Toy Story 3, How to Train Your Dragon, Rumbi Island Grill

By John Brown | July 1, 2010 - 6:48 am |November 29, 2010 John's Reviews - books, movies, whatever

Toy Story 3

It’s interesting that two of the most enjoyable films this year are both animated. The first is Toy Story 3. We all know how awful sequels can be, and, in fact, I didn’t like Toy Story 2 all that much. But Pixar defied the sequel slump with this one.

Andy has grown up and is going to college. From a toy’s point of view, that’s tantamount to death because Andy has to clean out his room, and what is he going to do with all that junk anyway? The last few remaining toys barely miss the garbage truck and get sent, by accident, to the local day care instead. Sounds great for a toy, right? They’ll get played with every day forever. But things are not as they seem at the day care, and our crew of toys is put on the fast track to an early death. Will they be able to escape when the other toys there are ruled mob-style by a big pink teddy bear that smells of strawberries?

I laughed and cried and cheered in this movie. There are hilarious scenes featuring Barbie and a Ken who’s gone over to the dark side. More gut busters with Buzz Lightyear when he’s put into Spanish mode and Mr. Potato Head who has powers we never would have suspected.

But the movie goes beyond toys and action. It’s not just a cartoon. It’s about loyalty and friendship and heroics and love and family. Because my oldest will be leaving the nest next year, the final scenes carried extra power for me. But I think they will be effective for almost anyone because Pixar does in this movie what all great art does—it reaches into themes we all share. And in that moment, we identify so strongly with the characters that their situation becomes our own.

How to Train Your Dragon

Dreamworks’ How to Train Your Dragon, based on the novel by Cressida Cowell, is the movie I should have seen for my birthday. Instead, we went to the mind-numbing Clash of Titans. I still cringe at some of the massive plot holes in that one, even though Medusa rocked. Which only proves, once again, that cool effects can’t save a bad story. How to Train Your Dragon, on the other hand, delivers cool monsters, but never once did the writers make the mistake of thinking that cool monsters is what the story was about.

The movie is about a young Viking named Hiccup who wants to be accepted, wants to become one of the burly defenders of his city, like his dad, Stoik the Vast. But Hiccup isn’t brawny. However, he is resourceful. And during a dragon attack, he brings down a mysterious Night Fury dragon with his invention. However, when he finds the dragon, he can’t bring himself to kill it. Instead, Hiccup and the dragon begin a friendship. But will Hiccup be able to save the dragon that everyone wants to kill? Will the Vikings be able to see the truth about the dragons before they’re destroyed? Most importantly, will Stoik be able to accept his son?

I enjoyed the superb animation in this story as well as the dragons. But it was the characters and humor that made this movie so good. There’s Stoik who just can’t relate to his son, but tries to bond with a very interesting use of his dead wife’s brassier, Hiccup, the son, with his dry wit, and Gobber, a peg-leg family friend who has some of the best lines in the movie.

Go see this show. You’ll laugh, and then you’ll wish you had a dragon of your own.

Rumbi Island Grill

The Rumbi Island Grill is a restaurant chain that started in Salt Lake City in 2000. They serve fast, casual tropical food at incredibly good prices. My favorite is their rice bowl. It comes with your choice of sauce, rice, and meat with sautéed vegetables. In the Netherlands I learned to love Indonesian food and the spicy-sweet peanut sauce that often accompanied it, which is why I can’t get enough of the Bali Island bowl with brown rice and shrimp. You might find you love the sauce so much you ask for two servings to pour over your bowl (oh, and add a dash of the hot sauce). The food’s great, but they’ve paid attention to the Hawaiian atmosphere as well. So even though it’s fast food (you order and they bring it out to you), you feel like you’re sitting in a casual dining restaurant.

I always look for a Rumbi when I travel down to Salt Lake City or Provo. Now I don’t have to go so far–a restaurant has opened up in Logan right across from the Wal-Mart on the south end of town! I took Nellie there recently. The staff was friendly and the food was delicious–just what I’d come to expect.

Now all we need is a Cheesecake Factory!

Writing Update: 25,000 words of battle and still going

By John Brown | June 26, 2010 - 5:59 pm |August 25, 2010 News - updates on books, events, appearances, etc.

1 Comment

Curse of a Dark God ends with a big, BIG battle. I’ve been working on it for a number of weeks now. It contains some large revelations, a lot of action, movement back and forth between four points of view, and the need for a number of people to act heroically. When I finished writing today it was 25,573 words long and I still have one more chapter to go. I don’t think I’ve written any single action sequence this long. To put this in perspective, a normal adult novel is 90,000-110,000 words long. Young adult novels average 50,000 – 70,000 words. This one sequence is a quarter to half the size of many other novels! It’s been quite a task, but I’m happy to have the end in sight. I really think readers are going to enjoy it.

