Why to Not Write a Book
gwern.net
gwern.net
> [...] for many writers, writing a book is about the last thing they should do (unless they feel a book bursting out of them, much like a facehugger).
Now, as we all know, the aliens that burst out of people in the Aliens franchise are called 'chestbursters'. "Facehuggers", by comparison, are hatched from alien eggs.
So in this metaphor, since we're told that novels are facehuggers, the writers must be the eggs. And by process of elimination, we can deduce that the innocent starship crewmembers being attacked by facehuggers (novels) are innocent readers.
The metaphor actually contradicts the author's main thesis, since every egg (writer) does in fact contain a facehugger (novel). But contrariwise, all the human characters (the rest of us) would be much better off if those novels just stayed inside the writers and didn't insist on being written or read.
Metaphors are like scissors; they're twice as much fun when you run with them!
As usual, readers reading too much into something.
You've introduced eggmorphing (the transformation of people and other animals into eggs), which is not canon because the scene was cut.
https://collider.com/alien-eggmorph-deleted-scene-explained/
But since the term is apparently not technically correct (which as we all know, is the best - indeed, only - kind of correctness), I have changed it.
He writes crime novels. Doesn't even like them, but if you want to sell, you either write smut (big gamble) or crime novels (less crowded). Anything you actually want to write about, you have to shoehorn into the crime novel. You also have to keep your protagonists whether you like them or not, or else every book will be your first one.
He also found that he had to write local novels that take place around the local tourist sights. He couldn't write about his actual hometown of course, but there is a touristy spot an hour's drive from him, so that's where the detective had to be based for every single adventure. The touristy area must also be a city. That way you have half a million inhabitants, and the same amount of tourists whose relatives are looking for gifts.
He was basically playing bookstore SEO.
Unsurprisingly, being an ME, he had a product lifecycle. He was working on several books at once in a pipelined fashion. One was being drafted, the next one was being written, the third one was in early proof reading, the fourth one was being finalized. That way he had a good balance between creative and menial work at all times. He also explained how he was careful to use few proofreaders in the early stages, because apparently, his work is a dire read before any corrections. He has a process where he rotates through his early stage proofreaders, and mostly gives them later stage work that is more readable.
Being a successful author is no more romantic than being a successful programmer. Or painter. Or mathematician. Any romanticism is at odds with professionalism, e.g. what works. And that's the same across all these professions.
Isaac Asimov figured that out!
Asimov's insight was that it was up to the author to play rigorously fairly: every fact of consequence needed to be revealed naturally.
The Caves of Steel (1954) - first Robot series/R. Daneel Olivaw novel
The Naked Sun (1957) - second Robot series/R. Daneel Olivaw novel
"Mirror Image" (1972) - short story about R. Daneel Olivaw and detective Elijah Baley
The Robots of Dawn (1983) - third Robot series/R. Daneel Olivaw novel Robots and Empire (1985) - fourth Robot series/R. Daneel Olivaw novel
(I've forgotten the title--I read the book nearer 50 than 40 years ago.)
(I've forgotten the title--I read the book nearer 50 than 40 years ago.)
Edit: I see from Wikipedia that it was The Death Dealers, later republished as A Whiff of Death.
At that point, I'd rather be an accountant.
Certain authors are the equivalent of blockbuster movie releases. Publishers pay them huge amounts and market the ever living daylights out of them. Sally Rooney is a recent example, or authors like Salman Rushdie or Zadie Smith, where their books releases are "events". Many publishers are moving away from the long tail model that used to let "midlist" authors still eke out a living or at least publish. The consolidation in the industry has also made it difficult for authors to shop their books around to different publishers with their own "brands".
The other "safe" bet for publishers has been genre books, like romance or crime, with clear templates and the ability to churn out books while relying on the authors name more than anything else, like Grisham. In romance, for example, there is a big emphasis on "family" series, where each book focuses on a different member of a family or group. An example is an author like Kleypas. The books are essentially just variations on a set of tropes, almost algorithmic, but the way they fit together and mutually reference one another keeps people invested.
In general though, very few authors make a living writing. The midlist era that thrived in the last 19th and 20th century is sadly going the way of the dodo.
Many authors that succeed at self publishing move to traditional publishers. (Hugh Howe, E L James) Others (Tamara Taylor) like to control and much higher royalties and stay self published.
Self-pubbed author groups have far more authors earning far more money. There's a good number of six figure authors and not a few seven figure authors. They're almost all writing to market - tight-niche, mid-quality writing that gives readers a predictable genre experience they want to repeat.
