You see…due to the intransigence of the new owners at the sf digest magazines (as well as the mystery magazines), I can no longer send them my short fiction. I actually had to pull some stories that were already sold but did not yet have a contract. Long story short, contract negotiations went extremely poorly. (I blogged about this as it went on through May on my Patreon page. Take a look at this post if you’re curious.) I will write a lot more about this in the next few weeks, because I’ll be making some changes to the way I market things.

This Kickstarter is the beginning of the changes. The Kickstarter features four science fiction novellas. Three were published in Asimov’s in the past two years, and two of the novellas are this year’s Readers Choice nominees. The third, “Weather Duty,” appeared in early 2025.

The fourth novella is brand new. It was sitting on Sheila Williams’ desk as the contract negotiations for another story started and ultimately failed. So no one has read this novella. If you back the Kickstarter, you’ll be among the first.

The Kickstarter contains all kinds of goodies as rewards. All of my Diving novels so far. All of the Retrieval Artist novels so far. More novellas. Some writing workshops.

With all of those rewards, you’ll get the novellas. I’m proud of them and I think you’ll enjoy them.

The Kickstarter just went live, so hurry on over and take a look!

I have stories here from 2 different Best American Mystery & Suspense, but I’m not recommending either volume, since I didn’t read a lot of them. The stories seemed child-cruelty heavy or animal abuse heavy, and I’m not really into either of those things. And there’s some I’m not fond of the kind of noir in either of them. So it’s up to you if you get these two volumes. 

So here’s what I liked back in February…

February 2025

Bernier, Ashley-Ruth M., “Ripen,” The Best American Mystery and Suspense 2023,  edited by Lisa Unger, Mariner Books, 2023. When editors are lazy with the Best Americans and do not put the stories in any kind of reading order, the opening story is a real crapshoot. I’m always braced for something that does not give me any ideas as to the way the volume will go. As a result, I approach the first story with trepidation, and usually that trepidation is justified.

In this volume, though, the first story, “Ripen,” is well written, powerful, and memorable. I was happily surprised by the entire thing. The setting is rich, the characters vivid, and the story itself strong. Read this one.

Cho, Winston, “AI: The Ghost in Hollywood’s Machine,” The Hollywood Reporter, December 13, 2024. (This story online has a different title.) Fascinating piece that could have been written about any emerging technology, really. AI will change how business gets done all over the planet (is changing?), and Hollywood is no different. It will make some things easier to “film” such as massive crowd scenes (already is, in fact) but it might cost a lot of jobs. As in a lot of jobs. And the kind that normally don’t get taken by technological change…as in the jobs of creatives. I think we’ll see a lot of these articles in the future as we try to figure out how to live with this newest thing in our lives.

Cobo, Leila, “Guarding Celia Cruz’s Legacy,” Billboard January 11, 2025. Fascinating interview with Omer Pardillo, who manages the Celia Cruz estate. It’s about how he got the job, how he goes about maintaining the estate, and the heart of the estate. He lists where the revenue comes from. He says it’s mostly from recording royalties and brand partnerships. It’s really fun to see his joy at all of the success the estate’s been having. At one point, he states that it’s not bad for an artist who’s been dead for 21 years.

Cole, Alyssa, “Just a Girl,” The Best American Mystery and Suspense 2024, edited by S.A. Cosby, Mariner Books, 2024. This story, written as a series of online TikTok posts, DMs, texts, emails, and online articles, is devastating and heartbreaking and extremely powerful. Tiana, her first year in college during Covid, starts posting updates on TikTok, and gaining a following. She tries a dating app, encounters a gross guy, and calls his yuckiness out on her TikTok…and then he and his friends start going after her. Everything spirals after that. What’s amazing about this story is that you can see the joy leaching from this young woman as she realizes how terrible the world can be—and how dangerous it is for young beautiful women. Highly recommended.

Freimor, Jacqueline, “Forward,” The Best American Mystery and Suspense 2023,  edited by Lisa Unger, Mariner Books, 2023. Normally, I wouldn’t read a story that looked dense and difficult, but the format (and the footnotes) are the point of the story. It’s an amazing work of fiction, with a great reveal. Yes, it takes concentration to read it, but it’s really worthwhile.