I do have a little bit of other good news that I’m excited to share, but I’ll have to wait until papers are signed.

Happiness!

Can you make a living writing short stories?

By John Brown | June 22, 2010 - 7:48 am |June 22, 2010 On Writing

7 Comments

We already know that many people break into the novel market WITHOUT writing short stories. So they’re not necessary for starting a writing career, although they might have helped some folks. See this page http://johndbrown.com/writers/writing-business-facts-figures/ for links that will show you how people break in. But some people just love short stories, so the question is can you make a living writing them?

The answer is yes, you CAN do it–you go into television and get hired to write scripts for TV series (grin).

But what about doing it in print? Well, let’s try some conservative math.

1) How much would you need to sell?

TARGET: a conservative $30,000 gross per year.

The median household income in the USA is $50,000. But you can find a place (rural Ohio or Indiana or North Dakota etc.) where housing is relatively cheap and live on $30k. I think this is a reasonable target. So let’s make some assumptions about the stories. We’ll assume each short averages around 4,000 words and that you get paid seven cents per word. To earn your target amount you’d have to sell:

TOTAL WORDS YOU NEED TO SELL: 428,571
TOTAL STORIES YOU NEED TO SELL: 107 (words divided by average story length)
TOTAL STORIES/WEEK: 2 sales per week (weeks in year divided by number of stories)

At 10 cents a word:

TOTAL WORDS YOU NEED TO SELL: 300,000
TOTAL STORIES YOU NEED TO SELL: 75
TOTAL STORIES/WEEK: 1.4 sales per week

No, this doesn’t count reprints, movie deals, gaming contracts, etc. But reprints usually don’t pay well and movie deals, while they pay well, can’t be counted on. Besides, we’re being conservative.

2) Is this a feasible production rate?

Again, a little math.

TARGET: 2 stories, 8,000 words average per week

If we assume you write five days per week for six hours per day at a rate of 500 words per hour, which may be very aggressive if you try to include thinking and revising time in that, then you’ll produce 15,000 words per week.

So, yes, this is a feasible, if aggressive, production rate–on paper. But I don’t know anyone finishing this many stories per week. Furthermore, it’s highly unlikely you will sell 100% of what you send out. So you need to actually produce MORE than two stories per week. You might have to end up writing three or four. Week after week after week. That’s one story every day or two.

Theoretically, yes, that rate of production still fits in the 15,000 word capacity. But I’m going to say it’s doubtful anyone can do this because I haven’t seen anyone do it. Have you?

But even if you were the Lizard King of writing and could pull this off every week of the year, the question is can you sell all those stories?

3) Is it feasible to sell two stories per week?

According to http://duotrope.com/index.aspx there are about 200 venues for short fiction paying pro rates, which for them is 5 cents or more. No, anthologies are not represented there. But I’m not sure it will change the equations that much. So you have to sell 107 stories to these 200 markets. I don’t know how many slots are open in these places. Some of these venues publish one story per year, some publish twelve, some more. Some are published semi-annually, quarterly, bi-monthly. Let’s say there are 2,000 slots. Of course, we might need to count total wordage up for hire at these venues instead, but we’re just doing this on the back of a napkin. So 107 stories out of 2,000 slots means you’d have to make up 5% of the market. You sell five of every 100 stories these folks buy.

FIVE PERCENT OF THE WHOLE MARKET!

Nobody makes up 5% of the whole short fiction market. NOBODY. Okay, let’s say there are 4,000 slots. Each venue averaging twenty stories per year. So you have to make up 2.5% of the market. Nobody does that either. What about 1%? Anyone? One out of every 100 stories? No.

Is this because writers are lazy? Could it be done? You might be the first?

That’s lotto thinking. What you want is demonstrated income, i.e. people have DEMONSTRATED it can be done. Nobody has demonstrated this can be done in the current market. So it’s not reasonable to expect you’ll do something nobody else is doing.

So the answer is that even if you produce three to four short stories per week, you’ll never be able to sell enough to make a living. Now, I know of a few authors who can make a few thousand dollars per year writing short stories. I’ve heard of one guy who made $10,000 a year for a few years. But can you live on that? Even if you move to a place where housing is very, very cheap? Besides, we’re trying to avoid lotto thinking here. We’re trying to be practical and conservative. This is one guy. Do you yourself know anyone who has done this? I wouldn’t want to base my future on what one guy did.

CONCLUSION: there’s no evidence that strongly suggests it’s feasible to sell at the necessary rate to make $10,000 per year let alone $30,000.

4) Re-purpose the wordage to Novels!

