Errant Ramblings: Mitzi Szereto’s Weblog

If you’re an author, you have a certain expectation that your work will, at some point, be noticed and reviewed. And with online booksellers such as Amazon allowing for the bibliophile equivalent of Joe the Plumber to post their reviews at the click of a mouse, there’s more chance than ever that something you’ve had published will actually be reviewed by someone. Sounds good, huh? – all nice and egalitarian! Well, in theory, yes. In practice, however, it has its pitfalls…

Unbiased "customer" reviewer

…The main one being that an unbiased review by Joe the Plumber-turned-Reviewer may not, in fact, be so unbiased. One of the most recent and highly publicised examples of this involves historian Orlando Figes, who wrote negative reviews of his competitors’ books on Amazon. This sounds like something straight out of an episode of Inspector Morse, minus the murder and Oxford setting. Now imagine, if you will, the number of times this happens that we don’t get to hear about. I suspect it is not at all uncommon and has probably happened to most authors at some point in their careers, whether they’re aware of it or not.

I’ve had a handful of suspect reader/customer reviews myself, and the instant I read them a red flag went up, because they didn’t sound as if they were written by a layperson at all. In fact, I’d hazard a guess that they might actually have been penned by someone who either had a “competing” book out or who submitted work to me that I rejected. I’ve edited a number of anthologies and dealt with a number of egos, so believe me, this is not as paranoid as it sounds. There are just certain things that ring false, and after awhile you get good at spotting them.

So is it a personal attack or a way of trying to swing the vote away from a competitor by lambasting his/her book? Like, duh! Anyone who thinks it’s a touchy-feely love fest in the book business is living in another hemisphere, especially in this era of dwindling imprints and dwindling disposable incomes to pay for such luxuries as books. The expression “dog eat dog” didn’t come out of nowhere. Heck, I wouldn’t be at all surprised if whoever coined the phrase was a writer!

The point is, these reader/customer reviews are intended to be unbiased and absent of any agendas (or vendettas). Joe buys book, Joe reads book, Joe loves or hates book, then gives us his verdict by writing a review – at least this is how it is in theory. The key to having this process work is very simple and straightforward – unbiased book reviewing from the general book reading/buying public that is not subject to any outside influences. However, it seems that the purity of the process is becoming even more corrupted in ways beyond those mentioned previously. For example, what about authors/editors who give away free copies of their books to any Tom, Dick, Harry (or Joe) who will agree to post a review? Is it likely that someone who is handed a free book direct from the hot little hands of an author is going to write a review proclaiming that said book is total shite? The odds are they won’t, even if the book IS total shite. So much for that unbiased reader/customer review from Joe, eh? Now I’m all for self promotion (as we all know!), but this is crossing the line into the inappropriate – and I’m not sure how happy the average book buyer will be to discover that all those rave reviews posted by other “customers” were actually solicited in this manner.

When I look at reviews posted on Amazon or other sites, I tend to give more credence to those from legitimate and established publications and websites (ie Publishers Weekly, The List, Midwest Book Review, The Library Journal), professional book reviewers, and websites/bloggers/authors who have some sort of track record as book reviewers (and are accountable for their words by using their real names). Mind you, even so-called “legitimate” reviews can be laced with a bit of subjective arsenic. Professional reviewers have agendas too, and it isn’t unknown for them to trash a book for personal reasons.

Of course it isn’t only books that fell prey to this kind of thing. There are product reviews as well on these sites. Some time back I heard about negative reviews on various websites that were discovered to have originated from competing brands, which wanted to get one over on their competition. I’m sure it continues to go on, but again, the average consumer is likely unaware of it.

I am certainly not advocating the annihilation of reader/customer reviews. But when no one is guarding the hen house, how can you ever be entirely sure of their legitimacy? You can’t. The point is, take these reader/customer reviews with a grain of salt. Although the majority are probably kosher, rest assured there are some that are otherwise. So buyer beware!

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Check out my latest interview at Eden Fantasys, where I discuss writing, blogging, Mitzi TV, erotica, my new book In Sleeping Beauty’s Bed: Erotic Fairy Tales, the publishing business and, of course, being a social media maven! There’s even some advice for aspiring writers.

“Mitzi Szereto is best known for writing which mixes classical elements with current trends. How does combining the past with the present inspire Mitzi’s creative process? How does she see the erotic genre evolving in the future?”

Click here for full text of the interview.

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Mwah-ha-ha!