McClintock, Pamela, “Ryan Reynolds Multitasks Like a Mofo,” The Hollywood Reporter,  December 13, 2024. There’s a lot of fascinating quotes in this interview with Ryan Reynolds, whom The Hollywood Reporter dubbed their Producer of the Year. He does a variety of things besides act, and seems to enjoy all of them. The quote I like the most is at the end:

…it’s all an emotional investment. If you can create emotional investment in anything, any brand, it creates a moat around that brand that really, I think, facilitates the resilience and allows it to weather the storms in the bad times. And yes, that’s the part I love.

I think I love it too, although not as much as actual writing and making things up. Still, lots of good stuff to think about in this interview.

Zeitchik, Steven,“The Other Rebuild,” The Hollywood Reporter, January 17, 2025. 2025 has been such a shitshow already it’s hard to remember that the LA Fires happened only a few months ago. We seem to be moving from tragedy to tragedy, heartbreak to heartbreak, every single day, and we lose track of what others have gone through. A number of my friends went through the fires and fortunately, in this round of the climate change blues, very few of them lost their homes. (I can’t say that about previous California fires.) But everyone’s mental health took a nosedive. Many moved to different digs in the same town while others are leaving their LA homes. It’s an ongoing tragedy, and this is a piece from the early days. Important.

Over the last year, a number of you have asked how to get my Derringer-award winning novella, “Catherine The Great,” and while you can get it in last year’s Holiday Spectacular compilation, that’s only available in ebook. Many of you want paper…and I get it. I do too.

So, we decided to put it into paper. And by the time we got to that project, I had also written three other mystery/crime novellas. One is a thriller (Kizzie) and two are more straightforward mysteries. We put all four in a Kickstarter that launches today.

Here’s the video for the Kickstarter. Over the next week, I’ll also share the book trailers with you for the novellas. However, if you’d like to see them now, head to the Kickstarter. They’re all on it, along with a lot of other goodies.

As you can tell, this is one of my favorite things to write. I hope you end up getting the books.

Then this is the Kickstarter project for you.

Here, in a nutshell, is what it is:

Socks & Sorcery will have four themed collector’s boxes, each delivered three times over the course of a year. Every box contains:

•  A Surprise fantasy novel in the format of your choice (ebook, paperback or audiobook)
•  100g skein of exclusively dyed fingering weight yarn inspired by something from the book
• A 20g contrasting mini skein perfect for crafting heels and toes
• Delightful surprises to enhance your reading and crafting journey. 

Mix and match any of the four themes—Dragons, Familiars, Witches and Vampires, or Faeries—or get them all for a box delivered each month for a year!

There are lots of great writers contributing books to this project including T. Thorn Coyle, Anthea Sharp, Leslie Claire Walker, and Thomas K. Carpenter. The first book in my Fey series, Sacrifice, is also a part of the project.

This project is a lot of fun, and I’m pleased to take part in it. I hope you join us!

Putting Yourself Out There

I’m gearing back up to return to the university in the fall. After a heck of a couple of years, I’m resuming my very slow attempt to get a few extra college degrees. Mostly, it’s an excuse to listen to people much younger than myself learn cool stuff, and an excuse to listen to people somewhat younger than myself share their expertise.

I get inspired by all of that.

I’m searching class schedules and realizing that my Spanish has gotten rusty again, so there is probably a summertime online refresher in the complicated tenses on the horizon. Even though, really, using the proper tense is not my problem so much as finding the correct vocabulary word. As in any word that might suit in that circumstance. The vocabulary was the first thing to flee my brain in the hiatus.

The thing that fascinates me the most, though, is watching the theater kids, particularly those who are (at 18, 19, or 20) convinced they’re going to be Actors! (and yes, the exclamation point is there for a reason). Most won’t be, not because they’re not good enough, but because they don’t listen well and they already think they’re God’s gift to the profession.

Mostly, I watch the ones who are insecurely secure in their dreams. These kids know exactly what they want in their lives, but they’re not sure they’re good enough to get there, so they work extra hard to figure out where they should be.

Sometimes it is not where they expect to be. In the theater department in particular, they have to take courses in all aspects of theater, and they sometimes learn that they love a part of theater that they hadn’t expected to like at all.

