Hysteria and Paranoia over new MWA Standards

First, let me say I am speaking here only for myself an not on behalf of the MWA, the MWA Board or the Membership Committee. I am not claiming to represent the views of anyone here but myself.

There’s lots of hysteria being whipped up by a handful of aggrieved pseudo-publishers and self-published authors who are furious about the new MWA standards for active membership and approved publishers list.

They are, quite frankly, spreading falsehoods and stoking fear for self-serving reasons.

The pseudo-publishers don’t want to treat writers fairly and be more forthright about the kind of business they are actually running BUT they still want to be acknowledged by the MWA.

The self-published authors — and those who weren’t paid and whose manuscripts are only available via POD — want to be considered professional, published authors even though they aren’t.

Let’s tackle the outrageous falsehoods one by one…

1) Active members are being thrown out of the MWA. NO CURRENT ACTIVE MEMBERS ARE LOSING THEIR MEMBERSHIP STATUS as a result of the new rules. This is the most poisonous of the lies. It is being spread to stoke fear among authors who gained active status with books published by companies that are, for various reasons, no longer on the MWA’s Approved Publisher’s list.  The lie is being spread by certain "publishers" who don’t want to change their business practices to treat writers fairly or who don’t want to honestly state the true nature of their publishing business.

Anyone who was granted active status membership under the old guidelines will remain an active status member as long as they pay their annual dues.  And even if someone lets their membership lapse and then rejoins months or even years later, they will have the same status they had before (unless they are an affiliate member seeking Active Status).

2) The MWA is trying to "eliminate small publishers."  That’s ridiculous. There are many wonderful small publishers on the MWA’s list. By tightening our standards, the MWA is simply protecting writers from being screwed and maintaining the professional integrity of the organization and its members. 

We are weeding out "publishers" who are actually self-publishing companies, or are thinly disguised vanity presses (meaning they were founded by an author to primarily print his own work and those of his family, co-workers, etc.), or are "back end" subsidy publishers (meaning they pay a miniscule, token advance and then withhold royalties against a litany of non-standard charges), or are publishing primarily in POD (and therefore are not available in bookstores), or are engaging in deceptive, unfair, and unprofessional business practices that harm writers.

There are writers who will gladly sign horrible contracts or go with pseudo-publishers just to see their manuscripts printed in book form. But just because those authors are content to be screwed or be willingly misled doesn’t mean that the MWA should grant those companies the legitimacy and implied endorsement that comes with being on our Approved Publisher’s list.

That is NOT to say that all the companies who have been denied approval are dishonest. Far from it. But many do not pay advances, or have minimal prints runs, or only publish in POD, or publish only a couple of authors besides those who run the company, or haven’t been in business long enough to establish any kind of reputation.

Active Status members are professional writers…and professional writers are PAID for their work. Publishers who don’t pay writers for their work don’t meet our standards of professionalism.

Professional publishers publish books and distribute them to bookstores for sale.  That is their business. If they aren’t publishing a minimal number of authors and a decent number of books, they aren’t running a  business…they are enjoying a hobby. 

Publishers who are also authors, and who publish fewer than five other writers, are essentially operating a self-publishing operation, not a publishing company.

Two years of business creates a history by which we can judge whether the publisher is actually a publisher (meaning more than a vanity operation), if they are financially sound (actually paying authors advances and royalties), and if they are reputable business people.

3) The MWA is an "old boys" club and an elitist organization. That’s actually partly true. We aren’t an "old boys" club but we are, to some degree, elitist. All organizations have guidelines for membership and, therefore, practice some degree of exclusion. 

Our active members are professional writers. We, therefore, have to create and maintain standards of what we define as “professional” and what defines “publication.” Among those standards are that professional writers are paid for their work, that their novels are published, and that their books are distributed to bookstores.

In a world where anyone with a credit card and the web address of POD service can call themselves a “published author” or a “publisher,” it’s even more imperative that the MWA maintain strict guidelines of what constitutes professional publication. The MWA will cease to be a respected organization if we don’t have high standards and if we don’t maintain them in the face of a changing marketplace. Our membership criteria isn’t even as extreme as the SFWA’s.