I guess that depends upon whom you ask…

An interesting debate is going on about the issue of self-publishing. Now I’m not referring to vanity press publishing, I’m referring to bypassing the traditional route to publishing – and therefore avoiding such obstacles to success as literary agents and submissions editors (or their assorted lackeys), who appear to operate as the sole arbiters of taste for the entire world’s book-reading public.

So what exactly is self-publishing? It is taking control of your product and seeing that it actually gets published. This generally happens via electronic books (e-books) and print-on-demand (POD) publishing platforms, both of which are available at little to no cost to authors. These very same platforms are now being utilised by traditional print publishers such as Random House, who have discovered that they can continue to sell their back-list and dead-wood titles without spending any money, not to mention flog additional copies of their more viable books – again, without spending any money. Sounds like a good deal, eh?

Then why is there such a negative connotation placed on authors who also choose to follow this same road? I guess in this case, what’s good for the goose is not necessarily good for the gander.

The consensus seems to be that traditional publishers dislike authors who employ these forms of self-publishing. It kinda makes you wonder if maybe they’re seeing the writing on the wall. I mean, if more and more authors go this route, there will be less books on offer to publishers – and less books means less revenue. Just think: what if authors decided to avoid the endless hassle and rejection of dealing with agents and publishers and opted instead to do it themselves? Can you imagine if Stephen King told his publishers to go take a flying leap and went into full-on DIY? Imagine how much money his publishers would stand to lose (and how much more he would make!). Oh man, doesn’t it just get your mouth watering?

Granted, Stephen King has a name; he doesn’t need to worry about his books sitting all lonely and unloved in a corner of a bookshop near the toilets. Not a lot of authors are as fortunate as he is. They need to rely on their publishers to push their material into the public arena, to actually SELL it. Err… hang on a minute, did I say “sell”? Aye, there’s the rub. How many publishers put forth any real effort on actually selling a book? Sure, each book gets a marketing budget, but more often than not, it’s barely enough to buy a pack of chewing gum. And don’t think just because you have a big publisher they’re going to break the bank to promote your little book – not when they have to earn back all those ridiculous advances they’ve paid out to their so-called “star” authors.

Now most people who know me know that I work my backside off promoting myself and my various projects. Heck, if I don’t do it, who will? So when my efforts start to get attention from the right people, I expect those who handle “marketing and publicity” to at least follow through when I place leads into their laps. After all, I’ve pretty much done their work for them, right? What I do not expect is to see these leads ignored because said marketing person’s either continually out of the office and not replying to phone and email queries, or just can’t be bothered to do his/her job. For example, awhile back I found out that a television producer had been trying to find me and not having any luck. He later informed me that he’d pretty much given up hope after three attempts to contact one of these aforementioned marketing persons for information on where to reach me (his phone calls were never returned). He finally had his assistant Google me, which resulted in my email address.

So much for the advantages of traditional publishers and their marketing and publicity departments.

One of the main arguments used against self-publishing (which tend to be put forth by traditional publishers) is that self publishing will diminish the quality of books on offer. Really? Have you been down to your friendly neighbourhood bookseller lately and seen some of the crap on offer? I mean, did someone actually wake up one day and decide to publish say, Katie Price‘s scintillating series of memoirs or autobiographies whatever in hell they are? Whether they sell or not is besides the point, especially when the argument these publishers are brandishing about is that the “quality” of books and literature on offer will be severely diminished by these nasty evil self-publishing authors.

I talk to a lot of writers, and I mean published writers, who’ve been there and done that in the traditional way – only to see all their hard work go nowhere (that’s if they even get a book deal). Many of these writers are now realising that they can enjoy a very high royalty rate in this self-publishing game – and they don’t have to share the pot with any literary agent either. Not only do they get to control their product, but they can avoid a lot of ulcers arguing with book editors over editorial changes that may (or may NOT) improve the work. Sure, they may have to work harder to get the word out, but is that any worse than seeing your “baby” being neglected and shunted aside? – only to later be told that it didn’t sell very well, if at all? Well, of course it didn’t sell. No one made any effort to sell it!

The point is, the days of self-publishing have changed. No longer is it your senile old granddad publishing his war memoirs to give the grandkids at Christmas. You’ll be seeing more and more talented and name-known authors going this route, as traditional publishing continues to push more and more talent away from their doorsteps in lieu of publishing more and more tripe they can’t sell in their endless game of robbing Peter to pay Paul.

