Viewing: kameron hurley

Hey, folks. I’m incredibly late posting about this, but when the first episode went live and for several days after the fact I was in the middle of the woods in Ohio with no internet access (it was bliss). Upon returning they were jackhammering the pavement in our complex non-stop, during which they hit a water main and killed all WiFi/cable, and I had plumbers coming in and out of the house and damaging our drywall and it was not a good couple of days.


I’ve only had the chance to listen to part one of the episode yesterday, and I’ve just now listened to part two. Authors Kameron Hurley and Chuck Wendig made their triumphant return to Ditch Diggers, the writing-as-a-job podcast hosted by me and Campbell Award winning author Mur Lafferty, and it was so epic we had to split it intwine.

Click here to listen to part one.

I made a minor miscalculation before recording this one. You see, the last time Mur and I sat with Hurley and Wendig it was decided it would be a booze episode, and I was openly mocked for not drinking enough. I overcorrected this go around and as a result I was, in a word, drunk. Like, really drunk. It’s shocking how drunk I am.

While it was unprofessional and not something I plan on repeating, I’m pleased to report the episode(s) is actually one of my favorites Mur and I have done, largely owing to the incisiveness, knowledge, and personality of our guest hosts.

In addition to the laughs, we cover a ton of worthy ground ranging from book cover design to writing day jobs and balancing them with creative writing, to the ups and downs of authoring books that sell and then don’t sell and how to deal with and perceive same, to the very relevant and important topic of depression amongst writers. It’s really great stuff, and the kind of discussion/information that makes me proud of this podcast and what we’re doing with it.

Part two just went live today. In this second half of talking with Wendig and Hurley we discuss the challenges of writing/publishing the sequel/second book in a series. We also discuss fear, during which Mur tells a hilarious story about her grandmother and a live turkey (seriously) and Kameron owns us all talking about facing death and what it taught her. Other topics covered include when to turn down contracts/writing jobs and how to conduct yourself on the internet as a writer among others.

It’s a great conclusion to a great two-parter about the writing profession.

Click here to listen to part two.

I want to thank Kameron and Chuck for coming back on the show. They’re two of the best writers in any genre, ultimate professionals, and hardcore ditch diggers. We always learn a lot from them.

Don’t forget to subscribe to the show and plaster it all over you social media-type things.

Hey, folks. Do me a favor. Go read Chuck Wendig’s post “I Stand By Irene Gallo” and Kameron Hurley’s post “The Revolution of Self-Righteous Dickery will Not Be Moderated.”

I agree with them.

That saves us a lot of time and redundancy.

Past that I’d like to make a fairly simple point. I’m not a company man. I do very much believe in loyalty, but I don’t give it often or easily. I’m currently signed for two novella-length books with, of which Irene Gallo is associate publisher (my editor’s boss, if you need perspective/clarity) and either official or de facto art director (I’m not entirely certain on that one), because Irene is a genuinely brilliant conceptualizer, designer, and artist. She’s also creative director of Tor Books, which is a separate thing from Macmillan owns everything and signs all of our checks, or at least mine. I haven’t seen anyone else’s check.

Whew. Everybody got that? Good.

Let it be noted here and now I do not speak for any of the above parties and all opinions expressed from this point forward are my own.

I don’t know what the ramifications, if any, of writing and posting this will be, I only know it’s the truth and needs to be said by as many people as possible.

I love telling stories, all kinds of stories, all kinds of ways. I particularly love writing fiction, particularly SFF fiction. It was the first way I ever told stories. And the genre has just always naturally appealed to me. My imagination is slanted towards the fantastical, the futuristic, the weird, the what-have-you.

I love writing fiction.

But I fucking hate the publishing industry.

Seriously. I loathe it. I despise the politics, the business, the pretense, so much of the culture. I hate it so much that roundabout 2009 I gave up on it utterly, moved to Los Angeles, and did everything in my power to sell-out to Hollywood. The toxicity of the film and television industry is no less, arguably more, but it is at the very least more lucrative and for me more autonomous, which is what I was looking for at the time.

But I still loved writing fiction, and in 2012 I began putting out my own stuff, just because. It’s been going okay and I’m content with it.

I still hated publishing.

Then in 2014 I heard about this thing was going to start doing. It sounded like they were going to try to bring SFF novellas back to the mainstream (novellas are something I’d been experimenting with on my own through author-publishing). They were going to release them in a bunch of formats simultaneously. They were going to offer authors a fair across-the-board royalty package.

I’d been aware of for a while, mostly because I’d been reading short stories and discovering new authors through the website. The art was also striking. It was obviously top-of-the-heap, short fiction market-wise (not that that heap is a large one these days), but more than that it was new.

More to the point, at least for me, it felt new.

And if “new” is reductive, then it at the very least seemed different.

The stagnancy of publishing, or at least what I perceived as stagnancy, was one of the things that made me felt mired and exhausted pursuing it.

What is doing excited me. I wanted in. I reached out to Lee Harris, who has become my editor on the novella project. They’re going to be revealing the cover for my first book soon (very soon) and it’s fucking amazing and perfect and that’s Irene and her team all day. My experience overall has been nothing short of wonderful, and seeing the other authors and stories they’re slating only pumps me up more. has been and is doing such cool stuff, folks. The stories, the art, the voices, the talent they’ve been and continue to cultivate. And I’m in no way talking about myself. I’m talking about the writers and artists that made me want to be a part of this thing.

And Irene Gallo is one of the major reasons for all of it.

Her involvement is one of the things that made me so excited about the prospect of being involved.

I don’t know how you feel about what she wrote about the Puppies and I don’t really give a shit. What is not open for debate is the fact Irene has helped and is helping innovate a major appendage of a major publisher and is one among several pairs of hands shaping a better, more interesting, more diverse future for authors and readers of SFF. That is not only needed, it is necessary. It is absolutely vital. She should be elevated for that, not sacrificed to a small clan of mediocre throwbacks because they can be the most vocal on the fucking internet.

Tor’s position on this, among myriad other ways that position is f’ed up, is one of trading innovation and a wider audience for the utterly narrow; a narrow viewpoint expressed by a narrow demographic of the narrow-minded.

The Puppies keep saying they want change, but what they want is things to go back to the way they were.

That’s what really pisses them off so much.

They want things to stay the same.

They don’t want change.

That excludes folks like Irene Gallo, who are literally changing everything for the better.

And in what creatively-driven industry or form has not changing ever been a good thing?

From a strictly business standpoint, she is worth more than a few hundred anonymous user names in a website comments thread will ever be. Alienating your company’s innovators is simply bad business. From a creative standpoint, her involvement is vital to the future of SFF and SFF publishing.

From a human standpoint, Irene simply deserved better.

Much better.

But my opinions are selfish. I want to be part of the future, not the past. I want to be part of a publisher that innovates and spreads my stories to new corners of the internet AND the world of the real. I want to be part of something new, something exciting, something great.

Irene Gallo is taking me and the rest of the authors there, the same way she’s helped so many Tor authors in the past.

I need her.

Treat her the fuck better.

That is all.