Successful self-pub is equivalent to a bootstrapped micro start-up, and many of the same ideas apply. It's not trivially easy, especially the marketing. But it's certainly easier than trying to pitch from a cold start to the agent/publisher circus.
Reminds me of Chuck Tingle, who is an author but also a troll, writing books like "Pounded In The Butt By My Handsome Sentient Library Card Who Seems Otherworldly But In Reality Is Just A Natural Part Of The Priceless Resources Our Library System Provides".
"I've been killing slimes for 300 years and maxed out my level"
"I'm a behemoth, an S-ranked monster, but mistaken for a cat, I live as an elf girl's pet"
The list goes on with even longer titles.
For example, Daniel Defoe’s seminal work from 1719: The Life and Strange Surprizing Adventures of Robinson Crusoe, of York, Mariner: Who lived Eight and Twenty Years, all alone in an un-inhabited Island on the Coast of America, near the Mouth of the Great River of Oroonoque; Having been cast on Shore by Shipwreck, wherein all the Men perished but himself. With An Account how he was at last as strangely deliver’d by Pyrates. Written by Himself.
> Yes...I wonder if you might have 'The Amazing Adventures of Captain Gladys Stoutpamphlet and her Intrepid Spaniel Stig Amongst the Giant Pygmies of Beckles'...volume eight.
• Truly Madly Deeply: A Grumpy x Sunshine Romance
• Temptation Trails: A Small-Town Romance
• Phantasma: a Dark Fantasy Romance
• Madness: a Dark Revenge Romance
• Meant For Gabriel: A small town, single dad, surprise baby romance
• Little Stranger: a Dark Taboo Romance
• Sexting the Silverfox: An Age Gap, Single Dad Romance
• Brutal Savage: A Single Dad Forced Marriage Irish Mafia Romance
• Twisted Love: A Grumpy Sunshine Romance
• Beautiful Beast: An Age Gap Forced Proximity Mafia Romance
• Obsession Falls: A Small-Town Romance
• Flawless: A Small Town Enemies to Lovers Romance
• Ultraviolet Catastrophe: A Band Gap, Single Quantum Romance
What about:
• Hacker News: ???
Even a dream job is still a job and brings some resentment just for the fact it is a job. It ain’t gonna make you a trust fund baby.
https://en.wikipedia.org/wiki/The_Book_Job
> "The Book Job" is the sixth episode of the twenty-third season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on November 20, 2011. In the episode, Lisa is shocked to discover that all popular young-adult novels are not each written by a single author with any inspiration, but are conceived by book publishing executives through use of market research and ghostwriters to make money. When Homer hears this, he decides to get rich by starting work on a fantasy novel about trolls together with Bart, Principal Skinner, Patty, Moe, Professor Frink, and author Neil Gaiman.
In fact all publishing is write-to-market now.
Most traditionally published books are picked to chase trends. There's also a huge market for ghost-written titles with a celebrity on the cover.
It's a shamelessly conservative industry. It's unbelievably hard to pitch a fresh fiction franchise, even if it's wildly creative and incredibly well-written.
Yes. I doubt you disagree, but I needed to point that out. These two, along with writing-by-formula, are intricately related. There's nothing wrong with writing being a racket.
If you want to feel depressed and lack a sense of optimism in humanity, spend some time learning about the publishing industry. Woof. It's nothing but formulaic conservative market-driven darkness all the way down. AND all the players are well-established, they've driven out inefficiencies, and they've got plenty of tricks to keep the riff-raff out. They've been doing that for centuries.
I don't like joking on HN, but this is a personal joke I've used for some time and seems appropriate: Want to start a new streaming series? Throw together a bunch of marketing-driven adjectives and end with "and they solve crimes."
"She's a gay little person goth time-traveling alien, he's an autistic left-handed incel Quaker. They live in Portland, and together they solve crimes."
My opinion is that people are going to eventually get sick of this stuff, much the same as they got tired of the B Monster Movies in the 50s, but who knows. Detective and True-Crime novels are perennials. Not my circus, not my monkeys. Working like this sounds to me like having a job I hate.
I'm pretty sure a Netflix executive would have signed on this concept based on this sentence alone half a decade ago. Now it seems the entire world is waking up to these formulaic data-driven products that have been pushed by media conglomerates for a decade. This is especially apparent in the gaming world, where big productions seemingly flop out of nowhere (cough Concord cough) while indie studios keep innovating.