Surprisingly enough to my younger self, the one who didn’t have the courage to follow her musical abilities into a music degree or to even walk into the theater department at the University of Wisconsin, there are a lot of introverts in theater. Some of those introverts are writers, yes, but many go onstage and perform. Most, in fact, because they like being someone else in front of a group. It’s safer for them.

I get safe. It makes sense. I also get the fear of doing something revealing in front of a crowd. Mostly, that fear is gone for me now. Years of public speaking and talking on panels at sf conventions eased my mind.

Still, I was pretty shocked when I learned that a lot of actors and musicians suffer severe stage fright—people you’ve all heard of. If they have to go onstage, they sit in the dressing room and shake, or, in some cases, puke, because they’re so scared.

Had I known that…well, I doubt I would have done it, because puking is not something I voluntarily do, even for art…but it certainly would have eased my mind about what for me is relatively minor stage fright (in comparison to what these folks have).

Really, though, it’s what they are willing to do for their dreams and their art. They put themselves out there. More importantly, they figure out how to put themselves out there.

Every year, I have a conversation with at least one of my writing students who is terrified for some reason I never probe of putting their work in front of an audience. It always boils down to the fact that they’re afraid of being seen.

Sidebar from a nearly 65-year-old person who has worked in the arts her entire life: You are never seen. Not in your entirety. You may reveal all of your secrets and no one will care. Or they’ll comment on the portrayal of something minor, like the cat, and kvetch about that. It’s disappointing…and freeing.

However, the fear of being seen is a real and crippling fear, stopping a lot of prose writers and poets from following their dreams. Writers, unlike actors and musicians, can hide from the world. You can use a pen name, set up a legal entity that doesn’t use your real name (in an obvious manner), and never let your picture out into the world.

You can hide and publish your work. That’s the great thing about being a writer.

Usually when a writer figures out their own personal workaround, they put their work on the market, whatever it means for them.

I had one of those discussions this past week with a couple of different writers, some in person, one online, and when I photo-bombed the Writers’ Block webinar on Wednesday.

After that moment on the webinar, I spent a few hours thinking about how universal that fear is among writers. I’ve been in this business almost fifty years now, and I’ve seen it every year.

Then Dean and I watched a little bit of The Voice. We often watch something to rest our poor brains, usually at dinner. We’ve moved away from news (since there’s no way that will relax anyone), and gone to documentaries and The Voice.

We usually watch a segment or two and then go back to whatever we were doing. It will take us days to watch an entire 2-hour episode.

So that Wednesday night, we watched two members of Michael Bublé’s team duet on a song he wrote, called “Home.” Most of you know it as a super hit for Blake Shelton, but Bublé wrote the song and released it first.

Before the battle, Bublé talked a bit about writing the song. I can’t find the clip for that (mostly because I’m lazy, but also because it’s not that relevant), but I did find the one that caught my attention.

It got me thinking, and I went up to my office and made a list.

Most people who work in the arts realize that their work has to be put out into the world.

• People who write music must perform that music to sell that song/sonata/whatever. They may be terrible singers. They might be shy as hell. But they need to make, at minimum, a demo tape.

Often they perform their own work, in some kind of concert, and it is that work that ends up catapulting them into whatever level of fame they will reach.

And then, partly because of the vagaries of the (exceedingly complex) music copyright laws, they may hear someone else cover their song. They might be like John Legend, who has said on The Voice that he cannot listen to a cover of one of his songs fairly. Or they might be like Bublé who not only assigned the song, but was honored by the way the singers performed it.

• People who write plays write them with production in mind. What is the point of writing a play if it’s just going to languish on your desk? The problem, though, with writing a play is that when it is performed, there will be an area that the performers cannot do or cannot say.

In early drafts of a play, the playwright will have to be nearby to do some kind of work to smooth out that section. Sometimes it’s because the star is a doofus and can’t say a word with more than two syllables, but mostly it’s because that section of the show, when performed in previews, did not work. Neil Simon deals with this a lot in his autobiography Rewrites.

• People who write screenplays know that they’re writing something that will be performed as well. I had a very famous writer friend who wrote the wordiest damn screenplays ever and had, in his contract, a clause that said not a word could be touched.

After his early years in Hollywood (when he didn’t have enough clout to have that stupid contract), he rarely sold a screenplay and when he did, it was a charity sale from a friend who would buy the screenplay so that the writer could retain his Writers Guild membership. (And then the charity friend would do a shooting script.)