Go back up and look at the annual output of words. If you can write 300,000 to 450,000 words per year, you could write four to six young adult novels (averaging 70,000 words per book) or two to three adult novels (averaging 120,000 words per) in that same time.

Why not build a career in novels?

Yes, you may start at $5,000 – $6,000 advance per book. But if you sell well, that goes up. Plus, if it does sell well, you get royalties. Plus you can sell foreign novel rights. Plus you get an advance to help with some expenses. More importantly, we have thousands and thousands of folks DEMONSTRATING they can make a living writing at that pace.

So write short stories if you love them, but don’t expect to make a living at it.

5) But what about Amazon and self-publishing?

Could you make a living selling your shorts out there?

Only if your shorts were once worn by Brittany Spears.

For more on e-book sales, let me recommend you read a few posts by J. A. Konrath. I’ll let you decide. But please note that he’s selling NOVELS. And as always, you want to be realistic about this and make sure you see many people DEMONSTRATING it can be done. Do you think Konrath presents such evidence? You tell me.

What Konrath has done these last two years: http://jakonrath.blogspot.com/2009/06/amazon-kindle-numbers.html and http://jakonrath.blogspot.com/2010/03/ja-konrath-kindle-sales-30k-ebooks-in.html
His advice on what should you think about if you want to try? http://jakonrath.blogspot.com/2010/03/am-i-good-enough-to-epublish.html
Can others do it? http://jakonrath.blogspot.com/2010/04/guest-post-by-mark-terry.html and http://jakonrath.blogspot.com/2010/05/platform-shmatform.html (make sure you read the comments on this one)
If you’re really interested, take some time to read all his posts in the last two years.

Postscript

Read these two posts by Dean Wesley Smith where he busts some big myths about not being able to make a living writing:

Killing the Sacred Cows of Publishing: Only 300 Writers Make a Living

Killing the Sacred Cows of Publishing: Can’t Make Money in Fiction

Writing Update: Curse, trebuchets, CONduit, book industry, & Robinson Wells

By John Brown | June 14, 2010 - 7:00 am |August 25, 2010 John's Reviews - books, movies, whatever, News - updates on books, events, appearances, etc.

2 Comments

As of 5 PM this last Saturday I have finished 15,000 words of the climax of Curse of a Dark God. I think I have another 10,000 to go and the book will be done. I’m so close to the end of this draft! So don’t let the progress bars fool you. The ending is coming together fabulously–lots of spectacle, big reveals, and major heroics. At least, I think so.

While working on this, I had to spend a number of hours finding out how strong a wind must be to pick up humans and stones. I also needed to know the destructive forces of various classes of tornados and hurricanes. Why would I need to know such things? I write fantasy, for Leroy’s sake!

(Yes, that’s good English; I’m a writer, and one of my prerogatives is to make up silly versions of common expletives using the names of friends and enemies.)

Here’s why: I just can’t write if I don’t believe in what I’m writing. And when I’ve got monsters (skir) that can generate winds that will be used in a siege, well, I had to know the terminal velocities of what these creatures could throw, and what that might mean for fortress defense. I had to know the limitations and ramifications.

I won’t rehearse all the fascinating details (and it WAS fascinating), but all that research did lead me to a wonderful documentary. It’s called Secrets of Lost Empires 2: Medieval Siege and was produced by Nova in 2000. You can get it on Netflix or Amazon. In the film, fifty carpenters worked day and night to create and test what they dubbed “the fourteenth century version of the atom bomb”–the trebuchet (tre-byou-SHAY). The trebuchet as the most popular throwing machine in Europe during the middle ages. If you love the history of medieval war, you’ll love this film. You might want to add to it a reading of the excellent Ancient and Medieval Siege Weapons by Konstantin Nossov, which you can get via the inter-library loan program.

I’ll share two cool factoids for you history fans. “Catapult” means “shield-breaker,” “cata” meaning break or penetrate and “pelta” being the name of the shield used by the Greek light infantry. The original catapults were NOT big spoons–they sped arrows and balls along a track like a crossbow. However, instead of using the spring force of a bow, they used torsion-springs, which is what you get when you twist fibers that want to be straight. In the case of catapults the fibers were ropes made out of animal sinews or hair (horse or human, a woman’s hair being considered the best) and soaked in oil. Click on the image to see a larger picture.

A modern example of a torsion-spring are those balsa wood airplanes with propellers attached to a rubber band that’s hooked to the belly of the plane. To fly them, you rotate the propeller round and round, twisting the rubber band. Then you let the propeller go. Because the rubber wants to be straight, it reverses the twist, spinning the propeller the opposite way you twisted it.

