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My drug of choice is writing--writing, art, reading, inspiration, books, creativity, process, craft, blogging, grammar, linguistics, and did I mention writing?

Friday, April 19, 2019

9 Writerly Things No One is Going to Give You (But We All Need) [Part 2]

Return to Part 1

A Detailed Roadmap 

I'm afraid no one's going to be able to tell you exactly what to do. No matter how much you want them to. And they're not just being dillholes.

They can't.

Even if they wanted to, they couldn't.

Not their personal blueprint, their personal style, their personal process, their personal circumstances, nor even personal magic is going to work for anyone but them. It won't work for you. It would like trying to order the same thing someone else does at a restaurant all the time––eventually you're hungrier than they are (or less hungry), they love cilantro but it tastes like soap to you, you don't really want something swimming in gravy, you're allergic to what they order two servings of... 

Okay...you get the idea. That metaphor is probably working too hard.

You might be able to extrapolate some useful information ("Based on careful study, I have begun to suspect that a key ingredient for a successful writing career is....actually writing! Further research needed." **Do that in a Patrick Stewart voice for maximum effect**), but you won't be able to get the same results in the exactly the same way, and you may not even want to. By the time you reach the first milestone, the entire landscape will have changed. The way they got where they're going can inform your journey, but it can't determine it.

Of course, nowhere is this incompatibility more apparent than in the advice that writers who established their careers 15-25 years ago are giving modern upstarts. While an ambitious starting writer can submit short stories to every venue until they have a cover letter impressive enough to snag an agent who will take a chance on their novel, and push inexorably toward a book deal, that is actually a far less likely path to book deal these days, to say nothing of the path to publication readers, fans, and enough income to be a working writer. Today, one can establish a six-figure career without ever encountering a gatekeeper. Frankly, these days, only discussing traditional publishing is very narrow, limited, and borderline shitty advice.

Now you have self-publishing (that is not just vanity press), print on demand, e-pub, apps, a billion online venues, blogs, and ways to monetize it all from Patreon to Kickstarter to Kindle Unlimited. Social media works for name proliferation, but do you use one (if so, which one?) or do you use all of them a little? (Because if you try to use all of them a lot, you're just going to end up being a full-time social media manager who barely has a minute to actually write.) Where is your audience and how are you going to find them? And what will you do when the social medium you like turns out to be morally reprehensible?

Even with fewer dramatic differences than traditional vs. non-traditional publishing, no one else can tell you exactly what to do to "make it." (For example, I'm not going anywhere near traditional publishing for ideological reasons, and I'll probably avoid Kindle and Amazon if I can.) The industry is changing faster than the between-the-walls dimension in House of Leaves. The path I took five years ago is already far less effective, and you wouldn't get the same traction out of it today. The market niche I accurately predicted six years ago has closed up (though there is a new one that still exists). Facebook has throttled their content so I'm not sure I'd have almost a million followers even after five years if I started today. ALL social media is experiencing huge tectonic upheavals because of its role in electioneering, hate speech, and trying to comply with FOSTA-SESTA laws. Eight hundred million people left Tumblr when they banned certain hashtags related to sexuality and porn. All the kids today think Facebook is a fossil. But Instagram is not a great place to build an audience unless you're already famous or ready to put in a bazillion hours building your "brand." And if you do go traditional, how do you separate your writing time from your submission time? How many venues do you shop something before you dramatically revise it? What is your ratio of "safe" to "stretch" submissions? Do you try to shop a novel without a portfolio (it can be done but it is much, much harder)? Do you work for years so that you get a great agent or just enough that someone new to the business knows you're serious and will take a chance on you?

It would be so great if someone could just tell us exactly what to do next. Exactly how to make the magic alchemy of success transmute effort into fans and dollar signs (or whatever it is we're after). But no one can. And no one is holding out on you if they don't. The best thing we can do is point towards the horizon and say, "Read a lot. Write a lot. Don't stop. Beware the groove."

