Sunday, March 24, 2024

Is Audio Fiction Breathing New Life Into Short Stories?

I've said this several times over the years on this blog, but selling short stories is a Herculean task. Whether it's doing digital marketing for titles I've been involved with, or hand-selling books at a convention, it is hard as hell to find people who are willing to check out these books. One of the only successes I've had in this regard is From A Cat's View: An Anthology of Stories Told By Cats, but it's sort of the exception that proves the rule (since everyone loves cats).

However, while my personal experience is that fewer and fewer people are interested in sitting down and reading short fiction, it seems like more and more people are actively seeking short audio stories... which is an interesting opportunity for folks who enjoy creating short stories, but who may be telling them in the wrong format to get the numbers they need.

Because who doesn't want to hear a good story?

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Lastly, to be sure you're following all of my followables, check out my LinkTree!

Lastly, don't forget to check out my Vocal archive for additional fiction, articles, explorations of weird history, and more!

Listeners Instead of Readers?


Several years ago I put out a short story collection titled The Rejects, which was a gathering of all the short stories I'd written that I felt were quality pieces of work, but which had never gotten picked up by an anthology open call. While I've personally sold several dozen copies by hand, and moved a fair number digitally, the book has only managed to garner 7 reviews (positive reviews, but only 7 of them). It's got a handful of fans who've told me they've enjoyed it, but it hasn't made that much of a splash.

Now consider the audio version of Dead Man's Bluff, one of the stories found in the collection that I've dramatized.



For those who haven't checked it out, this weird Western short story tells the tale of the itinerant gambler James Garnett, and him playing a hand of cards with a ghost from his past. The audio has garnered about 1,500 unique views, and I can say for a fact that is far more than the number of people who have even heard of the book it came from.

And that's not the only time this has happened.



Consider the above story, Suffer The Children. A dark, modern fantasy tale of an Old Testament bruiser in the City of Angel, Malachi is on a quest to save a child from the fires of Moloch, and to send a message to the brazen bull's followers that there are rules even in a place as corrupt as Los Angeles. While not quite as popular as the weird Western, it's garnered about 1,200 unique views, which is (once again) far more than the number of eyeballs that have even seen the book the stories come from, much less read any of the words out of it.

Now, it should be mentioned that the audio versions of these stories are free to listen to, while the book itself costs money to buy. However, even with all the giveaways I've done for the collection, I've never had that many people take me up on getting a free copy of the stories. I've shared the links to both in the same venues, and I've put the same marketing behind both of them, and overall people seem far more willing to check out the audio than they are the text version of my short stories.

Why People Listen Instead of Read


Reading a book, whether it's short stories or novels, is an activity that requires one to put their full attention into things. Whether you're sitting on a couch, on your lunch break, or tucked into a spot on a train or a bus, reading a book is something you actively do, and it takes your eyes and hands to do it. However, most people who listen to audio books do so while they're actively working on something else. Whether it's walking on the treadmill, going for a jog, cleaning up around the house, painting miniatures, doing data entry at work, driving somewhere... situations where someone cannot actually use their hands to hold a book, or their eyes to scroll the page.



While some listeners will still prefer novels for these scenarios, there seem to be quite a lot of listeners out there who are looking for something bite-sized to get them through a particular activity. Sometimes listeners just want tales of a particular genre, sometimes they want a series they can pick up at any point and enjoy (such as the various SCP podcasts and freak-of-the-week horror casts where one can come in on nearly any episode), and sometimes they want a full narrative series that plays out in multiple seasons following the same characters through their adventures.  However, whatever format of story folks seem to prefer, and whatever genre it is they like, short fiction seems to be far more enjoyed by the listening crowd than the reading one.

Does that mean you can't still still short stories in their traditional print format? No, of course not. However, consider the fact that the original short story of mine The Final Lamentation got a few hundred reads, while the audio drama of the story is at 169K views at time of writing.

Something to think about.



Support The Literary Mercenary


If you want to see me produce more work, consider some of the following options!

The Azukail Games YouTube Channel (where I contribute video content)
My Rumble Channel (longer videos that won't show up on YouTube)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel, as well as my Rumble channel listed above!




Like, Follow, and Come Back Again!


That's all for this week's Business of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on FacebookTumblrTwitter, and now on Pinterest as well!

Wednesday, March 13, 2024

Your Setting Needs To Be a Character in Your Story

Too often when we write we focus exclusively on our cast of characters, and what they're doing. However, we sometimes forget that for the story to really stick in the minds of the audience, it needs to have a setting. And not just any setting, but a vibrant setting that feels like it's part of the unfolding drama the audience is watching. Because without a strong setting, a story is like a sandwich without bread; messy, and unappealing.

Where is this place? And why is our story unfolding here?

Before we get into it this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! To be sure you're following all of my followables, check out my LinkTree!