Anyone who is excluded from gaining Active Status membership (or being on the Approved Publishers list) will feel the title grants an elite status and that they are being excluded from enjoying the benefits that come with it. So, to that degree, yes, the MWA is an elitist organization.

4) The MWA is eliminating publishing opportunities for writers and their chances to expose their work to the public. We are not, in any way, limiting publishing opportunities or exposure for authors. All we are doing is establishing criteria for books that we will consider for Edgars and for publishers we will consider for our “approved publisher” list. You can publish your book with any company you want…but you may not qualify to enter the Edgars or become an Active Member of our organization. That’s your choice.

5) These new rules actually hurt writers. That’s the biggest lie of all…and the one the pseud0-publishers really want you to believe. These new rules protect aspiring writers and current members alike from being taken advantage of by vanity presses, less-than-reputable publishers or companies whose practices don’t meet accepted professional standards in our industry. The new rules assure that only publishers who pay writers for their work, publish their books, and distribute them to bookstores receive the implied endorsement that MWA approval brings.

As result of the MWA’s new rules, I hope authors will be more careful about the publishers that they do business with…and that more publishers will hold themselves to higher ethical and professional standards in the way they treat their authors and conduct their business. 

“Tie-in Writers and the Mono-Medium Logic Problem”

Yeah, I have no idea what that headline means, either. But it’s the title of a post about the IAMTW on the Cross-Media+Transmedia Entertainment Blog,  which is run by Christy Dena, who describes herself as  a "universe creator and transmodiologist." She writes, in part:

One of the reasons for the paradigmatic change to cross-media world-creation is the emergence of transliterate creators

[…]One of the problems has been that each of these adaptations and extensions has been seen by the creators as isolated, as paratextual to the original work. The primary work (which can be the contemporary adaptation of an old literary peice), is the center of the creative universe…and all other mediums are satellites and inconsequential. This is a mono-medium-logic that is gradually giving way to a different paradigm of creations across media.

[…]The point I’ve been championing is that tie-ins are not always conceived as exterior to the storyworld to those experiencing it. […] If tie-in writers think that the expansion across mediums means the work should be assessed and experienced differently then we have problems. It is perhaps another reason why transliterate creators and taking care of all of the points-of-entry in different mediums themselves. The mono-medium logic of tie-in writers is best evidenced in their logo:

IAMTW

I’m not saying that all writers have to become transliterate…just the ones that work in the business of creating cross-media worlds.

I like to think of myself as reasonably intelligent…but I have no idea what the hell she is talking about. Could someone please translate it into English for me?

Update on MWA Rules for Membership

At the last board meeting, the Mystery Writers of America made some slight revisions/clarifications in the language for criteria for Active Membership status and publishers who wish to be on the Approved Publishers list.  They are as follows:

Rule 2 previously stated that to become Active members of MWA, book authors
must have received a minimum of $1,000 in royalties and/or advances, but there
was no specific language that required publishers to pay this amount. The new
Rule 2 corrects this: Your publisher, to be approved,
must have paid a minimum of $1,000 during the preceding year to at least five
authors with no financial or ownership interest in the company. (See Rule
7.)

Rule 5 (the "two-year" rule) was not changed in its basic intent, but the
language now makes explicit that "first book" refers only to an author with no
interest in the company: Your publisher must have been in
business for at least two years since publication of the first book by a person
with no financial or ownership interest in the company. (Exception: a new
imprint by an established publisher.)

Rule 7 was also changed with reference to authors with financial interests in
the publishing company: Your publisher, to be approved,
must publish at least five authors per year, other than those with a financial
or ownership interest in the company, such as an owner, business partner,
employee, or close relative of such person.

It is the intent of the Board to create rules that are both clear and fair,
to benefit all our members and to encourage good standards and practices in the
publishing industry.

Zoe Sharp is in town

Zshr02gun My friend Zoe Sharp is on the West Coast leg of her U.S. signing tour for SECOND SHOT and will be stopping by Mysteries To Die for in Thousands Oaks on Monday at 1:30 and at Mystery Store in Westwood at 7 pm. If you live in Southern California and don’t show up at one of her signings, she will hunt you down and kill you.