Concentration/Focus

Okay, knowledge drop: for some of us this isn't entirely accurate. There are some nice medical doctors who can give us little pills that help with the ability to concentrate/focus, so sort of some people can kind of give this to us after a fashion, so let me make that caveat through a bullhorn before we go any further.

Me, I got addicted to my pills and started sleepwalking and taking more pills IN MY SLEEP, and they made me want to masturbate all day and it all got a little weird, and so these days I have to rely on caffeine, vigorous walks, and visualization exercises, and some....uh...

You know, maybe I'm veering a little off course.

Narrator's voice: "Though told twice, he did not stay on target."

And yet, with or without pills, one of the greatest struggles a writer goes through is applying their ass liberally to the chair of their choosing*, and getting the fucking work done. Although, a determined writer might be able to write a novel, longer work, or have a successful writing career fifteen minutes or thirty minutes at a time over the course of who knows how long, most people who hit those bellwethers have a breathtakingly similar experience to report: they concentrated on their writing for hours. Multiple hours. Often (usually) LOTS of multiple hours in a row.

(*Metaphor chair could be a standy up desk. I just got one of those. It's AAAAAAAWWWWWWSOOOOOME!)

No one can hand you a can of concentration that you can chug. No one can bust out a package of focus for you to slather yourself in. You need it badly, but the only way you're going to get it is the discipline of sitting down time after time (preferably day after day) and turning a little bit of time into a little more and a little more and a little more. It will eventually become rote, then habit, then feel strange to miss, but nothing outside you can make you love writing enough to blow past all those voices that are going to try to talk you out of it.

Enough Real Talk

It's way too easy to find someone who will take an industrial-sized leaf blower, fill it with unicorn farts, and blow rainbows straight up your ass so that you become distended and rainbows come pouring out all of your mucus membranes. "If you can believe it, the universe will listen to you!" "The only thing between you and success is focusing the actualization of your imagination." "By synergistically manifesting your quantum desires, you will ebb the perturbations of the ether to obey your focalized imaginifications."

On the other hand it's just as easy to find people who apparently think they're from the distant future where we've lost the robot war, are enslaved and being milked as batteries but without the cool simulated sex party, and the only thing to do is take your dreams, jam them into an industrial mixer vat, and turn it up to fifty because there is no point in even trying. "You can't make it as a writer ever." "No matter what you do, you will fail because it's too hard." "Give up now while you can still spend your youth in gothic spandex and get laid without spending six weeks trying to coordinate your schedules."

It is ALSO easy to find a whole fucking epic metric shitton of people who are willing to "SELL" the one thing that is "clearly" holding you back. Novel formatting software? A grammar check? An ergonomic keyboard? A yoga ball for a chair? Baby I gots what you need.

Slightly harder to find is real talk. The talk that threads that needle. The talk that acknowledges a tough industry with a LOT of submissions and a crowd twenty deep outside every door who think writing is their ticket to fame and fortune. The talk that says you can probably have a modest career.....if that's even what you really want, but you're probably going to have to give up some things to get there. The real talk that tells you that some people pursue art casually or as a dedicated hobbyist or never pay a bill from their wordsmithing or make side-gig money, but never quit their day jobs. Real talk that tells you that for 99.9% of writers, it takes years of practice and probably double-digit years of reading voraciously to be a writer. But also that it's not impossible if you're willing to work hard.

Most people have an agenda. They want to get you to buy something. They want you to give up like they did. Or they just want you to keep coming back because they make you feel so inspired by talking about your dreams and never getting around to mentioning the work.

But whether it's a blog about writing, some good advice, or an editor that knows how to cleave that middle ground, finding the real, down-to-earth talk is something writers can't get enough of.

Motivation

No one is going to make you want to sit down and do the work. You can get your ass temporarily ridden by external motivation if you are in a writing program and your grade depends on writing. You might get a little hit from the William-Wallace-Braveheart-speech caliber inspiration posts (especially around NaNo). Maybe your mentor or a mom who never thought you were good enough can say "You got this, kid" in a tearful scene where they finally stick something you've written on the refrigerator and it's totally not weird even though you're now in your forties.