It's so easy to blame this phenomenon on rose-tinted glasses and older people like us thinking all old things are better than modern, but when the world wasn't decided by "data scientists" and corporate committees, there was more variety, more volatility. Lower lows but higher highs as well.
I've been thinking about this a lot the other day while watching snippets of the movie "O Brother, Where Art Thou?", wondering where pure, plain fun movies that are not pushing an agenda or pandering to some audience have gone.
And now, in the current era of the remake, which still has to reach the film industry, it is gonna get worse. When they'll find they are unable to invent the new multi-billion franchise, why not go and remake and "modernise" an older one? It's basically free money.
You haven't heard of the Disney live-action remakes of the old classics? It's already starting to happen.
The expectation that new stories must be set in a freshly created "universe" with fully new characters is quite new. We may be returning to that old mode of storytelling where we repeat more. Just as people still play Shakespeare with new actors each time, why can't we retell a 20th century film with today's actors and technology? And why can't we make sequels about already beloved and known characters? Seems quite natural in fact.
We now have a new canon for this era, and it consists of superman, and Darth Vader etc.
The one (big) difference of course is that in the old times there was no concept of copyright and trademarks so people were free to recombine characters as they wished.
Then you add on that they already missed the train for hero shooters by about eight years and their modern competition is all free to play and has already sucked up the entire market for the most part. I saw an analysis by a former game producer that thought that perhaps they had a work environment that stifled criticism and commentary from developers and I think that that might have been an accurate assessment; The entire product was released in a way that myself and a number of other people that I've seen online simply can't believe that nobody was throwing their hands up and saying that this was a bad idea before release.
> Then you add on that they already missed the train for hero shooters by about eight years
There's an analysis video I saw on Youtube which touches upon this fact: data-driven production suffer from two major problems: when they register a signal (i.e. people like hero shooters), it's already too late. It is impossible to catch a growing trend, just one that has already reached its peak.
The second problem is that the data is misleading in the first place. Using social media sentiment, for example, is pure nonsense because social media personas are not real people. They don't buy toilet paper, they don't talk (or Google) about 99% of their boring existence, and the signal is manipulated by bots and malicious agents. It is absolutely crazy that companies still haven't learned that you cannot hire a bunch of data scientists and predict the next major hit. They have tried for the past 20 years, but human ingenuity (and the chaotic human psychology) is totally elusive to their silly models.
There's a trend of thinking that our age is the most accepting and inclusive and the past was rigid and conformist but in many regards it's the opposite. Through all the metrics and quantification and SEO-like data analysis-based incentives and judgments we are being "snapped to grid". The risk averseness is growing. There's only a narrow path and people must tick many boxes or get disqualified. Just as movie producers make the nth superhero movie and everything is a sequel of old IP, science is similarly turned into a formulaic churn.
Just think about how Peter Higgs said he couldn't fit the mold of today's academia and the pressure of producing a stream of consistent (and hence typically consistently mediocre - like the consistent taste of a BigMac) output.
The other day I watched this interview with a pioneer of artifical neural networks Warren McCulloch (https://www.youtube.com/watch?v=wawMjJUCMVw). I wonder if today we're letting such personalities thrive in academia. He was originally headed to the Christian ministry and learned a lot of theology then got drawn rather to math, and his pondering of abstractions, understanding, humans and theology moved him to study neurology and to use math to model logic expressed as neural networks. Nowadays, you must specialize early and grind for tests, no "forgiveness" if you go off-track, you must be single-mindedly focus on optimizing your path towards tenure for it to be realistic. Can't even get a PhD position without having published several of your original research papers beforehand. While hiring committees say they reward well-roundedness and try to avoid a monoculture, what that becomes in practice is checking if your parents sent you to one of these trendy types of extracurriculars or foreign "volunteer" programs, and whether you later were engaged with some shortlist of trendy buzzword issues.
This breeds conformity, uniformity and bland predictability.
But even if you can mostly avoid that kind of thing whether in fiction or non-fiction, you absolutely need a copyeditor who will carefully look for typos, grammatical errors, spelling and capitalization of company names, etc.
Anything that would get sidenoted, he would do in second stage proofreading only. Not even worth fixing a typo if the whole page could still be axed.
The guy does a lot of scaffolding and prototyping, and some heavy refactoring.
It also reminds me of the MrBeast document from the other day.