Lastly, make sure you check out my Vocal archive for several hundred other articles about geek ephemera, weird history, writing, and more!

Where The Hell is This Story Happening?


To illustrate this week's point, I want to tell a story about something I was asked to edit as a freelancer many years ago. I won't mention the title of the work, nor the name of the client (and it's entirely possible it was never even published), but I feel that one of the major mistakes this author made drives home this point.

The plot of this book was not at all uncommon. We had a kid from the suburbs who was on the cusp of turning 18, and hoping to flee an abusive situation. He ran away to the big city, and while he was there wound up on the streets. He met an older man with a penchant for taking care of strays, and the two of them formed a relationship.

We all know how this story goes.

There were a lot of things wrong with the nuts and bolts of this story when I got it, but one that I drew a big, red circle around was that it was never made clear what city our suburban teen was running away to, or what part of the country (there were enough earmarks to trig that this was America) he had grown up in. Even accounting for the fact that there was a truly cold winter in later chapters, that didn't narrow anything down. This still could have been New York, Chicago, Boston, Minneapolis, Seattle, or even L.A. if it was a particularly bad year for the weather.

But every, single one of the cities I mentioned (to say nothing of places like London, Paris, Belfast, etc.) would have their own personalities, history, architecture, and setup to inform the story. Everything from the layout of the city, to what kinds of public transportation exist, the sorts of social services one can find, neighborhood cultures, and just the way people talk will be radically different from one place to another. And, for this particular example, the suburbs of these cities also have their own histories, personalities, etc. that should be a part of the character's makeup, to say nothing of the story itself.

Now, including those elements would have fixed one problem with this project, but it would have been a sizable, and obvious one. Because it's not enough to just say there are cars on the street, or tall buildings around you... that's a light sketch. Your audience needs you to paint the picture for them so they can really get immersed in this tale you're trying to tell.

And this goes double if you're story is set in a fantastical realm, or in the sci-fi future... because in those situations you can't even draw on the assumption that your audience may have visited a place like where you're story is set, or at least seen one on TV.

Support The Literary Mercenary


For folks who just want to do their part to help keep me making more content, please subscribe/follow me in these locations:

The Azukail Games YouTube Channel (where I contribute video content)
My Rumble Channel (longer videos that won't show up on YouTube)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, consider checking out my show Tabletop Mercenary if you've ever thought about becoming a TTRPG creator, but you want a glimpse behind the curtain before you just jump into the deep end.




Like, Follow, and Come Back Again!


That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on FacebookTumblrTwitter, and now on Pinterest as well!

Friday, March 8, 2024

Authors, You Cannot Do Everything Yourself (And You Shouldn't Feel Like You Have To)

Authors are often the subject of a lot of mythmaking, and this can lead to problems when people actually try their hand at the profession because they're trying to live up to a standard that was never real in the first place. For example, most books are not, in fact, the sole genius of a single creator who acted in absolute isolation until they gave birth to this beautiful brain baby, giving this textual gift to the world!

No... most of us have help in some way, shape, or form to make our books the best they can be. So stop punishing yourself for not being able to do something alone when this profession has always been dependent on team effort.

Seriously... everybody needs somebody.

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Lastly, to be sure you're following all of my followables, check out my LinkTree!

Lastly, don't forget to check out my Vocal archive for additional fiction, articles, explorations of weird history, and more!

Let's Go Back To Walden Pond


One of the most romanticized versions of an author that I've come across is how people thought of Thoreau in regards to Walden Pond. Just a man, alone, out in the wilderness getting in touch with his inner creativity, and working to let it flow. It's held up as this idea of what being a writer should be, and of the sacrifice and isolation that the profession demands of people who create truly great work.

The problem is, like so many myths, it's bullshit.

While Thoreau was sitting out in the shack, which was on a friend's property, his mom was doing his laundry and making his lunches. He wasn't some literary genius who was out in nature, cut off from society while he struggled to realize his artistic vision... he was some guy who had a solid support structure who was given the time and permission to write.

And that's just one example.

Though this may not be the most direct example of what I'm talking about, the truth is that none of us are out here doing things all by our lonesome. Even if we're the ones putting the words on the page, there are usually a lot of other people who help get a book published and out to the masses. Maybe it's your friend that helps you work through plot holes, or your writers' group who gave you encouragement and assistance in cleaning up certain passages. It might be your beta readers who caught your historical inaccuracies, your editor who got rid of all your dangling participals, your cover artist, your layout person, your marketing planner... anyone who helped lend a hand or a shoulder to help you push this book up the hill!

Can you do some of these jobs yourself? Or might there be certain positions you don't need for your book? Sure, everyone's process is unique! However, successful books are rarely the product of a single set of fingerprints, and it's okay to admit that.