But ultimately, all that will fade. No one can actually give you sustained motivation. You have to find that for yourself. In the nooks and crannies. In the success of others. In the faces of the children. In the sighs of lovers in some wild group sex. In untempered rage that you still have some motherfuckers to prove wrong. In the voice of that professor who told you maybe to find a more attainable dream.

Or maybe that's just me. In any case, you have to find your motivation to sit down day after day after day and keep putting in the work. In rage, and hope, and habit, and sheer force of will. No one can find it for you.

Nerve

BOLD OF YOU TO ASSUME ANYONE WANTED TO READ YOUR SHIT! (But assume you must!)

You have to have some nerve. You do. And no one can give that to you.

I mean, if you want to write for yourself alone in journals that Brad Pitt and Morgan Freeman will try to piece together after your seven sins killing spree, then maybe you don't need any nerve, but if you want it out there, read by people, an audience, maybe a fan or two...or possibly a little niche, then yeah, you need nerve. You need just the tiniest bit of gritty, non-supported, ever-so-slightly arrogant faith in yourself.

All writers suffer from imposter syndrome. The ones that don't are almost always dreadful writers and often not-such-awesome people either. The rest of us have bad days and less-bad days. But at the end of those days (at whatever relative level of badness they involved), we proceed as if we have something worth saying. We continue as if somewhere out there someone wants to read our shit. No one can give this to you. No one will ever tell you for the gagillionth time that they want to read your work and then you're "over it." No one will ever take away the feeling that you are a pretentious fuck for presuming you have anything to say and assuage the need for some courage.

And even though you're absolutely wrong (pretty much always at least one someone DOES want to read you)....putting oneself out there takes nerve. No one's going to give it to you, but you need it just the same.

Tuesday, April 16, 2019

Spring 2019 Update Schedule

As of October 2018, Writing About Writing has undergone a major restructuring and now updates four times a week––usually on every weekday but Tuesday. 

Writing About Writing consists chiefly of one guy with lots of fake people running around behind his eyeballs (he also takes care of a 5-year-old, a newborn, pet-sits throughout the SF Bay Area, is writing a novel and a few other bits of fiction, and sometimes even does really wacky shit like try to get laid or play D&D or something), but this is the schedule we will generally make an effort to keep.

Friday

Fridays, for the most part, will be The Big Post™ of the week. If you're here for the hard-hitting writing advice (with the occasional examination of how language and narrative play into broader social issues), Friday is the day to tune in.

Wednesday and Thursday

Wednesdays and Thursdays will be our smaller posts: calls to vote or make a nomination in whatever poll is going on, the best of the prior month, quickies, fortune cookie wisdom. Things I like to call "jazz hands."

Monday

Harder to qualify than simply "big" or "jazz hands," Mondays are probably between Wednesdays and Fridays in their content and girth. They will be personal updates, smaller mailboxes, prompts, guest blogs, etc.

I'm afraid on Tuesdays I have to spend 10 hours watching a baby. The baby sleeps a lot right now and I can probably squeeze SOME work in there, but there's just no way to make commitments.

The Three-Post Goal

Some weeks aren't going to go down like clockwork and they might be front- or back-loaded with side gigs or other commitments. My writing career is also starting to open up occasional opportunities of interest like conventions, speaking engagements, interviews, or podcasts. I'm trying to be better about the (literally) health-shattering 80-hour+ weeks I was working. That's a needle to thread when you are your own boss and you know your income depends on producing content people are willing to crowdfund. So in the cases of major schedule upheaval, I will try really hard to get three posts up. They might just be posted off schedule––Thur, Fri, Sat for example, but I will try hard to at least hit three.

Facebook Writing and Social Justice Bard

Most of my major writing ends up on this blog, but some of my throw-away thoughts don't. If you particularly enjoyed our Social Justice Bard posts, don't worry. I still do as much yelling at clouds as I ever have.

