I’m wrong and it’s painfully obvious to everyone (except me and the people who take my advice) that I have no clue what I’m doing. Well, then my competition will screw up, too.

Sometimes free isn’t worth what you paid for it and can actually cost you a whole lot of real time and cash.

First, make it good

NOTE: This is the second in a series of several posts David Nygren of The Urban Elitist and I will be cross-blogging concerning the issue of authors (whether traditionally published, e-published, or self-published) actually getting paid for their work.

Today is David’s turn and believe me when I tell you he is far more thoughtful than I, pantser that I am.

Faith and hope and elbow grease

I’m a permablogger over at Publishing Renaissance (for those of you who don’t know). I’m alternating Thursdays, starting January 1 (yeah, I know, it was 2 days ago). And it’s so cool to be kicking off Publishing Renaissance’s year.

Lately, I’ve been around some blogs that are extraordinarily kinda negative and I notice it brings my production down, in terms of writing the next books in the Dunham series, in terms of the projects B10 Mediaworx has on the table right now (I don’t have enough fingers to count), in terms of my own blogging, in terms of doing what writers are supposed to do once their books are published, in terms of the DDJ, and most importantly, in terms of how I treat my Tax Deductions and Dude. I know I shouldn’t allow myself to be that influenced by negativity that it starts trickling down to my fandamily, but I am.

I’ve never been a positive-thinker type of person, but Dude is and he’s rubbed off on me. I’m also not one of those “think it into existence” people, either. It’s just that I’ve noticed that the more productive I get the more positive I get; the more I hang around negativity, the less productive I get. This isn’t a good situation. I have too many interesting things to do to mess around with things that don’t advance my goals.

One of the interesting things I’m into is, as you know, independent publishing. While I do point out what I feel are the weaknesses of traditional publishing (and I’ll admit to a certain level of frustration and bitterness—I’m only human), I do that to highlight the fact that one can be in charge of one’s own destiny—

—and it’s an incredible feeling, let me tell you.

There are “vanity press” naysayers and name-callers and compulsive “helpers” who aren’t really helping. The fact that they quite often don’t differentiate between “vanity” and “POD” and “self” publishing is, I think, a function of insufficient research or a measure of insulation from the querying masses or resentment for taking a “shortcut” and bypassing the “system.” Depending on the day, that might hurt my feelings, but I keep on keeping on.

Mostly what keeps me going is when I look at the pile of projects that have been brought to us (B10 Mediaworx) that are incredible and fantastic. To know we might have a role in bringing such incredible and fantastic things to the public—things that have never been done before and we would never have conceived of on our own—because I took my destiny in my own hands is…

I have no words to describe it.

We might fail. I might fail.

And that’s okay.

But I have to make the effort, cut through the bullshit, and go forward with courage and optimism. Maybe, just maybe, I can offer someone else a hand up or a piece of information they needed or some encouragement along the way.