Shock Totem #10 (Jan 2016)
- Shock Totem #11—Available Now!
- The State of Shock Totem Publications, or We Are Not ChiZine Publications
- Closing for Submissions
- Shock Totem Returns!
- Apex Publications Acquires Shock Totem Book Line
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 8
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 7
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 6
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 5
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 4
Like what you've read here or in the magazine? Please consider donating.
How important is a review? In today’s publishing world, especially on Amazon.com and its international sites, a good review (four or five stars) is worth quite a bit. Dozens of them are priceless.
Shock Totem does most of its sales through Amazon, the bulk of which are digital sales. That’s a great thing, particularly for our authors. Readers are their lifeblood. Ours as well, but while readers keep us afloat on a pride level, we need revenue to sustain us for years to come.
We’ve been around for five years and each of our issues costs around $1,500 to produce. They say most businesses take five years to become profitable. Thankfully, we’re almost to the point where we’re paying for each release with profit from sales. Our last issue, Shock Totem #7, cost $236 out of pocket, which is wonderful.
We’d love to get to a point where we’re not only paying for issues with profit but also making money, enough to expand, raise our pay rate.
And that’s why we still need your help.
The debut issue of Shock Totem is our biggest seller. This is typical for every month. On Amazon, where it matters most, our debut has 28 reviews. That’s eleven more than the closest second, which is issue #2, with 17 reviews.
Our latest issue, however, has just two reviews. And we’re having a hell of a time getting review sites to respond to review requests these days. Not sure if there’s so much self-publishing going on that they’re overwhelmed with review material or if we’re so established they don’t think we need reviews; but whatever the reason, the reality is, we do need reviews.
Why? Beside the obvious reasons, Amazon.com, where sales are highest, has a ranking algorithm (among other things) that helps authors and publishers sell books. One of the biggest theories, and it’s a good one, is that the more four- and five-star reviews a book has, the more it is shown to potential buyers.
Again, our debut issue has nearly a dozen more reviews than any of our other issues and it’s our biggest seller. Signs point to Yes, the algorithm is real and that issue is being put in front of more potential readers than our other issues.
So how can you help? By posting reviews of our work. They don’t have to be long or have literary flair; they just need to be honest.
The more our sales increase, the longer we’ll be around. When so many publications are using Kickstarter to fund their projects, we’d like to earn people’s money. So if you’d be so kind, please consider reviewing anything of ours that you have read. We’d be very grateful.
In parting, and this applies not only to our books but any book, please note the difference in ratings between sites.
Three stars on Goodreads is not the same as three stars on Amazon. (There is another theory that any review given with less than four stars on Amazon seriously impacts a book’s rankings—kicks it right into the gutter, in fact. Again, this is a theory, but based on authors’ experience, it’s a good one.) For instance, a two-star review on Goodreads should be a three-star review on Amazon, as both mean it was “okay.” Therefore, a three-star review on Goodreads should be a four-star review on Amazon, which helps the author quite a deal more. Again, in theory.
And finally, thank you! Five years strong. We’ve lost some staff along the way, but we’re still dedicated and committed to the long haul. It’s been a hell of a ride so far. Help us keep the wheels on!
Why? Because you want to pitch your stuff. And you won’t be able to sign up at the convention. You have to do so now.
The Bram Stoker Awards® Weekend and World Horror Convention are combined this year in New Orleans. Pitches to several publishers and one agent will be held on Saturday, June 15. The editors and agent are:
Alec Shane – Agent, Writers House
Blood Bound Books – Geoff Hyatt
Cycatrix Press – Jason V Brock
Dark Regions Press – RJ Cavender
Hydra, Random House – Sarah Peed
JournalStone – Chris C. Payne
Nightscape Press – Mark Scioneaux
Samhain Publishing – Don D’Auria
Tor – Liz Gorinski
To secure your slot, email RJ Cavender at firstname.lastname@example.org with your top three pitch choices. In the subject of your email, please write Pitch Sessions – (Author’s Last Name).
All authors will be signed up for two pitch sessions, available on a first come, first serve basis.
Not sure what each publisher and agent are looking for? There’s a website where they straight up tell you. Read it. See if you have anything that fits. Then sign up, and don’t be nervous.
There will be a dark-haired Shock Totem girl in stilettos who will be helping out. Taking you to your pitch session, letting you know when your time is almost up. Straightening your collar and letting you know if there’s lipstick on your teeth. Join me! It will be fun!
But sign up ASAP. Slots are limited and they started filling up immediately.
For a refresher, here’s Harlan Ellison giving his most famous unintentional PSA:
You go, girl!
Though the bristly curmudgeon is often the punchline to a joke among writers, he is right, and this little video is often cited by proud authors who demand payment for everything they write. Authors are never in low supply when it comes to a Pay-the-Writers protest. Nothing wrong with that, of course, though by the way many writers are reacting to Duotrope’s recent decision to go to a paid subscription service I wonder if they hear much of what else Harlan says in that clip aside from “pay the writer.”