Once you hit the formula, you keep grinding it. Consistent high performers almost all do it, no matter the field. Whether it's songs, books, YouTube videos, science papers, blog posts, paintings, consultants, etc.
Of course science papers are a team effort but so are novels and music and paintings. Hans Zimmer didn't single handedly compose his recent film scores, he has lots of people working for him on the project. Master painters used assistants. Stephen King isn't typing every character himself.
Amd then there are one hit wonders who are at the right place at the right time, saying what needed to be said in that moment, and then sink back into obscurity or become a parody/tribute of their own self as they try to milk that one insight from their 15 minutes of fame.
Outlier level work by one person that keeps being novel in truly surprising ways, on a consitent basis, is so rare that there are probably only a handful of instances.
Typically this does involve 4-6 months of work even in high-output labs. It just involves many iterations, polishing the text and figures to "look like" an accepted paper by gestalt etc.
I wasn't trying to imply there's no work or effort needed. I'm more saying that there's a lot of learnable, repetitive parts and if you get them right, your output can have a consistent good quality but nothing groundbreaking. Chipping away at problems, permuting the assumptions and tasks, throwing in the latest hot new method and combining it with another method etc. It isn't something that anyone could do, but it doesn't rely on big eureka moments or flashes of deep insight that one might romantically expect.
I think you’re also talking about one of Adams’ later books after HHGTG once his publisher was deep in hock for his advance.
They told him to hand over whatever he'd got:
"Douglas happily built his reputation for (at this stage, merely) sailing close to the wind when it came to publishing deadlines by telling interviewers that he had been ordered to literally stop writing and hand his manuscript over to a courier no matter where he had got to…"
— The Frood: The Authorised and Very Official History of Douglas Adams and The Hitchhiker’s Guide to the Galaxy by Jem Roberts"
He was famous for scraping or missing deadlines from the very start, and openly admitted to it:
"All of my life I've been attracted to the idea of being a writer, but like all writers I don't so much like writing as having written. … each time I meant to try to write something, I'd miss the deadline by two weeks."
The book was practically guaranteed to be a best-seller.
Having written several works without ever completing or publishing any of them, I find this comment from Adams particularly resonates with me. That said, I’ve had success with a narrative podcast, which is heavily influenced by his genius—his wit and comedic writing style shine through. While I’ve always admired what he brought to the sci-fi comedy genre, in hindsight, I probably owe just as much gratitude to his editor and publisher.
Considering how much he loved everything else and how well he was able to do things like radio shows or video or inspire text adventures, I do have to wonder if forcing him to write books was pounding a square peg into a round hole.
Next comment someone please call it HGGHT.
Is bureaucratically
Not Exact enough you see
----------------------
We will be denying
your acronym
and you will be dying
Just like him
did.
on edit: HN formatting is in violation of several rules and will be punished.
And there's not really a way to know if you're gifted and talented at writing, so just go for it anyways. Your appeal to exception falls flat because there's no reason why there can't be another one.
The book was written 45 years ago, an entirely different media market, was based of a story he had already developed for radio, and we have no idea if this anecdote is apocryphal.
Yes. Maybe an unpopular opinion here, but the book form of HGTTG is a mess. You can tell that it was converted from an episodic weekly-gag-based radio show into written form with very little effort to make it into a coherent whole. It's popular because it has brilliant one-liners, but as a book it's not nearly as good as its popularity would suggest.
An author starts a story, writes a few chapters, and then presents it to the Internet. They acquire a following, and keep putting up chapters.
But even if they start with a solid outline and a world building bible and a binder full of character secrets, the story rarely follows a smooth plot arc -- they have new ideas as they write, and some things don't work the way they'd hoped, and maybe they are not sure how to move from point A to B and spend a few weeks putting up chapters where both they and their characters go in circles for a bit.
And then it's finished, the next logical step is to republish it as a book. They could treat the web serial as a first draft, and rewrite it now that they have the whole thing figured out. Throw away some of the meandering, save a few disjointed chapters for short story anthologies, fix some of the character drift that isn't development, drop the plot lines you never finished, and add a bit more foreshadowing to the early chapters for things they didn't figure out until later.
But well, the book's already been published, right? And people liked it well enough? So why write the same book twice, and not just clean up the spelling and grammatical mistakes and publish it as is?
Who says we all need to be Douglas Adams? If the book is only for you then the bar is very low.
With creativity there's an overlap between creating for oneself and creating for others. You might start with the former but end up craving the latter. But most people creating things don't require validation from others; it would just be nice.