HBO Embraces Tie-Ins

When you think of tie-ins, you probably imagine one movie novelization or one of the hundreds of STAR TREK original novels. But now tie-ins are going up-market. Publisher’s Weekly reports that HBO is aggressively developing it’s TV tie-in publishing program. They are hoping to repeat the success of cleverly-packaged and hugely successful books like SEX AND THE CITY: KISS AND TELL, which was sold in a fake alligator shoebox.

HBO v-p of licensing and retail James Costos, who joined the company
in July 2006, said he has a mandate to “raise awareness for all of our
licensed merchandise, which certainly includes books.” Costos said the
cable channel is looking to highlight the HBO book line by taking
advantage of its midtown New York retail store, Web site and
newsletters, as well as through its broadcasts.

Almost all of the HBO titles come from Melcher Media and the distinctive packaging of their tie-ins come with a hefty price-tag for consumers. But that hasn’t slowed sales. In fact, it’s a selling point.

Melcher Media president Charles Melcher contends that HBO titles
“reinvented the TV tie-in, which used to be priced under $20 and mostly
filled with old scripts.” HBO titles like Deadwood: Stories of the Black Hills or Curb Your Enthusiasm: The Book,
said Melcher, can sometimes feature scholarly research but, most
importantly, they all have the complete involvement of the shows’ casts
of actors.

“HBO wants the books to be more than just a way to make
money,” Melcher said. “They want their creative people to be happy.
Like the TV shows, these aren’t just books; they’re HBO books.”

Upcoming HBO tie-in titles getting the "high-end" treatment are The Sopranos: The Complete Book,Entourage: A Lifestyle Is a Terrible Thing to Waste, and Rome.

“The books are an extension of the
shows and a natural must-have for fans and viewers. The revenue will
follow if we continue to deliver quality books,” said Costos.

 

In Flight

I traveled home from Germany today. I woke up at 4:15 am to make a 6:30 flight out of Munich. At the airport security checkpoint, there are posters and videos alerting you to restrictions on liquids, etc. in carry-on baggage. A young couple went through with two overnight bags loaded with cosmetics, scissors, etc and couldn’t understand why security wouldn’t let them through.On the flight from Munich to Dusseldorf,  where I was catching a connecting flight to the U.S., the businessman who was sitting next to me to me grabbed his crotch at take-off and again at landing. I dont know what he was protecting himself from. In Dusseldorf,  the couple in front of me in the security line had bought a ton of drinks and cosmetics at the terminal gift shop. I warned them that they couldn’t bring their purchases on the plane, but they insisted that since it was bought at the airport, it was okay. I showed them the signs, and they still argued with me. So I shut up. They were shocked and infuriated when security made them throw it all out.  I just smiled and went on my way.

On the flight home, I caught up on five episodes of HEROES and the last few BOSTON LEGALS of the season on my iPod. I think that HEROES is getting too twisty for their own good…to the point that it has become ludicrous and maddening…not to mention nearly impossible to follow. I still have two more episodes to watch and I will have seen the whole season. But it seems to me the show started out with a lot of promise and hasn’t delivered on it.

Back in May, BOSTON LEGAL did yet another episodes where the lawyers are held hostage…this time the bad guy was the troubled son of a murder victim wants revenge from Denny Crane (William Shatner) for getting the accused killer acquited forty-some years ago. But what made this tired plot special was that David Kelley cleverly incorporated footage from the original, black-and-white pilot of THE DEFENDERS, which co-starred a very young William Shatner as a lawyer. Kelley used the old footage as flashbacks of a younger Denny Crane defending the killer. I had to admire the episode as a TV geek, a pilot nut, and as someone who has done much the same thing (using reruns of MANNIX as flashbacks for a new Mannix story on DIAGNOSIS MURDER). I’m surprised the episode didn’t get some attention…or did it?

I see that last week TWO AND A HALF MEN was the highest rated show on television. What has happened to America while I was gone!?