You might think these torsion-spring engines were weak. But one catapult was reported as being powerful enough that an arrow shot from it broke through a shield, and the armored warrior standing behind it, at a distance of 400 yards! Hence, the name.

The other factoid is that “trebuchet” comes from the French term meaning to overthrow. If you saw Return of the King, you’ll recognize them as the engines used on the towers of Minas Tirith. Trebuchets are simply an evolution of the staff sling. When it came to breaking castle walls, there was nothing more effective until the cannon appeared. Of course, in my book I use them a bit differently. You’ll see.

One funny thing. I watched the movie with my oldest who was just as fascinated with the engines as I was. When she was telling my wife about the film, she kept referring to trech-uh-butts. Which, I guess, is as fair an attempt at “trebuchet” as any. However, my wife kept picturing buttocks and couldn’t figure out what the heck my daughter was talking about–“You were watching what with your father?!”

The French make things so hard . . .

***

The Monday after CONduit I left for work in Mexico and then Vegas. I didn’t get back until this week. So I just wanted to say I had a great time at the con. Loved chatting with all the folks there.

It was great to see the Larry Correia, Paul Genesse, Jessica Day George, Isaac Stewart (and his brother Dan), Mette Harrison, Eric James Stone, Darren Egget, Julie Frost, Sandra Tayler, LE Modesitt, Josh Perkey, Nicole (whose husband is an Orem cop and I lost his number), Daniel Who-I-Sacrificed-to-My-Editor, and the Dungeon Crawlers Radio guys.

It was also nice to speak with Julie Wright who was one of the initial judges for the Whitney Awards. She’s always nice to chat with, but this time it was especially nice since she said reading Servant of a Dark God was like eating chocolate. I’ll take chocolate praise any day.

I also met new author Janci Patterson who just sold a YA with a great premise. It’s called SKIP and is about a young girl whose parents are divorced. The girl has to go stay with her dad who lives in a trailer and is a bounty hunter. I’m a sucker for bounty hunter stories. Especially this one, because she goes out with him and falls in love with one of the guys her dad has to haul in. I’ve slaughtered the pitch, but I got that good old writer’s envy when she told me about it. Can’t wait to read it.

I also got to see Barbara Hambly. I was at LTUE when she was there like 20 years ago. We loved her stuff. She suddenly dropped out of the writing scene in the early 90’s and now I know why–it appears Del Rey dropped all their midlist authors except for Anne McCaffery and someone else. Hambly was one of the causalities.

***

After Hambly’s main address, I sat with a few authors and had a brief discussion about the book industry where it was suggested the industry was shrinking–fewer readers, fewer sales, doom, doom, doom. But that is exactly opposite all the data I’ve seen.

Book sales have an annual average growth over the last seven years of 1.1%, adult paperbacks are growing 2.9% http://www.publishers.org/main/IndustryStats/indStats_02.htm or http://www.publishers.org/main/IndustryStats/documents/S12009Final.pdf . Now, this doesn’t show units sold. So it could be that they sold fewer units for more money per unit. Still, it shows at the very least that $$$ aren’t shrinking.
The New Book Titles report here shows an increase in the number of titles: http://www.bowker.com/index.php/book-industry-statistics — 80% increase from 2002 to 2009.
Reading rates are actually on the rise: http://johndbrown.com/2009/03/literary-reading-rates-on-the-rise/
Finally, I contacted Bookscan for their numbers for an ALA conference I did last summer. This is just juvenile fiction, but the numbers are in units. Now, I don’t know if they added more sources to their database and so that caused a rise, but I explained to them what I was trying to do—see trends over time—and this is the data they provided. According to their numbers, more juvenile books are being sold now than in 2004. Click on the graphic below. This means we have more and more readers rising up through the ranks! One author asked how much of that was Rowling and Meyer. During that period books by those authors accounted for an average of 7-10% of all juvenile fiction. Bookscan categorizes “juvenile” as everything for kids. That means from Go, Dog Go up through what we consider Young Adult. R&M accounted for an average of 33-36% of what Bookscan categorizes as science fiction, fantasy, or magic within the juvenile mega-category. What all that means is the growth is across the whole category, not just with their books.

So I’m very sanguine about the book industry’s prospects. Today’s youth seem to be able to play computer games AND read in great quantities.

***

Finally, one last bit of news. Robinson Wells was the one of the main ones to start the Whitney Academy and the Whitney Awards. Well, he just got some fabulous news. Here’s the announcement from Publishers Marketplace: “Robison Wells’ YA debut dystopian thriller VARIANT, a modern-day LORD OF THE FLIES, set at a boarding school where not everything is as it seems and every day is a fight for survival, in a significant deal, in a three-book deal, to Erica Sussman at Harper Children’s.”

For those of you who don’t know, here are the PM deal categories.