*personally prefer the term “designists”, but YMMV on that one
Designori, as in Hesse’s magnum opus
(a) living in a highly developed country (and having grown up in one almost as developed), according to this theory I ought to be going full Eloi and mechanical Turk'ing out (AI as "actually, indians"?) all the schlep work in my life to telepresent Morlocks, yet the little of my washing which I do send out goes (to the best of my knowledge) mostly to the historically-developed world.
(b) also to the best of my knowledge, current proto-Morlocks very rarely (or even never) eat current proto-Eloi.
I'm currently going through the CLI tutorials. No ebooks for the time being, as I'm just broke right know. Thanks for all the content. Keep it up!
Edit: typo.
I have this idea. Let's say I want to bring two words (AI and Apocalypse, Yud's thesis ) closer in some semantic space of ideas. How would I do it? I would write thousands of stories bring those two concepts together. Sort of like warping the space of ideas. Like a horseshoe. Subconsciously, if I want to guage the weightage of a particular thesis, my mind does it informally if it can pull many emotionally weighted instances in support of that thesis. The same applies to societies and groups.
Please value my time as the reader. I read a lot of books, but I feel like I’m allocating more mental energy skimming half the content than I am absorbing knowledge.
37signals/Basecamp had some illuminating things to say about their book experiences. They kept fighting with the publisher to make their book short, the appropriate length. The publisher kept wanting it to be double the length to seem more impressive on the shelf.
That mindset is to the detriment of books, just get to the point.
The one time I went through a publisher I definitely felt I was padding things. The second edition was better. I took out some of the padding and I fleshed out other topics that deserved it. It still barely made it to the 250-ish page point though.
I've published a couple of fairly short books I didn't really care about charging for and they just wouldn't have been worth it for any publisher to feed into their funnel.
Only somewhat on point but here's something from the late 90s. https://philip.greenspun.com/wtr/dead-trees/story.html
But people who have read a lot are not the main market for any book, unfortunately and seemingly paradoxically.
Next thing you know, I shared what I am doing in an HN comment and I was asked to provide a way for people to follow. I dumped what I had so far on github and it's now gonna be a book written in public. I'll probably turn it into a physical book eventually, but for now I got information to share and I'll type away until I'm done Sharing.
That's one reason to write.
Ha, I feel called out. I'm in the latter camp, I was always terrible at languages as a kid and it was part of the reason I decided to move to Finland and learn Finnish as an adult. 1000+ hours in and I"m still nowhere close to my goals.
I wouldn't recommend it for most halfway sane cost-benefit analyses - my ballpark number is I've forgone some $200,000 and counting in opportunity cost. (I still feel like I'm coming out on net is because it also allowed me to marry the world's greatest woman, and to heal a bunch of deep psychological issues. Assuming you don't have those, stay far away!)
Amazing move but you’ve not made it very easy for yourself given the huge difficulty in mastering the most mind-bending of European languages. Doubly difficult with the very high English fluency of all the locals. Hope you’re enjoying the Fazer!
"This above all: Ask yourself, in your night’s quietest moment, Do I have to write? Dig deep down into yourself for the answer. And if it is yes, if you can meet this solemn question with a strong and simple “I must,” then build your life around that necessity."
It's harsh, but I think the necessity aspect is important: if you feel like a spring from which the urge of writing naturally flows and you could not repress it, then write. Else, don't.
e.g. https://www.youtube.com/@dsand00
Nowadays, you don't have to write the boring parts, just write the interesting bits.
But not for the money and probably not the opportunities as anything there would be a bonus.
I am more like that 1hr a day cranker. As you can see I am not natural at it... I would grind out and rewrite, get edits until it looks OK.
The process was immensely satisfying, and I’ll never forget the feeling the first time I held the printed book in my hands. “Holy shit, I wrote a book!” My name was on the spine and everything.
I write them in LaTeX to have ultimate control over the layout and formatting, then run it through Pandoc to get a compliant epub file. Details here [1].
I have them for sale on Amazon printed and book, and kobo and apple as ebooks. I’ll never get rich, but ~$500 a month forever is really nice when I’m on the road in a foreign country where costs are not high.
If you have the desire, I highly recommend it. The learning and immense satisfaction are great. It doesn’t cost a cent, and you will have it forever.
[1] http://theroadchoseme.com/how-i-self-published-a-professiona...
I wrote that in 2020, and I’m doing the identical thing right now for my next book. Not out of date at all.