I invite you to follow my Public Facebook Page (you can friend it if you send me a message, but it might be better if you follow it for a while first––unfiltered me is not everyone's cup of tea).  I post somewhat more "political and partisan thoughts" there (rather than just social ISSUES) and also often post "proto-versions" of what later become full blog posts (if you're interested in seeing how those things develop). [There's also personal updates and nerdery there.]

I also have another blog called NOT Writing About Writing where I update usually once a week or more and where I put shorter media reviews, personal updates, and political thoughts that don't really tie into writing and aren't really short enough for Facebook. Also, fret not; there may be fewer SJB posts here on Writing About Writing since we'll be dealing with fewer available "posting slots" overall, but there will still be some.

Everything I ever write (and reruns of my best stuff) gets cross-posted to that Public Facebook Page, so join me there if you want to stalk me properly.

A Fifth Post?

There MIGHT occasionally be a fifth post in a week. Usually this will happen when I need to cover some ground on "blog business." (Like posting the results of a poll or getting up the prior month's "Best of" posts or something.) In this case you might see an extra post pop up from time to time on the weekend. Fiction will also usually go up independently of our regular schedule.

Reminders:

  • I still nanny for a five-year-old and a newborn––sometimes at the same time, sometimes have more pet sitting than I can handle, and my host body occasionally succumbs to your Earth illnesses, so those three posts might not always happen like clockwork or may involve going off the rails of my usual updates. Until my Patreon pays all the bills, my reality is that I sometimes have to prioritize paid gigs.
  • This flexible update schedule should also cut down on the thing where I'm apologizing to absolutely fucking nobody that it's Thursday and I've yet to put so much as a taco video up. I know that some people are annoyed by the constant deluge of "This is why there's no post today" posts and the rest don't really care. But this also settles down my own inner overachiever. As long as I get in all the entries that week, my readers (who have literally never said anything in six years about my update schedule and only ever about my constant apologizing) and myself can give me a break.
  • I invoke the Anything Can Happen™ real-world excuse. I usually have a couple of "emergency blogs" tucked away, but I chew through them pretty quickly when the fit hits the shan. Health complications might crop up suddenly and have me needing to do a sudden unexpected several-hour shift or even an overnight...or maybe even more. Trust me, I'm going to feel ten times worse about missing a post than all of my readers combined.
  • Admin Long-weekends at least once a month will still be a thing. Usually just the Monday (but occasionally the Friday if I'm really behind) will be cannibalized. I need the extra time to answer emails, clean up menus, catch up on editing, take care of Patron-only posts and such.


Also......folks, if you like what I do, stuff a few dollars into that "tip jar" at the top left, or even better yet, sign up to be a monthly patron through Patreon ,and get in on the back channel discussions about posting schedules, big changes, and upcoming projects. I have bills to pay like any other starving artist, and I'm working four side gigs to make ends meet, so even a dollar a month (just $12 a year) will go a long way towards freeing up more time for writing.

Note: There's a pretty loud contingent of "Who Cares!" from the other side of the internet, and I'll give you all a nod if this isn't your cup of tea. Meta posts such as this one are my least popular kinds of posts because other than about five people, no one but me actually pays attention to the updating schedule. However, I'm not going to stop posting them. One of our mission statements is to keep "The Process" transparent and give you updates in real time as we learn them, so there will always be an occasional post about the meta here. I want people to see that someone who is making a paycheck doesn't have all the answers. I want them to see how their work/life balance matters and how easy it is to fall into working TOO much (or not enough). I want them to see that a successful blog doesn't require nine updates a week (and, in fact, that's too much) but it does require a steady, predictable output. And I want them to see how artists are constantly struggling to fiddle with the knobs and get it just right because they are at once human and also never satisfied, but also so so dang human with their incessant need to eat and have shelter and anxieties if those things don't seem secure or stable. Even if a follower or fan never ever uses this update schedule as a formula for their own success, blog, or writing schedule, let it be a comfort realizing how flawed and human working writers can be.