I have been up for over 24 hours now…I want to try to stay awake until 8 or 9 pm. So if this post is riddled with typos and incoherent thought, now you know why.

Munich

I am sitting in my hotel room in Munich, getting ready to go out for some network meetings. I won’t bore you with all  the details from my travels, except to say it was great to see the cast of FAST TRACK in Berlin again and that it was hell being in London for a day during the subway strike (though  I managed to run into someone I know amidst the crowd on Oxford Street…what are the odds of that!?).  The weather has been rainy and miserable here and I haven’t managed to conquer my jet-lag. I seem to be tired all the time. I have a 6:45 am flight home tomorrow and am looking to getting some sleep, seeing some sunshine, and making more headway on my MONK novel.

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Conference Kurfluffle

Left Coast Crime, and some other mystery conventions, have chosen not to place authors on panels unless their books are from companies on the MWA’s list of approved publishers. So now a handful of irate POD and self-published authors are running around blogs and message boards saying the MWA is responsible for this new policy.

The MWA has nothing to do with how conferences organize their panels or how bookstores stock their shelves or how reviewers choose the books that they review. Nobody in the MWA has ever suggested to any conference chair, book reviewer, book seller, or anyone else that they use the organization’s list of approved publishers as their guide. They are making the decision on their own.

Speaking for myself, the fact that other writers organizations (like the Romance Writers of America) and major writers conferences are following our lead only underscores the necessity and sensibility of the basic, professional standards that the MWA has set…and the good that it is doing for our members and the industry. I hope as a result that authors will be more careful about the publishers that they do business with…and that more publishers will hold themselves to higher ethical and professional standards in the way they treat their authors and conduct their business.

Scribe Award Winners announced

Iamtwlogo
The International Association of Media Tie-In Writers held their first annual Scribe Awards ceremony in San Diego for excellence in media tie-in writing. The winners are:

Speculative Fiction
Best Novel Adapted
SUPERMAN RETURNS by Marv Wolfman
 
Best Novel Original
THIRTY DAYS OF NIGHT: RUMORS OF THE UNDEAD by Stephen Niles and Jeff Mariotte
 
General Fiction
Best Novel Adapted
SNAKES ON A PLANE by Christa Faust
 
Best Novel Original
LAS VEGAS: HIGH STAKES by Jeff Mariotte
 
Young Adult All Genres
Best Novel
BUFFY THE VAMPIRE SLAYER: PORTAL THROUGH TIME by Alice Henderson
 

GRANDMASTER: DONALD BAIN

Congratulations to all the winners and nominees!

Writing Drama

Writing_drama
I just read a review copy of the third edition of Yves Lavandier’s WRITING DRAMA. The book was translated from the French edition by Bernard Besserglik, so I am not exactly sure who I should blame for how dull the writing is. But I can certainly point the finger at Yves for the pomposity and the sheer wordiness. WRITING DRAMA is actually a very good book about writing – whether it’s plays, scripts or books — with lots of practical advice and important lessons about story structure, character development, and dialogue to offer. Unfortunately, I’ve read software manuals that are more lively and engaging.

Yves is obviously a bright, educated guy who has seen a lot of movies and thought hard about them…and he wants to be sure you know it.  So to get to his very good advice, you have to endure lots of irrelevant digressions, pointless footnotes, self-indulgent pontificating, and lots of tiresome repetition (and far more examples and film references than are necessary). However there’s so much practical wisdom in the book that I wish he’d had a decent editor or at least followed his own good advice:   

Economy – the art of condensing a text, of conveying as much information as possible in a compact form – is highly gratifying to the spectator. […] the writer should work through it again adding stylistic features and as many touches of humour and poetry as can be managed, in other words, the literary flourishes that make it more agreeable to read, and thus improve its chances of pleasing…

If he’d taken his own advice, the book would have been a quarter of the size and much more useful, not to mention more readable (For starters, he could ditch what amounts to a 30 page introduction, in which he actually tells the reader they might want to skip ahead a few pages).