Well, perhaps Peter has finally had enough!

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There’s a lot to be said for being a bin man. Now I’m not trying to use sexist terminology here, but I’ve yet to see a lady bin man. Anyway, “bin man” has a better ring to it. So, for aesthetic purposes, let’s continue with the masculine title.

I’m often approached by people who tell me that they want to become a writer and ask me for advice on what to do. (I generally tell them to go buy a gun and shoot themselves.) They get this child-like glazed-over look in their eyes, no doubt envisioning all those wining and dining New York City lunches with high profile agents and book editors at Tavern on the Green. Oh yeah, Tavern on the Green went bust, didn’t they? Ah well, considering the fickle and transient nature of the publishing business, you’ll be lucky if your agent or editor springs for a Big Mac and fries!

Which leads me to the point of this blog missive: if you had to choose between a career as a writer and a career as a bin man, which would it be?

I can hear your answer already, you poor deluded naive soul. Though who am I to burst your bubble? But may I, for a moment, plead the case for the humble and unappreciated bin man?

There are many advantages to being a bin man. First of all, there’s the obvious: a steady paycheque. Depending on which country you live in, there are some good benefits too, such as health insurance for you and your family and a nice pension plan. Of course, if you’re living in America, the government will probably take these things away from you in order to bail out fat-cat bankers. But I digress…

Another advantage to being a bin man is that no one’s likely to rip off your ideas because they lack the talent, creativity and ability to come up with their own. (Forget that “intellectual property” bullshit; it won’t hold up in court.) Having said that, if you in your capacity as bin man suddenly develop some innovative new method to carry or empty bins, it could happen – and all the other bin men will be jumping on the bandwagon (or rubbish truck) doing the exact same thing. But let’s leave that for now, since bin men don’t need to live off their royalties!

Oh, yeah. And that’s another good reason to choose the litter-strewn path of a bin man – no royalty payments. Bin men are paid a set amount per week or month, and there’s no fluctuation in that number unless a pay rise (or cut) has been implemented. As for writers, when (or IF) your royalty payments turn up, they might look a tad peculiar, as in never actually accruing any earnings above the advance which was paid out (usually barely enough to pay the gas bill). I’ve had discussions with other writers on this very subject and they all say the same thing: they rarely see a penny in earnings after they’ve deposited their very tiny advance cheque (and some writers don’t even get an advance!). Yet go on Amazon or phone your local Barnes & Noble, and they’re always out of stock and having to reorder your books. It kinda makes you wonder if some of these publishers have Mr Bean doing their accounting.

Obviously, the issue of royalties means that you’ve actually been published – and to be published, your work needs to be seen by the right people (and by right people, I mean a real editor or agent, not some ditsy college intern who thinks she’s Carrie Bradshaw). Bin men don’t need to worry about their work being seen by the right people. They empty the rubbish and that’s it, they’re done. Writers waste time and energy and money submitting their material to agents and publishers, only to have it not even properly considered (let alone read) or completely ignored. (And yes, Dorothy, that includes solicited submissions.) Bin men also don’t have to swallow down that great big gorge of vomit every time they see some hack who can’t write his or her way out of a paper bag being rewarded with book deal after book deal as effortlessly as a rat drops turds.

Am I suggesting that the majority of writers are treated like shit by those who seek to profit from our labours? I’ll let you decide. But let’s face it, there are far too many of us around, and our sheer numbers alone do little to inspire respect from those who have control over our livelihoods. We’re like the cast of a spaghetti western – you can shoot down as many of us as you want, yet still more keep popping up. Come to think of it, maybe we’re like those zombies from Night of the Living Dead.

To aspiring writers, I recommend the Martin Amis novel The Information. Flawed or not, it deals with the grim realities of the publishing business and “life” as an author. More importantly, however, it deals with the celebration of mediocrity which, I’m sorry to say, permeates every aspect of our culture, not just the literary spectrum. Also read my blog posts Aren’t We Just Precious: Writers Who Live in Ivory Towers about author ego and book promotion, and Fairy Tales Can Come True (Well, Maybe if They’re in a Book), which touches on the odds of even getting published at all.

So why do we writers do it? Because we’re sick and twisted, that’s why. And maybe because we don’t want to (or can’t) live like the rest of society. Perhaps it’s our inability to conform that keeps us banging our heads against brick wall after brick wall. Indeed, we’re true renegades.

…Or true masochists.