• Artists know that their paintings or photographs will be displayed or used on covers or put on t-shirts and prints and everything else.

Even the lowest of the low, graffiti “artists,” the ones who deface buildings, understand that their art needs to be seen. (I’m grumpy about graffiti these days since Vegas has a lot of wall murals all over the city—and the freakin’ graffiti “artists” will deface them. Grrr. I hate people who deface other people’s art.)

• Even young poets these days understand that they might have to get up in front of a crowd at a poetry slam and declaim their poem.
• And let’s not talk about comedians, who are also writers, who get in front of a crowd, and risk bombing night after night after night. Dean and I saw one of George Carlin’s shows in his last years, and Carlin was testing material so new that he was holding paper torn from a notepad.

Some of it was funny. Much of it was not.

Fiction writers—people who write novels and short stories—are the only artists I know who expect someone else to publish their work. Fiction writers, particularly those who are traditionally published, believe that all they have to do is write it, and everyone will flock to their feet.

That’s an ingrained attitude, and a hard one to fight. Heck, a lot of these writers are worried when they decide to give a copy of their manuscript to an editor at a book publishing house or (worse) an agent.

Writers do not expect to have their work in the public view, and often fear it.

I’m not sure why this is. I think it’s just part of the culture.

There are movies that show writers at work, and someone else dragging that “brilliant” manuscript off the writer’s desk. Or the writer “gets discovered” in an English class (never happened when I was in school). Or someone else mailed off their manuscript.

That myth goes hand in hand with the idea that writing should be hard and writers should suffer while doing it. That myth also goes with the idea that anything written fast is terrible and anything labored over is brilliant. And that myth goes with the idea that being prolific is a sin. (Tell that to Charles Dickens and William Shakespeare.)

Indie writers have a similar problem, but it’s couched in other terms. I don’t want to learn how to publish. That’s going to be hard. It’ll take too much money or I can’t do covers or…or…

Okay, I want to reply, whatever roadblocks you want to set up for your work, go ahead.

But real artists—be they musicians or painters or (yes) writers—need to have their work seen. They need to figure out how to get on that stage despite their stage fright and put their art in front of an audience.

Otherwise the art will be destroyed when they die, tossed out with the trash or deleted off their computers.

Oh…and let’s talk “covers” for a minute. Blake Shelton’s version of “Home” is very different from Bublé’s version, which is different from the duet that aired on The Voice this past week.

If you’re lucky as a writer, and if you put yourself out there, at some point, someone will want to do make another piece of art using yours as inspiration. Maybe a movie, maybe a TV show, maybe a dramatic reading or an audio book.

That’s a “cover” for lack of a better term. (It really is a derivative work, and it does fall in a different place in the copyright law, but go with me on this for a minute.) Instead of being all protective and saying that you must control all things, say yes…if the contract terms are good.

That’s all.

A singer doesn’t have to get permission to cover a song. I can sing “Home” badly in front of an audience if I want to, but if I get paid for it, I need to let the songwriter know that I’m going to be covering the song. The songwriter cannot say no.

It gets complicated after that. (Okay, it’s already complicated.) But implied in all of this is that the music needs to get in front of an audience. The play will be performed. The screenplay will become the basis for a movie. The painting will hang on a gallery wall.

What makes writer-artists any different? Why should we fight so hard to create something and then be afraid to put it in front of an audience. Particularly since we’ll never see that audience. We don’t have to hear from them either, if we keep our email private and don’t go on social media and don’t read reviews.

What makes fiction writers so dang delicate? Every artist has fears. All of us do. If we want to make a living at our art, we learn to overcome the fear.

It may take a dozen workarounds. It might mean the writing equivalent of puking in the bathroom before stepping on the stage. But if you value your own work and your own dreams, you learn how to get past whatever is stopping you.

Just like other performers do.

“Putting Yourself Out There,” copyright © 2025 by Kristine Kathryn Rusch. Picture of Gavin is there because, despite appearances, he’s terrified of putting himself out there.