Duotrope’s Digest, the market listing website thousands of writers use daily, has been offering their great service for nine years at no cost to writers and publishers. All they’ve asked for is donations through their Keep It Free campaign. I’ve donated many times, but surely not enough to be comparable to how much I’ve used the site. And so it’s no surprise that after nearly a decade donations are simply not enough. Never have been, in fact. So the folks at Duotrope have just announced they’re going to a paid subscription system in 2013.
And writers have lost their minds over it.
The way people are reacting you’d think Duotrope was asking for their weekly paychecks. In reality, users will be required to pony up either a one-time payment of $50 for the entire year or $5 a month. Either way, the most any writer will have to pay is $60 a year for a service they use all the time. Well worth it, in my opinion. For many, however, this is way too much to ask.
Just look at this Wikipedia entry for the site (which has since been changed):
“Duotrope has announced that it will switch to a subcription-based service beginning January 1, 2013 at a whiplash-inducing rate of $5.00 per month or $50.00 per year.”
A “whiplash-inducing” rate of $5 per month. No doubt written by an author who thinks it’s insane someone would pay $7 a day for a Starbucks coffee but not $5 every now and then for an e-book. But he or she is not the only one with this opinion that $5 a month is too much money. I had thought about quoting some additional comments from people I know, but instead I’ll just point you toward Duotrope’s own Facebook page and you’ll get the idea.
But here’s the gist:
Writers: “PAY THE WRITERS, GODDAMMIT!”
Writers Being Asked to Pay for Someone Else’s Time and Services They Admittedly Use All the Time: “LOL! Fuck you, you greedy, glorified Excel spreadsheet.”
The hypocrisy is delicious.
Now let me be clear: No one has to pay for something they don’t want to pay for. Nor can every author afford to. But I wonder if so many people would be protesting if they understood just how much time and money it takes to maintain a site like Duotrope’s.
I mentioned the comparison between the cost of an e-book and the cost of a cup of coffee. One of the biggest arguments against those unwilling to pay more than a few dollars for an e-book is pointing out how much time it takes an author to write a book. Most readers don’t really grasp that, and I have no doubt that most writers don’t understand what it takes to run a big website.
One of the biggest gripes seems to generate from how their old Keep It Free page was worded:
“If each of Duotrope’s current users and subscribers contributed just $5 this year, we would meet our goal for the year!”
Just $5 a year, while now they’re asking for $5 a month. OMG, ya’ll! But that’s too simple to be a good point of argument.
According to online web-traffic trackers, as a free service Duotrope generates over 6,000 pageviews per day, and between 15,000 to 20,000 unique visitors per month. That number will dramatically decrease in 2013, as evidenced by the countless users vowing to never use them again when it’s no longer free. No one will be getting rich here, that’s for sure.
But go back to the numbers of pageviews and visitors—6,000 per day, between 15,000 and 20,000 per month, respectively. That’s a lot of traffic, a lot of bandwidth, which means a lot of cost for those running Duotrope. More, it’s a hell of a lot of time on their part. Websites don’t maintain themselves; sites such as Duotrope require skilled designers and programmers, content providers, people who update the listings for the nearly 5,000 markets listed on the site, etc. And you know what? They should be paid for their work.
Writers aren’t the only people who deserve to be paid. Crazy concept, huh? And remember this: If Duotrope’s service wasn’t worth $5 a month, no sensible author would be complaining.
Your help is needed. Watch this video…
[ click here for a conversation with director Kevin Woods ]
Now go here.
I’m disappointed this has yet to reach its goal. I’ve seen people raise $5,000 or more for an anthology, and we all know that it doesn’t cost nearly half that much.
There have been charity anthologies published, paid for by pledgers, with proceeds from sales going to the charity. Proceeds from SALES! Thousands of dollars in donations to create something that will generate hundreds of dollars in donations to the charity, if that. Seems utterly ass-backwards, doesn’t it?
Worse, there are now magazines being funded by Kickstarter campaigns—and they’re making a killing! Now tell me, what happens when these magazines don’t make their funding goal? Who’s going to pay then? Surely not the publishers.
I’ve seen other people donate to someone who wants to take six months off from work to write a novel. People donate money so someone else can do this! Seriously. Stephen King used to write in his laundry room, with a board across his lap and a typewriter on top of the board—all while being a teacher, a husband, and a father—and some of you want donations so you can quit your job and write your novel? Bitch, please.
So I find it disheartening to see this Holy Rollers campaign failing to reach its goal.
James Newman is one of the sweetest, kindest writers in the small press. Better yet, he’s also one of the BEST writers around! He may not be the loudest in the room, or the most adept at spamming you on Facebook and Twitter, but he is undoubtedly the kind of writer we need to rally around—because he’s not blowing smoke up anyone’s ass, trying to impress you with stuff that doesn’t matter; James just writes, and he does it goddamn well.