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Teddy Tedaloo reads "In Sleeping Beauty's Bed: Erotic Fairy Tales"

No, I’m not talking about what you think (or hope) I’m talking about. Nor am I talking about Depeche Mode‘s Dave Gahan. As you may already know, I’ve blogged about Dave before – he was one of my very first Facebook friends! (Alas, our relationship has since gone pear-shaped, and we’re no longer speaking.)

No, I’m talking about Teddy Tedaloo, who’s one of my most devoted fans. Well, he’d better be, since I pay the rent. Though I really wish he’d stop singing that damned Pet Shop Boys song all the time; it’s beginning to get up my nose. I love you, you pay my rent, indeed! Mind you, when it comes to fans, he has plenty himself, if his Facebook group is anything to go by… and my long-distance phone bill. When my shipment of author copies for In Sleeping Beauty’s Bed: Erotic Fairy Tales arrived the other morning courtesy of my publisher Cleis Press in San Francisco, who do you think couldn’t wait to tear open the box?

You guessed it.

I didn’t even get a chance to make a cup of tea before Ted was already in the kitchen rustling about in the knife drawer to find something to slice open the box with. The next thing I know he’s happily ensconced on the fluffy white coverlet on our sofa with his little black nose buried in the book. How he managed to fetch his reading glasses from the upstairs bedroom without my seeing him is anyone’s guess. I suppose that’s one of the advantages of being diminutive in stature.

“Now Mitzi, are you using your blog to plug your new book release?” I hear you asking. Why, of course I am! After all, it’s my blog and I can do what I want with it. Having said that, don’t I provide you with hours and  hours of free entertainment? After all I’ve done for you – sacrificed for you, is it so much to expect a little consideration and support? (Insert Jewish mother guilt-inspiring voice here.) Haven’t I given you the best years of my life? (Insert nagging-wife voice here.) If my book is good enough for my bear, then it’s good enough for you! And take my word for it when I say that Ted’s not easily impressed. You’d be hard-pressed to find a more difficult critic to get past.

So if you want to make me happy (and you do want to make me happy, don’t you?), then click on one of the very handy Amazon carousels located right here on my website (you can select from three different countries – oy, how easy can it be?) and pre-order your copy of In Sleeping Beauty’s Bed now!

Do it because you love me.

And if you don’t, so lie.

(BTW, if you happen to be a book reviewer, drop me a note and I’ll put in a review copy request for you. But you gotta promise to be nice!)

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Mitzi Szereto's "In Sleeping Beauty's Bed: Erotic Fairy Tales"

You know that expression “it ain’t over till the fat lady sings”? Well, I don’t even give her a chance to open her mouth! I apply this methodology to my professional life and to my personal life. Alas, the latter hasn’t proved as successful as the former, but we aren’t here to talk about that, are we?

Indeed, I’m not the kind of woman who takes “no” for an answer. When I started out in this literary gig, I knew the odds were hugely stacked against me. Hell, they still are. You think it’s easy to sell a book? – especially when you refuse to churn out the same shite everyone else does? I’m definitely my own drummer, and when I think what I’m doing is right, there’s no convincing me otherwise.

Case in point: my book of solo short stories Erotic Fairy Tales: A Romp Through the Classics. How I laugh when I hear some precious writer grumbling that their precious novel went to seven publishers before it finally found a home. Seven? What is seven? Try fifty, baby, then you can start grumbling! Yes, my little masterpiece went to about fifty publishers worldwide. I even had a literary agent working on it for a year (and believe me, I’ve lost track of the number of agents I’d submitted the thing to before I went with this one). Not that he did sweet FA, other than collect money off me for every conceivable cost, save for loo roll. (Wait, I think he did bill me for a jumbo pack of Charmin!) Half the publishers the manuscript was submitted to were ones I suggested to Mr. Literary Agent, the other half he came up with – and they were totally off the wall, including some tiny press in Georgia that only publishes poetry. WTF?

Fine, I’m used to always having to do everything my own damned self, since no one ever does anything right – and that’s if you can count on anyone to do it in the first place. But come on. I even had to track down an editor because my manuscript was returned unread, along with a letter stating that said editor no longer worked at said publishing house. Now correct me if I’m wrong, but isn’t this a clue to find out who took his place in order to then resubmit the material  – and indeed, to submit to the original editor at the new publishing house as well? Apparently that took a bit of common sense and initiative, neither of which my so-called literary agent possessed. No wonder every time I phoned the guy he always sounded as if he’d been asleep… which he probably had been. Ah, well, I suppose it beat the New York agent who had a dog barking incessantly in the background while she tried to convince me over the phone to shell out 500 bucks to her to read my manuscript. Had I done so, I’m sure it would have ended up as one of those “my dog ate my homework” deals.