I haven’t yet finished reading  The Best American Sports Writing of the Century, because I needed to take a break. The book has a slant that is very white-male oriented. It’s also filled with some challenging pieces that aren’t holding up to the 26 years since the book was printed. (I swear, New Journalism is soooo self-involved.) But some of it is good and interesting and I’ll come back to it when the mood suits me. I doubt I’ll ever recommend the book, but watch: there will be a time when I recommend more essays from it.

I read one of the best novels I’ve seen in years and some great articles. So January was quite a success…which is why this list is so late. It took a while to chronicle my reading.

January 2025

Anders, Charlie Jane, “A Temporary Embarrassment in Space Time,” New Adventures in Space Opera, edited by Jonathan Strahan, Tachyon, 2024. I absolutely love this story. It’s everything a certain kind of space opera should be—fun, preposterous, believable, tense, and adventurous. All wrapped into a neat and well-written package. A wonderful gem of a story.

Crais, Robert, The Big Empty, Putnam, 2024. The best book I’ve read all year, maybe in the past few years. I love Robert Crais’s Elvis Cole and Joe Pike. Pike doesn’t show up until halfway through this book because Bob is so dang good at point of view and the way a story should flow. I don’t have a lot of time for leisure reading, and right now, my lack of time is significantly worse. So I did the readerly thing. I stayed up past my bedtime, and Dean literally had to pull the book from my hands. I still read it in two days. Fantastic. And no, I’m not going to tell you much more than “fantastic” because, as with all of Bob’s books, to say more is to ruin a surprise. (I might have already said too much, in fact.)

Deaver, Jeffery, and Maldonado, Isabella, Fatal Intrusion, Thomas & Mercer, 2024. Yep, I have an Amazon link only for this book, because I just discovered something very unpleasant. This book (and a bunch of Deaver novellas) are only available in ebook on Amazon. Sorry about that! I read the book in paper, which is how I prefer to read, so I had no idea that this had happened until the moment I was putting the book on the list. Sigh. It makes me, as a reader, more than mildly pissed off.

The book is good enough. It’s not as good as most Deaver books, but it’s better than a lot of thrillers. I’ll read the next book in the series, and if I like it, I’ll pick up one of Maldonado’s books. Collaborations are a difficult animal. They can be something better than both writers, especially if the book is something they wouldn’t have written without the collaborator. I suppose Deaver could argue that he wouldn’t have had a character like Carmen Sanchez, but except for a few chapters that I suspect were all Maldonado, she felt very generic. So I don’t think this collaboration enhanced the two writers’ work (I’m saying this without having read hers). But this is a good way to while away a few hours.

Fekadu, Mesfin, “The Loophole That Landed Muni Long a Grammy Nom,” The Hollywood Reporter, November 20, 2024. The online version of this article has the title “Muni Long Explains How She Made It,” and I think that is a better title for the content here. Muni Long has been around for awhile, and she has followed her own path. There are some great quotes in here, but the best was her response to how she got paid for her streaming content:

Sometimes you look at your quarterly statement and you’re like, “Oh wow, $1,000 for 500 million streams. Great. That’s awesome.” The sheer volume that I have to write in order to make an income that makes sense [is insane]. What saved me is that I have quality and quantity, whereas some of these people, all they have is one or two records.

Quantity and quality. She’s right. We’re doing the same. Take a look at this one, even if you’re new to Muni Long.

Harris, Robert,, Vintage Books, 2016. I really like Robert Harris’s writing, although his topics don’t always interest me. I picked up Conclave after seeing a review of the film. A lot of my favorite actors are in it, and since I like Harris, I thought I should give the book an eyeball before watching the film. Glad I did. There’s a nice moment toward the end of the book, something completely unexpected and yet set up. It worked for me, and might not have worked in the film (which I have not yet seen). Of course, that had me looking through more Robert Harris for the books I’ve missed. I mostly didn’t order the ones on the topics that I don’t care about, but I did preorder the next. I love his courage as a writer. He’s always doing something interesting. This is a novella, filled with his great characters and marvelous writing. Oh, and for the interested: I am not Catholic, although I was in and out of Catholic churches as a kid because so many of my friends were Catholic. So I have a passing familiarity with some of the rituals, but no great interest in the church or its habits. I still found this fascinating.