There’s a lot to criticize about the book, particularly his lecturing about what’s right and wrong about certain movies, his inane rules for writing for children, his ponderous deconstruction of comedy, and his opinions on television writing. But all that said, I would highly recommend the book to aspiring writers…and even established professionals looking for a little refresher. It worked for me. I am in the midst of adapting a book that I optioned and his book really got me thinking about my task. Reading WRITING DRAMA definitely helped me focus…to sharpen my outline and refine the character arcs. And I have been a working, professional screenwriter for a while now.

Yves begins his book by stating a few points that should be self-evident, but it’s amazing how many writers of scripts and novels today seem to forget them:

[Writers] are all without exception writing for other people, for that set of others known as the audience. A work of drama exists only for and by virtue of the public. It takes two to speak this language: writer and receiver, with the actor-character as intermediary. Indeed, however much the actors pretend to be addressing each other, everything they say is directed in just one direction: at the spectator. […] Writers who do not take the trouble to master the language of their art, in other words to find out how the public receives and perceives drama, are too often inaccessible. Perhaps they believe that it is up to the public to be curious about their work, when it fact it is up to them to stimulate the public’s curiosity. […] Drama does not exist because there are writers of drama; it is rather that writers of drama exist because there is a human need for drama. Whether he likes it or not, the writer’s role is to meet this need.

His lengthy section on conflict and emotion is particularly strong.

Conflict is at the heart of drama because conflict is at the heart of life, of which drama is an imitation. […]  Conflict is a revealer of personality, which is why the great writers of drama have used it so abundantly. […] Conflict means opposition and thus obstacle.

He later writes, in his chapter on character, that:

The action that a character adopts when faced with a conflict, either to prevent it or to overcome it, is one of the best indicators of the kind of person he is.

Those may seem like obvious points, but it’s surprising how many rookie screenwriters and novelists fail to realize how important conflict is, thinking instead that witty description in the action and expository dialogue are the best ways to reveal character. Whenever I am writing, and a scene doesn’t work, there’s usually a problem with the conflict and the objectives each character is pursuing, or not pursuing, in the scene. Yves offers a useful schematic for the basic dramatic process:

Character—objective—obstacle—conflict–emotion

A character seeks to achieve an objective but encounters obstacles, which gives rise to conflict and leads to emotion, not just for the character but also for the spectator.

This not only leads to drama, but also to comedy. Conflict is storytelling and it is character. His chapters on the Protagonist, Objectives and Obstacles are also full of good points and interesting observations:

Some writers refuse to be cruel to their protagonists. It is simply beyond them. They identify so much with their characters that they suffer if they have to make them suffer. They fail to realize that the best way of getting the spectator to share their concern and love for their protagonists is precisely to spare them nothing.

I agree with him. And yet, he later advises:

When a writer wishes to indulge his sadistic tendencies, it is better that he should do so on a secondary character rather than the protagonist.

I am not sure from reading his book where he actually draws that line, but it doesn’t matter. I can live with his apparent contradiction. Overall, there’s a lot a writer can learn from Yves’ book and, despite the wordiness and occasional pomposity, it may be one of the best books on screenwriting out there.

As an aside (and there are many, many, many of them in the book), he’s also a persuasive defender of, and believer in, writers as the primary creative force in film-making:

It is the writer’s role to determine everything meaningful that goes into a work of drama. In theory, the actors, director, production designer, composer or editor should not have to do anything more than recreate, using their respective skills, the meaning intended by the writer. They are servants of the writer’s vision in a sense which, I stress, is by no means pejorative and furthermore requires real talent.

So it’s appropriate to close on one of his earliest and truest observations:

[…] people talk as if the screenplay does not exist. Or no longer exists. We are told the screenplay is a transitional phenomenon, existing only  briefly, its relation to the film comparable to that of a caterpillar to a butterfly. This might be true of the object itself, the grubby manuscript that circulates from hand-to-hand on the set […] but it is emphatically not true of the text as a work of art, the product of a writer’s imaginings, the film narrative. […] it is often the key element on which the quality of the movie depends.

If you’ve got the fortitude to slog through this book, and if you can stay awake, you will be rewarded with some valuable advice that will help you become a better writer. (Now if only his publisher could come out with an abridged edition…but with some liveliness, humor and character added!).