Pro bodybuilder is hard to become but it's very likely that with once to once every 10 days in the gym is going to transform the average person into a monster.
Funny how we can make assumptions about life which are totally wrong. I did this as well by believing.
1) Making money is hard
2) Your startup needs to be brand new and doing somethign no else has done before
3) Exaggerating dangers of failure
and by FAR the most dangerous
4) Feeling behind in life and rushing
Overthinking works like this
in the sense that he will be unrecognisable to his old self
working out has probably one of the greatest ROI in life, it takes surprisingly little time.
i did this, the amount of workouts it took was so much less than i thought before i have basically no belly fat defined deltoids and biceps. the level of confidence is immesurable.
things just don't intimidate me anymore, girl says no. No worries. Anyone trying to intimidate me, well good luck won't work.
"Thank you for making such awesome stuff" seems so pedestrian of a reaction. This is like looking at a fractal cathedral made by one person, where every time I look at it it's a hologram of something amazing and beautiful that I didn't even know was possible.
I'm very pleased to read that! I pushed Achmiz to implement that - "can we make all the dropcaps instances popup the https://gwern.net/dropcap page? "uh, probably, but why would you want to do that?" "because someone might be interested in one of the dropcaps and hover over it and otherwise they'll never know!" - and this is the first I've seen anyone mention it, but it sounds like it worked. It is one of the many touches few will ever notice, but I hope the ones who do will love it.
> Now of course, there is a second kind of author: authors who write books with little discernible impact on their newsletter or blog. They sit down for an hour (statistically, in the morning), pound out their quota, and turn to the next task. The book does not weigh on their minds, and they are confident that they will have it out, as usual, in 12 months. More power to them—but I also think that most would-be book authors already know if they are one of that latter kind of writers, or if they are the former kind I’ve been discussing.
It works quite well ^^
If I calculate my hourly rate to $200 and take the hours it took to write and market the book, I lost a lot of money.
But would I have worked instead of writing the book? My book is $30 and I get 80% selling through Leanpub. So I got quite some money, and a trickle of money every week since it peaked.
Can you earn money with a book through a publisher (if you're not already a famous name)? Not so sure. Probably better for your branding than your wallet.
So as I've said, it depends.
These days if I were to publish I'd probably setup an LLC as a publishing company, do a little work to make the company look a lot bigger than it is and try to find some bookstores to sell to directly - in addition to selling online of course.
bookstores don't wanna carry your book if they can't buy it from a distributor with standard discounts and the ability to return. good luck getting your books from your brand new publishing company carried by ingram. (see https://www.publishersweekly.com/pw/by-topic/industry-news/p..., which would've been the best chance you had at being distributed, and even then they weren't easy to get into)
Any reason the new publishing company couldn't just be a distributor themselves, and make deals with bookstores allowing for discounts and returns?
I have no issue with the idea of taking losses before making a profit, and if anything I produce is good, I would have faith it would sell eventually. Any returned copies are copies that could be donated to various places, which might hopefully allow word of mouth to spread.
*asterism books is trying to fill the void left by small press distribution. they distribute independent presses. but they're picky about who they carry, and also require you to have some semblance of successful sales.
you can certainly diy distribution, but some bookstores don't want to work directly with small publishers unless they're a fan/friends of the press. they already have business processes in place for handling distribution. they don't want to deal with a bunch of self-pubbed authors who created a brand to self publish their books. it's too much work for something that most likely won't sell enough to make up the cost of doing business with the press.
bookselling is a low margin endeavor (like a 2% profit margin according to one recent ABACUS by the american booksellers association), so it makes sense for them to be this way.
I can relate so much to this article and everything said here. I published a book last year and it has been a long journey. It took me one year and a half to write it. But then when you think it's done, it's just a second challenge coming up. I wanted to write a book that was as straight-to-the-point as possible. The publisher I signed with didn't really understand my approach and wanted me to turn it into a random book ("less rough") where you would get the usual long and useless introductions that I hate. Took me a while to realise that if I signed with a publisher it was just to get this "I'm an author" recognition this article talks about. I realised I didn't even buy "regular" programming books and most of my library are self published books. I didn't want to publish a book I would have not read.
Ended up cancelling my contract and publishing it myself. I talk a bit about it in this article: https://www.einenlum.com/articles/my-book-from-php-to-python...
I sold like 50 of them but got great feedback. To anyone wondering if it's worth it financially, definitely NOT. Is it still worth it for other reasons? I would say I don't regret it but you first have to realise you'll go into a rabbit hole and experience the levels of stress the author of the article talks about.