I want you to see how messy and non-magical it all is.

Monday, April 15, 2019

Admin Week

Need to take a few days here to catch up on emails, rerun edits, menu updates, figure out a new schedule that gives me time off but also accounts for full days of side gigging on Tuesday and Wednesday, drop a Newsletter and an Inside Scoop, and do some behind-the-scenes mojo. You might notice some posts going up on various social media, but they will be updated versions of sticky posts.

And if you only get updates here, I'll pop back in on Thursday with links to everything that has been updated.

Will be back in earnest on Friday and starting to fire up "The Next Big Thing™"

Friday, April 12, 2019

When Writers Fail

In our culture we love a success story. And if we give a hat tip to failure at all, it is only as the "hero's lowest point," just before they end up rallying.  But what do you do when you're trying to work in (or break into) an industry where the most common motif is falling gloriously, spectacularly, outrageously, and frequently flat on your face?

Writers fail. We fail a lot. We fail like woah and then go back for seconds. Arguably, there is a hazing process between a hobbyist and a professional writer that involves years of just.....fucking failing. Much of the early process of revision is walking back through all the places we failed to write clearly or well, and trying to fix them. Missed deadlines. Unmet goals. Rejections. Trying to pick up people with the "I'm a writer" line. It's possible the career exists where failing even more often is a prerequisite, but writing certainly ranks.

There are a lot of reasons. From overestimating our abilities to our mercurial temperaments, we certainly set ourselves up for failure enough. It's hard to set realistic goals when your two modes are "Fuck yeah, I'm bulletproof!" and "Any second now everyone is going to realize that I'm a complete fraud." Our goals are often running away from reality faster than our plot synopsis that ends "....except with vampire pirates."

But mostly, that's just how it goes. You can't write perfectly on a first draft unless you're Marilynne  Robinson and channel your writing chi for ten years into one spectacular "HADOUKEN" of Gilead goodness. Years of rejection will be part of the process. Realizing that the guy who sold you the Moleskine journals was lying about how much group sex action writers get is so common as to be cliché. You never really can tell what's going to stick to the wall, and some of the ideas you are most excited about will be the ones only appreciated by that person who likes everything you post.

Mine is named Matt.
I love you Matt.

I am no different.

  • In the past three years, my life has collapsed (and been slowly rebuilt from its post-apocalyptic landscape). I've written only about fifty pages on a novel that was supposed to be done two years ago. Kickstarters show up on the top of my car demanding their money back and I have to go through car washes to get rid of them. "I want my two dollars!" 
  • In October of 2017, Facebook changed its algorithm so that page admins could be squeezed for more advertising money, and my numbers crashed by about 90%. I met NONE of my goals for the year. Not pageviews, which are like the gold standard of online content. Not followers. Not new patrons. Not one.
  • I constantly talk about posts that are going up "next week" or "this Friday" or "totally soon," and then completely fail to post them. Sometimes I'm months behind. Sometimes they sit undone like a growing monument to the Patron Saint of Fail.
  • The economy is taking a downturn (probably going into recession*), and the first thing people are going to cut out of their budgets is likely to be the entirely optional budgets they allot for artists who crowdfund like me. It might not be my fault, per se (and I'm going to have to try really hard not to react by going back down the workaholic rabbit hole), but watching one's income go down steadily sure can take the wind out of your sails.
  • I have failed for two years straight to reach a new plateau on my Patreon where the increases in taxes and healthcare are accounted for. I gain a little and then fall back. Gain a little and fall back. Two years this has been going on. Each night I go to sleep, my Patreon says, "Good night, Chris. Sleep tight. I'll mostly likely kill your dreams in the morning."