Heinz, W.C., “Brownsville Bum,” The Best American Sports Writing of the Century, edited by David Halberstam with Glenn Stout, HarperCollins, 1999. I had never heard of W.C. Heinz before reading this book. Yet many of the other writers in the front half of the book (at least) mentioned him as the best of the best. Well, this is my favorite piece in the book so far. It’s a 1951 piece about someone named Bummy Davis who was a fighter back in the day when fighters could kill each other in the ring. This one reads like a short story—the life and death of kinda thing. The writing itself is sharp and crisp, the events breathtaking. The murder, at the end, shocking because it happened in a bar, not in the ring. If you find the book, read this one first.

Rose, Lacey, “Selena Gomez is Waiting For Your Call,” The Hollywood Reporter, November 20, 2024. Last fall and early this year, there were a lot of interviews with Selena Gomez as the Oscar and Grammy hype heated up. She has a good team. But she’s also a great interview because, as young as she is, she’s had an amazing career. She knows who she is, and she’s blunt about it. I can’t encapsulate this long piece in any coherent way, except to say all writers (and Selena fans) should read it.

Royko, Mike, “‘A Very Solid Book,'” The Best American Sports Writing of the Century, edited by David Halberstam with Glenn Stout, HarperCollins, 1999. A lot of the work in this book is dated. So dated, in fact, that I had to look up some of the rivalries just to see what was going on. But this piece by Mike Royko from 1987 is familiar. I was 27 at the time, and aware of the Mets/Cubs rivalry.

Some idiot at some NY publishing house asked Royko to review a book about the Mets. And oh, did he. This piece is not dated, once you knew about the rivalry, and it is one one of my favorites. I just read it again, out loud this time to Dean. It’s a very short piece that is, ostensibly, a review of a book by Mets first baseman (at the time) Keith Hernandez. And Smith was a Cubbies fan through and through. The book is solid, you see, because it can survive being thrown against a wall…

Really worth reading

Score, Lucy, Things We Never Got Over, Bloom Books, 2022. Okay, this is annoying. As I set up this post, I discovered that Lucy Score’s ebooks are exclusive to Amazon. Same thing as the Deaver/Maldonado above. Grrrr. You can get the paperbooks anywhere you want, but to get the ebook, you have to go to Amazon. You can’t even go to her own website/store to get the book. Sorry about that. Get the paper. She has some lovely deluxe editions.

However, I did find the book on Amazon. I had just finished something else (what I can’t remember) and the algorithm suggested this book. I did what I often do and read the first chapter. And wowza is it good. Seriously, this first chapter is worth reading even if you don’t pick up the book. The chapter is a masterclass of information flow. The chapter title is Worst. Day. Ever. The first paragraph is a perfect hook:

I wasn’t sure what to expect when I walked into Café Rev, but it sure as hell wasn’t a picture of myself behind the register under the cheery headline “Do Not Serve.” A yellow frowny face magnet held the photo in place.

Each paragraph builds on that. With each page, the situation gets worse and worse and worse. You—well, I—had to go to the next chapter immediately. The book ends up being a tiny bit long, and for a moment verges on “if you two only talk to each other, this would end” but by then I didn’t care. The book is fun, the writing is great, and the characters are a hoot. So pick this one up…or at the very least (writers) read that first paragaph.

Smith, Red, “Next To Godliness,” The Best American Sports Writing of the Century, edited by David Halberstam with Glenn Stout, HarperCollins, 1999. My father, who was born in 1914, used to talk about the great sports writers and announcers from his life. He also talked about great players, so many of their names are familiar to me. Others, not quite as much. But Red Smith was quite familiar. His name was in the air all the time in our family, and also in the various writing classes I had. Red Smith was one of those writers even non-sports fans enjoyed.

Back when my father imprinted on baseball, there was radio, but it was local only. So games played outside of the area weren’t aired. The readers had to rely on the print media.

“Next To Godliness” describes an entire game in maybe 1,000 words. It also describes the reaction to that game from Smith himself. It’s lovely and well done. There’s a reason this man’s work was remembered—at least for another 50 years.

Smith, Thomas, “Dua Lipa Talks 2024,” Billboard, December 14. 2024. I love Dua Lipa’s stuff. I run to it. I also enjoy how she’s running her career, in the same way that I admire the way Taylor Swift is. These women are taking charge in a way that most musicians do not. So read this. She’s interesting and what she’s doing with her business is also great.