And Holy Rollers deserves a shot. So please visit the Indiegogo page, check out the perks, and consider donating. There’s not much time left, but there is enough.
Please share this!
Shock Totem is proud to announce that we will finally be unleashing another great issue of darkly weird fiction!
Our fifth issue was originally scheduled to come out in January, but for reasons which you can read here we made the hard choice to delay it until July. And now with July nearly upon us, that wait, thankfully, is over.
For those who have yet to see it, here is the cover for issue #5:
Another brilliant piece of work from Mikio Murakami, who has done all our magazine artwork since issue #3.
Here is the official Table of Contents:
* Taking Root, by Mercedes M. Yardley (Editorial)
* In Deepest Silence, by Ari Marmell
* Girl and the Blue Burqa, by D. Thomas Mooers
* Digging in the Dirt: A Conversation with Jack Ketchum, by John Boden
* Hide-and-Seek, by F.J. Bergmann (Poem)
* Eyes of a Stranger, by Nick Contor (Essay)
* Postmortem, by Kurt Newton (5-Part Illustrated Micro-Serial)
* Jimmy Bunny, by Darrell Schweitzer
* Strange Goods and Other Oddities (Reviews)
* Little Knife Houses, by Jaelithe Ingold (2011 Shock Totem Flash Fiction Contest Winner)
* Canon, by Anaea Lay
* Bloodstains & Blue Suede Shoes, Part 3, by John Boden and Simon Marshall-Jones (Article)
* The Catch, by Joe Mirabello
* Three Strikes, by Mekenzie Larsen
* To ‘Bie or Not to ‘Bie, by Sean Eads
* Howling Through the Keyhole (Author Notes)
We’re really pleased with how this issue turned out. It’s unlike any of our previous issues, which were themselves unlike previous issues, yet as always it is still clearly Shock Totem. We think you’ll enjoy it.
Look for it next month, in print and digital formats. And if you want to get it out of the way now, you can preorder the issue here.
As always, thank you for your continued support!
Anthony Rapino is a dark fiction author with a sense of humor. It was cool to interview him. Hope you enjoy!
MY: So, Anthony, thanks for stopping by! Why don’t you start off by telling me what you have out, and what you’re currently working on.
AR: Thanks so much for having me. I have to admit, my first impulse when you asked what I “have out” was to tell a vulgar joke. Let me just tuck that away. The vulgarity, I mean! Oof. What’s that they say about first impressions?
MY: Your first impression is shot.
AR: Moving on. I currently have a few short stories out in print magazines and anthologies such as the Arcane Anthology, On Spec #86, and Black Ink Horror 7. I of course also have the short story collection Welcome to Moon Hill available through Amazon, and my debut novel, Soundtrack to the End of the World available from Bad Moon Books. They put out a beautiful limited signed hardcover edition as well as a paperback edition.
I’m currently working on a two different super-secret anthology submissions. I’m also working on my second novel, which I published an excerpt of in Welcome to Moon Hill.
Most artists live in the shadows of their work—and few see them.
We have sold thousands of copies of Shock Totem, and one thing we’re consistently complimented on is our cover art. This happens all the time. Think about that. We get complimented for something we did not create. All the time. The artist, for the most part, is ignored.
Sure, someone from Taiwan got on his back a tattoo of a slightly altered version of the cover art for issue #1—which is flippin’ brilliant—but that’s an extreme compliment. How many people have just e-mailed our artists to tell them how great their work is? Few, if any. I’d bet a lot of money on that.
But they tell us. Again, all the time.
Much like the fact that most people don’t understand how much time and effort an author puts into creating his work, I don’t think people understand or appreciate how much goes into creating cover art—or album art, a painting, a cartoon, etc.
On our Facebook page, we have a photo collection called Resonance. In it you’ll find a series of photos that includes numerous drafts of ideas for cover art we didn’t use, as well as early/alternate versions of the cover art we eventually did use. We want people to see part of the process, because it’s a long one that takes a lot of time and hard work.
As mentioned recently, we will soon reissue James Newman’s ode to 80s horror, The Wicked. We commissioned new artwork from Jesse David Young, as well as numerous interior illustrations. This process began back on September 16, 2011. Over six months ago. To give you a glimpse of what goes on behind the scenes, I’ve put together a little slideshow which begins with the very first sketch idea and ends with the final product.
(All the artwork was done by Jesse David Young, but the layouts for final three covers shown were done Mikio Murakami, Rex Zachary, and Yannick Bouchard, respectively.)
Scroll down this page a bit, and on the right sidebar you’ll see a section labeled Artists of the Totem. Below it, links to all the artists that have helped make Shock Totem great. Check them out, hire them—or, at least, if you like their work, let them know.
Earlier tonight, John Skipp won the Stoker for his epic of an anthology Demons: Encounters with the Devil and His Minions, Fallen Angels, and the Possessed, which Mercedes has an excellent story in.
A well-deserved win for a great editor and a fantastic anthology. Congrats to all involved!