The downside, as you say, is that they control length, format, pricing, deadlines, etc.
I went through the publisher route once through two editions and, on net, I'm glad I did but I've also self-published in no small part because I'd rather write some more bite-size books on narrow topics and I want to be able to do whatever I want with the material on the schedule I choose.
Most publishers can't provide good syntax highlighting for their programming books: mine didn't provide any (we're in 2024 and it's supposedly their domain of expertise so I'm baffled), and their ePub books are generally almost unreadable. I didn't want to make my readers pay $35 or $40 for a book that doesn't provide the basics of what you could expect from a programming book. In my case, the challenge was even bigger cause my book is about two programming languages and I needed syntax highlighting for both and a different theme for each. I don't think I've seen this anywhere yet in the "professional" programming book industry.
There are, as we know, two different kinds of books: fiction and non-fiction. There's actually only two flavors of books as well: polemic and exploratory. With a polemic, you're expected to have your own internal theme song and the produced work will conform to it. With exploratory books, you're on an adventure with the reader and the only bullshitting you add is the minimum amount necessary to make the exploration fun for both of you.
Polemics have become quite popular lately, and I suspect anybody taking a set of blogs or essays and "sticking them together into a book" would only have this avenue available. I took a lot of essays and material I'd collected over the years and wrote some non-fiction books on programming. They were exploratory: the theme emerged as I condensed the work together. (My guess is that exploratory fiction and non-fiction is very tough to do and sell; people like a book that they already know the gist of and are familiar with the author much more than they feel like spending many hours on a lark)
After I finished a few non-fiction books on coding and performative teams, I was done. It was fun, I learned stuff, I think it's critically important stuff, nobody cares, and I'm okay with that. Because it wasn't a polemic, I felt no need to rant or self-promote. There was no movement I wanted to lead. Time to move on to something else.
Books suck. Books change the way you think. All writing does that. Books especially change you because they draw you into some sort of self-created cosmology that you've now adopted.
I write because I'm a writer. I've always been a writer. I simply got honest about it as I grew older. I don't think you choose whether to write or not. I think you choose the fashion in which your writing interacts with your subconscious. A book is just a deployment bundle. It's not the point.
But we all live in the age of e-books and self-published books, so the money involved may be limited to 2-3 digits at most all you need is a strong online presence to be successful.
Moreover, finding an audience is also not as difficult as it used to be in the past if you have a large active following base such as https://x.com/levelsio has self-published his book (https://readmake.com) and he outperformed (sold 25000+ copies at 100% profit) many good writers, agents and publishers marketing channels.
Well, "if you have a large active following base" is the key here. If you don’t, it’s almost impossible to find an audience.
Follow the path of those who have written many successful books, and you'll find that it's not almost impossible to find an audience e.g., William Shakespeare, Leo Tolstoy, Ernest Hemingway, Jane Austen, Oscar Wilde et al.
You’re contradicting yourself: if it were so easy, you wouldn’t cite only five names that span five centuries. It’s like saying music is easy, just do like Mozart or Beethoven.
There are 3 million books published each year in the US. That’s more than 8k per day. See: https://ideas.bkconnection.com/10-awful-truths-about-publish...
First, I said try to build a strong online presence so that you have a large active following base from which you'll find an audience for your book. You try to hide behind "large active following base" is the key here, and it's almost impossible to find an audience otherwise.
Then, I said follow the path of great writers, you again hide behind "I only mentioned five names, and they all span across five centuries which I can't study or research how they became great writers". Should I write here the names of every great writer in history or the names of Mark Manson, James Clear, Tim Ferriss et al. of this era.
You brought up your music analogy (I don't know where you found it) and who said anything about what is easy? You said, I didn't use that word anywhere in our conversation.
I presented two keys to find an audience, and you came up with a third key by saying I'm contradicting myself.
If 3 million books are published in the US every year (over 8k per day), what does that have anything to do with me or you? Next time, please first digest what others are trying to convey, then respond (if necessary).
If it were easier than before to sell books, we would see it in the data, but it’s the opposite: the market is oversaturated, and it’s harder now than before. There are 10 times more books published today than 20 years ago, and yet the overall profits made by book industry declined by almost 40% since that time (source: link in previous comment).
Market is oversaturated because of awful books being published every year and it will surely become supersaturated with AI authors.
That's why I gave the example of Pieter - link in the parent comment. He self-published his e-book to bypass the oversaturated market and was recently invited by Lex Fridman on his podcast.