Verhoeven, Beatrice, “John M. Chu,” The Hollywood Reporter, November 13, 2024. Fascinating interview with John M. Chu, released just before Wicked came out. (If you haven’t seen Wicked, oh, you must! It’s marvelous.) Lots of great material here, mostly about being courageous. Lots of behind the scenes on his various movies as well. In The Heights, Crazy Rich Asians, and more. Read this one.

Weir, Keziah, “Give And Let Give,” Vanity Fair, October, 2024. I’ve been thinking about this interview ever since I read it, particularly as one particularly nutty billionaire chainsaws his way through American government, another sends his fiance into space, and the rest don’t seem to give a rat’s banana about actual human beings.

Melinda French Gates, former wife of Bill Gates, is also worth billions, and she’s giving it away, systematically, to charity after charity. She says it’s not easy, because she had to have the right organization in place to help funnel the money, and then she has to figure out where she can do the most good. Note the difference: Do The Most Good. Yeah, she’s not the only ex-wife of a billionaire doing this.

It’s fascinating to me that the wealthy women understand their social responsibility and the bulk of the men…do not.

And if you’re uncertain, at least watch the video I did. Enjoy! (Oh, and head to the Kickstarter here.)

Glocalization

In the past year, I have started to read Billboard regularly. The music industry is always ten years ahead of traditional publishing, and the music industry has already figured out how to handle the small mountain of data that each song, each stream, produces.

The fantasy-novel-sized Grammy Preview issue that came out in October took a while to get through, but it had a lot of gems. Some pertain only to my business, so I’m sharing those with the staff. There were also some lovely nuggets that I’ve posted either here (or will post here) as well as in my November Recommended Reading List.

But one article on business really caught my attention. Headlined “U.S. Artists Are Dominating The Global Charts,” the article explored the way that music crosses international boundaries.

The premise here was that in 2022, 85% of the hits on the Bilboard Global chart came from outside of the U.S. In 2023, 92% of the hits on that same chart were not from the U.S.

But in 2024, over 60% of the hits on the global chart came from the U.S. All fascinating, all important for the music industry.

It’s a change that the U.S. welcomes, of course. It’s also what’s new is old. Early in my childhood, the bulk of the music in the U.S. came from England. (British Invasion, anyone?) And then, throughout the seventies—with the exception of Abba and Olivia Newton John—most of the music worldwide came from the U.S.

That changed with the advent of streaming. Then the cost of making and marketing music plummeted. As Will Page, former chief economist for Spotify told Billboard last year, “When the cost structure changes, local [music] bounces back.”

Page should know. He and Chris Dalla Riva, a musical artist and senior product manager at the streaming service Audiomark wrote a paper on this topic in 2023.

They examined the top ten songs in four countries—France, Poland, the Netherlands, and Germany. In 2012, local artists accounted for less than 20% of the song market in those countries. Ten years later, that number had flipped considerably, with the rise the biggest in Poland, where fully 70% of the top ten songs were local.

Here’s the part that caught me…and got me thinking about publishing.

The authors call this shift “glocalization.” This all points to a growing marketplace where the power has been devolved from global record labels and streaming platforms to their local offices and from linear broadcast models to new models of streaming which empower consumers with choice.

There are still the big performers, of course. They tend to get enough press so that people will hear of their songs and sample. But, as the article points out, if Polish rap is big in Poland along with, say Sabrina Carpenter, there’s a slimmer chance that Polish rap is big in France, but Sabrina Carpenter might be.

Replace all these names with Nora Roberts and Stephen King. They have built-in audiences worldwide who are looking for their next book. But those audiences might want something that has a lot more local flavor for the rest of the big sales.

Not to mention the language barrier. That’s not as big a deal in music. People have grown up listening to music in other languages. Heck, opera would not exist without afficionados being willing to listen to gorgeous, sweeping melodies in a language they do not understand.

But reading books in another language requires you to understand that language. Translation programs only go so far. They usually lack the finesse of a translator. The good translators add their own artistry to the work. (The bad ones are…well…bad.)

It’s easier to translate nonfiction, particularly if it’s utilitarian (as in how-to books). But utilitarian books usually don’t rise to the top of the charts. Nonfiction is often stubbornly local. I do care about the political situation in France, but not enough to pick up a translated book about it or to attempt to read (or listen to) an AI translation of it.