*I love me some NPR, and I seem to be in my car at 4pm a lot these days, so I hear a lot of Kai Ryssdal and Marketplace

And these are just the last few years! If you go back further, some of my writing failures involve people I love and respect looking me dead ass in the eye and saying "Chris, your novel sucks. Please don't send me part three." They involve writing instructors telling me that maybe I should pick a different dream. They involve friends handing me back my writing after a page or so and saying "Don't quit your day job, dude," as a joke without realizing that was exactly what I wanted to do. They involve high school teachers saying, "I'm pretty sure writers know how to spell" to my dyslexic, ADD ass. They contributed to the collapse of a marriage––a "year off" gifted to me on faith that turned into a manuscript that wouldn't have made a dime.

Oh how I have failed.

Of course, despite our cultural obsession with it, it is not our successes that define us. It is our failures.

The moment of failure is when we discover who we are and what we really want. It's easy enough to keep going when we're succeeding and everything feels great. The moment that defines us is when we fail, and it no longer feels so good. When we wonder if we have what we need to rise to meet the challenge. When we have to have real talk conversations with ourselves about our limitations. When we have to think authentically about what it is we really want.

Framed like a hazing test, though, this moment is just one more in the obsession about success. "Will you have the courage to endure, keep going, and pull it out?" Well, maybe. But maybe you'll have the honesty to admit your limitations. Or maybe you'll have the self-awareness to realize that you wanted the trappings of fame that you thought surrounded success more than you enjoyed the work itself. Or maybe you will have the cognizance to recognize that on a trajectory of never-ending success, you liked something well enough, but really once the failures started kicking in, it wasn't enjoyable anymore. And of course there's realizing that you maybe could reach whatever bellwether you consider to be "success," but you realize that you just don't WANT to (and that's okay!)––you would have to give up too many things that you enjoy, like free time and quality family time, and that's just not you.

When we fail, we reevaluate. And maybe we rise like the phoenix from the ashes or maybe we redefine ourselves. Maybe we think of a new way to get to where we're going or we realize that we were looking for something different all along. Doubling down on something without adjustment can be as ultimately self-destructive as simply walking away from something we love because we're not automatically good at it. Failure isn't a binary (give up or keep going). Failure is where the real story begins.

I can't tell you how many writers finish that first book or trilogy (or whatever) and send it out to agents or publishers or self-publish it, and then they get those first few rejection letters (or the self-published book nets them only [low] triple figures as friends and family supportively buy a copy). And it's just such a letdown from what they were expecting.

That's the moment things get interesting. Their mercurial pipe dreams are now sitting in the garbage can and even though they succeeded in writing a book (no small task), they failed to meet their own expectations. Now they face the very real question about whether or not they like the writing enough to keep going for its own sake. Was the success (or its presumption) integral to the value of the writing, or will the writing itself be the reward through all the failures?

Perhaps the one thing that separates the vast majority of working creative writers from those with burning hopes and dreams and frustrating unmet expectations is this:

When writers fail, they keep writing.


Folks, I'm "failing" right now too. As I mentioned, the economy is slowing down, and the let's-give-money-to-artists-whose-content-is-free budget is usually one of the first to go in an average household income. Right after the tastefully-displayed-crystal-bowl-on-the-foyer-table-but-of-gummy-rats budget. While at this moment, I technically make enough from writing to NOT DIE, I need side gigs to pay for many of the things I've come to rely on like cell phones, car insurance, and premade salad mix. A lot of people have cancelled or slashed their Patreon contributions in the last few months. I'm down almost 10% from just a couple of months ago. I know it's due to the economy and the tax season and the looming threat of dystopian Hunger-Games-esque social collapse and that it's no one's fault, but it's starting to hurt. I had to take on extra kid wrangling to make ends meet. That's going to take away from writing time no matter how hard I try to ensure that it doesn't. 

You can help. If you like this blog and the writing I do, and don't want to see me having to do less of it because I'm wiping butts and cleaning litter boxes, consider becoming a small patron. I know for a lot of people, $10 or $25 is not in the cards right now. But that's okay because as much as I love my big ticket donors, it's lots of little ones that actually stabilize my income. My ideal donor is someone signed up for $1 or $3 a month who sticks with that long term and the next time I have to figure out if I'm going to commit or take a pass on a side gig, I feel like my income is more reliable. A little support each month can have an enormous impact keeping me clacking away at the computer instead of changing diapers.