If you don't want to don't.
https://fi-m-wikipedia-org.translate.goog/wiki/Aiheita?_x_tr...
Also note, that you are an outlier. (Congrats!) Folks listening to you should not expect those results.
Any conversation I've found in related subreddits seems negative.
The post doesn’t seem to be about writing a book, it seems to be about the Book as a concept that holds sentimental value to the author.
> same way one might want to have ‘learned to read Mandarin’ or ‘become a bodybuilder’, but not to actually sweat through memorizing (and then forgetting) endless arbitrary characters or hours in the gym (followed by gluttony as cruel as the starvation).
Having done both of these things to some degree, I wonder where the impression is coming from that they're super hard. Certainly a certain kind of bodybuilding body is absurdly difficult to achieve and I simply don't recommend it to anyone - and every single person I know that's achieved it has body dysmporphia and is driven by it. Not worth. But achieving something "like" a bodybuilder's body is, imo, achievable for most people with the same amount of effort as most of the things people dream about - learning a language, learning to code, having an active blog, reading a book a month, etc. A few hours effort a week consistently and you'll likely have great results after a year, and the journey never ends from there!
Mandarin as well is a more than achievable goal that can be achieved with a great degree of skill with a few years of consistent effort.
I think this article is right though - a book will kill other goals and activities if you don't maintain a balance. I have many different thoughts about this that one day I'll organize, hah, into a blog post. But my thinking is basically along these lines:
1. The 40 hour workweek is the wrong way to approach maximizing human productivity
2. Humans are inconsistently productive
3. Guardrails are necessary to achieve productivity
4. Consistency is probably the most important guardrail
5. The hardest part of doing a thing isn't doing it, it's scheduling it accurately, and sticking to the schedule
If a person maintains a fun blog incidentally alongside their work, blitzing out an article here and there as the whim strikes them, they might appear quite productive. However in an office setting, a corporation would find their productivity schedule infuriating - when will the thing be done? Idk, when I feel like it? When the mood strikes me? Leave me alone, I'm reading hacker news until the mood strikes me. Hence the inconsistently productive.
I'm not making a naturalist argument though - I want to be more productive than "when the mood strikes me," and I don't mean for just capitalist endeavors, I mean for all the various activist activities I want to do as well. However I think the modern trap is thinking that the way to be productive is to set hours for activities - 40 hours for work, 9-5. Lots of work done then, right?
Instead I think it's better to combine scheduling time with an understanding of human motivation as something flexible and malleable. Most workout advocates will advise things like going to the gym every day 8am, and achieving this by making putting on your gym shorts the first thing you do when you get out of bed, engaging a Habit process, and I think this is effective. But for me what's been more effective is, the night before, determining what time I'm going to bed, and then setting my alarm 8 hours after that, and then noticing - oh wait, I have a meeting 20 minutes after I wake up, ok, in that case, I put my gym shorts next to my computer chair, and immediately after the meeting put them on and then go to the gym, because 2 hours after that I have another call. Or, it's 2am and I'm drunk, there's no way I'm going to do anything but puke my guts out if I try to go on a run in 8 hours, I'll schedule a nighttime run instead - or fuck it, it's the weekend, I'll relax instead and acknowledge it's just not happening tomorrow, but that's ok because I have another go scheduled on Monday morning.
There's another side to that which is accurate scheduling. Writing a book takes a long time and I think if it was slotted into a life correctly it would take years to write the book, when most want it done within a year or at most 2. But to achieve that they'd need to spend all their free time on it which would kill their blog hobby or whatever else. If I accurately measure out all the things I want to do in life - blogging, language study, reading, working out, riding my motorcycle, making videos showing off how beautiful taiwan is, fighting car capitalism, continuing to develop myself as an engineer, making enough money to retire - boy do I get depressed... I can do maybe 4 of those things before a week's time is spent already. It's hard to schedule things across the months, year, years, and not feel sad imo.
Also total sidenote but I think most non fiction books are way too long anyway and would work better as blogs and blog posts, and I think the market dynamics of bookselling pushes this tendency - excluding fields like academia where people are writing to include as much supporting material as possible and with the expectation of being quoted and cited extensively in future works by themselves or other authors, which with the merging of popular culture and academia is causing issues. See: "Dawn of Everything: A New History of Humanity" as an example. A really incredible new view of history and anthropology that's imo inaccessible to most readers because it's also at least partially written for academia.