You aren't less of a writer because you paid an editor to look over your manuscript. It's normal for writers to commission their covers during self publishing, or to have their publisher create a book cover if they're being traditionally published. Most of us actively work with other people to help figure out some kind of promotion plan for our books, if not outright paying for a book tour to help us get the word out about what we're doing (assuming you don't have a publisher that's taking care of that for you).

No man is an island, and the authors who literally handle every, single aspect of a book by themselves are the exceptions that prove the rule. While there might be one name on the cover, the credits page inside, and the dedication, make it clear that most of us had a lot of help along the way... even if it was just someone doing our laundry and making us chicken sandwiches from time to time.

Support The Literary Mercenary


If you want to see me produce more work, consider some of the following options!

The Azukail Games YouTube Channel (where I contribute video content)
My Rumble Channel (longer videos that won't show up on YouTube)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, if you're curious about how to write for tabletop RPGs, don't forget to check out my show Tabletop Mercenary, which you can find on both the Azukail Games channel, as well as my Rumble channel listed above!




Like, Follow, and Come Back Again!


That's all for this week's Business of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on FacebookTumblrTwitter, and now on Pinterest as well!

Thursday, February 29, 2024

Cliches and Tropes: The Age Old "Squares and Rectangles" Setup

Writers strive to avoid using cliches whenever they can. This is generally a good practice, but something I've found throughout all my conversations with my fellow pen monkeys is that a lot of us have trouble telling the difference between a cliche and a good, old-fashioned trope.

It reminds me of the saying I heard back in math class; all squares are rectangles, but not all rectangles are squares.

Related, yes... but they aren't the same.

Before we get into it this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! To be sure you're following all of my followables, check out my LinkTree!

Lastly, make sure you check out my Vocal archive for several hundred other articles about geek ephemera, weird history, writing, and more!

Avoid Cliches, But Not Necessarily Tropes


Let's be real here, cliches are bad. Even the times they're acceptable (such as when they're being subverted as a way to examine how stories really function) are sort of the exceptions that prove the rule. When readers see a cliche, it often results in them sighing, and shaking their head. While different readers have different tolerance levels, too many cliches will drain their interest, and result in them putting your book down before they really get sucked in. Or, worse, if they're deep in your story and get hit with an unexpected cliche then it could take them out of the narrative entirely, and make them give up.

This is where that phrase I mentioned comes in. Modified, it would read, "All cliches are tropes, but not all tropes are cliches."

It's easy to tell the difference once you're familiar with them.

So what is the difference between the two? Well, a trope is a common or recurring device in literature, film, etc. that sets a mood, conveys a tone, or to make something feel familiar. For example, the harsh lighting and sharp shadows associated with film noir (to say nothing of the Venetian blinds) could be thought of as a genre trope. Alternatively, the trope Red Right Hand is where a character seems normal, but a single feature such as a mismatched eye, a twisted hand, etc. gives you a clue to their monstrous (or at least deeply hidden) nature. Tropes are, in many ways, the building blocks of a story. While some are clumsier than others (and some should be left by the wayside as times and conventions have changed), there is usually nothing inherently wrong with a trope as long as it isn't based in something objectionable (such as the Mighty Whitey trope, where a white guy goes to another culture and becomes better than anyone else at something associated with that culture).

Cliches, on the other hand, are like tropes that have been blown up, magnified, and sucked dry of the meaning and impact they once had. While cliches once had their own meaning and resonance, they've been used so often they've become a Flanderized version of themselves, to the point that no one can take them seriously. For example, the opening phrase, "It was a dark and stormy night," is a cliche. Not a story taking place on a night of bad weather, but that phrase specifically. Then there's the. "It was all a dream..." ending that will make readers pitch a book straight out the window of a moving car. Character descriptions being given via a mirror, chosen one narratives, and many other tropes all fall under cliche territory.

It's important to understand the difference between these two things, not just for the sake of clarity when discussing your book with fellow writers, agents, and publishers, but so that you know what tools you're using. Because for all the negative things I've already said about cliches, they are still tools you can use, if you choose to. It's important to ask if they're really the right tool, though, as they've been used for so long that these days they make a botched job of things unless you're really thinking outside the box, and use them in a new and different way.

Support The Literary Mercenary


For folks who just want to do their part to help keep me making more content, please subscribe/follow me in these locations:

The Azukail Games YouTube Channel (where I contribute video content)
My Rumble Channel (longer videos that won't show up on YouTube)

And if you happen to have some spare dosh lying around, and you want to be sure my supply doesn't run low, consider become a Patreon patron, or leaving a tip by Buying Me a Ko-Fi!

Also, consider checking out my show Tabletop Mercenary if you've ever thought about becoming a TTRPG creator, but you want a glimpse behind the curtain before you just jump into the deep end.




Like, Follow, and Come Back Again!


That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sci-fi dystopian thriller Old Soldiers, the Hardboiled Cat series about a mystery solving Maine Coon in Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!
 
And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on FacebookTumblrTwitter, and now on Pinterest as well!