Become a PATRON!

Or if an ongoing subscription isn't possible, consider a one-time donation through PayPal.


Wednesday, April 10, 2019

Best Classic Fantasy (NOMINATIONS NEEDED)

What is the best fantasy book (or series) written before 1975?  

We're going back to some of our most popular polls of the past few years, but this time we're doing it with lots more voters (and we'll be keeping the results on display.) It's all part of our new Sticky Polls--the 2019 roll out for polls here at Writing About Writing.

But we're changing gears from the modern science fiction poll we ran last. And rather than just do the same time period with fantasy or the next time period with sci-fi, I decided to change both those things up since we're going to get to all of them eventually.


The Rules
(I know this is only the second round of polls we've done under the new rules, but now that we've done one with them, you can see what I mean by some of this):


  1. There is a new category of nomination. It is NOT a nomination for the poll. It is an UNDERSUNG HERO nomination. Basically it is for books you think are great, tragically overlooked, but maybe not necessarily the besty bestest best. I will be listing these books along with the poll results. However, if you nominate a book for our poll it will not be considered for the undersung hero list and if you shout out something for an undersung hero, it will not be counted as a nomination for the poll. (Someone else can nominate it.) Think about if you want to give a book few seem to know about a shout out or if you're tossing your fave into The Hunger Games.
  2. As always, I leave the niggling over the definition of genres to your best judgement because I'd rather be inclusive. If you want to nominate Flowers for Algernon, I'm not going to argue that it's probably better classed as sci-fi, but YOU have to convince others if you're going to get on the poll--nevermind win.
  3. Your book must be copyrighted 1975 or earlier. If it is a series, the ENTIRE SERIES must have been written before 1975.  Of course you can nominate the earliest novel in a series if you are trying to work around the rules, but not the series itself unless it's entirely published before '75. No small number of shout outs to Discworld have included only the books from the appropriate time frame. Why should we stop now? There will be other polls for newer books.
  4. You get to mention two (2) books (or series). That's it. Two. You can do ONE nomination for the poll and ONE UNDERSUNG HERO.  Or you can do TWO nominations. Or you can do TWO undersung heroes. But two is the total. If you nominate three or more I will NOT take any nominations beyond the second that you suggest. I'm sorry that I'm a stickler on this, but I compile these polls myself and it's a pain when people drop a megalodon list every decent book they can remember of in the genre. It is up to you how to divy your TWO choices. TWO.
  5. Did I mention two?
  6. You may (and absolutely should) second AS MANY nominations of others as you wish. THEY WILL NOT GET ONTO THE POLL WITHOUT SECONDS. You can agree with or cheer on the undersung heroes, but they won't "transform" into nominations unless someone else nominates that same book as "best" (and then they get a second). Also stop back in and see if anyone has put up something you want to see go onto the poll. 
  7. Put your nominations HERE. I will take nominations only as comments and only on this post. (No comments on FB posts or G+ will be considered nominations.) If you can't comment for some reason because of Blogger, send me an email (chris.brecheen@gmail.com) stating exactly that and what your nomination is, and I will personally put your comment up. I am not likely to see a comment on social media even if it says you were unable to leave a comment here. 
  8. You are nominating WRITTEN genre fiction, not their movie portrayals. If you thought the Lord of the Rings movies were the shiznit, but thought the books were a little dry and slow, nominate something else.
  9. This is probably well known by vets of this blog by now, but there will be no more endless elimination rounds. I will take somewhere between 8-20 best performing titles and at MOST run a single semifinal round. By "performing" I mean the seconds. So second the titles you want even if they already have one. (Yes, I guess that would make them "thirds," "fourths," etc...) The competition on this poll might be fierce. You may have to get your friends involved. Buy them a pizza. Make it real.