Undaunted by the blatant hopelessness of my situation, I resumed control of my product and re-embarked upon the quest to find a publisher. I submitted far and wide, to publishers in every corner of the globe. Had there been publishers on Mars, I would have submitted to them too. In fact, I was running out of publishers. Oh, the despair! Finally I put together my last batch of mailings and headed to the post office (which by this time was thriving thanks to my generous patronage). This was it. If it didn’t happen, it wasn’t going to happen – there was no one left.

The next morning my phone rang. It was a publisher, and she wished to speak to me about my fairy tales manuscript. I was asked to come to their San Francisco office for a meeting. Since I lived in Sonoma County at the time, this was fairly easy. Besides which, I always welcomed any chance to drive across the Golden Gate Bridge – I still do, in fact!

And that’s the tale of how Erotic Fairy Tales: A Romp Through the Classics finally saw the light of day. The book has sold so nicely and has been reprinted so many times that Cleis Press decided to publish a second edition – the now renamed In Sleeping Beauty’s Bed: Erotic Fairy Tales. I invited author Tobsha Learner to write a special forward, along with some words of praise on the back cover provided courtesy of author Nancy Madore. The book will be out in autumn 2009 and is already available (HINT HINT!!) for pre-order at the lovely Amazon.com.

So you tell me who was wrong: all those publishers who passed on my book, or me?

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No, I haven’t suddenly gone into the business of flogging dodgy goods off a pitch at the market, nor will I be claiming that said goods have fallen off the back of a lorry either. But I did take a little peek at my Amazon Kindle books royalties for my M. S. Valentine novels and wah-hey – I’m now up to thirty bucks! (And yes, that’s in U.S. greenbacks.) Okay, I realise this might only get me a couple of foot-long sandwiches at Subway with a bit left over for a trip to Starbucks, but this could be a nice little earner, as Del Boy would say.

For those of you who haven’t read my previous blog post on the subject (Is the Print Book Destined For Death), my very first Amazon Kindle book The Captivity of Celia was published a few weeks ago, and since then the entire catalogue of my out-of-print M. S. Valentine erotic novels have been re-issued on this platform. I’m so impressed with the Kindle’s ease of use and potential for growth that I’m now looking into putting together a special collection of my short stories and having it sold via Kindle. This electronic reader is growing in popularity, and I’ve no doubt Amazon will develop a version compatible in other markets, such as the U.K. and Europe.

It’s inevitable that as mainstream publishing continues to cut back on the numbers of books they publish, not to mention continues to offer ridiculous advances to fly-by-night celebrities whose books fail dismally in the sales department, legitimate writers will be forced to seek out more and more alternative and innovative ways to get their product into the marketplace. Companies such as Amazon are well aware of the pitfalls we writers face – and they are providing us with the means to take some control over our literary destinies into our own hands. So while a major publisher robs Peter to pay Paul (you being Peter, Paul being the big celebrity “author”), and while hot-shot literary agents linger over a three-hour lunch at Tavern on the Green yet can’t even spare a minute to reply to your emails, at least you can be pro-active as opposed to just banging your head against your computer keyboard.

Maybe thirty dollars is no great shakes, but I’m not complaining. Wah-hey, it’s a start!

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Mitzi Szereto: Dying For It: Tales of Sex and Death

What do you do when your book is mislabelled? No, I’m not talking about some spotty teenaged kid at Wal-Mart putting the wrong price sticker on it. I’m talking about something a lot more annoying and something which can potentially affect your book sales - sometimes to the negative.

When readers head over to a bookshop or to an online bookseller to find a book to purchase, they might go to a specific category, be it crime, romance, science-fiction, chick-lit, self-help, whatever. They then have certain expectations of what these books will be about. But what happens when a book isn’t quite what it says on the tin? Well, readers may get more than they bargained for and have their reading experience elevated to a higher level. At least this is what we as writers hope will happen! But what about those readers who miss out entirely on a book because of the way in which it’s labelled?