My reading time is limited, and I’d rather use it on things that really interest me.

Fortunately for most of us, though, English is the most widely spread language in the world. In 2024, 1.52 billion people worldwide spoke English in 186 countries. Only 25% of those people are native speakers. Everyone else learned it as a second (or third or fourth) language.

And…over fifty percent of websites worldwide use English for their content.

Our books in English can and do sell outside of the U.S. and other English-speaking countries.

Which brings us to the other part of this article that really caught my attention—marketing. U.S. music labels now run global campaigns for some of their product or, as the article says, are…

…even starting promotion abroad, in territories where marketing is cheaper and fandom can be more of a social activity, before [the companies] begin a push stateside.

There was even more strategy on this buried in an article from the November 16^th issue. In a piece about the co-founders of Broke Records, there was this little gem about marketing to Eastern Europe and Latin America.

The question: Why those territories? And the answer:

Cheaper cost and these markets start a lot of trends on the internet.

The founders go on to explain that there’s a tipping point where influencers will jump on board to promote because they see the song getting bigger in other markets.

All of this caught my attention because it feels so familiar. In the 1990s, before the U.S. book distribution system collapsed, book marketing was aggressively local. Some writers sold well in certain regions of the country or in certain large marketplaces such as, say, Detroit or Los Angeles.

If those books sold a lot more than usual or if they started dominating the conversation more and more, then the publishers would push harder in other regions.

The publishers soon learned that some books did not cross over, not matter how much money was put behind them. Others took off quickly. It was predictable on some level—local authors tended to sell best in their local regions—but not predictable in others. Why did gentle contemporary fantasy sell well in the American South, but not in big Eastern cities?  No one cared enough to put in the legwork to get the data, in those days before computers.

Now, that information might be available with the right kind of market research.

While we would all like our books to sell equally well in every single country, that’s not going to happen. (Remember that there are 186 countries where English is spoken. There are nine where English is not spoken much at all.)

The key here isn’t to become a dominant worldwide bestseller, but to use the data available to us to see where we’re doing well. If we can target those areas where our work is already selling, then we might be able to leverage that and increase the sales.

The increased sales will lead to all kinds of other opportunities, from licensing games and other products (even local films) including—you guessed it—some kinds of translations.

I love this term “glocalization” because it breaks down the gigantic world into bite-sized pieces. With the way that data works these days, we can actually view these pieces without doing a lot of guessing about them. You’ll know if your books are selling well in Australia, but not doing well at all in Austria. Or vice versa.

And if you have limited marketing dollars, like all of us do, you’ll target places where your name is already familiar…unless you want to grow your work in a part of the world that is similar (you hope) to another place where you are doing well.

Also, a lot of online distributors have targeted ad-sharing and/or marketing opportunities. You might want to take part in a bundle of ads that focus on the Sydney area and not do a similarly priced promotion in London.

It’s your choice, which is, in my opinion, fun.

If you do this right, you can also adopt the right mindset. Instead of saying, Yeah, I’m a bestseller in Italy but nowhere else as if that’s a problem, understand that being a bestseller anywhere is great and work to grow your audience in that country—as well as worldwide.

Yes, we’d all like to be the biggest bestsellers in the biggest markets in the world, but that’s not really happening with any writers any more. Glocalization has hit us all. A book might take off, but a writer rarely does these days.

Things are changing, and in a way that we can all understand.

Realize, like the U.S. music labels have after their banner international year of 2024, that the success is due to a confluence of events, not to their increased marketing.

As the first article notes:

Executives contend the uptick is partly due to random chance. A surfeit of American heavy hitters including Lady Gaga, Beyoncé, Billie Eilish, Ye, Ariana Grande, Future, Taylor Swift and Post Malone have dropped albums this year. At the same time international powerhouses…have been quiet.

Random chance. That’s all we have. So write your work, market it everywhere, and then look at the data on occasion, particularly when you have marketing money. Give your marketing strategy some thought.

Just accept where you’re at and figure out how to move forward—without taking too much time away from the writing.

Because that’s all we can do.

“Glocalization,” copyright © 2024/2025 by Kristine Kathryn Rusch.