Labelling isn’t necessarily done as a sinister plot to mislead a book buyer into purchasing something he or she doesn’t want to buy (though if a recent article about publishers suddenly labelling everything chick-lit is anything to go by…), but rather a matter of expediency. If it says sci-fi on the cover, booksellers know to stock it on the sci-fi shelves, and readers know to find it there. Simple, right? In the majority of cases, this works just fine for most categories of fiction and non-fiction. But what about those times when it does not work just fine?

I’ll draw upon my own experiences in this area to demonstrate my point. Although much of my work has been in the area of erotic fiction, or “erotica” as it is more commonly referred to, the label has on occasion been misapplied. Case in point: my anthology Dying For It: Tales of Sex and Death. This is a multi-genre collection of short stories ranging from crime, romance and horror, to literary fiction and erotic fiction. Before it went to press, I spoke on the phone to my publisher in New York discussing this very issue: how to label the book. We both agreed that classifying the work as “erotica” was not really accurate, therefore it was agreed that the anthology would not be labelled as such. But when the book came out, there it was on the back cover: ”erotica.” Clearly the opinions of the creator and editor of the book (me) and the gentleman who’d so enthusiastically agreed to publish it were overridden by someone with no concept of what the anthology was about (they probably just saw the word “sex” in the title) and had probably not even read one story contained within it.

The problem is, there are many readers out there who are not interested in reading erotica – or what they either rightly or wrongly perceive to be ”erotica.” However, they might not be averse to reading material that contains sexual themes or content, providing this is placed within a wider context. These readers probably don’t bat a proverbial eyelash at the sexually explicit and often even purple prose to be found in a John Updike or Philip Roth novel, but will they buy a book that proclaims itself to be erotica? Unlikely. Which means, you’ve lost a reader, and you’ve lost a sale.

Don’t get me wrong – labelling a book in a specific genre can have its advantages, providing said book is labelled properly. But this requires a bit more than a one-size-fits-all mentality by publishers. It requires some thoughtful analysis of what a book is actually about and who might be interested in reading it. It should be the goal of a publisher to attract the widest possible audience to a book, which will result in higher sales figures – and a label can either help or hinder this process. Placing a book such as my Dying For It into a specific classification can undermine what the author (or editor) is trying to accomplish. Likewise, it can keep readers away from books they might have considered, were it not for the label. A book is not a garment with a tag sewn into the collar listing its size and washing instructions. By treating it as such, we not only shortchange writers, but readers as well.

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Within the past week I’ve had two people say to me – “but I like REAL books!” They were, of course, unhappily referring to the increasing popularity of electronic readers such as Amazon’s Kindle, and therefore the increasing popularity of books you can download and read on said reader. Unfortunately, I own no shares in Amazon.com (I wish I’d gone with my gut instinct on this years ago rather than listening to the dotcom doomsdayers, one of which was the investment guy who advised me to buy mutual funds whose managers are now all in jail), but that’s beside the point. Granted, in a way I agree – there is nothing like holding a book in your hands; it’s tangible, tactile, it looks nifty on a bookshelf, and hell, it can even make a damned good door-stopper, to say nothing of performing other important household functions. Why, just the other day while Facebooking I found myself being harassed by a wasp. Needless to say, he meet his fate quickly (and no doubt painlessly) at the hands of a novel I’d grown bored of reading.

So why am I jabbering on about Amazon Kindle? Well, for very good reason! My bestselling and now out-of-print erotic novel The Captivity of Celia (written as M. S. Valentine) has just been published as a Kindle book. Indeed, thanks to Amazon Kindle it has been brought back to life, and several of my other Valentine titles will be following suit via this platform. Is that such a bad thing? Not if it puts a few bob in my pocket! And I’m suddenly hearing from other authors who are feeling quite encouraged about this new opportunity to gain readers and thus earn a bit to put toward the rent.

Speaking from the rather prejudiced perspective of a writer, the really great thing about the Kindle is that the author can publish directly with Amazon, thereby cutting out those annoying little middlemen such as literary agents and book editors and publishers who, as many of us in this business have already learned, know as much about publishing good books as your senile old Aunt Gertrude in Hoboken, New Jersey. Hang on a minute – isn’t Gertrude the name of that editor who rejected my last book?

So before we go starting up a Kindle fatwah, we need to gain some perspective. People who like print books will always buy print books. The marketplace cannot ignore such a large percentage of readers. However, those who prefer the transportability, the varied features, and the ability to store a multitude of titles, not to mention being able to bookmark them, will add the Kindle to their reading repetoire. There’s room for all of us. Let’s just all try to get along, shall we?

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